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Ebalunga!!! is thrilled to announce the first official reissue of the self-released, self-produced, and self-titled 1985 LP Scott Seskind. The album is a lo-fi singer-songwriter jewel. Don’t miss it.
“Authentic and personal, at times it reminds this writer of luminaries such as Jackson C. Frank, PF Sloan, Skip Spence, and Phil Orchs while never feeling derivative.

The songs are melodic and haunting, fueled by existential woes, political angst, and good ol’ fashioned love. Scott’s rich voice has an unpretentious gravitas, his simple-yet-effective guitar playing ranging from delicate fingerpicking to angry bashing.
Created at home on a Tascam 4-Track Portastudio, the recording features few frills and is all the better for it. Unlike most mid-80s records it sounds like it could have come from any time since the late ’60s onwards. As a testament to its greatness, and despite the late recording date, it even gets a nod on Patrick Lundborg’s “Acid Archives” compilation website, Lysergiawhere it’s described thus: “Late phase downer-loner folk and singer-songwriter trip, mostly acoustic, some tracks with a small band.” – Andrew Ure for Ugly
Things.Read a long story about the album in the upcoming Shindig! issue: Story about Scott Seskind in Shiding Mag.
The reissue is available on vinyl with a lyric insert.
Mastering (as always) by Jessica Thompson.

Feedbacks and reviews:
“Almost totally inheralded singer-songwriter Scott Seskind gets the reissue treatment, and I couldn’t be happier. About a year ago I pulled Seskind’s sole vinyl release out of the used bin of a Boulder record store, and with its almost Wallace Berman-esque cover art, could immediately suspect it was something special. The first listen didn’t dispel that notion one bit; here was an impressively captivating and moving collection of four-tracked bedroom folk of the highest order, with an out-of-time vibe that didn’t really snyc with its 1984 recording date. Definitely on the loner-ish end of the folk spectrum, with some aspects of the album harkening back to Skip Spence’s iconic Oar, while other moments revealed the urgency of the ’80s lo-fi revolution. But most importantly, the songs were just really, really great and managed to remain haunting long past their leaving.

Here, I thought, is an album that needs to be heard by more people, NOW. I asked around amongst some record collecting friends and discovered it was pretty highly rated by a small circle of people in the know, and that it had even managed to garner a mention in the Acid Archives despite its late recording date, and most excitingly that there was talk that the digital reissue label Yoga had managed to track Seskind down and secure the rights to his LP. (…) So here we have it, the best songs from Seskind’s eponymous LP. (…) I really hope this release continues to garner the listeners that it deserves.” – Michael Klausman

“The one that struck us the most this year was the almost totally unheralded work of singer-songwriter Scott Seskind, who recorded an impressively captivating and moving collection of four-tracked bedroom folk of the highest order, with an out-of-time vibe that doesn’t really sync with its original 1984 release date. Definitely on the loner-ish end of the folk spectrum, with songs that are really, really great and which manage to remain haunting long past their leaving. Truly an album that deserves to be heard by more people immediately. ” – Other Music

Lloyd Cole & The Commotions – Cole, Blair Cowan, Lawrence Donegan, Neil Clark and Stephen Irvine – were formed in Glasgow in 1982, where Buxton-born singer-songwriter Cole was studying Philosophy and English at the University of Glasgow -Their sound swam against the tide of shiny 80s synthesisers, offering intense, melodic, guitar-based pop, topped with droll words packed with literary references.

Given just how loved debut album Rattlesnakes was, it would have been hard for whatever followed to be received as warmly – yet Easy Pieces made a good first of it. It was to sell twice as many copies in its first two weeks as Rattlesnakes had to date, giving the group a Top 5 chart placing on its release in November 1985. Recorded with 80s super-producers Clive Langer and Alan Winstanley, its first two singles, the brooding, gospel influenced Brand New Friend and the forever-jaunty Lost Weekend reached the UK Top 20.

This re-issue faithfully replicates the original 1985 Polydor Records UK release with printed inner sleeve and is pressed onto high quality 180g vinyl.

