Buscar:orchestra

Record Kicks proudly presents "SuperStudio" the new single by legendary Italian cinematic funk combo Calibro 35 sampled by Dr.Dre and Jay-Z, taken from their forthcoming new studio album DECADE

"SuperStudio" - available on a super limited edition 45 vinyl and digital download together with bonus track "Gomma" - is Calibro 35's first single and anticipates their new album DECADE that hits the streets next 9 February. Quoting the band "SuperStudio is the main theme for a movie that doesn't exist, starring Clint Eastwood and Pam Grier saving earth from the invasion of deadly robots from another planet" and it's pure Dynamite. On the flip you'll find "Gomma", the bonus track out of the album which is an irresistible funk groovy shaker.

Recorded at the legendary Officine Meccaniche studios in Milan by CALIBRO's usual suspect and Grammy Award winner Tommaso Colliva, "DECADE" marks 10 years of Calibro 35's releases and it's the very first album recorded by Calibro with an orchestral-inspired enlarged line-up. Active since 2008 CALIBRO 35 enjoys a worldwide reputation as one of the coolest independent band around. During their ten years career, they have been sampled by Dr. Dre on his Compton album and Jay-Z, they shared stages worldwide with the likes of Roy Ayers, Muse, Sun Ra Arkestra, Sharon Jones, Thundercat, Headhunters and as unique musicians they've collaborated with, amongst others PJ Harvey, Mike Patton, John Parish and Stewart Copeland and Nic Cester (The Jet). Described by Rolling Stone magazine's as "the most fascinating, retro-maniac and genuine thing, that happened to Italy in the last years", Calibro 35 now count on a number of aficionados worldwide which includes VIP's fans such as Dj Food (Ninja Tune), Mr Scruff and Huey Morgan (Fun Lovin' Criminals) among others.

Mellow Waves, Cornelius' first album in over 11 years will be available in a limited deluxe edition pop-up gatefold vinyl (including phenakistoscope animation insert), standard package on 180g, CD and cassette format on January 26, 2018. The album, released July 21, 2017, was previously a digital only release. Pre-orders for these formats are available now.

Cornelius announced eight North American tour dates for March 2018, including shows in Mexico City for the NRMAL Festival, New York's Irving Plaza, the Carnegie Music Hall at Pittsburgh's Andy Warhol Museum, and LA's Fonda Theater.

Filmed live at his record release shows at Tokyo's Liquid Room, Helix / Spiral' captures the Cornelius live experience, with its Kraftwerk-esque roboticism and immersive visuals meticulously synchronized with the performance from The Cornelius Group.

For the uninitiated, Cornelius is the brainchild of Japanese multi-instrumentalist Keigo Oyamada. A performing musician since his teens, Oyamada created his creative alter-ego (the name is an homage to the Planet of the Apes), in the early 1990s from the ashes of his previous project, Flipper's Guitar.

With the 1997 release of Fantasma, Cornelius gained international recognition for his cut and paste style reminiscent of American counterparts Beck and The Beastie Boys and was released internationally by Matador Records. Being called a "modern day Brian Wilson" for his orchestral-style arrangements and production techniques, Cornelius subsequently became one of the most sought after producer/remixers in the world, working with a wide range of artists including Blur, Beck, Bloc Party, MGMT, and James Brown.

With 2002's Point, Cornelius' music took a quantum shift, going from sampling found sounds' to looping organic elements and creating lush soundscapes. Using water drops as the rhythmic backbone of Drop' on his vocoder-infused cover of Brazil', the album dazed and amazed fans and set the path for the next phase of his career.

2007 brought this philosophy to an even higher level with the release of Sensuous. Cornelius' live shows are known around the world for spectacular visuals (all perfectly synchronized to the performance), custom lighting that doesn't simply augment the performance, but becomes another instrument within it, and a full band of equally talented and diverse players.

The companion piece to the album Sensurround + B Sides, earned the nomination for Best Surround Sound Album' at the 2009 GRAMMY Awards.

The summer of 2016 saw the release of Fantasma Remastered, on Lefse Records. The package, a 2LP reissue of his classic album, also included 4 additional outtakes and earned Pitchfork's Best New Reissue'.

Cornelius has recorded music for Edgar Wright's Scott Pilgrim vs. the World, scored the anime mega-film Ghost in the Shell Arise, performed as the backbone of Yoko Ono's reformed Plastic Ono Band, played the Hollywood Bowl with Yellow Magic Orchestra, and co-wrote and produced the Japanese artist salyu x salyu.

