"Ela", Dom La Nena's first album, was released in 2013. Co-produced with the complicity of Piers Faccini, the album received the highest praise from the international press (New York Times, NPR, Les Inrocks, Wall Street Journal, etc). On the occasion of the 10th anniversary of its release, here is a reissue of the record, now available on vinyl.
Dom La Nena is a Brazilian singer, cellist, songwriter and producer based in Paris. Having accompanied artists such as Jane Birkin, Jeanne Moreau, Etienne Daho and collaborated with the likes of Marcelo Camelo, Julieta Venegas and Piers Faccini, Dom's solo work has drawn comparisons as disparate as “a young Brian Wilson” (Wall Street Journal), “a bossa Joanna Newsom” (Time Out New York) and “Cat Power’s lost sister” (Pop Dose).
Dom sings in Portuguese, Spanish, French and English. Her lyrics touch upon feelings of longing, melancholy, and nostalgia of a childhood spent living in Brazil, Argentina and France. Performing in a solo capacity alone on stage with her cello, ukulele, electric guitar, keyboard and percussions, Dom employs sophisticated looping techniques, layering vocals and instrumental tracks, building audio soundscapes that create a full band atmosphere in each venue.
Dom’s debut solo album, “Ela”, was released during 2013 and immediately praised by the international music press including the New York Times, Wall Street Journal, Le Figaro, Les Inrockuptibles, Voir, O Globo and many other media outlets. Dom's second album “Soyo”, an internationally flavored collection of indie-folk songs with wandering melodies and lightly layered vocals, was released in 2015 and co-produced with Brazilian musician Marcelo Camelo (Los Hermanos).
Dom's third full length album, titled "Tempo", was self produced and mixed by Noah Georgeson (Devendra Banhart, The Strokes, Rodrigo Amarante) and is scheduled for a spring 2019 worldwide release.
With the newest techno release from Marco Bailey & Sigvard, be ready to party all night long! This EP is going to be popular because it has four upbeat songs that will make you move.
First, "Faded Game" introduces a funky, chord-heavy sound that will have you bobbing your head to the beat. The captivating melodies and frantic rhythms of the following song, "Live For Yesterday," maintain the momentum.
With its relaxed, yet still danceable sound, "Smooth Mind" slows things down a notch, and "Out Of The Past," the EP's final track, wraps things up with a techno track with influences that will take you back to the dance floors of yore.
Overall, if you're a fan of techno and want some groovy, upbeat music to add to your collection, you should definitely get this EP.
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1st pressing on Maroon coloured vinyl. Manzanita is the common name for a kind of small evergreen tree endemic to California which has strong medicinal properties. It's also the name of the brand new full length by visual artist, writer, songwriter, and musician Shana Cleveland. Subtle, powerful, and unafraid. We can't actually tell you how much we love this record because you'd never believe us, so we'll just say that it is her strongest and most personal album to date. These songs are as strong as the bricks in the Brill building, and seem destined to be covered by others in years to come. Where her previous record, 2019's Night of the Worm Moon (Hardly Art) functions as a collection of speculative fictions equally inspired by Afro-futurist pioneers Herman "Sun Ra" Blount and Octavia Butler, Manzanita concerns the love that loves to love. "This is a supernatural love album set in the California wilderness," Cleveland explains. The combinations of words and song structure are so strong throughout that one hardly notices Cleveland's nimble fingerpicking on first listen, or how much is packed into the arrangements. The lyrics are satisfyingly direct, with the buoyantly whimsical descriptions typical of the 1960s New York School of poetry. It's peppered with the kind of unexpected turns that make the words more modern, and in their spookiness they are more West Coast, as in "Mystic Mine," with its "Mystic Mine Lane, cars rotting away/ I feel so relieved to be/ Back in the country." So much of the pop music we love is propelled by those first blushes of infatuation and lust, but Manzanita concerns the kind of love that one can only experience with time, work, and devotion. Cleveland says: "The songs were all written while I was pregnant (side A) or shortly after my son's birth in that weird everything-has-quietly-but-monumentally-shifted state (side B)," she says. Moving to the country, starting a family, laughing for real at the same joke the thirteenth time you've heard it, surviving heavy shit (this is the first release since Cleveland's successful treatment for a diagnosis of breast cancer at the start of 2022). This is a love album that's somehow populated with the insect world, ghosts, and evil spirits. Sonically, Manzanita sits in a meadow similar to her previous solo records, set back and away from the genre-recombinant garage pop of her band La Luz. This is part due to the fact that there's a different sonic palette in use here. While Cleveland continues to play guitar and vocals; Johnny Goss, who has recorded all of Shana's solo material and early La Luz recordings, and Abbey Blackwell (Alvvays, La Luz) play the bass; Olie Eshleman is on pedal steel; and Will Sprott plays the keyboards, dulcimer, glockenspiel, and harpsichord-little of which would have been out of place on her previous two solo records-Sprott also adds layers of synthesizer infused with the sounds of the natural world.
