Suche:on spec

Luca Yupanqui was not yet born when she recorded her debut album. The music on the aptly titled Sounds of the Unborn is the expression of life in its cosmic state _ pre-mind, pre-speculation, pre-influence, and pre-human. It is the first album created by a person while they were still inside the womb, the expression of a soul that hasn't yet seen the light of day nor taken a single breath of air. It is a message that comes from a different realm, a sublayer of our existence. Sounds of the Unborn was made with biosonic MIDI technology, which translated Luca's in utero movements into sound. With the help of her parents, Psychic Ills bassist Elizabeth Hart and Lee Scratch Perry collaborator Iván Diaz Mathé, Luca's prenatal essence was captured in audio. They designed a ritual, a kind of joint meditation for the three of them, with the MIDI devices hooked to Elizabeth's stomach, transcribing its vibrations into Iván's synthesizers. They let the free-form meditations flow without much interference, just falling deeper into trance and feeling the unity. After five hour-long sessions, the shape of an album began to emerge. Elizabeth and Iván then edited and mixed the results of the sessions, respecting the sounds as they were produced, trying to intervene as little as possible, allowing Luca's message to exist in its raw form. This cosmic soul summoning created new sounds, striking into uncharted territory for Elizabeth and Iván as musicians. A new language was being created, a new form of communication. It was a music without intellect or intentionality behind it, with no preconception or attempt to create any specific sound or melody. Every note on Sounds of the Unborn occurred naturally. It is human nature to wonder what life is like inside another human being's consciousness. How does it feel? What does it sound like? All these questions became stronger and more important to Elizabeth and Iván while they were waiting for Luca to come into the world. At a certain point the questions turned into, What would she say if she could speak? How would she react to the outer world? And ultimately, What kind of music would she play if she was able to? This album is an attempt to answer those questions. RIYL: Brian Eno, Mort Garson, Kaitlyn Aurelia-Smith

Former member of Rodolfo Alchourrón and Gato Barbieri's bands, Cevasco's first solo effort is a combination of fusion jazz with a pinch of unexpected Brazilian flavours and electronic sounds that now, more than 30 years after the original release of the album, still evoke a refreshing feel of modernity in the same vein as many other experimental Argentine and Uruguayan artists from the same era. Includes guest appearances from artists such as Litto Nebbia or Ruben Rada. Reissued on vinyl for the first time, including insert with liner notes and previously unseen photos. Details: Few musicians can boast of having played with "the greatest" without some eyebrows to be raised. The bass of Adalberto Cevasco has been heard in multiple concerts and recording sessions of artists as diverse as the Spanish divas Rocío Jurado and Isabel Pantoja, tango genius Astor Piazzolla or the cream of the Argentine jazz scene -from Pocho Lapouble, Gustavo Kerestezachi, Rubén López Furst or Andrés Boiarsky to the great Gato Barbieri- With the latter, as part of a dream band that included artists like Nana Vasconcelos as well as other Argentines such as Lapouble or Domingo Cura, he recorded two fundamental pieces in the Impulse! label catalogue in sessions held in Argentina and Los Angeles and also toured across various countries. The daily sold-out shows at the Regina Theater in Buenos Aires and their overwhelming performance at Montreux Festival are still well remembered. It is therefore out of question that Adalberto Cevasco belongs to that top-level league of musicians whose talent has also contributed to enhance those who accompany them. The history of this album begins with an encounter. Adalberto Cevasco joins Rodolfo Alchurrón's jazz-funk project Sanata y Clarificación as bassist and meets Litto Nebbia, who is invited to sing along. Some years on, when Nebbia's Melopea record company was developing, he would receive a cassette with a collection of demos recorded by Cevasco over the years. Some of the songs dated back to 1981 while others were made well into the decade and included such outstanding collaborations as that of the Uruguayan Rubén Rada, whom Adalberto Cevasco had met playing in a group of fusion candombe called Candonga. In addition to producing the complete album, Nebbia would also collaborate in a special way in one of the most outstanding tracks (Reencuentros Nº2) by adding to Cevasco's fusion jazz some unexpected Brazilian flavours and electronic sounds that now, more than 30 years after the original release of the album, they still evoke a refreshing feel of modernity. As the Argentine press of the moment highlighted, it'd seem as if the influences received and developed by the bassist during his career as a freelance musician - from post-Piazzolla tango to proyección folclórica (a movement of revision and modernization of the Argentinian musical roots) - had been added to their superb rhythmic work in this album. "Pájaros Eléctricos" was never presented live and has remained as the only published work by Cevasco as a soloist since the date of its release.