In 2012, the two moved to an abandoned funeral home in rural southern Illinois where they founded Rose Raft, an artist residency and analog recording studio. This was done in part to alleviate the financial stress of being an artist in an expensive city, and it has allowed them to remain totally immersed in their craft, not unlike Dead Moon or Low.

“The biggest reason we were motivated to make our own studio is that it was the only conceivable way we could keep things going. We started as a band so trashy and raw and ‘low-fi’ is because that’s what we had access to.” says Jessee. The studio is all analog, and the pair has once again found how to find freedom in constraint, using the limitations of the process to think creatively and to inform their songwriting. Tracked entirely live, the new record celebrates the magic and physicality of analog recording, leaving in raw sounds and charming artifacts, like their dogs Junimo and Joja Cola barking at the tail of the keeper take of “Velvet Cash”.

Glow in the Dark Flowers finds Philip and Jessee reinventing their sound with maturity, grace, and poeticism, but without abandoning the fuzzed out sound and studio adventurousness of their earlier work. The album's intimate opener “Growing Cosmos” is propelled by an unquantized drum machine that stutters in and out of tempo, accompanied by enveloping hard-panned bass guitar. “Still Close To Me” recalls the duo’s effortless and hypnotic pop sensibility that made The Funs such a captivating live band in Chicago’s then thriving DIY scene. The albums closer “When The Leaves Have Fallen”, originally composed for a performance by the artist Lise Haller Baggesen, continually builds on its original theme until the drums drift out and gives way to cascading distorted guitars folding in on each other.

The band's new album represents a new level of their devoted partnership that continually produces raw and beautiful music. Glow in the Dark Flowers is a true representation of their passion and dedication to their drive for creation.

Modular synthesizers / electronics + a drum kit enhanced with triggers and sensors: on its self-titled debut album, the duo hÄK / Danzeisen creates a sonic energy that oscillates between high-precision rhythm patterns, analogue sounds and frenzy climaxes.

One must imagine hÄK / Danzeisen as a man-machine apparatus. A collection of cables, resonating bodies and restless limbs that together question all routines. Who overthrow conventional role of instruments and explore the possibilities of a new sound language. Bernd Norbert Würtz alias hÄK operates modular synthesizers, self-soldered circuits and control knobs. Philipp Danzeisen plays a drum kit enhanced with triggers and sensors. These two poles are connected to an interdependent whole in which a constant musical dialogue takes place. The dependencies within this system have been meticulously defined by hÄK / Danzeisen: Drum rolls and sound modulations are interconnected in such a way that there is no contradiction between the strict technological structure and the creative outburst that is possible at any time.

What drives hÄK / Danzeisen is the basic idea that the contrast between acoustic drums and synthetically produced sounds must be overcome in order to create a new experience. Würtz, Danzeisen and their combined instrumentation simultaneously rub up against the same edges, finding a single, piercing voice.

Ideal manifestations of this approach are the duo's live performances: raw energy that oscillates as precisely as it surprises between drones, abstraction and noise attacks, driven by an impudent take on jazz. Constantly oscillating between the registers of "composed" and "improvised", each performance by hÄK / Danzeisen ultimately becomes one of a kind. (Arno Raffeiner)

Over the course of a nearly 50 year romantic and creative partnership sound artist Annea Lockwood and the late pioneering electronic composer Ruth Anderson have shared space on a number of significant releases of early electronic and tape music, including Charles Amirkhanian’s trailblazing 1977 anthology of women electronic composers New Music for Electronic and Recorded Media, a 1981 split LP on Opus One, a 1997 CD for Phill Niblock’s XI imprint, and 1998’s Lesbian American Composers compilation on CRI. The couple additionally taught a course on the history of women’s music-making, at Hunter College, called Living Women, Living Music. Throughout their time together, they co-authored a number of Hearing Studies designed for people with no formal musical training, which were collected for a 2021 book publication by Open Space Music. They spent most of their private life between Crompond, NY and the house they built themselves at Flathead Lake, Montana. Although Ruth passed away in 2019, the composers’ dialogue continues today with Tête-à-tête, a collection of unreleased archival and new material spread across an LP and a single-sided 10” record.

