Cerca:on land

Sdban Records continues its reissues of the legendary library series 'A Special Radio - TV Record' with Selection 23, releasing a variety of notable tracks from the 70s library label together on a physical compilation for the first time. With this release, the label continues the vinyl reissues of the Belgian imprint 'Selection Records,' featuring tracks originally released between 1976 and 1981.

Essentially, the tracks take you through a cinematic musical landscapewhere funk and soul merge with a hint of jazz, always evoking a sense of familiarity.

One name that immediately springs to mind is René Costy. From this virtuoso and insatiable artist, the compilation 'Expectancy' was previously released. With 'Strange Dream' and 'Crystal Waltz,' he shows once again that he was not only a versatile composer but also a curious jazz cat. With 'Space Shuttle Jazz', pianist and harmonica Jacques Siroul shows his fascination for synthesizers. Which, as a composer, earned him an unofficial title as an expert in music on demand. This, and much more, make Selection 23 a must-have for fans of previous compilations like Beat Action, Funky Chicken, and Funky Chimes!

Godzilla returns once more to face the combined might of Japan's most extraordinary scientists in the second picture of the Millennium-era: GODZILLA VS. MEGAGUIRUS. Looking for new ways to defeat the Big G, the JSDF invent an incredible new weapon called Dimension Tide, which creates a miniature black hole that will transport Godzilla far away from Earth. However, a byproduct of weapon testing leads to thousands of winged insects invading Tokyo and attacking Godzilla. The Big G fights back, but their new queen appears, now kaiju-sized due to Godzilla's atomic breath. A thrilling battle then occurs as Godzilla goes head-to-head with Megaguirus while the JSDF frantically works to disappear both monsters forever.

GODZILLA VS. MEGAGUIRUS saw the introduction of composer Michiru Oshima into the franchise with a fantastic score that built on previous Toho musical traditions with a view to the future. While using music composed by the great Akira Ifukube for two sequences, Oshima also unveiled her own theme for Godzilla. First heard in a slow and foreboding mode, it's quickly unleashed in gigantic low tones, as terrifying and inevitable as the Big G himself. Soaring heroic material represents the JSDF and their advanced Griffon aircraft, while powerful brass is used for the threat of Megaguirus. Cementing Oshima's reputation as a great composer, GODZILLA VS. MEGAGUIRUS is a classic of kaiju musical mayhem. - Charlie Brigden

Composed by Michiru Oshima
Artwork by Attack Peter
Manufactured in Czech Republic

Gently Down Your Stream marked a creative zenith within the Columbus, Ohio, soul scene, at the juncture of the 1960s and '70s. The Four Mints were one of the most influential local group harmony outfits of their era and - with assistance from Columbus doyen and Capsoul purveyor Bill Moss - among the few to release a full length LP. The roster of backing musicians hired to provide aural landscaping reads like a Midwest super-group, with surprising appearances from Indianapolis-based vibraphonist Billy Wooten and drummer Bobby Allen of the Fabulous Originals from Dayton, Ohio. And though most of the material on 1973's Gently had been previously released as 45s, the collection - five singles and one priceless track saved from the scrap heap - gives witness to a world-class vocal quartet at its professional and intuitive peak. Under the watchful eye of arranger and mega-talent Dean Francis, the Four Mints pour forth from your speakers soulful, faithful and clear, but perhaps more importantly, intrinsically homegrown and utterly honest.

Building friendship through joint sonic exploration, Khang & Elias basically started having long Sunday jams right from the start when they first met in Oakland. Recorded in two live sessions, one in May 2023 in Oakland and the other in July in San Francisco using a scattered array of little boxes of synthesis and audio manipulation. "Reflecting on the recording process it felt like we had a completely nonjudgemental mindset to the sound created and discovered sonics through kind of a lens of a child entering a playground."