2023 Repress


it’s happening again: dj, producer and dial records co-owner lawrence produced his fourth album for mule musiq. and once more, another very special one. the berlin-based artist wrote nine new arrangements specifically for “studio mule”, the new audiophile listening bar that mule musiq's head-honcho toshiya kawasaki recently opened in shibuya, tokyo. it features an exquisite vintage hi-fi sound system, a small record shop, craft liquor and beer as well as an extensive natural wine collection. “toshiya's wine and listening bar was the inspiration for the project. i followed the idea of listening to music in this (for me imaginary) place on a magic vintage sound system, slightly drunk with an always special drink in my hand! the music is therefore also very eccentric and “tipsy”, improvised on acoustic instruments, synthesizers and computer, combined with recordings i did in berlin's central tiergarten park.” lawrence acknowledges the imaginative superstructure above his new album and his mode of operating during the recordings. the records is called “birds on the playground” and features deep pulsating music, that unfolds its true absorbing character when the auditor listens care-fully to the detailed storytelling of lawrence. like always his tunes got a special, radiant pulse, that somehow is a signature sign of most of his productions. playful cosmic grooves, light-hearted, crafted with love and yet freshly unset-tling in some moments. his arpeggiated melodies remind partly on the music of hans-joachim roedelius. in other sec-onds they display a jazzy spiritual character and drift into meditative areas, that sound to a degree like long forgotten japanese folk music spheres. as “birds on the playground” isn’t aimed straight for the dancefloor, the overall coating of the music is a relaxed, cautious one, that goes beyond the average definition of ambient music. each track builds up gracefully, in order to present a mesmerizing musical architecture, that offers new sound dimensions with any fresh listening turn. as the record is made for mule musiq`s latest public space enterprise, everyone who is close-ly connected to the label was involved.

mule musiq’s core artist kuniyuki was in charge for the mastering. and the labels visual draw-er stefan marx painted the cover artwork. “when i saw the record cover for the first time, i had to think a bit of an extremely funny new year's eve party from over 10 years ago, when stefan and i founded the imaginary band “the dead sea”. this record would have been a wonderful soundtrack to the bustle during that night.” lawrence reveals.

it must have been a party beyond hysteric spheres, where all guests dance and talk dearly at the bar, while the music slows down their body functions enough to hear a sound that takes everybody away to a place, that must have been home in that very moment.

Special situations call for special measures: Under the flag of this motto, LAMB OF GOD delivered two of the most impressive livestreams of 2020 last autumn. On Friday, September 18th, 2020, the groove giants from Virginia presented their new self-titled album in full length to their dedicated fans worldwide – directly and live from their own studio in Richmond, the creative home of LAMB OF GOD. With a stunning live performance in an unusually intimate setting, the Americans managed to ban the demons of the current situation and transfer the gripping energy of their live concerts to a digital space. This concert was now immortalized as a live release: "Lamb Of God - Live In Richmond, VA" captures one of the most important metal bands of the 21st century with all their fighting spirit and enthusiasm. This release is more than a live album: It is an important testimonial of the willpower of LAMB OF GOD facing the most difficult odds that Blythe and Co ever were confronted with.

The Peacers are back with their third album. The time has
been kind. Three years since they went about their
sophomore release, ‘Introducing the Crimsmen’. That
second Peacers record was made by the second Peacers
line up, after two thirds of the first gang made for the door
after the first album. In came Bo Moore, Shayde Sartin
and Mike Shoun but, after they’d finished making
‘Introducing the Crimsmen’, singer Mike Donovan moved
out of his old San Francisco digs to the east coast and
made two solo albums.
The Peacers were consistently great no matter who they
were, delivering Mike D’s irrepressible subterranean pop in
a full colour spectrum of moods from purple to blue-black
to sometimes white. ‘Blexxed Rec’ is a different time in the
band’s life - a second album from the same line up, plus
with a country in between them. Also Bo, who had one
song on the last one, brought three in for this one and
Shayde’s got the closing number. Suddenly, three singersongwriters under The Peacers’ flag.
The Peacers send out a mad variety of the thrills and chills
of modern rock, whether glam-tinged (‘The Thunder Is an
Electrical Love God’), psyched-out (‘Colors for You’,
‘Dandelion’), folky (‘Irish Suit’), riding the knife blade of
post-garage fusion (‘Blackberry Est’, ‘Ms. Ela Stanyon’s
School of Acting’) or pumping the winning strains of their
own pure pop sound (‘Ghost of a Motherfucker,’ ‘Bic Sitar,’
‘Make It Right’) and melting it all together.
Recorded in SF and Hudson NY with The Peacers’
production ear for small and curious detail in full spectrum,
‘Blexxed Rec’ is a blessed event for all you rock and roll
people.