1st pressing on Maroon coloured vinyl. Manzanita is the common name for a kind of small evergreen tree endemic to California which has strong medicinal properties. It's also the name of the brand new full length by visual artist, writer, songwriter, and musician Shana Cleveland. Subtle, powerful, and unafraid. We can't actually tell you how much we love this record because you'd never believe us, so we'll just say that it is her strongest and most personal album to date. These songs are as strong as the bricks in the Brill building, and seem destined to be covered by others in years to come. Where her previous record, 2019's Night of the Worm Moon (Hardly Art) functions as a collection of speculative fictions equally inspired by Afro-futurist pioneers Herman "Sun Ra" Blount and Octavia Butler, Manzanita concerns the love that loves to love. "This is a supernatural love album set in the California wilderness," Cleveland explains. The combinations of words and song structure are so strong throughout that one hardly notices Cleveland's nimble fingerpicking on first listen, or how much is packed into the arrangements. The lyrics are satisfyingly direct, with the buoyantly whimsical descriptions typical of the 1960s New York School of poetry. It's peppered with the kind of unexpected turns that make the words more modern, and in their spookiness they are more West Coast, as in "Mystic Mine," with its "Mystic Mine Lane, cars rotting away/ I feel so relieved to be/ Back in the country." So much of the pop music we love is propelled by those first blushes of infatuation and lust, but Manzanita concerns the kind of love that one can only experience with time, work, and devotion. Cleveland says: "The songs were all written while I was pregnant (side A) or shortly after my son's birth in that weird everything-has-quietly-but-monumentally-shifted state (side B)," she says. Moving to the country, starting a family, laughing for real at the same joke the thirteenth time you've heard it, surviving heavy shit (this is the first release since Cleveland's successful treatment for a diagnosis of breast cancer at the start of 2022). This is a love album that's somehow populated with the insect world, ghosts, and evil spirits. Sonically, Manzanita sits in a meadow similar to her previous solo records, set back and away from the genre-recombinant garage pop of her band La Luz. This is part due to the fact that there's a different sonic palette in use here. While Cleveland continues to play guitar and vocals; Johnny Goss, who has recorded all of Shana's solo material and early La Luz recordings, and Abbey Blackwell (Alvvays, La Luz) play the bass; Olie Eshleman is on pedal steel; and Will Sprott plays the keyboards, dulcimer, glockenspiel, and harpsichord-little of which would have been out of place on her previous two solo records-Sprott also adds layers of synthesizer infused with the sounds of the natural world.
Having lived and worked in numerous musical directions for many years, Semay Wu’s begrudgingly
faithful cello still remains at her side: from Merseyside, to Manchester, to The Netherlands, and now to
Central Scotland. Always trying to push age-old boundaries of how the instrument is viewed and heard,
her focus has led her to explore further collaborative and everyday improvisations, blending electronics
with mixed media and a variety of gestural art disciplines.
Raspberry Hotel is Semay’s first foray into recorded solo work. Finding it hard to stick to any one brief,
she filled out a room of a local studio space, with toys, everyday objects, instruments, and her cello.
Sitting on the floor, she recorded whatever came to mind. A week-long session of improvisations were
then taken home, spliced up and pieces were composed and mixed. Raspberry Hotel is made up of
fleeting, off-the-cuff performances, that can be listened to as separate tracks or as one long piece.
This project tells an ambivalent story. Lightness on the one hand - a letting go around friendship and love, a rejuvenation in the line of his first EP - and more intense on the other around fatherhood at the end of adolescence which is told, sung like a precocious adult life. Married at 21, then a parent at 24, his twenties are normally synonymous with lightness, carefree living mixed with student life, but he has reversed the space-time curve of his adult life. He started out as a young father. Now he has just separated and is in some ways returning to that adolescence. He explains: "My daughter bridges the gap between all this, musically she inspires me too. She listens to LCD Soundsystem, but also Damso. She's an anchor for me that keeps me from growing old.
This album is a marker of all that. Each song is a step. An album he considers to be a gentle therapy. He started it while he was still in a relationship and finished it when the relationship ended. "It's like I could feel things happening while writing this album". This album and the whole process of creating it is therefore a sometimes dark and often bright path, which Clément likes to call "life".
Released on RCA Records - new album from singer/songwriter/actress/US superstar. This collection is Miley’s eighth studio album and the follow up to 2020’s 'Plastic Hearts'. 2023 finds Miley the strongest and most confident she’s ever been, with the music and imagery of 'Endless Summer Vacation' serving as a reflection of that. Recorded in Los Angeles and produced with Kid Harpoon/Greg Kurstin/Mike WiLL Made-It/Tyler Johnson, Miley describes the album as her love letter to LA. The full tracklisting has not yet been revealed, but does of course include the massive #1 single 'Flowers'. Extensive promo/marketing activity across all media outlets. Upcoming UK promo trip plus nationwide TV ad campaign. Formats are standard black vinyl LP and standard CD.
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Back in print for the first time this century, first time for tip-on jacket, the definitive edition remastered from the original tapes.Meeting at the halfway point between Bleach and Damaged, Unwound's 1995 self-titled album arrived years after the original trio of Vern Rumsey, Justin Trosper, and Brandt Sandeno made their Avast Studios debut. Compiling their EPs for Kill Rock Stars and Gravity Records with five more session outtakes, Unwound was released on Rumsey's Punk In My Vitamins as the band began flirting with the mainstream. Witness a band's prehistory as it plays out in a feral maelstrom of screaming, distortion, feedback, and abrasive promise.
Back in print for the first time this century, first time for tip-on jacket, the definitive edition remastered from the original tapes.Meeting at the halfway point between Bleach and Damaged, Unwound's 1995 self-titled album arrived years after the original trio of Vern Rumsey, Justin Trosper, and Brandt Sandeno made their Avast Studios debut. Compiling their EPs for Kill Rock Stars and Gravity Records with five more session outtakes, Unwound was released on Rumsey's Punk In My Vitamins as the band began flirting with the mainstream. Witness a band's prehistory as it plays out in a feral maelstrom of screaming, distortion, feedback, and abrasive promise.