It all began with a telephone call. In 1973, Ruth Anderson was seeking a substitute to cover a yearlong sabbatical from her position as the director of the Electronic Music Studio she had founded at Hunter College in New York City. Her friend Pauline Oliveros too was on sabbatical, but recommended Ruth call Annea Lockwood—then living in London—about the post. Already drawn to America by the work of the visionary composers with whom she would soon be labelmates on Lovely Music, Annea jumped at the opportunity and within days of meeting in person the pair were, in her words, “joyously entangled.”

Over the next nine months, while Ruth was living in Hancock, New Hampshire, the couple would speak daily by phone in between visits. Ruth recorded these phone calls and, in 1974, surprised Annea with a cassette containing “Conversations,” a private piece she composed by dexterously collaging fragments of their conversations alongside slowed and throwed snatches of old popular songs: “Yes Sir, That’s My Baby”; “Oh, You Beautiful Doll”; and “Bill Bailey.” The centerpiece of Tête-à-tête, this side of intimate musique concrète extends to its listeners a rare invitation to eavesdrop on the halcyon phenomenon of two people falling in love. Tender and playful throughout, “Conversations” comes to its zenith with a cut-up of relentless laughter of a contagious beauty that is, for once, properly convulsive.

“For Ruth” is Annea’s elegy to her life partner. In 2020, Annea returned to Hancock as well as to Ruth’s resting place at Flathead Lake to make field recordings, which she wove together with further excerpts of the couple’s 1974 conversations for a commission presented as part of the 2021 Counterflows Festival in Glasgow. A consummate field recordist, Annea imbues the simple sounds of church bells, birds, wind, and the bodies of water that permeated her time alongside Ruth with an otherworldly depth and sense of narrative akin to that of her celebrated sound maps of the Hudson, Danube, and Housatonic rivers. An oneiric, subtly tonal evocation of a meeting at the shores of existence.

The collection opens with “Resolutions,” Ruth’s last completed electronic work, from 1984. A meditation for the individual listener composed as the result of her study of Zen, it’s a rigorous, process-driven piece that charts the very slow, smooth descent of a 5th from the octave above middle C down to sub-bass frequencies. Minimalist in execution, yet powerful in effect, it glides by almost imperceptibly, with new tones arriving and hovering or levitating upwards, seemingly out of nowhere. A healing piece, it harnesses the highly focused energy of pure tones as a means to, in Ruth’s words, “further wholeness of self and unity with others.”

Tape transfers by Maggi Payne, master by Giuseppe Ielasi and lacquers cut at Dubplates & Mastering, with domestic photos and liner notes provided by Annea Lockwood.

Fans of the innovations and originality that sprang from the L.A. underground of the late 1970s and ’80s often ask, “What’s Paul B. Cutler been up to?” A vital participant in the Los Angeles music scene of that period as bandleader, songwriter, musician and producer, Cutler’s work—in particular his guitar playing— with The Consumers, 45 Grave, Vox Pop and The Dream Syndicate is still admired by fans and an influence on anyone interested in that period and the styles that developed from it. In 2014, “Ryan Adams contacted me and wanted to form a band. He loved 45 Grave, he wanted to do some goth / punk, whatever you want to call it. That’s right up my alley. He’s amazingly talented and inspiring to work with. We did that for a while, and I wrote a bunch of songs.” Enthused about his new material, Cutler continued recording songs with just his signature electric guitar style and vocals. As this was developing, another vet of the early L.A. scene—Brad Laner of Medicine and Savage Republic—got in touch with Cutler. Soon Laner was mixing, co-producing, playing keyboards as well as adding the rhythm section. The overall process took some time, with songwriting beginning in 2014. When reflecting on the music that comprises Les Fleurs, “To me, and it does not sound like it, but because of the philosophy I had while producing it, it’s punk. I come from the original punk, before it was a genre. Before it was a ‘sound.’ When I got to LA in 1977 there were about twenty, maybe thirty bands and they all sounded very different. The Screamers, The Deadbeats, so many different takes on what music could be. There was no chance for commercial success so we all just did what we wanted. I never stopped. So philosophically I consider this punk rock, made in its original spirit although nobody would recognize it as such. I am a punk to this day.” So that, dear reader, is the basic story. Now it’s up to you to see what you recognize in Paul B. Cutler’s Les Fleurs.

