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The Swiss trio divr debuts on We Jazz on 2 February with their new album "Is This Water". divr is Philipp Eden on keys, Jonas Ruther on drums and Raphael Walser on bass, and they play largely acoustic improvisations which loops without ever quite repeating. Their music swings, but never feels like it’s doing so in response to a fixed, single pulse. The new album is mixed & post-produced by Dan Nicholls (of Y-OTIS).

“We play in multi-directional time. You could hear three different timings, but on the other hand it’s together. We land in the same place. It’s not done with maths, it’s more about entering a flow”, say the band members, based in Basel (Eden) and Zurich (Ruther, Walser), the city where they all met more than 15 years ago.

“It’s a free approach to playing time. We don’t refer to a straight metre. But play around it. We never repeat something exactly, it develops with every turn, there’s always a small difference.”

Chapter 3 der erfolgreichen Compilation-Serie. 14 moderne Kraut-Elektronik-Tracks (3 davon exklusiv und vorher unveröffentlicht) inspiriert von Kraftwerk, Can, Neu!, Cluster, Klaus Schulze und vielen anderen. Kuratiert und zusammengestellt von Compost-Künstler Fred und Luna. Die Collage auf dem Cover wurde - wie schon auf Vol. 1 und 2 - exklusiv von der fantastischen Künstlerin Norika Nienstedt aus der Kraut-Metropole Düsseldorf gestaltet.

Rainer Buchmüller aka Fred und Luna ist leider nach langer Krankheit im Januar 2024 verstorben. Er war ein herzensguter Mensch, begnadeter Künstler, Freund und Wegbegleiter. Wir trauern sehr um ihn. Rainer Buchmüller hatte uns ein paar Tage vor seinem Tod das Tracklisting für Vol. 3 (und auch schon Ideen für Vol. 4) geschickt, mit der Bitte, dies posthum zu veröffentlichen, es würde ihn sehr freuen, wenn seine Fans und alle die es noch werden, ein „Lebenszeichen“ von ihm erhalten. Gar nicht einfach oder im Grunde unmöglich, den Begriff „Kraut“ stilistisch zu beschreiben. Dennoch begeben sich Compost Records und Fred und Luna auf eine Zeitreise, um die unterschiedlichen Elemente deutscher elektronischer Musik der 1970er- und 1980er-Jahre und ihre Auswirkungen auf die neuere deutsche und weltweite Musikszene zu entdecken. Nach dem großen Erfolg von Volume 1 und 2 knüpft Vol.3 stilistisch an seinen Vorgänger an, und darüber hinaus – da dies eine der Grundideen der Reihe ist – das musikalische Spektrum Schritt für Schritt um neue krautige Elemente erweitert.

Mit ihrem Debütalbum „Pairing Mode“ (2023) schuf Ray Lozano gemeinsam mit ihrem Co-Produzenten Samon Kawamura ein Werk mit Signalwirkung für die deutsch-asiatische Popkultur. Lob gab es unter anderem von Jamz Supernova, WDR Cosmo und Spiegel Online. Die deutsch-philippinische Sängerin und Produzentin wurde seitdem nicht nur mit dem renommierten Holger-Czukay-Preis und dem NICA-Artist-Residency-Programm gewürdigt, sondern begeistere Fans mit Konzerten in ganz Deutschland. Nun erscheint „Pairing Mode“ auch auf Vinyl.

Als ein Zusammensetzung aus zwölf musikalischen Kurzgeschichten, befasst sich „Pairing Mode“ mit dem zentralen Thema „Aloneness“ – Das zelebrierte Alleinesein. Großteils in den Jahren 2020 und 2021 geschrieben, spiegelt es das neu gewonnene Tempo des Lebens während der Pandemie wider. Für die visuelle Umsetzung hat sich Ray Parissa Charghi ins Boot geholt, die neben dem Artwork für Album und Singles einen ästhetisch detailverliebten Kurzfilm zu den Songs von „Pairing Mode“ produziert hat.