Division of Laura Lee emerged in the late '90s and quickly gained recognition for their unique sound, blending elements of post-punk and alternative indie rock. In a landmark celebration of their musical history, Division of Laura Lee proudly announces the 25th-anniversary re-release of their seminal 1999 album, "At the Royal Club." This re-issue features a compilation of tracks from the their first two years, allowing both long-time fans and a new generation of listeners to experience the album's intensity and the band's pioneering spirit. Previously released only on CD, the re-issue of "At the Royal Club" has been meticulously remastered for vinyl to bring a new life to the original recording.

At the Royal Club by Division Of Laura Lee includes the following tracks: "44", "Royal Club", "Chart Music", "Stop! Go!" and more.

Nach einer zehnjährigen Pause gibt die schwedische Country-Band Bourbon Boys stolz bekannt, dass ihr brandneues Album "Forever Rebels" am 23. Februar auf Faravid Recordings erscheinen wird. "Forever Rebels" ist das dritte Album in der Diskografie der Band, dem die Alben "Shotguns, Trucks & Cattle" (2013) und "Hail to the Chief" (2013) vorausgehen. Die Band wurde bereits mit zwei schwedischen Gold Awards ausgezeichnet; für die Singles "Hillbilly Heart" (Shotguns, Trucks & Cattle) und "Taxman" (Hail to the Chief)."Forever Rebels" liefert einen klassischen, gitarrenbetonten Country-Sound mit Einflüssen u.a. von Outlaw-Legenden der siebziger Jahre und rockigem Country der späteren Jahrzehnte. Das Album bietet mitreißende Chickien Picking-Gitarren und gleichmäßige Trainbeats, aber auch ruhige Balladen mit Texten, die von zerbrochenen Leben, einer unversöhnlichen Natur und unbezwingbarer Liebe erzählen. Jeder der Tracks kann mit einem Moment aus dem täglichen Leben auf dem Land in Verbindung gebracht werden, geschrieben mit Worten, die tief in einem hart arbeitenden Rebellenherz verwurzelt sind; mit Liebe für die Familie, die Tiere und die Freiheit.

Oceanic White & Blue Vinyl, limited to 300 copies. The band's name is borrowed from the legend of the Cailleach, the ancient witch god of winter from Scottish Celtic mythology. The story goes that she lives at the bottom of an enormous whirlpool, Corryvreckan, which lies between some of the western isles of Scotland and lends its name to this album. As the herald of winter, she rises from the depths to wash her plaid (cloak) in the waters of the Corryvreckan. Once washed and restored to a bright white, she casts it across the earth where it lands as snow. This is done at the start of Samhainn (beginning on 31st October, which was the Celtic precursor to Halloween and the name of the band's debut album). Her reign ends as spring arrives with the festival of Bealltainn in May, and she turns to stone to await the next winter. The Cailleach is depicted in various, contradictory ways - both as a symbol of death, loss and despair, as well as a source of nurturing and protection. Taking inspiration from all this, the music that HAND OF KALLIACH creates is centred around these dual concepts of benevolence and malevolence, all against the backdrop of the history, mythology and land/seascapes of the Scottish islands. The threads of Celtic and Gaelic folk music and folklore weave throughout the album, against a backdrop of spectral, melodic death metal. Blending the robust brutality of death metal with the ethereal wisps of folk is an intoxicating brew. Corryvreckan was recorded with Wynter Prior at Sphynx Studios, Brighton, UK. The resulting album is a phantasmagorical journey through ancient tales and truly progressive modern metal, with an unmatched eye for detail that brings every single element of Corryvreckan to life.