Remastered from the original tapes in 2004 for release on World Circuit, 2021 sees this classic album back on vinyl for the first time since its original 1984 release.

In 1982, the great Malian singer songwriter and guitarist Ali Farka Touré, then still in the early years of his recording career, teamed up with the brilliant percussionist Hama Sankare. Together, from a base in Ali’s home village of Niafunké they travelled through Northern Mali, refining a collection of new songs. When they were ready to record they followed the River Niger as it wound down through the desert, to the capital city of Bamako.

In one afternoon, the great Radio Mali house engineer Boubacar Traore captured these eight superb performances on two microphones: two voices so close it was thought they were double tracked, one guitar (the distinctive Bulgarian acoustic model that Ali treasured) and Hama’s calabash percussion making its first appearance on record. The album, which includes some of Touré’s best loved songs, was released self-titled with no sleeve notes, just an enigmatic group photo on the cover. It became known as the ‘Red’ album due to the colour of its original sleeve.

Vinyl and cassette copies of ‘Red’ began to circulate in West Africa, as well as making their way to Ry Cooder in the US and to specialist journalists and DJs in the UK and France. It was popular in Mali and the Tuareg refugee camps in Libya, where it became an influence on the musicians who came together as Tinariwen.

On a tip from Toumani Diabaté and with a copy of ‘Red’ in hand, World Circuit’s Anne Hunt travelled to Mali in the mid 80s to find Ali to invite him to record and tour. An appeal was broadcast over Radio Mali, and Ali, who by chance was visiting the capital Bamako, heard it. Thus began Ali’s incredibly successful international career which took him around the world and resulted in the release of eight acclaimed albums including three GRAMMY winning collaborations, with Ry Cooder (Talking Timbuktu) and Toumani Diabaté (Ali & Toumani; In The Heart of the Moon).

Indie rockers The Ordinary Boys, team up with ska vocalist Ranking Junior
on brand new single ‘Legacy’, a poignant yet jubilant tribute to Murphy’s
father the late Ranking Roger, front man of legendary
Birmingham band The Beat.
This limited edition 7” single also includes “Jump and Skank” on the flip side.
The Ordinary Boys first met Ranking Junior way back in 2005 at a festival in
Japan, when Junior was performing with his father as part of The Special Beat,
a band made up of members of 2 Tone heavyweights The Specials and The
Beat. The Ordinary Boys were fresh from chart success following the release
of their celebrated single ‘Boys Will Be Boys’.
After sharing the stage and performing together, the two bands bonded over
their love of ska, rock and being on the road, sparking a close friendship between The Ordinary Boy’s front man Samuel Preston and Ranking Junior.
It was when Junior called Preston to inform him of his father’s death on 26th
March 2019 at the young age of 56, that they decided to get into the studio,
both feeling the need to pay homage to Ranking Roger and mark his passing
by working together on new songs.
The result is ‘Legacy’, a catchy and accessible track that is both deep and euphoric in equal measure, that perfectly showcases Ranking Junior’s powerful
vocal and highlights the songwriting skills of Samuel Preston, who had been
penning hits for artists as diverse as Cher, Enrique Eglesias and Liam Payne
prior to recording.
Ranking Junior comments: “This song is a celebration of my father’s life and it
seems a fitting tribute to release it on the anniversary of his passing.”

Just two months after the release of his seminal album After The Gold Rush, Neil Young played a solo show at The Shakespeare Theater, Stratford, CT on January 22 1971. The show was filmed and recorded, and the concert shown on German TV later in 1971.
 
In 2020, while Neil and his team were reviewing his Archive for future projects, Neil re-visited the 16mm film and audio recording of this show that had been preserved in the Archive for almost 50 years. Piecing together the tapes and footage, Neil realized that he had the full concert – the film of which is the earliest live footage of Neil performing that is known to exist.