Hailing from Mali, Amadou Bagayoko and Mariam Doumbia first met as children at Mali's Institute for the Young Blind—both lost their vision at an early age. It was here that they started performing in the institute's Eclipse Orchestra, eventually marrying and began recording together in the '80s.

Over the span of three decades Amadou (guitar and vocals) and Mariam (vocals) developed an international following having recorded eight full-length albums and toured around the world. Their album Welcome To Mali (2008) was nominated for the Best Contemporary World Music Album' at the 52nd Grammy Awards. Tour highlights for the duo include supporting U2 on their U2 360 Tour, performing at the 2010 World Cup for FIFA's Kick-Off Celebration and performing alongside major acts across multiple genres such including Blur, Coldplay and Pink Floyd's David Gilmour.

The album also includes the hit single Bofou Safou,' which Stereogum calls the funk, the whole funk, and nothing but the funk.' The band discussed La Confusion and performed new music on a recent stop at KCRW's Morning Becomes Eclectic' during their recent sold out North American seventeen city headline tour — watch HERE. The band played major markets including New York, Los Angeles, San Francisco, Chicago, Washington D.C., Philadelphia, Montreal.

Amadou & Mariam recently released the Bofou Safou EP via Because Music. The EP includes the first two La Confusion singles, Bofou Safou' and Filaou Bessame,' alongside remixes of the EP's title track by Fatima Yamaha, Africaine 808, Henrik Schwarz and more. The term bofou safou' is a Bambara (the Malian national language) nickname given to nonchalant young men who would rather dance than work. Of the new EP, the group notes, We really like the remixes that were made for the EP. You get to hear our music in a different form, which is great. All five remixes manage to catch the essence of our song while really pushing those enticing afro pop and electronic vibes further.'

IMA (Intense Molecular Activity) is the duo of Don Hunerberg (synthesizers) and Andy Blinx (drums and percussion). Based in New York City and active between 1979 and 1982. Don, a studio Sound / music engineer and musician, Andy an electronic clothing designer, drummer and sound reinforcement engineer at downtown clubs like Max's Kansas City, Mudd Club and CBGB. In between doing sessions at Radio City Music Hall Studios for groups such as Ramones, Richard Hell, Sonic Youth, Liquid Liquid, John Zorn, Glenn Branca and many others, IMA took advantage of off hours to create their own music. As far as influences go, Don's background was in electronic music and Andy's in prog rock. To produce the songs, Don used his own method of creating patterns from 2-track tape loops and then edited them together on to a 24-track recorder adding more tracks of overdubs, In a very similar way that sequencers are used today. By 1980 the duo honed their own unique sound and version of Post Punk and No-Wave with the tools of the trade of the early 80s. Situated above the proscenium of the Radio City Music Hall stage, the studio was outfitted with a variety of orchestral instruments (timpani, bells, xylophone, etc). They self-released a 4-song EP titled 'IMA' on an 8' flexi-disc which was distributed by Ed Bahlman of 99 Records. The music bridges the wild psychedelic-rock of the 60s, the synth-punk of the late-70s and the elaborate constructions of progressive-rock. There are nods to the freak-outs of Chrome and the super neurosis of Suicide, but IMA takes a more clinical approach which also takes notice of Hawkwind and Pink Floyd's interstellar overdrive. We've added 4 bonus tracks recorded during the same studio sessions and included them here for the first time on vinyl. DJ Hell lifted elements of IMA's song "Blurb" virtually intact and uncredited for his electroclash club hit "Keep On Waiting" 20 years later. All songs have been remastered by George Horn at Fantasy Studios in Berkeley. The record is housed in an exact replica of the original jacket featuring a spray painted IMA tag a top a red dashed 'Do Not Enter' sign. Each copy includes a double-sided postcard with notes. This Album Is dedicated to the memory of Andy (Blinx) George.

Visible Cloaks' Lex proposes a utopian dream language and its accompanying sound, a limitless, delicate space developed by fluid musical techniques and subconscious voices. The six pieces comprising Lex simulate a more peaceful future, their mysteries telling a new tale in an unknown but imaginable melodic language. Visible Cloaks are the Portland-based musicians Spencer Doran and Ryan Carlile. Utilizing software-based composition rooted in randomization, MIDI-translation and chance operations, the duo has established an improbable humanist mode of music from esoteric processes. Following their self-titled debut album, Visible Cloaks offered Reassemblage, an album simultaneously honoring the post-Yellow Magic Orchestra school of avant musical adventure and diverging from it. Veering from the paths cleared by Japanese and Italian electronic pop and ambient artists of the mid-80s / early-90s, Reassemblage established Visible Cloaks' own camp in a forest of deep sound canopied by trees grown from synthetic seeds.The sound represented on Lex is webbed with sculptural arrangements and interpolated by the sounds of alien speech. These strange and serene utterances were created by Doran feeding a chain of multiple dialects and accents through a language translation software to create an auditory poetry of an evolved place and time.