Hailing from the gatekeeper city of Malmö towards the European continent - Bathouse story is a long one & a tale of progress. Starting out as a duo venture back in the mid-10’s & then put on hold, Bathouse re-surfaced in 2020 with the release of their self-titled debut album.

Making themselves known as a must experience live band in Malmö for their intense delivery & crushing volume - Philip Lindskog (drums), Jesper Olsson (vocals & guitar) & Denise Madsen Hult (bass) went into Studio Sickan again in 2021 with Joakim Lindberg (MF/MB) and recorded a scorching 13 minutes worth of noise, worthy anyone of the heavyweights. 



’Helping Bats Helping People’ is Bathouse 
sophomore album & will follow the two singles ’Enjoy’ & ’Ideal Specimen’, taken 
from the album.

For fans of The Hospitals, At The Drive-In, 
 Unsane, Bent Spanner Arty Banner & 
 Bathouse.

From small beginnings in 1974 as a local cinema and university event, Film Fest Gent has grown yearly in stature and is now recognised as one of the major destinations for the film industry. A vital component is the celebration of film music in the shape of the World Soundtrack Awards which honours the very best composers at work in the world of cinema. In 2016 the award went to one of the most brilliant composers of his generation, Ryuichi Sakamoto. This is the first overview of his remarkable catalogue of film scores, fully approved by the composer and performed by the masterful Brussels Philharmonic under the baton of Dirk Brossé. Sakamoto was already a celebrated pioneer in electronic music and composer/pianist/singer in Japan when director Nagisa Oshima asked him to write the score for Merry Christmas Mr. Lawrence in 1983 and also to star alongside David Bowie. In a 30 year plus career since then he has worked with the cream of film directors including Bernardo Bertolucci (The Last Emperor), Brian De Palma (Snake Eyes), Pedro Almodovar (High Heels) and most recently Alejandro Gonzalez Inarritu (The Revenant). This compilation is a fitting tribute to his status as one of the greatest living musicians and film composers.

Some gorgeous soulful boogie tracks right here!! The French Philippe Lecauchois, better known as "Phil Boogie Times" and Claudio Casalini, the factotum of the Italian label Best Record, teamed up with the intention of carrying on their identical passion, being devoted to Boogie, Funk, Soul and " Old School Disco". There couldn't have been a better choice to start this conjunction of passions and sharing of ideals: the first 12inch, produced by Darryl Payne in 1983, sees two precious gems such as "What's the Deal" b/w "Have You for My Love" by the charming ex Salsoul artist, Carol Williams (BTBS-12001). The other reissue of Phil and Claudio is 1984's "Come Back Lover" masterfully sung and arranged by Carl Smith (BTBS-12002). Listening to these splendid 40-year-old productions again will do good to the hearts of all the followers and fans of true soul music made in the USA. Coming on a limited vinyl edition!

Proper boogie action by Carl Smith! The French Philippe Lecauchois, better known as "Phil Boogie Times" and Claudio Casalini, the factotum of the Italian label Best Record, have teamed up with the intention of carrying on their identical passion, being devoted to Boogie, Funk, Soul, and " Old School Disco". There couldn't have been a better choice to start this conjunction of passions and sharing of ideals: the first 12iinch, produced by Darryl Payne in 1983, sees two precious gems such as "What's the Deal" b/w "Have You for My Love" by the charming ex Salsoul artist, Carol Williams (BTBS-12001). The other reissue of Phil and Claudio is 1984's "Come Back Lover" masterfully sung and arranged by Carl Smith (BTBS-12002). Listening to these splendid 40-year-old productions again will do good to the hearts of all the followers and fans of true soul music made in the USA. Must have vinyl edition of this gem!

Repress!

Two of Jean Carn's seminal hits combined. 'Was That All It Was' is a big hitting disco exploration with hints of Jean's gospel choir background coming to the fore. The flip houses the classic 'Don't Let It Go To Your Head' - covered on many an occasion since it's release back in '78.

Over the course of a 19-year career, Marshall Watson has released all manner of musical treats for a similarly wide array of labels, yet it’s the effortless beauty of his downtempo works – and particularly his ambient and Balearic excursions – that have often left a lasting impression.