- The third chapter in the acclaimed Pacific Breeze series! - Artwork by renowned illustrator Hiroshi Nagai - Compiled by Yosuke Kitazawa and Mark "Frosty" McNeill (dublab) - Newly remastered audio - 2xLP housed in a deluxe wide spine jacket with full color inner sleeves and custom die-cut OBI - Extensive artist bios by Yosuke Kitazawa // Light in the Attic's Pacific Breeze series has supplied the world's growing legions of Japanese music fans with an expertly curated selection of the most sought-after City Pop recordings-the mesmerizing and nebulous genre of Japanese bubble-era music of the '70s-'80s that encompasses AOR, R&B, jazz fusion, funk, boogie and disco. These familiar sounds are spun through the unique lens of optimistic, cosmopolitan fantasy colored by Japan's affluence at the time. Much of the music has previously been nearly impossible to acquire outside of Japan and continues to captivate listeners with its unique blend of groove-laden escapism, even birthing wholly new genres such as Vaporwave. Pacific Breeze 3: Japanese City Pop, AOR & Boogie 1975-1987 marks the latest chapter in the famed series and features holy grails plus under-the-radar rarities. The collection bursts at the seams to reveal some of the greatest Japanese tracks ever laid to tape, pushing towards the edge of City Pop to reveal glimmers of the next waves of styles to spring forth from the country's creative minds. The appearance of Pizzicato Five hint at the emergence of Shibuya-kei while the influence of hip hop and electro as an emerging global trend are also evident here through the prevalence of heavier programmed drum beats on tracks such as "Heartbeat" by Miho Fujiwara. This volume of Pacific Breeze, like its predecessors, is a female-forward offering with many tracks being voiced by women who would become household names in Japan as actresses and pop idols. Their songs here subvert the norm and brim with an innovative spirit that shatters gender roles in favor of sonic transcendence. Techno-pop classics from Susan, Miharu Koshi and Chiemi Manabe sit alongside sublime funk from Atsuko Nina and Naomi Akimoto while Teresa Noda slides into the mix with a sultry reggae jam. The genre span is stretched wider with hypnotic jazz fusion by Parachute and Hiroyuki Namba, a synthesizer fantasy from Osamu Shoji, and magnetic pop by Makoto Matsushita and Chu Kosaka. Although not front and center, the visionary members of Yellow Magic Orchestra are still very present on Pacific Breeze 3, with Haruomi Hosono, Ryuichi Sakamoto, and Yukihiro Takahashi taking up producer and musician roles on many of these tracks. Pacific Breeze 3 serves up a captivating musical journey that adds an essential chapter to the iconic compilation series.
- The third chapter in the acclaimed Pacific Breeze series! - Artwork by renowned illustrator Hiroshi Nagai - Compiled by Yosuke Kitazawa and Mark "Frosty" McNeill (dublab) - Newly remastered audio - 2xLP housed in a deluxe wide spine jacket with full color inner sleeves and custom die-cut OBI - Extensive artist bios by Yosuke Kitazawa // Light in the Attic's Pacific Breeze series has supplied the world's growing legions of Japanese music fans with an expertly curated selection of the most sought-after City Pop recordings-the mesmerizing and nebulous genre of Japanese bubble-era music of the '70s-'80s that encompasses AOR, R&B, jazz fusion, funk, boogie and disco. These familiar sounds are spun through the unique lens of optimistic, cosmopolitan fantasy colored by Japan's affluence at the time. Much of the music has previously been nearly impossible to acquire outside of Japan and continues to captivate listeners with its unique blend of groove-laden escapism, even birthing wholly new genres such as Vaporwave. Pacific Breeze 3: Japanese City Pop, AOR & Boogie 1975-1987 marks the latest chapter in the famed series and features holy grails plus under-the-radar rarities. The collection bursts at the seams to reveal some of the greatest Japanese tracks ever laid to tape, pushing towards the edge of City Pop to reveal glimmers of the next waves of styles to spring forth from the country's creative minds. The appearance of Pizzicato Five hint at the emergence of Shibuya-kei while the influence of hip hop and electro as an emerging global trend are also evident here through the prevalence of heavier programmed drum beats on tracks such as "Heartbeat" by Miho Fujiwara. This volume of Pacific Breeze, like its predecessors, is a female-forward offering with many tracks being voiced by women who would become household names in Japan as actresses and pop idols. Their songs here subvert the norm and brim with an innovative spirit that shatters gender roles in favor of sonic transcendence. Techno-pop classics from Susan, Miharu Koshi and Chiemi Manabe sit alongside sublime funk from Atsuko Nina and Naomi Akimoto while Teresa Noda slides into the mix with a sultry reggae jam. The genre span is stretched wider with hypnotic jazz fusion by Parachute and Hiroyuki Namba, a synthesizer fantasy from Osamu Shoji, and magnetic pop by Makoto Matsushita and Chu Kosaka. Although not front and center, the visionary members of Yellow Magic Orchestra are still very present on Pacific Breeze 3, with Haruomi Hosono, Ryuichi Sakamoto, and Yukihiro Takahashi taking up producer and musician roles on many of these tracks. Pacific Breeze 3 serves up a captivating musical journey that adds an essential chapter to the iconic compilation series.
Jeugdbrand is the voice (Dennis Tyfus) and the beat (Jeroen Stevens) of Antwerp. They perform a sparkling drama, a theatrical tragedy, marinated in our classic Antwerp anarchic sense of humor. Recorded at Joris Caluwaerts’ Finster Studios - a landmark in Belgian music.
Inside the multiverse that is Dennis Tyfus’ oeuvre there exists this body of detailed pencil drawings of various sizes. In these drawings the artist puts himself in many tragic situations. Like vomiting on his way home after a long night at the bar. Boiling right wing idiots. Telling sweet little lies on your Tinder profile. Or, you know, taking out the garbage on a Sunday evening. The horror. These seemingly hermetic pencil drawings show a deceivingly simple world. But you’re often stuck with a bitter aftertaste when you understand a bit more what is actually happening behind the colorful masque.
When it comes to his music - and in contrast to aforementioned drawings - Dennis pencils a more piecemeal picture. His recordings and performances often feel like spliced excerpts. Strange sentences and funny remarks waiver by and interconnect. Musical symbols are casually thrown on the table. Instead of a clear picture, we now have the feeling of looking at a bunch of different doodles. Like… sometimes I have the feeling compared to how focussed Dennis works on his drawings, how unfocussed and sketchy he treats his music. We are simply thrown from emotion to emotion. From laughter to tears. It’s a bumpy ride.
I’d like to imagine that Dennis constantly notates all the shards of conversation he picks up during his regular walks in the centre of Antwerp - a wormhole congested with characters, the one more tragic than the other. In a kind of R. Murray Schafer way, Dennis takes in every sentence very un-arbitrary… and that’s the soundscape. Dramatic, normal, boasted, silly, urgent…
Enter Jeroen Stevens. Antwerp’s number one percussionist. If I would have to list all the bands he performs in this text, well, we would be truly wasting data and printers. Jeroen is the grand gift of the wellschooled session musician. But thank the heavens of white improv, he is also sweet and creative. Jeugdbrand is his second entry in the Edições CN catalogue, after taking care of some of the percussive fragments on the “KAGIROI" LP with Sugai Ken (2021). Recently Jeroen has been performing very lengthy - thus correct - performances of Satie’s Vexations for midi instrumentation; Christmas music; and his famed De Stoeltjes project, where he covers Stooges songs on a camping chair. Apparently much to the confusion of Iggy himself. This might all feel like a big joke to you, but when you dare to listen, you will have to admit that Steven’s adventurous music is very rewarding. Special stuff.