Lex features both the final version of this process and earlier, simplified experiments with it ( Keys'). The idea - building on 'fourth world' or 'global village' type concepts - was to create a projected language that was a fusion of many,' Doran explains. The result was a very disorienting form of non-language that amplifies the lapses in meaning that occur with the inaccuracy of auto-translation software.'

Permutate Lex, a companion short film to Lex made by Visible Cloaks in collaboration with artist Brenna Murphy (who also created the artwork for Reassemblage and several virtualist videos for the album), is an integral counterpart, both visualizing an aesthetic alive with human form and guiding the sonic experience of the first five pieces: Wheel,' Frame,' Transient,' Keys,' and title track Lex.' World,' the longest piece presented on Lex, is redrawn from a generative composition originally produced for an installation Doran made with Murphy.

The original work incorporates LFOs and randomized MIDI-information, and was intended to variate indefinitely. In this 'fixed' version, World' provides a more conclusive view into the impossible musical environments Visible Cloaks make real. Longer than any track on
Reassemblage, World' expresses the deepening, patient intimations suggested by Lex.

Doran says the Lex attempts to communicate the essence of a world distant enough that it can't be captured or comprehended from the present, appearing only surreal and inscrutable.' The statement reveals a broader musical philosophy fueling this new moment, an awakened voice woven through complex melodic shapes and phrases establishes communication between listeners and the unknown, here presented by Visible Cloaks as sounds coloring the very edge of the envisionable.

* Making his debut on Subaltern with SUBALT014 is Estonian producer Bisweed, famous for his trippy and intricate sound design and original take on bass music. A psychotropic journey into the weald, this is a typically dark and surreal release from the well-established Subaltern imprint.

* Shelter
Sinister sounds welcome the listener to the journey as we enter the weald. Dark synths lead into weighty bass-lines, embedded in driving percussive elements and a spine-chilling atmosphere. Tasteful orchestral elements accompany before reaching a climax of tribal percussion and pure bass. Bisweed's musical sensibility and dance-floor know-how blend symbiotically to create this heavy yet soulful bass music masterpiece.

* Swamp
Going deeper, haunting textures guide the listener into a pulsating implosion of low frequencies, which is bound to shake up the dance as well as your expectations of a quiet night in. Rumbling and chopping wobbles complete a captivating piece of sound system music. Tread lightly so you don't sink in too deep - the swamp might just consume you.

* Dolmen feat. Mentha
Like stepping into a clearing, Dolmen lightens the mood - but only ever so slightly. Chanting voices hail the listener, as wide planes of sound unfold into a bass-heavy yet deep stepper. Subtly and slowly, Bisweed is masterfully transitioning into a soothing and melodic vibe, featuring label head honcho Mentha on Guitar.

Kalakuta Soul Records joins forces with waf80music to proudly present Kai Niggemann's solo debut, an all original album of outrageous poetically abstract music created live and without overdubs on a Buchla 200e Electric Music Box, one of the rarest and most sought after electronic music instruments. Working on the platform since 2013, Kai Niggemann has become one of Germany's leading artists who perform live with a Buchla 200e. His style is an electro-acoustic storytelling, a clubby dreamscape and a poetically-abstract kraut-infused energetic mix of new Elektronische Musik with contemporary club culture. Nerds love the technology and clubbers love the throbbing drive of the basslines. It's all improvised and recorded live in Berlin — yet it sounds meticulously crafted in a dark basement studio throughout the entire last winters. Kai is a member of the 30-piece kraut-noise-jazz collective "The Dorf" and the electronics duo "The Last Books" (with Achim Zepezauer), performs and records with Mia Zabelka (Vienna) as "Redshift Orchestra", cofounded the internet-computermusic "European Bridges Ensemble" (EBE, e-b-e.eu) and the electroacoustic duo "Resonator". His most recent releases were the CD/vinyl "Lux" (feat. the noise drone artist N), "EviL/EvyL" and the cassette "Made in Österreich" with The Dorf (feat. Caspar Brötzmann & FM Einheit (Ex-Einstürzende Neubauten) or "Thinking Light" by Redshift Orchestra (duo with Mia Zabelka). He performed concerts with Mia Zabelka (Wien), Yoshio Machida (JP), Trap & Zoid (BE), Stian Westerhus or Shahzad Ismaily (with The Dorf) among many others.