Big Crown Records is proud to present Zero Grace, Liam Bailey's sophomore album on the label. Following the success of 2020's Ekundayo album, the tried and true chemistry of Bailey and producer Leon Michels (El Michels Affair) is on full display again as they take the sound they established and push it further. On Zero Grace they lean more into the bleeding heart singer-songwriter side of Liam. The result, much like Bailey himself, is impulsively honest without reserve. Born and raised in Nottingham, England, the son of an English mother and 2nd generation Jamaican English father, Liam will admit his early childhood was fairly chaotic and filled with "all the cliche racism that happens when people started mixing up in the '80s in England." Liam got his early influences from his mom's record collection. Bob Marley and Dillinger, Stevie Wonder and The Supremes, The Beatles and Jimi Hendrix would eventually shape the singer/songwriter we know today. Fast-forward to 2005, Liam is in London performing at every open mic and acoustic night he could, hustling with hopes of landing a record deal. It was through this time that Liam first teamed up with Michels, musician/producer luminary, and the co-founder of Brooklyn's own Big Crown Records. Liam flew out to New York and those first sessions together produced the now classic tunes "When Will They Learn" and "I'm Gonna Miss You" which still gets spins at Reggae spots around the globe and were co-signed by heavy hitters like David Rodigan & Don Letts. That first trip to NYC brought a lot of industry attention to Liam, including being noticed by a just-famous Amy Winehouse who heard one of Liam's apartment-made, lo- recordings, and liked what she heard. Regardless of the audio quality, Liam's particular sound shone through - all guitar, warm-rough and genuine soul. Eventually Liam signed to Polydor and wound up bumping against the typical major label industry obstacles. They already had an idea of the Liam they wanted to make, promote, and push With the typical large advance enticement, Liam did his best to trust that path. "Maybe I can make it work,' that's what you're thinking," Liam remembers, "but, you quickly find out that you can't." Zero Grace is full of freedom and love, in fact, working with Leon Michels and Big Crown Records has encouraged Liam to be himself. On album opener "Holding On '' Bailey speaks to his observations & fears when looking out at the world in front of him and also to the dedication it has taken to get on the other side of his personal trials & tribulations. "Dance With Me" is an instantly infectious two-stepper that nods to those incredible soul records that were coming out of Jamaica during the early Reggae days. Bailey steps into the dance with hopes of finding a new love and pulls us all out on the dance oor with him. "Disorder Starts At Home" is another close to the chest tune that addresses the difficulties he struggles with from his early chaotic childhood and his progress in getting past them. "Mercy Tree" is a powerhouse of Reggae Rebel Music. Bailey addresses the racial tensions that plague humanity and encourages everyone to step up and do their part to help foster equality. What starts out as a declaration of injustice turns into a call for action and an inspiration for hope.

Big Crown Records is proud to present Zero Grace, Liam Bailey's sophomore album on the label. Following the success of 2020's Ekundayo album, the tried and true chemistry of Bailey and producer Leon Michels (El Michels Affair) is on full display again as they take the sound they established and push it further. On Zero Grace they lean more into the bleeding heart singer-songwriter side of Liam. The result, much like Bailey himself, is impulsively honest without reserve. Born and raised in Nottingham, England, the son of an English mother and 2nd generation Jamaican English father, Liam will admit his early childhood was fairly chaotic and filled with "all the cliche racism that happens when people started mixing up in the '80s in England." Liam got his early influences from his mom's record collection. Bob Marley and Dillinger, Stevie Wonder and The Supremes, The Beatles and Jimi Hendrix would eventually shape the singer/songwriter we know today. Fast-forward to 2005, Liam is in London performing at every open mic and acoustic night he could, hustling with hopes of landing a record deal. It was through this time that Liam first teamed up with Michels, musician/producer luminary, and the co-founder of Brooklyn's own Big Crown Records. Liam flew out to New York and those first sessions together produced the now classic tunes "When Will They Learn" and "I'm Gonna Miss You" which still gets spins at Reggae spots around the globe and were co-signed by heavy hitters like David Rodigan & Don Letts. That first trip to NYC brought a lot of industry attention to Liam, including being noticed by a just-famous Amy Winehouse who heard one of Liam's apartment-made, lo- recordings, and liked what she heard. Regardless of the audio quality, Liam's particular sound shone through - all guitar, warm-rough and genuine soul. Eventually Liam signed to Polydor and wound up bumping against the typical major label industry obstacles. They already had an idea of the Liam they wanted to make, promote, and push With the typical large advance enticement, Liam did his best to trust that path. "Maybe I can make it work,' that's what you're thinking," Liam remembers, "but, you quickly find out that you can't." Zero Grace is full of freedom and love, in fact, working with Leon Michels and Big Crown Records has encouraged Liam to be himself. On album opener "Holding On '' Bailey speaks to his observations & fears when looking out at the world in front of him and also to the dedication it has taken to get on the other side of his personal trials & tribulations. "Dance With Me" is an instantly infectious two-stepper that nods to those incredible soul records that were coming out of Jamaica during the early Reggae days. Bailey steps into the dance with hopes of finding a new love and pulls us all out on the dance oor with him. "Disorder Starts At Home" is another close to the chest tune that addresses the difficulties he struggles with from his early chaotic childhood and his progress in getting past them. "Mercy Tree" is a powerhouse of Reggae Rebel Music. Bailey addresses the racial tensions that plague humanity and encourages everyone to step up and do their part to help foster equality. What starts out as a declaration of injustice turns into a call for action and an inspiration for hope.