Neil has written on NYA that this show is “superior to our beloved “Massey Hall”. A more calm performance, without the celebratory atmosphere of Massey Hall, captured live on 16mm. “Young Shakespeare” is a very special event. To my fans, I say this is the best ever.”
 
As an insight into Neil’s prolific song writing at the time, the concert features two songs from the recently released After The Gold Rush but four songs from the classic Harvest album that was still over a year away from being released. The wonderful set list also includes acoustic renditions of favorites such as “Ohio”, “Cowgirl In the Sand”, “Helpless”, “Down By The River” and “Sugar Mountain”.
 
The ancient analog tapes have been lovingly restored – resulting in (as Neil says on NYA) “one of the most pure sounding acoustic performances we have in the Archive”.

Young Shakespeare is being released almost exactly 50 years after the original performance.

This critically acclaimed duo made their debut in 2018 with the album ‘Last things’
on Oslo Session Recordings (OSR003 & OSR003LP), which received international
praise.
For the duo’s ‘Chasing Sunset’ album, singer Siril Malmedal Hauge has this time around
contributed as a lyricist and composer on three tracks, including the title song; ‘Chasing Sunsets, ‘Time, and the jazzy ballad ‘Wake Up’, that also features tenor-sax-great
Knut Riisn s as special guest. Jazz guitarist Jacob Young is known for his three albums
as a leader on ECM (‘Evening Falls, ‘Sideways’ and ‘Forever Young’), as a sideman with
Manu Katche, Karin Krog, Sidiki Camara and as the driving force behind the label Oslo
Session Recordings.
On ‘Chasing Sunsets’ he has written three new songs, which feature him as both guitarist and singer.
The album consists of three vocal duets where Siril’s vocals blends with Jacobs voice;
check out the sonic adventurous feel on tracks; ‘How Can I Advise You’, ‘The Ceiling’ and
‘High Alert. The remaining songs are gems from the popular music canon, with surprises
like the cover of the famed Norwegian Pop Anthem of the north, ‘The Lovesong’ (Kj
rlighetsvisa), written by Halvdan Sivertsen and sung in English for the first time.
Other gems include the Burt Bacharach/Hal David classic ‘I Say A Little Prayer’, and other
well-known masterpieces such as ‘You are So Beautiful’ and ‘My Ideal’.

Prince Far I was a Jamaican reggae DJ and producer, and a well-known member of the Rastafarian movement. Known for his distinctive voice. Far frequently used his music to criticise the Jamaican government. On his ninth album Jamaican Heroes, he collaborated with musicians like Roots Radics and The Flying Lizards. The album was mixed by Anthony “Crucial Bunny” Graham at Studio One in Jamaica. Each song has something special, and revolves around topics that were close to Prince Far‘s heart. That makes this record a must have for everyone who is interested in reggae music and Rastafarian culture. It’s available as a very limited edition of 750 copies on orange vinyl.

CLEAR WITH HI-MELT WHITE

Manslaughter 777 is the new collaboration of drummer/percussionist Lee Buford (The Body) and drummer Zac Jones (Braveyoung/MSC). Debut album World Vision Perfect Harmony follows a decade of collaborations starting with The Body and Braveyoung's Nothing Passes. For their debut as a duo, Buford and Jones blend bracing and imaginative takes on rhythmic-centric forms from dub, breakbeats, hip hop and beyond for a phantasmagoria of bristling drumscapes. Manslaughter 777 pulls together a vast array of disparate percussive traditions and patterns into a veil of dark, propulsive energy. Recorded and mixed by Seth Manchester at Machines With Magnets, the album's mélange of live and sampled beats fizzle, splat and rupture with an edge. While there are sounds that could be at home on a record by The Body, Manslaughter 777 inhabits much more open spaces. The duo's music is based primarily on drums and eclectic samples, shifting melodic ideas to the overtones and resonances of their respective percussive thuds or clicks. Buford and Jones incorporate hybridizations of live, sampled, and electronic percussion obscuring their boundaries while highlighting their specific tonal and timbral qualities. An alchemical balance of detailed and dynamic production guides each element to the fore in steady waves of relentless momentum. Taken as a whole, World Vision Perfect Harmony is a cornucopia of rhythmic texture. Manslaughter 777 channels a deluge of kineticism into a web of syncopated grooves that are equally entrancing and provocative. Audacious sound architects, Buford and Jones built an album that passionately revels in the world of rhythm. Manslaughter 777's constructs glide as gracefully as they rumble. Together, they are a monument to the power of percussion.