We are very excited to present the new collabo release between Cosmic Compostions and Jitwam's selftitled album " ".

Born in Assam, Gauhati, in Northeast India, but currently based in New York's storied borough of Brooklyn, Jitwam spent his formative years in New Zealand and Australia, before living in monasteries in Thailand, orphanages in South Africa, and washed out apartments in London. Of everywhere and nowhere, his music draws influence from a litany of iconoclasts including, but not limited to RD Burman, Moondog, The Velvet Underground, Yayoi Kusama, Jay Electronica, Jay Dilla, Moodymann, Leon Thomas, Madlib and Asha Bhosle.

Across " (selftitled)", he utilizes knowledge acquired through years spent digging through dusty crates, and talents honed as a multi-instrumentalist, producer, and vocalist. A series of stumbling, jazz/soul-rooted beat sculptures, each buried beneath a haze of fuzzy psychedelia, broken microphone blues, and articulated through a freestyled process he describes as "first thought, best thought", " (selftitled)" solidifies Jitwam's spot as a major emerging talent.

Recalling the fourth world dreamscapes explored by oddball songwriters like Connan Mockasin, Clarence Clarity, Jai Paul, Silicon, and Unknown Mortal Orchestra, it represents a time of transition and remembrance for Jitwam, while still fulfilling the core qualities he looks for in song. In his words, "Music is a refuge. A shelter from the storm. A place you can go to close your eyes."

Since he first shared his music with IZWID Records boss Kutmah at a Brainfeeder afterparty in London, Jitwam has released through Leaving Records, Cosmic Compositions, and The Jazz Diaries (the label he co-runs with Casey Van Reyk and Nigel Mphisa). He's also written with Inkswel (BBE) and Paul White (R&S), featured on Moodymann's K7! "DJ-Kicks" compilation and been championed by Gilles Peterson, Alexander Nut, Andrew Jervis (Bandcamp), and Funkineven. Mainly mixed and mastered by Matthewdavid at Stones Throw studios in Los Angeles, " (selftitled)" will be available on vinyl and digital formats.

"Invisible Cities", the first collaboration between AIDAN BAKER (NADJA, B/B/S) and bass clarinetist GARETH DAVIS (OISEAUX-TEMPÊTE), offers finest ambient / chamber jazz / subtle drones of a highly meditative quality. Available as 180gr LP and download.

Be it solo, as member of the drone duo NADJA or B/B/S (his trio with ANDREA BELFI and ERIK SKODVIN / SVARTE GREINER) or in various collaborations with artists like TIM HECKER or THISQUIETARMY: the Berlin-based Canadian is one of the most productive and versatile artists when it's about postrock, drone or ambient and without doubt a true master on his instrument, the guitar. In recent years BAKER also starting exploring new grounds as a composer of contemporary / ensemble music - e.g. his composition "An Instance Of Rising" was commissioned by SPÓLDZIELNIA MUZYCZNA CONTEMPORARY ENSEMBLE and SACRUM PROFANUM FESTIVAL for their 2017 edition. "Invisible Cities" marks BAKER's first collaboration with GARETH DAVIS whose eclectic oeuvrespans contemporary classical, free improvisation and orchestral music through to rock, noise and electronica. The bass clarinetist is a steady member of the critically acclaimed post-rock formationOISEAUX-TEMPÊTE and A-SUN AMISSA, interpreted compositions by ALVIN LUCIER with MACHINEFABRIEK, worked with BERNHARD LANG and PETER ABLINGER, performed with musicians likeNY Downtown veteran Elliott Sharp, MERZBOW or ROBIN RIMBAUD (aka SCANNER) and realized multimedia work with artists including CHRISTIAN MARCLAY and PETER GREENAWAY.

Recorded in November 2016 at MUZIEKHUIS, Utrecht, the four tracks create a calm, even meditative atmosphere in their reduced manner that gives much room to the individual instruments / sounds, occasionally spiced up by field recordings that intensify the overall chamber jazz / ambient moods.

Discrepant is proud and excited to present a magical live recording from the legend that is Pierre Bastien, showcasing his mecanoid orchestra at its intricate best during a performance at Studio M, the historical studio-concert hall of Radio-Television of Vojvodina, Serbia.Around 1986, French composer and multi-instrumentalist Pierre Bastien started creating and building his own orchestra called Mecanium: an ensemble of musical automatons constructed from meccano parts and activated by electro-motors, that "play" on acoustic instruments from all over the world. On this record the Mecanium plays amplified Meccano parts, drums, reeds, rubber bands, paper, nails and flutes whilst Pierre plays kundi, rubber band, prepared trumpet, video loops, nail violin and râbab. Recorded live at Studio M, Novi Sad, October 8, 2016.