The music of Jeugdbrand reminds me a bit of the music of the late Ghédalia Tazartès - especially when it comes to reinterpreting and combining musical idioms - but trying to put a direct reference on this album does it a bit short. Most important, this is music how it could be: incomprehensible, hilarious, serious, ludicrous, well crafted, sloppy, non-genre. With a strong sense of personality. You know, a fragmented beam for your own overstimulated temple. To shake things up a little … “They told us, they told her. I told everybody.”The albums comes with a drawing by German artist Albert Oehlen and with a text by Angela Sawyer of Weirdo Records, Boston.
First time reissue of a legendary and undeservedly obscure salsa collector’s album from 1969. Led by rebel accordionist Alfredo Gutiérrez and featuring singer Lucho Pérez of Sonora Dinamita fame, “Así es… Con salsa!” is just that: raw, heavy duty NYC salsa performed through a Colombian “Costeño” tropical filter, with trombone, accordion and deep bass. Contains three hot bonus tracks in the same style and insert with liner notes. “¡Así es… Con salsa!”, by Colombia’s Alfredo Gutiérrez y Los Caporales del Magdalena, is a legendary collector’s album, yet still undeservedly obscure (and perhaps sonically surprising) for the uninitiated. It’s an experimental mash-up of seemingly disparate genres from different origins that on paper would seem to be at cross purposes. Yet at the same time the release is a masterpiece of raw pan-Latin fusion from the dawn of Colombian salsa that holds its own as a bonafide heavy duty pioneering record of the genre, despite its outsider status. Probably the most shocking musical element is Alfredo Gutiérrez’s fiery accordion, an unexpected instrument in the idiom of salsa, as it’s usually associated with the tropical music of Gutiérrez’s Caribbean home region of Sucre. Gutiérrez has always been a provocateur, never shying away from the controversial or outlandish, which has earned him the richly deserved sobriquet, “El Rebelde Del Acordeón” (The Rebel of The Accordion). Gutiérrez started Los Caporales in 1968 as a rival to Discos Fuentes supergroup Los Corraleros de Majagual, and the band had made three popular albums prior to “¡Así es… Con salsa!”, yet most of the repertoire on those records consisted of typical Colombian tropical and coastal rhythms and genres, none were purposely devoted to the newly minted genre of salsa. From the start, Gutiérrez lays down a salsa manifesto when the album kicks off with ‘Guadelupe no va’, a four-minute workout with pile-driving force that demonstrates the uncompromising power of this 14 piece orchestra. The listener is instantly hooked by the rawness of the sound, the bouncy energy, heavy brass and piano arrangements and the looseness of the improvisational sections. Gutiérrez was given the green light by Codiscos A&R head Humberto Moreno to dedicate an album to New York style salsa, giving more prominence to the voice and compositions of Lucho Pérez, an already proven expert in Cuban genres who previously had been only one among many vocalists in the band. Several tunes on the record are remakes of older compositions by Lucho Pérez from his early tenure with Discos Fuentes group La Sonora Dinamita, the new versions are much more raw and menacing, as if put through a Bronx filter. The band was made up of Codiscos’ regular stable of ace studio musicians from Medellín for the recording date. The album was both a success and also not abnormal in its mixing of salsa and costeño Colombian sounds, as there were several other similar hybrid records by other artists at the time. Both the desperation of the lyrics (about not being able to afford anything) and Lucho Pérez’ forceful delivery leave an indelible impression of street wise authenticity, which is backed up by the fact that both band members grew up poor
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Gianni Brezzo, the jazz affiliated band / studio project led by Cologne-based producer maestro Marvin Horsch, has a diverse musical profile that is reflected both in his genre-hopping as well as his creative output. Along with producing for Cologne bands like Keshavara, Woman and Xul Zolar, Gianni has released a number of EP and LP’s since 2017, including 2021’s “The Awakening” which featured vocal appearances from Berlin/Tel Aviv based singer / producer J.Lamotta and soul singer Otis Junior from Louisville, Kentucky. Gianni’s 2022 LP “Tutto Passa,” released on Jakarta Records, was a meditation around Marvin’s relationship to Italian culture, accompanied by research into Italian composers of the 60’s / 70’s such as Piero Umiliani, Stelvio Cipriani and Armando Trovajoli to more recent work by Sven Wunder. This was quickly followed up with EP “Amoria,” an extension of the themes grown from “Tutto Passa.” Gianni’s tracks have consistently placed on Editorial Lists including Spotify’s “State Of Jazz” (509k Likes) and “Café / Croissant” (200k Likes), and “lofi beats” (4.8M Likes) and most recently was synced in an episode of Gossip Girl for HBO US. Gianni’s latest excursion, “Soundscapes Vol. 1 – Music for Harlequins” is a special kind of release, one that ventures into worlds familiar, yet undeniably foreign and exciting. Gianni journeys through baroque pastures and medieval acoustics to bring forth an aural palette of colorful, timeless arrangements that fit comfortably in the sonic pocket. Featuring lush and nuanced instrumentation, all seamlessly melded together within Gianni’s groove-driven framework, the tracks on “Harlequins” present thematic moods that act as sonic windows into an enduring past. Jakarta is ecstatic to share such a project, with limited 300 vinyl initially pressed, arriving March 10th, 2023.