Richard Youngs' e work can traverse everywhere from avant-folk or otherworldly pop to minimalist electronics or some of the most fervent 'outer sounds' one can dredge from the deepest crevices of their doubtlessly life battle-scarred imagination. On Metal River, Youngs offers four songs of deep space beamed curdled electronics not far removed from being akin to the contorted death caterwauls of a cyborg species reaching out in uttermost anguish. It's like prime Edgar Froese getting snagged on Incapacitants before tumbling headlong into a dingy cellar that then has its door slammed shut and locked before one notices the only company is accorded by body parts in dusty and mouldy demijohns. Features three songs on the first side, 'Days of Gravity Indoors', 'Metal River' and 'Rainy Days Static Caravan', plus the side long 'Dual Monody of Accumulated Detritus'. The perfect follow up to the 2dicks 7" lathe-cut also featuring Richard Youngs and released by FD in June. White vinyl, too. What more could you possibly ask for? "

Xiu Xiu makes beautiful music for hard times. For nearly 20 years, the band has a track record of crafting experimental music for moments when life’s harsh realities meet its existential mysteries. On the latest album, Jamie Stewart explores a recent revelation and is reminded of the power of the band’s music to surprise and connect. Listening to the songs on OH NO, it is hard to feel truly alone. Instead, it is a reminder that even when we’re alone, we’re alone together.


OH NO, the group’s newest album, is an album of duets, with Stewart sharing the stage with an array of guests who have made an impact on him personally and musically. This is the first Xiu Xiu album where every song spotlights Jamie Stewart and a collaborator. The album features artists across the musical spectrum, including Sharon Van Etten, Circuit des Yeux’s Haley Fohr, Grouper’s Liz Harris, Alice Bag, Chelsea Wolfe, Owen Pallet, and Twin Shadow’s George Lewis Jr., all drift into Xiu Xiu’s distinctive soundworld. The album was born out of anguish and isolation, but exists as it does because of a profound rediscovery of community and friendship. It is the sound of finding one’s place in the world after the destructive powers of jealousy and mistrust make any map seemingly unreadable

Hannah Peel’s latest work "Fir Wave" contains re-interpretations of the original music of the 1972 KPM series featuring Delia Derbyshire and the Radiophonic Workshop.



The new album, a sonic shimmer of textures and pulses that switches between raw atmospheric edges and environments, arrives with a fascinating history. As Peel explains, “The specialist library label KPM, gave me permission to reinterpret the original music of the celebrated 1972 KPM 1000 series: Electrosonic, the music of Delia Derbyshire and the Radiophonic Workshop.” This process of re-generation and finding fresh inspiration in pioneering, experimental electronics from the early 1970s is at the core of the album. Peel has made connections and new patterns that mirror the Earth’s ecological cycles through music. Peel explains, “I’m drawn to the patterns around us and the cycles in life that will keep on evolving and transforming forever. Fir Wave is defined by its continuous environmental changes and there are so many connections to those patterns echoed in electronic music - it’s always an organic discovery of old and new.” As Delia Derbyshire revealed in 2000 to BBC sound engineer, journalist and academic Jo Hutton: “I like new things that don’t seem new . . . as though they’ve always been there.” Known more recently for curating and presenting on BBC Radio 3’s Night Tracks, the Northern Irish Emmy-nominated composer and producer’s work is ambitious and forward-looking, adapting and re-inventing new genres and hybrid musical forms.



Recent albums include the solo electronic and pop work of Awake But Always Dreaming, which became an ode to her grandmother’s mind as she lived with dementia; the electronic ruralism of Chalk Hill Blue, an album recorded with the poet Will Burns; and the space and the unparalleled vastness of Mary Casio: Journey to Cassiopeia, scored for synthesisers and a 30 piece colliery brass band. In 2019 she composed and recorded the soundtrack for Game of Thrones: The Last Watch which earned her an Emmy nomination for ‘Outstanding Music Composition For A Documentary Series Or Special (Original Dramatic Score)’.