Sunrise Beams Through Orbital Mist

Repress.


Bassist of the band Lo'Jo until 2016, Kham Meslien has performed on all continents, from the big stages of the world's cities to the Australian and American deserts With this solo double bass project, he embarks on a new adventure that mixes overdubbing with samples and special guest Anthony Joseph on one track. He
also plays in the trio Sweet Back and has collaborated, on stage or in the studio, with many international musicians: Robert Plant, Archie Shepp, Robert Wyatt and Justin Adams.

Textures and sounds spanning from the virtues of 90’s grunge/alt-rock to renaissance-like melodies bound together with the opposites pop-music structures sliced with contemporary collage techniques. On Mija Milovic’ second solo album “Still Life” (Escho), there is easily no conformity to constraints of simple boxes, instead it focuses on emoting with intonation, stress, rhythm and pace. It's about tender and aggressive transformations, figuring out who you are and how to be in the world. The lyrics tell lived stories of locating magic in the mundane, being swept away by the energy of fellow humans and holding space for each other in a community, feeling estranged in the urban landscape, and learning to let go. Mija Milovic is a Danish/Montenegrin musician, composer and producer based in Copenhagen. She has a background in theatre, performance, alternative notation and improvisational music creation. With several release under her own name she is also member of the rock band SLIM0 and is a part of various other collaborative.

"Days Gone By," the latest creation from Manuel Gonzales (MGUN), showcases his remarkable versatility inside of the contemporary musical landscape. This 9-track EP, released for 100 LIMOUSINES, is a vibrant mosaic of raw, gritty sounds that capture the quintessence of Detroit's musical heritage.

Each track on the album is an immersive experience that echoes the feel of street techno, rhythmic and driving. MGUN's ingenious use of the studio as an instrument is striking, as he shapes tracks that embody the essence of bedroom production. The album vibrates with deep sub-bass frequencies, eerie highs, and peculiar artifacts of found sound.

Gonzales, a name synonymous with raw and unadulterated music, brings his signature touch to the 100 LIMOUSINES catalog, a label rapidly gaining recognition for its bold defiance of genre constraints. "Days Gone By" is more than a mere collection of tracks; it's a deep dive into Gonzales' daily sonic experiments, a testament to his relentless pursuit of pushing the boundaries of techno music.

This album is an essential listen for those who value the fusion of Detroit's robust underground legacy with innovative, avant-garde electronic music. It's a journey designed for those who revel in the unrefined authenticity of analog production and the boundless potential of cross-genre exploration. "Days Gone By”, an absolute experimental body of music, a unique auditory adventure that defies convention.

For Listeners Who Enjoy: Rob Hood, A Guy Called Gerald, RZA, Autechre, UR

Art School Girlfriend, Aka Polly Mackey, will release second album Soft Landing via Fiction Records on August 4, 2023. The album is self-described as a series of “small euphorias”; it is an album that finds Mackey shifting her sound towards tactile electronics whilst retaining the floating melodies of her debut.