China's leading post rock band Wang Wen are releasing their 12th album on March 10th, the follow-up to much acclaimed 2021's "100.000 Whys" "Wang Wen's new album Painful Clown & Ninja Tiger is named after the traditional Chinese method of chronology year name (DEDF & DEDD).The two years just passed by. The sexagenarian cycle of the Chinese calendar is like the FE- against-FD polyrhythm in music. Two separate paths that travel six times through the Heavenly Stems and five times through the Earthly Branches and then reunite. However, this is just a superficial interpretation. The reality is the dark side has been approaching and countless miserable accidents occurred in front of us. All the savage and dictatorship come back, repeating itself over and over again in a dead loop in the history, which becomes less distant and fuzzy nowadays. They are not just "years","people" or "places" that we read in books. They jump out suddenly in front of us, turning into vivid and bare details that we are confronted with every day. To put it simply: this album was composed and recorded in those two years, and it records the life experience of the band in those two years, hence the name. For fans of RADIOHEAD, MONO, 1099, RADARE, CONDOR GRUPPE, GODSPEED YOU! BLACK EMPEROR, CASPIAN, IF THESE TREES COULD TALK Limited (130 copies ww) Single Colour (Transparent Orange) Edition!
Stima from Black Soprano Family’s Rick Hyde is now available on vinyl. This limited edition run is a must-add for fans of the B$F artist.
Originally a digital only release (in May of 2022), Stima features guest appearances from Benny The Butcher, Rome Streetz and B$F labelmates Loveboat Luciano and Jonezy. The list of collaborators on Stima does not stop there, with Hyde tapping long time Griselda and Benny the Butcher collaborators, The Alchemist and Daringer for production on this stand-out release.
In the late 1980s, the renowned American jazz pianist, composer, and arranger John Hicks formed one of the most influential ensembles consisting of musicians that had played music at the highest level all their lives and gained their status as both stand-alone artists and important sidemen. Each of them had participated in many of jazz’s great moments and all shared the ability, documented on many albums, to inspire their fellow musicians to even greater heights. The ‘John Hicks Trio’ had several line-up changes over the years that included greats such as Clifford Barbaro (Strata East, Blue Note, Sun Ra Arkestra, Charles Tolliver), Clint Houston (Prestige, Nina Simone, Roy Ayers, Azar Lawrence), Ray Drummond (Freddie Hubbard, Art Blakey, Lalo Schifrin), Marcus McLaurine (Muse, Verve, Weldon Irvine, Kool & The Gang) and Victor Lewis (Steve Grossman, Stan Getz, Charles Mingus, Cedar Walton, Chet Baker).
On the album we are presenting you today (I’ll Give You Something To Remember Me By from 1988) the trio consists out of some of the biggest and best players in the jazz, funk and soul scenes:
On piano we have the Atlanta based trio’s bandleader JOHN HICKS (1941-2006). He served as a leader on more than 30 albums and played as a sideman on more than 300 other recordings. After being taught piano by his mother, Hicks went on to study at Lincoln University of Missouri, Berklee College of Music, and the Juilliard School. After playing with a number of different artists during the early ’60s (including Oliver Nelson and being part of Pharoah Sanders’s first band) he joined Art Blakey & The Jazz Messengers in 1964. In the early ’70s he taught jazz history and improvisation at Southern Illinois University before resuming his career as a recording artist. Next to his many solo recordings for labels such as Strata East and Concord, Hicks would collaborate with all the big names in the scene, including Archie Shepp, Mingus and Alvin Queen. In 2014 & 2015, J Dilla paid homage to John Hicks by sampling two of his songs.
On drums we have the legendary IDRIS MUHAMMAD (1939-2014) who to this day is still considered as one of the most influential drummers covering a multitude of genre-transcending styles. Born in New Orleans, he showed early talent as a percussionist and began his professional career while still a teenager, playing on Fats Domino’s ‘Blueberry Hill’. He then toured with Sam Cooke and would later go on to work with Curtis Mayfield. Next to his landmark solo recordings for Prestige Records, Idris would collaborate with iconic musicians and acts from the likes of Manu Dibango, Ahmad Jamal, Melvin Sparks, Charles Earland, Walter Bishop, Ceasar Frazier, Roberta Flack, Gato Barbieri, Nathan Davis, Sonny Rollins, Lou Donaldson, Galt MacDermot, Lonnie Smith…and countless others. Idris Muhammad’s work was sampled by renowned performers such as Drake, Beastie Boys and Fatboy Slim.
On bass we have CURTIS LUNDY (born 1955) who originates from Florida. Lundy is a well-respected bass player (and a master of his instrument), choir director, arranger, composer and producer who was part of performances and recordings of renowned acts and artists such as Pharoah Sanders, Frank Morgan, Cole Porter, Chico Freeman, Khan Jamal… and many others!
On I’ll Give You Something To Remember Me By (recorded at the legendary Dutch Studio 44 in March 1987 and released on Limetree Records in 1988) the listener is treated to eight majestic tracks of the highest caliber (including an excellent Thelonious Monk cover-tune) and features a remarkable outing of advanced musicianship by three jazz-giants in their prime, delivering an inspirational gem of an album.
These recordings sound as successful, young and vibrant as ever! Expect supercharged ragtime Post Bop with striking notes, no-holds-barred musicianship, high swinging solos, screaming choruses and plenty of solid virtuosity to spare. The up tempo none stop Latin beat is complimented by the terrific drum solos of Idris Muhammad and the rhythmic bass strokes of Curtis Lundy. This electrifying set of tracks makes this release a bonafide hit and a must have for any self-respecting jazz fan or collector.
With his new album, Gecko Turner confirms that he is a standout artist in the global groove scene, a must for the outernational sounds aficionados.
Somebody From Badajoz is the fifth studio album in his much lauded discography and his first in seven years, eagerly anticipated by both his fans and himself: "this business of dedicating yourself to music and making songs... it's a long game."
With the release of his first two, remarkable, albums, Guapapasea! (2003) and Chandalismo Ilustrado (2006), Gecko started cultivating what one astute journalist defined as Afro-maduran soul—the "maduran" bit referencing Extremadura, a region in central-western Spain.
Badajoz, Gecko's birthplace, is the biggest city in the area, on the border with Portugal, by the Guadiana River. It is a place that oozes history, where there is constant movement at the border, and people's character is friendly and open-minded with foreign habits.
Gecko's Afro-maduran soul isbuilt on Afro-American music and drenched in Brazilian, African, Latin American and Jamaican sounds. There are also echoes of a youth marked in equal parts by our man's admiration for the Beatles and the flamenco that could be heard everywhere in Badajoz in the seventies. It makes for a singular sound and a musical language of its own—spicy, succulent, full of nuances, but with a very personal flavour.