It certainly caught the attention of NuNorthern Soul founder Phil Cooper, who brought the West Coast producer to the label in the summer of 2021. That EP, Sunsets on Larkin Parts 1 & 2, was undeniably special. The same can be said about his belated return to the label, Foothills, an EP packed to the rafters with slow-burn melodies, sustained chords, becalmed textures and gently unwinding grooves.

Watson’s distinctive take on Balearic naturally comes to the fore on EP opener ‘High Desert’, a soft-focus delight where languid electric guitars, starry electric piano lines, echoing chords and gently pulsing electronics stretch out across a shuffling groove. While tailor-made for watching the sun set off his beloved Pacific Coast – and over the Mediterranean Sea – ‘High Desert’ offers a dose of hazy sonic sunshine that can brighten up even the greyest of days.

Fittingly, the accompanying remix comes from long-time friends of the label Seahawks, whose textured, layered and atmospheric productions similarly blur boundaries between Balearic, ambient, pitched-down dancefloor grooves and glassy-eyed psychedelia. Employing opaque, shape-shifting pads, effects-laden guitars, subtle spoken word snippets and yearning, almost melancholic chords – all atop a crunchy, head-nodding beat and toasty bassline – the duo deliver a remix that’s as emotive and sonically stunning as Watson’s original mix.

The EP’s three other tracks amply demonstrate the subtle variety within Watson’s downtempo output. Vocalist Julie Childe makes her mark on ‘Sweet Sounds’, a brilliant blend of warming deep house and laidback Balearic nu-disco that sports subtle hints to his work as one half of synthwave duo Causeway, while ‘Open Sky’ brilliantly wraps undulating TB-303 acid lines and echoing Spanish guitars around a hypnotic, locked-in dancefloor groove.

Then there’s ‘The Landscape’, a deliciously saucer-eyed slab of breakbeat-powered, TB-303-sporting genius that evokes the immersive, early morning waviness of the ambient house era, the beach party psychedelia of San Francisco’s free party movement, and the bleeping wonder of turn-of-the-90s UK dance music. Like the rest of the EP, it’s an enveloping, head-soothing and mind-expanding treat.





e B2 High Desert Seahawks High Sky Remix

With Cruisin', their second album for Telephone Explosion, Toronto's Bernice distils their playful sense of composition resulting in the most affecting collection of their young career. Across fifteen tracks, a special kind of contemporary, jazz-inflected pop unfolds, miraculous for being both fun and musically adventurous, all in the name of emotional resonance. Each groove in the bassbin is matched by a little scratch at the listener's heartstrings. The album was recorded at home with Phil Melanson (Sam Gendel, Andy Shauf) and Thom Gill (Beverly Glenn-Copeland, Joseph Shabason), led by songwriter and vocalist Robin Dann (Martha Wainwright) and producer Matthew Pencer, with additional contributions from longtime members Dan Fortin and Felicity Williams (Bahamas) being captured remotely.

Throughout their eleven years as a group, working at the intersections of several scenes and spotlights (many of which begin and end at Toronto's beloved Tranzac Club), Bernice have developed an idiosyncratic musical language that feels immediately inviting and wonderfully refreshing. The group's two previous releases, Eau De Bonjourno (2021) and Puff: In The Air Without A Shape (2018) received generous nods from both Stereogum and Pitchfork, who described the music as "unusually mesmerizing". With the songcraft a little more crystalline and the vulnerability notched up, Cruisin' feels like the right record to open Bernice up to a much wider audience.

Development of the album began in Spring, 2021 during a writing retreat at the family farm in Bond Head, Ontario. Members of the band luxuriated in slow time, tinkering with lyrics and melodies, sharing meals, knitting. From this communal gathering, the concept of 'dedication' emerged as a guiding theme. Specifically, developing songs in an almost epistolary form; as love letters or check-ins for friends, community members, pets and other more elusive acquaintances (a longtime working title for the project was 'Songs For People').

Lead single 'Underneath My Toe', one of the first pieces developed under this theme, finds the group at their most graceful and direct. Beginning with songwriter/vocalist Robin Dann singing simply 'Hi / I miss you all the time', the composition proceeds to shift subtly between soft jazz balladry and low-bit funk, revelling in the intimate beauty of a long-time-no-see letter to a dear old friend.