La Morte Viene Dallo Spazio (Death Comes From Space)’s name is taken from an a late 50s Italian sci-fi b-movie, and this ensemble’s cinematic odyssey of sound is like Argento, Fulci and Bava taking acid with Magma and Jodorowsky. A solid departure from anything you will be listening to right now, La Morte Viene Dallo Spazio’s free-form journeys leave you in unknown astral territory and bake your brain. Composed of an open gathering of players, the Italian quintet combines flavours of Middle Eastern scales, droning theremin and guitars. Their flute-player’s frantic, progressive and abstract elements tear open the cosmic gates like Jethro Tull in a Giallo nightmare. The first album, ‘Sky Over Giza’, released in 2018, was a synth laden soundscape full of ancient mysticism and alien apparitions which gained them a rabid following in their home country of Italy and beyond. La Morte Viene Dallo Spazio’s second album on Svart Records; ‘Trivial Visions’, is a wholly unique experience. An enthralling listen in a confluence of sound and ritual atmospheres that craft a both vibrant and hypnotic effect with nods to black metal and extreme ends of the sound spectrum. This vivid, dreamy and cosmic material will transfer the listener to vast sonic dimensions where one could easily lose the way back to reality. Is this Jazz, Stoner-Rock, Psych-Rock or Progressive Rock? This is La Morte DalloS pazio and they’re in a universe of their own. Start receiving your deathly visions when the new album drops via Svart Records on the 26th of March 2021.

JB's, who are so famous as the backing band of James Brown, are coming back!! About 20 years after the release in the 70's, Aa super-class funk album "Bring The Funk On Down" which was suddenly produced and released as a Japanese project in 1999 by P-VINE and we would like to present a special single from the album for the first time! Both tracks are re-made as short versions just for this ep. BORN TO GROOVE!

Christof Kurzmann: lloopp, vocals
Sofia Jernberg: vocals
Martin Brandlmayr: drums
Joe Williamson: double bass

Disquiet is a special quartet that came together on the stage of the Konfrontationen festival in 2018. Initially formed and lead by Austrian electronic musician Christof Kurzmann, the project is reflecting the difficult political situation of the refugee movements to Europe – and how politicians deal with it in a selfish and unhumanitarian way. Christof Kurzmann, Sofia Jernberg, Martin Brandlmayr (Radian) and Joe Williamson reinterpret and process in quiet waves of emotions and thoughtful lyrics - concentrated music between serenity and sheer beauty, esp when Kurzmann and Jernberg sing a duet with Joe McPhees lyrics.

Extended linernotes by Guy Peters

Just two months after the release of his seminal album After The Gold Rush, Neil Young played a solo show at The Shakespeare Theater, Stratford, CT on January 22 1971. The show was filmed and recorded, and the concert shown on German TV later in 1971.

In 2020, while Neil and his team were reviewing his Archive for future projects, Neil re-visited the 16mm film and audio recording of this show that had been preserved in the Archive for almost 50 years. Piecing together the tapes and footage, Neil realized that he had the full concert – the film of which is the earliest live footage of Neil performing that is known to exist.

Neil has written on NYA that this show is “superior to our beloved “Massey Hall”. A more calm performance, without the celebratory atmosphere of Massey Hall, captured live on 16mm. “Young Shakespeare” is a very special event. To my fans, I say this is the best ever.”

As an insight into Neil’s prolific song writing at the time, the concert features two songs from the recently released After The Gold Rush but four songs from the classic Harvest album that was still over a year away from being released. The wonderful set list also includes acoustic renditions of favorites such as “Ohio”, “Cowgirl In the Sand”, “Helpless”, “Down By The River” and “Sugar Mountain”.

The ancient analog tapes have been lovingly restored – resulting in (as Neil says on NYA) “one of the most pure sounding acoustic performances we have in the Archive”.

Young Shakespeare is being released almost exactly 50 years after the original performance.

The “Hôtel Costes Presents” series returns this March with "Hardcore Lounge", the new album by Greek duo Glacial, comprise of eight original tracks and a special collaboration with the well-know star singer Giorgos Mazonakis.

Glacial is the joint project of renowned Greek techno/house producer Lemos and saxophonist/experimental artist Ilan Manouach. The duo released their debut album back in 2012 via the former “Costes Presente” series, picking up support along the way from Ricardo Villalobos who called it “the album of his dreams”. With this new album, the band is back together for a release on the new “Hotel Costes Presents” series, once again delivering their inimitable twist on jazz infused electronic music.

The focal point from the album comes in the shape of "Den Ime Ego", which sees Glacial collaborating with one of Greece’s most infamous pop singers, Giorgos Mazonakis, to create a cinematic composition driven by emotive strings, jazzy drums and airy sax tones alongside Mazonakis haunting vocals.