In den 1970er Jahren wurde Romy Schneider durch ihre französischen Filme mit Regisseur Claude Sautet
ein internationaler Star. Besonders diese Meisterwerke bewegen und begeistern bis heute ihre Fans.
Die wunderbar sentimentale Musik zu den Filmen stammt vom berühmten Oscar-Gewinner Philippe Sarde.
Die Compilation „Romy Schneider, un portrait musical“ versammelt jetzt das erste Mal die Musik aus den
vier Filmklassikern „Die Dinge des Lebens“, „Das Mädchen und der Kommissar“, „César und Rosalie“ und
„Eine einfache Geschichte“. Ebenfalls zu hören ist Romy Schneider als Sängerin des „Chanson d’Hélène”
zusammen mit Michel Piccoli (französische und italienische Version) und “La Lettre de Rosalie”.

Endonomos is the brainchild of Austrian multi-instrumentalist, producer and session musician Lukas Haidinger, who was mostly known for playing extreme metal in bands such as Profanity, Nervecell, Distaste and many more, but as a longtime ‘doomer’, he finally brought his sinister yet melodic sound to tape. Of what started as a one man's urge to craft menacing yet epic death/doom ‘funeral’ metal, turned into a full group of dedicated musicians in 2021 with their debut-album “Endonomos” (2022) as a result. Along with some of his closest friends to accompany Haidinger on this adventure, namely Armin Schweiger (drums), Philipp Forster (guitars) and Christoph Steinlechner (guitars), Endonomos now releases the sophomore album “Enlightenment”, recorded, mixed and mastered by Haidinger in his DeepDeepPressure Studios. Fans of acts such as Ahab, Evoken, Mournful Congregation, Katatonia, My Dying Bride, Candlemass, Swallow The Sun and Paradise Lost should give ear, as Endonomos once again unleashes a fierce blend of sinister, epic, melodic and menacing doom/death ‘funeral’ metal; low and cavernous grunt-vocals are continually breached by captivating clean vocals, combined with thick riffs, highly melodic lead guitars and, from time to time, also fragile parts, with uncanny chord progressions.

Sometimes, in order to readjust yourself, you need to free yourself from what you know best and detox from your constantly connected life. In the case of Philipp Lorenz, it specifically came down to embracing the countless possibilities that buzz around the edges of today’s dance floors, sealing himself off from any new music, and leaving his familiar setting in Berlin in favor of making new experiences in Italy’s capital.

Lorenz is best known as one half of producer duo Feeling Valencia and the founding member of acclaimed club
outfit Gheist. Under the newfound Bi Disc moniker, he now reveals a musical spectrum that aims at nothing less
than offering the most authentic version of himself.

“Pieces, Falling“ marries the analog with the electronic, and hints at the numerous musical influences of the
renowned composer. Mixed by famed German producer Olaf Opal, the result is a beautiful, deeply personal, and triumphant album filled with cluttered collages made from strings, manic drumming, field recordings, vocals, and layered melodies. Where other producers try to effectively build their songs to something anthemic, Bi Discs debut delivers one elaborate, victorious climax instead, where nothing feels forced but deeply felt.

blauweiß marmoriertes Vinyl m. Download Code. "Transition" (der Übergang) fasst als Titel die Bedeutung des Albums für die Wuppertaler Shoegazer Casino Garden bestens zusammen. Bisheriger Live-Drummer Jonas Schoelen löst Gründungsmitglied Alex Alaimo Di Loro ab, David Burdina ergänzt Sänger Matthias Ballke an der zweiten Gitarre, zur Single "Pretend" wird das erste professionelle Musikvideo gedreht und Jo Philippi (Vandermeer) und die Schall und Wahn Studios sorgen für die erste professionelle Albumproduktion. Mit diesem Album verabschieden sich Casino Garden von ihrem DIY-Image und machen einen großen Schritt in Richtung Erwachsenwerden. Das Soundspektrum reicht auf "Transition" vom grungigen Shoegaze über wuchtigen Postrock bis hin zu lupenreinem Indierock.

* BCee returns to Spearhead Records with ‘These Are The Days’.
* These Are The Days see’s BCee collaborate with 13 different vocalists showcasing some of the finest and freshest the scene has to offer.
* Over the past 23 years, BCee has achieved over 100M streams, headlined the biggest clubs in the world such as Fabric, and through his label Spearhead Records has nurtured and presented a myriad of new talents to the world who’ve gone on to become some of the biggest names in this game: Hybrid Minds and Netsky to name a few. His music has garnered support from industry heavyweights like DJ Marky, Sub Focus, London Elektricity, Camo & Krooked, and Fred V.