Two years after ".... and The Casiotone Orchestra", Odessey & Oracle continue their speculative and colorful explorations through an adventurous sonic quest, mixing acoustic sonorities and classical instruments, using a pallet of analog specimens dating back to the 60s and 70s. Retro-futuristic music with sophisticated arrangements underlines unbridled songwriting with heterogenous influences (Brian Wilson, Caetano Veloso, White Noise, JS Bach, Moondog, Robert Wyatt...). The lyrics, in French, both surreal and utopian, serve as witness to the contradictions of our times and invite the listener to imagine a revolutionary love

'Utopia' is the ninth studio album from the iconic artist Björk, out November 24th via One Little Indian Records. The album's artwork was created in collaboration of M/M, Jesse Kanda and James Merry and reflects the records sonic direction, optimism, lightness, utopia.
Of the album she explained to Dazed this Summer that, Maybe that's why it became a utopian theme - if we're gonna survive not only my personal drama but also the sort of situation the world is in today, we've got to come up with a new plan, If we don't have the dream, we're just not gonna change. Especially now, this kind of dream is an emergency.'
Björk wrote, produced and recorded the album between Reykjavik and New York, working closely with Arca and writing for, conducting and recruiting a thirteen piece flute orchestra which will be on the road with her next year.

After decades in the making Finders Keepers Records present the first-ever pressing of Serge Gainsbourg's most elusive and coveted soundtrack studio recordings - co-written, arranged and orchestrated by the genius Jean-Claude Vannier (Histoire De Melody Nelson) during what many consider to be the dynamic duo's most definitive creative period.Believed to have been lost in a studio fire by Gainsbourg enthusiasts for over forty years (a myth that also shrouds Morricone's lost Danger Diabolik soundtrack) the misplaced master-tapes for the drug-fuelled/Mai 68 cash-in/road-movie Les Chemins De Katmandou have been widely considered the final audio jigsaw piece in an immaculate discography/filmography thus earning this soundtrack bone-fide Holy Grail status amongst the most avid disc detectives.Featuring the original crack team of Paris based players now recognised as French library music royalty, this LP epitomises the inimitable musical direction and expert psychedelic pop musicianship that graced classic Gainsbourg/Vannier soundtracks like La Horse, Cannabis and Sex Shop. Laying the stylistic, future-proof foundations for subsequent decades of forward-thinking Gallic funk mastery. Comprising Vannier's signature recipe of thick plucked bass lines, close-micced drums, biting Clavinet and Eastern influenced strings and percussion (and a sprinkling of subtle traditional French instrumentation) the soundtrack to Les Chemins De Katmandou (aka The Road To Katmandu or The Pleasure Pit) captures Vannier and Gainsbourg in the first year of their creative partnership capturing their unique embryonic energy.