In this Bukky's latest offering, he has assembled some of his favourite DJs and producers including his old comp Rende Gillies Peterson, Orlando Voorn, Lesley Lawrence. His dear friend the godfather of Dub Dennis Bovell. Featuring original material compositions:

OBEDUN (Sweet SOUP) - Mixed by Orlando Voorn Inspired by his cultural background Bukky goes in search of the cuisine traditions of his mother land Nigeria. He sings praises of his favourite traditional African cuisines. Sang in his native dialect Yoruba language.

GENRE JAM – Afrobeat recently became a recognised genre. Whereby the unique percussion driven with soulful guitar hook lines and melodic piano phrases can be incorporated any genre as a version.

UNISEX DILENMA - it's just light-hearted, tongue in cheek commentary on the interplay between men and women and some of the stereotypical ways we see relationships, it's nuanced and that's why it's called Unisex Dilemma. Meaning people shouldn't take the song too literally.

ANNARKEY – Mixed by the Godfather of Dub Dennis Bovell. This a great example 0f Genre Jam whereby Rock or Reggae can be intertwined with Afrobeat. Especially from the Latin Rhythms which are all influenced by Afrobeat.

SUMMER BREEZE – Mixed by Lesley Lawrence is Jazzy instrumental track. It draws from Bukky's past recording and associations with the giants of Jazz i.e. Clifford Jarvis, Bob Ra Kalan Moses, and playing with Tony Allen who is heavily influenced Art Blackey and Max Roach.

a 01: Obedun (Sweet Soup) Orlando Voorn Mix

This album is a prime example of misunderstood genius, not particularly liked by the fans because of its rather radical low-key atmosphere, quite distant from the previous "Heavy Prog" formula. In fact, it's so moody it can verge on soporific, like a soundtrack for an opium den. But these guys are full of surprises and they succeed in paving the road for future prog acts such as PTree, NoSound, White Willow, Paatos and the brilliant Sunscape by deliberately expanding on the veil on the sonics, less rock and more roll if you will. Landberk is unquestionably led by the scintillating guitar work of Reine Fiske, a unique somber style that winks reverently at a reserved Fripp or U2's The Edge on quaaludes combined with an abundant use of fluffy mellotron carpets at the hands of producer Simon Nordberg. Both bassist Stefan Dimle and drummer Jonas Lindholm excel at setting a mood and keeping it firmly anchored, just plain solid.

Two months after recording The Sidewinder, trumpet legend Lee Morgan was back in Van Gelder Studio in February 1964 creating his masterful sextet album Search for the New Land with Wayne Shorter, Herbie Hancock, Grant Green, Reggie Workman, and Billy Higgins. The expansive title track is the centerpiece of this dynamic program of Morgan originals.

This Blue Note Classic Vinyl Edition is stereo, all-analog, mastered by Kevin Gray from the original master tapes, and pressed on 180g vinyl at Optimal.

Psychedelic Anxiety, as a mood, goes something like this: overwhelming, existential, vertigoic, arising when we stare into the void. This metaphysical unease also serves as the title for Brooklyn-based musician Frances Chang’s second album, and as a feeling it’s present throughout, charged by all things occultish. Recorded by Chang and engineer Andrea Schiavelli, featuring a cast of revered NYC DIY players, including Schiavelli (Eyes of Love) and Liza Winter (Birthing Hips), Psychedelic Anxiety relishes in the refining of aesthetic, in the electricity of improvisation, in balancing bleakness with humor. It embodies an idiosyncratic genre Chang calls slacker prog — offbeat, but brimming with spiritual and emotional resonance. The record infuses artifacts of the mundane with otherworldliness— even the love songs live more in the realm of fantasy (or horror) than the romantic. The psychic twin and mirror image of Chang’s 2022 debut full-length Support Your Local Nihilist, Psychedelic Anxiety by comparison is less urgent, leaving space for more nuance and storytelling. Together, these albums represent a new cycle of creativity for Chang, a reset to zero. “Eye Land,” captures Chang on a tour around the Irish and English countryside, in a moment of major life change. “Lying around your spare room,” she sings, “Sky is cloudy here in June.” Around her, guitar sputters and stops. Vocals branch off like vines on the side of an old house. It is a profoundly lovely song, a freaky miniature in the way that a Broadcast song is a freaky miniature. “Darkside” opens up with a particularly memorable narrative moment. “Last night I saw Parasite,” sings Chang, describing how she saw it alone, how regular life that week was acute, weird, intense. How she found comfort in resignation. After all: Psychedelic Anxiety is a serene, bizarre record full of alien sounds and big introspection.

lim. to 250 Copies ww!