The album opens with the Nigerian talking drums of Twenty-twenty Vision, (neo) soul in a magical falsetto, carried by a sumptuous orchestral arrangement with a cinematic flavour: "I'd been thinking about doing something called 'Twenty-twenty Vision' for some time, making a play on words with the vision we have of the world after the year 2020 and the medical expression, which, in ophthalmological terms, means 'normal or complete vision.' Beyond that particular song, I think that's the mood of the album: a look at society in the twenties of the 21st century and the feelings and demons it produces."
It's followed by De Balde, a very special song born from a posthumously discovered lyric by the great writer Carlos Lencero, a regular collaborator of Camarón, Pata Negra, and Remedios Amaya, and also from Badajoz. While conceived as a fandango, Gecko has moulded it into his sound in such a seamless way it now seems as if the words could only have been written to be embraced by the percussion, brass, and backing vocals heard on the album. It's the only lyric on Somebody From Badajoz not written by Turner, still it sits rather comfortably with the rest, sharing the same emotivity and sensitivity, as well as the trademark humour and irony.
Other tracks see more protagonism for the rhythm.The beat-driven Ain't No Fun Preachin' to the Choir features Gecko's vocals walking the thin line between singing and talking over a phenomenal afro-disco-funk-infused trailblazer. In Am I Sad? it's impossible to not bob your head to the queen of Papatosina's mongrel rhythm, as close to the banks of the Guadiana river as it is to the shores of the Mississippi. Qué Siesta Tan Buena, He Babeao Y To! is an ode to the snooze in true Afro-Maduran fashion. And in Come And Try, the Caribbean influence is evident—lovers' rock that invites you to dance in good company.
In these songs, and throughout the album, for that matter, the musicians accompanying Gecko, who himself plays many of the instruments as well, shine brightly. All hailing from Extremadura, Javi Mojave (percussion), Álvaro Fdez 'Dr. Robelto' (bass), and Rafa Prieto (guitar) have been carrying him with delicate forcefulness since he started out as a solo artist. At the same time, the wonderful and essential voices of Deborah Ayo, Astrid Jones, Fani Ela Nsue, and Miriam Solís give the album a sunny variety of colours. And there are many more—a sensational group of musicians contributes dazzling harmonic bursts to many of the songs. The palette of sounds is very diverse and rich in textures and nuances, including, for example, the ngoni, bells, and various repurposed kitchen utensils.
The groove is always around, moving between the magical border sound of Everybody Knows Somebody From Badajoz and Little Dose, the silky soul of The Sibariteo Appreciation Society, and the exultant celebration of End Of The World (which surprisingly sees Gecko turning to the occasional use of autotune), a piece that could be used for the final credits of a Monty Python film and, in fact, closes the album.
Gecko Turner has done it again with Somebody From Badajoz, looking to the future without losing sight of the roots. In times of upheaval all over the globe, when people are looking for purity, he delivers a formidable piece of work: risky, optimistic in spite of everything, and with a decidedly bastard sound. Let's rejoice.
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Boomstraat 1818 is a new techno label from Amsterdam. The label aims at releasing timeless Detroit techno music on vinyl and digital formats, from international artists and local talents.
Outerbase ep is inspired by the 90's Purpose Maker and M-Plant sound and delivers a club friendly 4-track various ep with esteemed artists like Stefan Vincent, Kuba Sojka and Taupe.
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Australian out-rock duo, Party Dozen, returned with their second album Pray For Party Dozen in May 2020. Once again self-produced, tracks like the eponymous "Party Dozen" act as a bridge from their debut album, The Living Man, where evil sample loops built the foundations upon which the duo erected a brand new temple of irreverence. Elsewhere, they flirt with electro-Krautrock ("Auto Loser"), stoner-psych ("The Great Ape") and ambient-industrial ("Scheiße Kunst"). It still sounds like Party Dozen, but somehow louder; more hushed; even wilder. Plus there are two songs with lyrics. It's smart enough to make you move and dumb enough to make you think. But it's not greater than the sum of its parts. There are no parts - there is only Party Dozen.
The Smile have today confirmed details of a limited edition, vinyl only live EP, titled Europe: Live Recordings 2022, out 10th March via XL Recordings. True to its title, the EP is comprised of live recordings of fan favourites from The Smile"s widely acclaimed debut album, A Light For Attracting Attention, as well as the band"s rendition of Thom"s 2009 solo track FeelingPulledApartByHorses. Europe: Live Recordings 2022 was recorded in various cities over the course of The Smile"s first ever tour last summer.
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The Atomic Bitchwax - Live At Freak Valley Fest is the brand new album of the US rockerz The Atomic Bitchwax. Recorded live at the mighty festival FREAK VALLEY in Germany in June 2022. A psychedelic heavy rock'n'roll and stoner trip - a must have!
The Atomic Bitchwax - Live At Freak Valley Fest is the brand new album of the US rockerz The Atomic Bitchwax. Recorded live at the mighty festival FREAK VALLEY in Germany in June 2022. A psychedelic heavy rock'n'roll and stoner trip - a must have!
Since its incarnation as a string of tapes and CDRs for the band to sell on tour in 1999, the Sad Clown series has taken on numerous forms, including 4-track demos, live shows, a DVD, a mixtape, and 7" singles. While preparing for 2007's When Life Gives You Lemons, You Paint That Sh*t Gold, Atmosphere launched the next phase of the series, releasing Sad Clown Bad Summer Number 9, the first of four EP's dedicated to the four seasons. These seasonal releases were the first in the Sad Clown series to receive distribution, being made available on both vinyl and CD. Showcasing Slug and Ant at their best, the four Sad Clown seasons encompassed fan favorites such as "Don't Forget," `The Rooster," "Not Another Day," "Happymess," and "Sunshine," Atmosphere's biggest song to date. These four iconic EPs are now packaged into one 2xLP vinyl release titled Sad Clown Bad Year, complete with an 8-page activity book of custom coloring pages, connect-the-dots, a word find and a maze. The entire package comes housed in a reverse board jacket featuring black & white illustrations with an uncoated finish so you can color and customize yours anyway you like!