The latest release from Bjarki Runar's bbbbbb label sees Bjarki delving back into his vast archives and shines a light on a bizarre detour during the early days of the label that involved
a peculiar commission from the Icelandic state. Bjarki introduces the story; 'It was back in 2015 and we were only just putting together the original plans towards making bbbbbb a label. While this was happening, I got a call from a friend who was
working for a local tech start-up and marketing company. They'd been contacted by the Icelandic Ministry of Fisheries and Agriculture who came to them with a weird proposition.
They were looking at the idea of marketing Icelandic lamb as this user-exclusive commodity for high end restaurants, the same way they do with Kobe beef in Japan. His marketing company was going all in with this idea of creating an elite herd of sheep that would get the 5-star treatment - fresh food and beer, shampoo and geothermal baths for their fleece, and entertainment such as TV and music for when they were in the hills. That's where I came in'. The initial meeting between Bjarki and the marketeers however didn't go as smoothly as they hoped; 'When I met my friend and his team, they were going to have music pumped through a series of remote speakers across the hillside' Bjarki explains. 'But when they showed me what they were going to play to them, I almost fell of my chair laughing! It was all this
cheesy, easy listening, orchestral Icelandic bullshit. I said to them 'This is nonsense! Why are you bringing me into this project if that's all you're going to be playing' In the end, I told
them I would completely redo all the sounds and music they were going to be using. I was going to drag the Icelandic sheep into the 21st Century'. Bjarki was as good as his word. Over the summer of 2015, he spent several weeks at farm
locations near Kirkjubæjarklaustur and Reykholtsdalur, walking the hills and playing a variety of sounds and beats to various flocks of sheep to see what the best approach was. It
was tough going at first; 'At the beginning, I was working totally blind', Bjarki explains. 'Imean how can you possibly know what sort of modern music and sounds Icelandic sheep
would go for' But Bjarki persevered and he found certain sounds and tones made the sheep more active and engaged.
From this point, he began to make tracks that would encapsulate what the lambs were drawn to the most. 'A track like Soda 'Sugarlicious' for example, came about when I started
playing Candy Crush on the hillside. As I kept playing, the sheep began to gather around me showing interest in the bright chintzy sounds coming from my laptop and that deep voice that
would keep speaking to you. I simply put together a track that was all shiny colours and heavy on the chimes. The sheep fucking loved it!' A track like 'Drab' meanwhile was suited
for less sunny moments. 'I got caught in a nasty rainstorm, so I started playing these synth lines I had made, along with an improvised kick drum. The mix of the softness of the tones
along with the hit of the bass cased the sheep to follow me all the way back to the farm I was staying at. The farmer wasn't too impressed with that, but the flock was completely
hypnotized'. In the end Bjarki, amassed several tracks ranging from soft ambient to gnarly hardcore bangers to present to the Ministry. But in the end, they decided not to go with the whole
proposal. 'These people were fools', Bjarki says. 'They just couldn't get their heads around doing something completely different, that was a bit of fun yes, but was completely done in a
serious manner. We all spent weeks doing this stuff so yeah, it was a bit gutting'. In the end though, there is a silver lining to this story as these efforts were not wasted for we can now hear the best of Bjarki's efforts from this admittedly weird project on a limited 12'release that marks a storming 2017 for the bbbbbb label.

Les Disques du Crepuscule present an extended double disc reissue of Shiver, the acclaimed debut album by seminal Swedish artist  Virna Lindt, originally released by The Compact Organization in 1983.

Written and produced by Virna Lindt and Tot Taylor, Shiver offers 12 slices of chic orchestrated pop informed by 'foreign film' soundtracks, movie composers John Barry and Ennio Morricone, Modernist musique concrete and Cold War spy thrillers. The album spawned three singles: Attention Stockholm, Intelligence and I Experienced Love. For the most part Lindt provides the voiceover for her own narratives, occasionally striking reflective poses amid orchestral swells and multi-layered atmospherics; a clear influence on later acts such as Pulp, St Etienne and Air.

This new edition of Shiver showcases acoustically-enhanced mixes prepared by Taylor and Lindt in 1997, augmented with non-album singles Model Agent and Young & Hip, and immaculate instrumental versions of key album tracks such as Underwater Boy and The Dossier on Virna Lindt. The extended tracklist also finds room for a leftfield cover of Windmills of Your Mind, originally written by Michel Legrand and Alan & Marilyn Bergman for The Thomas Crown Affair and recorded for the Crepuscule compilation album Moving Soundtracks.

Cover photography is by E.A. Janes. The 2xCD edition is housed in a 6 panel digipack with a 12 page booklet. The double vinyl set comes in a stylish gatefold sleeve and includes a free digital copy.

Praise for Shiver:  'Eurocentric Virna Lindt casts herself as a mysterious blonde in a loving pastiche of Continental movie music' (Sounds); 'I think of Shiver as Ingmar Bergman's All These Women cast as 50-odd minutes of musical dialogue. Tot Taylor's fantastic orchestrations cast a brilliant pale of modern love throughout' (Fond/Sound); 'Instead of mere cool styles, there's far more here than a restrictive stereotype' (All Music Guide);

Legendary Los Hermanos member Santiago Salazar's album 'Aspirations For Young Xol' is given a vinyl release courtesy of Rekids.

A heartfelt dedication to his son Isaias, 'Aspirations for Young Xol' takes us through the life of a pillar in the electronic music community - Santiago Salazar. From his formative years spent in California to his connection with Detroit and the passing of a childhood friend, the long-player's tracks signpost the musician's significant experiences, both positive and negative. This meaningful body of work was released digitally on Pastel Voids and now Rekids release the album on wax.

'Saturated Fear' sets a deep tone for the LP, flanging melodies and echoing claps float through the composition before the album's title track 'Aspirations for Young Xol' offers haunting arpeggios with occasional acidic overtones which are cleverly offset by beautifully designed lead synth transitions. 'Bloodlines' follows a similar musical vein with delayed bass riffs that are suspended above shimmering hihats and a weighted kick.