Though being a band that so deeply values the art of fartin' around, Bernice couldn't settle on such a straightforward approach. During the creative process, a clarifying question arose: 'Can you cruise to it?'. This somewhat ambiguous aesthetic criteria became a guiding light for the album. 'Sure, it's a beautiful song about building trust with a new nonagenarian friend... but can you cruise to it?'.

Case in point, both follow up singles, 'No Effort To Exist' and 'Second Judy', fall into a more nebulous, bewildering category of song. Undoubtedly affecting, emotionally charged, existentially searching, yet also undeniably juicy. Drum patterns skitter into place while synth tones shift on a dime to meet thematic twists. There's errant whistling and curious overdubs. Then in come elegant backing vocals, elevating the narrative while an unlikely, left-field groove is established. Miraculously, the listener is not just moved, but Cruisin'.

Therein lies the marvel of Bernice: they remind us that the rec room funk of Mario Kart 64 need not exist in mutual exclusivity to a rich tapestry of human emotions. Even as we live through this most cursed timeline, we can look into the heart of things, dwell on the challenges we're called to witness, and find a little levity to carry us through; grab a lil' mushroom and cruise the existential soup.

Legendary 7X GRAMMY and Emmy Award-winning artist/producer Dr. Dre celebrates the 30th anniversary of his magnum opus, The Chronic by announcing the album will be re-released. The Chronic, which is not currently available on streaming services, will again be available to fans on all major DSPs .

Steve Berman, Vice Chairman of Interscope Geffen A&M, said: “Dr. Dre is without a doubt one of the most iconic and groundbreaking artists in the modern era. He has also used his platform to fuel some very impactful philanthropic efforts that will ensure his legacy is felt for generations to come. Dre’s solo career all started with the The Chronic, one of the most celebrated recordings of all time.

First released on December 15, 1992, The Chronic peaked at No. 3 on the Billboard 200 and has spent 97 weeks on the chart since its release. The album also spawned three top 40 hits on the Hot 100, including top ten records with "Nuthin' But a “G” Thang" (No. 2) featuring Snoop Dogg and "F— Wit Dre Day" (No. 8). The Chronic topped the Top R&B/Hip-Hop Albums chart for eight weeks, while "Nuthin’ But a "G" Thang" hit No. 1 for two weeks on Hot R&B/Hip-Hop Songs. Last June, Rolling Stone placed The Chronic on its 500 Greatest Albums of All-Time List, boasting how the album "redefined the West Coast Hip Hop sound." Pitchfork also holds the seminal album in high standing, saying The Chronic lives on as a “timeless show of strength” and “gave shape to L.A.’s present and future.” Videos from The Chronic are also available on Dr. Dre’s official YouTube channel.

Last year, Dr. Dre dazzled during the Super Bowl LVI Halftime Show in Los Angeles. His enormous set was star-studded, as Dre performed alongside some of music's biggest stars, including Snoop Dogg, Kendrick Lamar, Mary J. Blige, Eminem, and 50 Cent. Dre commanded the stage – just a few miles from his birthplace of Compton – with a groundbreaking setlist anchored by hits such as "The Next Episode" and the 2Pac-led "California Love." The historic performance earned Dr. Dre his first-ever Emmy for Outstanding Variety Special (Live). The Hollywood Reporter called the halftime show "thrilling and nostalgic," while Billboard credited Dre for his "seismic impact" on music.

Diese einzigartige Zusammenstellung vereint die Soundtracks der drei 'Batman' Filme unter der Regie von Christopher Nolan, geschrieben von zwei der größten zeitgenössischen Filmkomponisten: Hans Zimmer (Der König Der Löwen, Gladiator, Fluch Der Karibik, Inception, Der Da Vinci-Code) und James Newton Howard (Pretty Woman, Herr Der Gezeiten, The Sixth Sense). Eingespielt von den weltberühmten Prager Philharmonikern.