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CRIM, formed in 2011, is arguably the biggest punk band in Catalonia (Spain). These extremely talented musicians have achieved serious local fame, playing to thousands over and over again, and writing powerful songs that are in many ways driving a very much flourishing scene in Northern Spain. Crim's popularity outside the Catalonian region has been growing rapidly, as that same sense of authenticity trickles down into the music itself, and their "no compromise" approach to writing and performing powerful and catchy tunes is in many ways universal - and for fans, easily identifiable and inviting, regardless of what language they speak. Anyone has who is seen this band live or heard their albums can attest to the power and drive that fuels this impressively talented group of free thinking musicians. Their music delivers tenfold, showing people across the world that CRIM are a band worth paying attention to! This LP version is Aside/Bside Evergreen & Brown with lots of gold splatter vinyl! FFO Cock Sparrer, Leatherface, Social Distortion
Close to five years on from their last transmission, Ulrika Spacek resurface from self-imposed exile with their third album, Compact Trauma, a collection of songs that function as a chance treatise of sorts for our current collective condition. With a title like that arriving at this point in time, it's tempting to interpret the record solely in the context of the global events of the past few years, but the roots of these ten songs arc back much further in time, charged with their own personalised internal damage. Trauma, in its myriad forms, is often hard to qualify, even harder to rationalise. When something begins to go wrong, how do you gain perspective? What is a temporary roadblock, and what is unmitigated disaster? In its first phase of life, Compact Trauma was a document of a band striving to perfect an idea while the universe around them seemed to want to shut down. And then, at an impasse of sorts and with a record halfway complete, it suddenly did. If Ulrika Spacek were a band in need of the breaks applying, it was the force of a global pandemic that made it happen. As the world stood still, Compact Trauma was filed away, unfinished and unheard by the wider world, possibly to remain that way forever. And yet, there was to be a second act. If mutability is our tragedy, it's also our hope, clearer days slowly began to emerge as the bad slipped away. The wound, as the saying goes, is the place where the light enters you. The prolonged break enforced by myriad lockdowns may have separated the group but it also afforded the five time to reflect on what had already been committed to tape.. As the lights came back on and the shutters up, they found themselves drawn back towards Compact Trauma. What they rediscovered was a record that seemed to preempt the shared grief of a global pandemic. Even if the specifics were different, the themes were uncannily similar. Addressing existential freak out, displacement, substance reliance and encroaching self-doubt, these highly personalised songs suddenly took on a wider significance, speaking in part to a bigger narrative. They could have left it alone, but in coming back to what they knew, Ulrika Spacek found their best work yet. RIYL: Mercury Rev, Sonic Youth, My Bloody Valentine, Radiohead, Deerhunter, Atlas Sound, Stereolab.
With Synthetic Hearts, Tubatsi Mpho Moloi, Msaki and Clément Petit issue an invitation to the listener and lover to journey to another place. Here, hearts, experiences, and sounds meet, shift and evolve across an inventive nine track album. Experimental, playful and complex, the project merges voices, instruments and sounds, across geographies and genres, creating sparse, yet lush atmospherics that spin on the universal themes of love. As skilled musical shapeshifters, Synthetic Hearts melds Msaki and Moloi"s folk sensibilities with electronic elements, as Petit teases out distinct textures from his cello across the record. On Synthetic Hearts, love, longing, confusion, sorrow, despondency and queries are opened up and negotiated in songs that vibrate with their naked, honest and tender vulnerability.
Back in print for the first time this century, first time for color and tip-on jacket, the definitive edition remastered from the original tapes.
Meeting at the halfway point between Bleach and Damaged, Unwound’s 1995 self-titled album arrived years after the original trio of Vern Rumsey, Justin Trosper, and Brandt Sandeno made their Avast Studios debut. Compiling their EPs for Kill Rock Stars and Gravity Records with five more session outtakes, Unwound was released on Rumsey’s Punk In My Vitamins as the band began flirting with the mainstream. Witness a band’s prehistory as it plays out in a feral maelstrom of screaming, distortion, feedback, and abrasive promise.
Back in print for the first time this century, first time for color and tip-on jacket, the definitive edition remastered from the original tapes.
Meeting at the halfway point between Bleach and Damaged, Unwound’s 1995 self-titled album arrived years after the original trio of Vern Rumsey, Justin Trosper, and Brandt Sandeno made their Avast Studios debut. Compiling their EPs for Kill Rock Stars and Gravity Records with five more session outtakes, Unwound was released on Rumsey’s Punk In My Vitamins as the band began flirting with the mainstream. Witness a band’s prehistory as it plays out in a feral maelstrom of screaming, distortion, feedback, and abrasive promise.
BBE Music’s highly-acclaimed J Jazz Masterclass Series continues with an album that unites three J Jazz legends with a young musician beginning their professional career. Recorded and released in 1986, ‘Approach’ is both sophisticated and experimental in equal measure, balancing serene ambient moments with thunderous and dynamic explosions of energy. ‘Approach’ was originally issued on the Art Union label and sees bass uber-maestro Isao Suzuki, percussion and drumming icon Masahiko Togashi, and keyboard wizard Hideo Ichikawa join together with neophyte guitarist Akira Shiomoto to deliver a first-class showcase of contemporary jazz across five tracks, demonstrating their individual talents working as one unified ensemble. Suzuki’s deeply resonant and pliant basslines move sinuously across the album, supporting Togashi’s ebullient flashes of percussion and Ichikawa’s lush textures and colourations; topping it all off is the young Shiomoto’s guitar adding melodic texture and shine. Opening with ‘Make Trip’, Ichikawa’s gentle introduction makes way for a change of gear as Suzuki’s bass drives the band along before Togashi’s drum and percussion centrepiece solo leads to the outro. The plaintive and bluesy ‘Otari’ follows next, with Ichikawa’s piano flowing around and between the rhythmic undertow from Suzuki and Togashi. Things turn slightly more experimental on ‘Mysterious’ as Suzuki, the piece’s composer, turns to arco bass effects and Ichikawa employs synthesiser and electronic textures to add colour to the palette.