Santiago provides three beatless pieces throughout, which digress into more emotional territory whilst offering brief respite from his heavier drum work. 'Xol's Pain' combines orchestral strings and swelling synthesisers which build tension with a subtly complex, evolving motif. Both 'Dark Matter' and 'Ode to Stinson' use arresting atmospheres, warped arpeggios and ethereal pads which lull the listener into a retrospective mood.

An intensity builds in the later tracks, a gritty but powerful low end provides a solid foundation in 'Orange Blossom Thump', eventually making way for a hectic and elastic lead synth before 'Pachuco Dub' displays drones that build a dissonant pressure in which the complex tom rhythms and rolling hi hats can grow. 'Sarah Rivera' hypnotises with its delectable chord progressions and complimentary melodies which seem to float above a rigid drum composition to close the album with style.

Acts like Legion & Logam have been pivotal for bringing the Ram Records sound transatlantic. Becoming the first US act into break their renowned roster, the trio have time and time again delivered hard-driving riddims and melodic rollers for Ram's sought after compilation series and their genre defining sister labelProgram. However, this time they've recieved their first standalone single on Ram, which is set to establish them as an even more integral part of drum & basses expansion throughout America. From the tearaway success of 'House of Cards', their first single on Program, to the release of 'Coming Home / When Stars Fall' on Ram Records, Legion & Logam are continuing their meteoric ascent. Following the same carefully strung melodies and voice overtures which has become a signature for the production outfit, 'Coming Home' takes you on a heartfelt journey underpinned by its tightly knit composition. A wavering bassline pitches between each signature of eight, helping to create a more driving force perfect for the dancefloor and bolstering the mix, whilst keeping its softer touch with 'House of Cards' Adam Wrightreturning on vocals.

On the flipside 'When Stars Fall' featuring Wendy Johnson follows the same vibe, with intricately layered instrumentals helping to set out a journey which flips between more percussive elements and well-orchestrated breakdowns. Each segment builds on the next until you're once again left with a record which exemplifies the producers' stellar song writing ability. Together both tracks help to pedestal an act whose versatility can be seen across each addition to Program, and now Ram's, vast back catalogue. Legion & Logam's story on Ram has only just begun - with more releases scheduled for the coming year, it's an exciting time for US drum & bass and its growth.

Felix Kubin (org, electr,sampler)
Milosz Pekala (vib, xyl, sampler, perc, effects)
Magdalena Kordylasinska (mar, perc, effects)
Hubert Zemler (glsp, dr, perc)

Music composed by Felix Kubin, tracks A1+2 together with Milosz, Magda and Hubert.

The pieces are soundtracks to educational and industrial 16mm films dealing with the subject of "work".

They were commissioned by NDR das neue werk (North German Radio).

Recording engineer: Robert Migas, Black Kiss Studio, Warsaw
Mix: Tobias Levin, Electric Avenue Studio, Hamburg
Mastering: Rashad Becker, D&M, Berlin
Production: Felix Kubin

Film archive: Metropolis Kino, Hamburg
NDR editorial department: Dr. Richard Armbruster

Artwork: Stephen O'Malley

Originally developed as a film score "Takt der Arbeit" is inspired by a handful of industrial and instructional films from the early 1960's until the early 1990's that portrait different forms of work. Felix Kubin is translating these historic documents into a musical poem of conceptual depth. "Takt der Arbeit" - the beat of work - is not only serving as a title but also as constructive element in this endeavour.

Being hunted down by the ever accelerated pulse of our reality is an omnipresent issue in capitalist societies of the the Western world. Living in times of constant exhaustion, it's not only our bodies that have been disciplined by and synchronized to the rhythms of working processes, but also our minds that rage in the tempo of our surroundings. Following an almost analytical effort, Kubin and an ensemble of 3 percussionists are investigating the different qualities and intensities of time that are catalyzed in working processes. While picking up precise temporal and motoric motives of the films, condensing paces and excavating rhythmic patterns, the ensemble is mapping out an animist choreography, shifting from a time when labour was still relying on bodily efforts to a time when machines and ticking clocks seem to reign and model our perception. While Side A is dedicated to procedures that are still based on manual and mechanical movement, Side B is inspired by the digital age, marked by invisible processes and subcutaneous pulses that we internalize.

The result is a critical and poetic reflection on the rhythms of our daily life and yet another example of Felix Kubin's skills as a composer, placing him in the field of orchestral music.