Blue Room: The 1979 VARA Studio Sessions in Holland features two recordings of trumpet/vocal icon Chet Baker captured in glorious stereo at the legendary VARA studio 2 in Hilversum, the Netherlands for the KRO radio program Nine O’Clock Jazz. The April 10, 1979 session features pianist Phil Markowitz, bassist Jean-Louis Rassinfosse, and drummer Charles Rice; and the November 9th session features pianist Frans Elsen, bassist Victor Kaihatu, and drummer Eric Ineke. Both sessions were originally produced by Edwin Rutten, and are produced for release officially for the first time by “jazz detective” Zev Feldman and Frank Jochemsen. The limited-edition 2-LP set (and deluxe 2-CD edition) includes an elaborate booklet with photos by Veryl Oakland, Jean-Pierre Leloir, Christian Rose and others; liner notes by Dutch journalist Jeroen de Valk, plus essays by Feldman, Jochemsen, and Rutten; and interviews with Baker bandmates Phil Markowtiz, Jean-Louis Rassinfosse and Eric Ineke, as well as trumpeters Randy Brecker and Enrico Rava, and pianist Enrico Pieranunzi. Transferred from the original KRO radio tape reels and mastered for vinyl by legendary mastering engineer Bernie Grundman

Im vergangenen Frühjahr wurde Thomas Adès' Dante - eine dreiteilige Ballettkomposition nach Dante Alighieris La Divina Commedia - vom Los Angeles Philharmonic unter Leitung von Gustavo Dudamel aufgeführt und mitgeschnitten. Seine Uraufführung erlebte Dante am
Royal Opera House in London als Teil von Wayne McGregors The Dante Project fürs Royal Ballet, mit dem Orchester des Royal Opera House und in der Ausstattung der bildenden Künstlerin Tacita Dean . Diese CD-Edition besteht besteht aus Artwork von Dean und Fotos von der Aufführung des Royal Ballet.
Das Werk besteht aus drei Teilen: "Inferno", "Purgatorio" und "Paradiso". Adès selbst bezeichnet "Inferno" als "eine dankbare Hommage an Franz Liszt, den Komponisten der Hölle und der dämonischen Musik ". McGregor und Adès erwecken die mittelalterlich-christliche Fantasie zum Leben, deren erzählerischer Faden an einer jungen Frau namens Beatrice hängt: die Verkörperung eines Versprechens von Liebe und Hoffnung .

Lucki Camel Jr. known professionally as LUCKI, is an American rapper and record producer from Chicago, IL. His debut single, “Untouchable Lucki,” was produced and premiered by music blog ELEVATOR. Lucki followed with his first project, “Alternative Trap,” in 2013 and has continued to work with prominent music figures ever since including Chance the Rapper, FKA Twigs, Danny Brown, Earl Sweatshirt, and Lil Yachty. In 2021, he collaborated with Philadelphia producer, F1thy, on “Wake Up Lucki.” Throughout the next year he released a series of standalone tracks. And in June 2022, he released “Y Not?” which is included here as a bonus track. Album includes appearances by Future and Babyface Ray. 24 tracks total.

In recent years, SadhuGold has emerged as one of hip-hop's most exciting new sonic architects. Specializing in raw, dusty vibes with an otherworldly feel, the Philadelphia native has crafted tracks for acclaimed artists like Mach-Hommy, Westside Gunn, Your Old Droog, Rome Streetz, Tha God Fahim, and more.

Originally released on cassette tape in extremely limited quantities, the "Golden Joe" trilogy helped establish SadhuGold's signature sound and fuel the growing mystique surrounding his unique artistry. With those cassettes now rare collectibles, the enigmatic producer is unveiling an official pressing of "Golden Joe Vol. 1", launching the first ever vinyl release of his acclaimed instrumental series. Fully remastered, the collection is a journey through the imagination of the alchemically psychedelic mind that is SadhuGold.

When Paul Janeway learned he was going to be a father he decided to scribe his thoughts—joy, fear, confusion—as messages to his then-unborn daughter. Those letters became Angels in Science Fiction, the stunning 5th LP from St. Paul & The Broken Bones. Produced by Matt Ross-Spang (Jason Isbell, Margo Price) at the legendary Sam Phillips Recording Studio in Memphis. It finds the band stretching further out, building on the shadowy psychedelia and intricate, experimental R&B of The Alien Coast.