It's hard not to see the hype around BRUIT= as the next big thing in post-rock. While their 2018 EP Monolith provided a promising indication of their son- ic ambition, it was their debut LP The Machine is Burning and Now Everyone Knows It Could Happen Again which really set off the trig- ger. Receiving rave reviews around the globe and selling out the first vinyl pressing of 3.000 copies within less than a year, BRUIT= have no need to prove themselves beyond what they have already achieved so far. Consisting of three musical meditations, Apologie du Temps Perdu Eng. apology for time wasted sees BRUIT= cut down on their massive sound in favour of a more subtle contem- plation. In contrast with their recent streaming single «Parasite (The Boycott Manifesto)» with its direct message for Spotify CEO Daniel Ek and his listeners, the band have seemingly forgone their activist agenda paring back the grand thematic gestures and poignant spoken-word excerpts. Instead, BRUIT= let the music do the talking, reaching an activism which is more visceral, but all the more personal. "This ambient EP is conceived as a comma between our first album and the next one," explains bass player & violinist Cle'ment Libes about the purpose of this record. "It is an invitation to lose time, a parenthesis in the frantic race of our society." Existing somewhere between the grand genius of soundtrack composers like Hans Zim- mer and Ramin Djawadi, and the experimental prowess of fringe pop artists like Radio- head and Darkside, Apologie du Temps Perdu reveals the hidden power of film scores. We all know that moment in which we cease to be conscious of the musical accompani- ment and we become truly absorbed in the story. The music becomes part of scenery, and in this moment we lose track of time. Talking of his own work Ramin Djawadi (Game of Thrones, Westworld) notes: "If you were to turn the picture off, there is a story there and a connection to the characters and the plots." In the same way, through the sweeping strings of «La Sagesse de Nos Ai"eux», the ethereal tape loops of «Re^veur Lucide» and the undu- lating synths of «Les Temps Perdus», worlds are created to get lost in, and we experience the full power of music with our eyes and ears open. RIYL Hans Zimmer, Nils Frahm, Godspeed You! Black Emperor, Balmorhea, Max Richter, Olafur Arnalds, A Silver Mount Zion, Boards Of Canada
The friendship between Al Cisneros (Sleep/Om) and Kevin Martin (The Bug/King Midas Sound) begun when King Midas Sound supported OM at the Scala in London in 2012. Subsequently the duo quickly realised via passionately animated conversations, that they shared a serous addiction to reggae 7", and in particular, a mutually insatiable appetite for roots and the deepest dub versions being consistently transmitted from Jamaica...This resulted in Cisneros, then inviting Martin to specifically drop hardcore dub sessions as support to Sleep in Berlin, and on tour with OM. It was during the European Om tour in 2019, that Cisneros offered to record an ep for The Bug's fledgling PRESSURE label. And now 'Rosin' is the fulfilment of that promise. Al's side of the single, showcases the low end specialist extending the bassbin pounding methodologies of those incredible b-line masters who first inspired him to relentlessly explore the infinitely resonant worlds of bass and space. So 'Rosin Immersion' and it's subsequent dub 'Dabby You', echo 'Flabba Holt's classic work with the Roots Radics or Robbie Shakespeare 's tremendous output for Channel One with The Revolutionaries...These devastating mixes extend the hallowed roots tradition that Cisneros worships, and gleefully opts for an even lower, slower, grind .... It's another fantastic example of Al's parallel dub world, that he has been tirelessly promoting with his incredible Sinai label releases for the past few years, as he simultaneously continues to reshape Metal with Sleep and zoned 'out' rock with Om too. On the flipside, Martin took up Al's invitation to remix his original song, but Kevin here opts for radical mutation instead of homage. What may have begun as a single remix, ends as two militantly distinct future dubs aimed straight at the body and dome...Echoing Kevin's recent collaborations with Will Bevan aka Burial, for their collaborative Flame series, as previously released on PRESSURE, this pair of thundering tracks reflect The Bug at his most immersive and psychedelic. 'Fathoms' and '50 hz' revel in their otherness, and the sonic sorcery of his Brussels based sound lab. The twin rhythms are undoubtedly inspired by the spirit of The Bug's production heroes Scientist, King Tubby or Adrian Sherwood, but are set adrift in a futuristic sci-fi format for ambient heads and sound system disciples alike to get fully lost in.
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High Roller Records, reissue 2023, black vinyl, ltd 250, large poster (740x420mm), insert, remastered for vinyl by Patrick W. Engel/ Temple of Disharmony
Laute Gitarren, gewaltige Refrains zum Mitsingen und erhebende Ausdauer.
Nur wenige Platten trugen dazu bei, die Post-Hardcore-Szene so schnell aufzubauen wie das Debüt der Band, Page Avenue, eines der ersten seiner Art, das sich eine Million Mal verkaufte
Herzschmerz, Verzweiflung, Motivation, toxische Beziehungen, Schmerz, Verlust, Wut - alle wesentlichen Zutaten des klassischen STORY OF THE YEAR-Sounds treiben "Tear Me to Pieces" auf verblüffend neue Weise an.
"Tear Me to Pieces" ist unbestreitbar, objektiv gesehen ein Killer, vielleicht das beste SOTY-Album seit Page Avenue.
"Il mio nome è Nessuno" (My name is Nobody) is an a typical western,
difficult to classify as it's placed halfway between the founders of the
genre of the '60s and the comedies of the following decade
Sponsored and partly directed by Sergio Leone, it came out in 1973 and received great success, thanks to the presence of the actors Terence Hill and Henry Fonda, in perfect balance between a light- hearted comedy and the more serious 'spaghetti western' genre.
The music is written by the genius of Ennio Morricone, who writes and
orchestrates a varied soundtrack, which lends itself to the various scenes. There is everything: tense soundscapes, epic symphonic rides - directly referring to the "Dollar Trilogy", frivolous and light- hearted moments, all mixed with esoteric sounds.
Given the popularity of the film, its soundtrack has been released several times, but 35 years have passed since the previous vinyl release. A must buy for fans of the Maestro Morricone but also for all film lovers!