Tom Ware is a Grammy nominated engineer, producer and musician from Omaha Nebraska. Throughout the 70s and 80s Tom was the drummer for many bands, including Norman & The Rockwells, Toy boat Toy boat Toy boat, and Hit N Run. Because of his love for electronics, mechanics, and machines of any kind, he was always the only one who truly knew how pa systems worked. Tom got an entry level job at a Rainbow Studios and would work at the recording studio during the day, play evening gigs till 2 in the morning, then go back to the studio and work on new ideas all night. During these teeth cutting sessions, Tom worked by himself, following his instincts and creating sounds he loved to listen to.

His reckless abandon approach and thrill to learn was a high octane fuel that resulted in his first solo self-titled album. The album's 10 songs were recorded and mixed between August & December of 1983 and self-released in early 1984. The album would be re-released in 1985 by independent Krautrock/Kosmische Musik label Sky Records in Germany and re-titled 'The Fourth Circle'. Some of the instruments used on the LP were a Sequential Circuits Prophet 5, & Pro One, Simmons SDSV electronic drums, Roland TR-606 drum machine, & Hammond B3 organ. While recording this album Tom was influenced by new wave sounds of Yellow Magic Orchestra, the Berlin and Düsseldorf schools of pulsing synth music and the celestial realms of Jean Michel Jarre. All songs have been mastered and lacquer cut by George Horn at Fantasy Studios in Berkeley. Each LP is housed in a replica cover with computer graphics by Lars Erickson and photos by Ken Mayer and includes a postcard with liner notes by Tom Ware.

In 2017, the musical term electronic' is nearly obsolete given the ubiquity of computerized processes in producing music. Even so, the prevailing assumption is that musicians working under this broad umbrella must be inspired by concepts equally as electrified as their equipment. Kaitlyn Aurelia Smith has demonstrated in her still-blooming discography that this notion couldn't be further from the truth, and that more often than not, rich worlds of synthesized
sound are born from deep reverence of the natural world. Smith (who by no coincidence, cites naturalist David Attenborough as a contemporary muse) has embodied such an appreciation on
The Kid in as direct and sincere a way as possible by sonically charting the phases of life itself.
The album, which punctually follows up her 2016 breakthrough EARS, chronicles four defining cognitive and emotional stages of the human lifespan across four sides of a double LP.
The first side takes us through the confused astonishment of a newborn, unaware of itself, existing in an unwitting nirvana. Smith's music has always woven a youthful thread befitting of the
aforementioned subject. Here she articulates it in signature fashion on the track An Intention,' which serves not only as a soaring spire on The Kid, but on her entire output. There is playfulness here, but it's elevated by an undertone of gravity into something compelling and majestic that is fast becoming Smith's watermark. The emotional focus of side two is the vital but underreported moment in early youth when we cross the threshold into self awareness. The subject is profound enough to fill an entire album, but rarely makes its way into a single track, indicating Smith's ambition to broach subtler and deeper subjects than the average composer. This side offers up another highlight in the form of In The World But Not Of The World' which serves its subject well with epiphanic, climbing strings and decidedly noisy textures over a near-Bollywood low end pulse.

Side three emphasizes a feeling of being confirmed enough in one's own identity to begin giving back to the formative forces of one's upbringing, which is arguably the duty that all great artists
aim to fulfill. This side ends with the exploratory album cut Who I Am & Why I Am Where I Am' recorded in a single take without overdubs on the rare EMS Synthi 100 synthesizer. This humble
piece of sound design serves as a contrast to side four's verdant orchestral moments, all written and arranged for the EU-based Stargaze quartet by Smith herself. This final side represents a
return to pure being, the kind of wisdom and peace that eludes most of us until the autumn of life. On To Feel Your Best' this concept is voiced in the bittersweet refrain one day I'll wake up
and you won't be there' which Smith intended to be a grateful acknowledgement of life rather than a melancholy resentment of loss. The song has both effects depending on the mood of the
listener, and both interpretations are equally moving.
Kaitlyn Aurelia Smith belongs to an ilk of modern musicians who are defined by their commitment to creating experiential albums despite the singles-oriented habits of modern listeners,
and here she represents her kind proudly. The subjects on The Kid are not simple to convey, and yet through both emotional tone and lyrical content, Smith does just that. There is a similar
gravity to both birth and death, and rarely is that correlation as accurately and enthusiastically mapped as it is here.

Alan Watts, another logical inspiration of Smith's, once expounded that people record themselves to confirm their own existence, and as such, echoes and resonance are reminders that we are alive. You're not there unless you're recorded,' Watts muses, if you shout, and it doesn't come back and echo, it didn't happen.' The Kid speaks to this idea directly. As Kaitlyn Aurelia
Smith explores her existence through music, she guides us in gleefully contemplating our own.