"The world is rich, the world is colorful. So why not show it in all its complex diversity and contrasts? Why, when you go in one direction, do you have to follow it further and can't just go in all directions at once? These are all questions that Berlin-based Turkish singer Basak Yavuz may have asked herself when she began recording her new album "Raum 610."

Basak Yavuz doesn't take much time to get down to business. Right away in the opener "Promised Lands," different stylistic elements like jazz, rock, funk and hip-hop chase each other as if it were a matter of life and death. The message is unmistakable: this is about energy. The energy of the big city. Crowds on the sidewalk, congested streets, noise from construction sites, cyclists and drivers yelling at each other, barking dogs, screaming children, shattering glass, a new surprise around every corner. Basak Yavuz does not hide, but picks up the tempo of the Moloch and makes it her own pulse with all its fractures and border crossings. She is not afraid to overload her songs, but confidently juggles the explosiveness of creative oversaturation." (Wolf Kampmann)

The music of Atlanta trio Omni has always swung fast and hit hard. And Souvenir, their fourth album and second for Sub Pop, packs their biggest punch yet. Inactive during the majority of the pandemic-the longest downtime in their history-they approached this recording with lots of pent-up energy. Guitarist Frankie Broyles, singer/bassist Philip Frobos, and drummer Chris Yonker converted their creative fuel into sharp, driving songs that land immediately, sporting chopping riffs, staccato beats, and wiry melodies. Why does Souvenir sound so sharp? Because each track is a compact unit that stands on its own, reflecting the time and place in which it was created. That's why Omni called the album Souvenir: it's a collection of audio objects, a stash of musical miniatures. Think of it as a family photo album, a binder of rare playing cards, a shoebox holding precious gems. Take "Plastic Pyramid," the first song Omni wrote after coming out of lockdown. Filled with twists and turns, it's a journey unto itself, charged by clanging chords, spinning rhythm, and Frobos trading lines with Izzy Glaudini of Automatic, with whom Omni toured with last fall. (Glaudini sings on two other Souvenir tracks, the first guest vocalist the band has collaborated with). Or take opener "Exacto," a slicing web of intertwined guitar and bass. Its razor-fine notes and syncopated beats perfectly match pointillist Frobos lyrics such as "Exacto, de facto, concise, quite right"-a line that could well be an Omni mantra. The precision and clarity of Souvenir comes from some new Omni developments. For one, this is their first album with Yonker as their full-time drummer, and his forceful playing adds exclamation points to every pointed moment on Souvenir. In addition, the trio worked with Atlanta-based engineer Kristofer Sampson for the first time. Sampson pushed the band to a higher degree of power, with Frobos's vocals more upfront in his pulsing mix and the rest of the music leaping out of the speakers. You might notice that Frobos' singing is a bit more emotional and even nostalgic this time around. In crafting his vocals, he was inspired by the early college radio rock of formative favorites like REM, the Cure, and Big Audio Dynamite-the kind of bands whose melodies could have been top 40 hits in an alternative universe. The lyrics on Souvenir are also by turns funny, absurd, and even cryptic. A wry humor has always coursed through Omni's songs, and this time, it comes in shades of both dark and light. In "Granite Kiss," an "astronomical" love story concludes with the hope that "we can decay together," while in "PG," a romantic walk in the park includes a rose-colored mugging. Immediacy rushes throughout every moment of Souvenir, making it the band's most powerful album to date. Omni has truly crafted a musical keepsake-a set of songs that you'll want to keep close, an aural memento you'll cherish for the rest of time.