A RADICAL HORIZON is comprised of a series of duets between cellist Lori Goldston and pianist Stefan Christoff, recorded on a late Fall afternoon in Brooklyn, NY. A conversation between friends, these improvised excursions reflect a willingness to be open to the spirits in the space and between the notes; a spirit of communion that, as Stefan writes, "guides and dances with our dialogue together".

Stefan Christoff is a Canadian musician, community organizer, and journalist based in Montreal, Quebec. He has collaborated with artists such as Sam Shalabi and Adriana Camacho, performs with his brother Jordan as a duo in Anarchist Mountains, and has released music on labels such as Moon Villain, Shimmering Moods, and Aural Canyon.

A lifelong community activist, he helped establish the Musicians For Palestine project and has engaged in street-level solidarity work in Lebanon and The Philippines as well as closer to home in Montreal. This is his second appearance on Beacon Sound after 'In Sofia', an album of piano improvisations recorded in Bulgaria, was released on the label in 2023.

Classically trained and rigorously de-trained, possessor of a restless, semi-feral spirit, Lori Goldston is a cellist, composer, improvisor, producer, writer and teacher from Seattle. Her voice as a cellist, amplified or acoustic, is full, textured, committed and original. A relentless inquirer, her work drifts freely across borders that separate genre, discipline, time and geography.

Current and former collaborators and/or bosses include Earth, Nirvana, Mirah, Jessika Kenney, Ilan Volkov, Eyvind Kang, Stuart Dempster, David Byrne, Terry Riley, Jherek Bischoff, Malcom Goldstein, Steve Von Till, Lonnie Holley, Cat Power, Ellen Fullman, Maya Dunietz, Mik Quantius, Embryo, O Paon, Tara Jane O’Neil, Natacha Atlas, Broken Water, Ed Pias, Christian Rizzo and Sophie Laly, Threnody Ensemble, Cynthia Hopkins, 33 Fainting Spells, Vanessa Renwick, Mark Mitchell, Lynn Shelton, and many more.

Her work has been commissioned by and/or performed at the Kennedy Center, Sydney Festival, Cineteca Nacional de México, Tectonics Festival, Frye Art Museum, Time Based Art Festival (TBA), WNYC, The New Foundation, Paris Fashion Week, Northwest Film Forum, On the Boards, Seattle International Film Festival, Seattle Jewish Film Festival, Bumbershoot, Crossing Border Festival, Boston’s Museum of Fine Arts, Joe’s Pub, the Stone, University of Chicago, and venues large and small throughout North America, Mexico, Australia, and Europe.

‘Ayo Ke Disco’ (meaning ‘Let’s go to the disco’ in Malay
and Indonesian) celebrates the musical identities
emerging from the newly independent countries in
South-East Asia during the 1970s and 80s.
Soundway general manager Alice Whittington, aka
Norsicaa (DJ), selects 10 deep cuts from local labels,
officially reissued on vinyl for the first time – forming a
snapshot of the vibrant discotheques and live scenes
across Indonesia, Singapore, Thailand, Malaysia, Hong
Kong and the Philippines.

The artists featured here were known for exploring
traditional sounds alongside funk, disco, city-pop and
even political psych-rock, genres that were indicative
of the exciting but often turbulent period. But despite
the post-war backdrop of instability there came
unprecedented levels of economic prosperity. With a
hopeful buzz filling the air, the music scene was helping
lead the way in reshaping the new identities of the
region.
OVERVIEW:
FOR FANS OF:
Sound of Siam compilations, Priscilla Chan, Lovin’ Mighty
Fire compilation, Tanamur City compilation

It's been nearly a decade since Montreal's PYPY (pronounced like 'π π'...with a long 'i' rather than long 'e', thank you very much) landed with their debut Pagan Day (Slovenly), but the same lunatics behind CPC Gangbangs, Red Mass and Duchess Says are back with Sacred Times on Goner Records. One might recall the thunderous pop of their banger "She's Gone" carving out a place for itself in the high-end fashion world, becoming the soundtrack to Yves Saint Laurent's 2016 show. If that album bounced, punched and clawed like Delta 5 covered in dirt and trying to get somewhere in a booted vehicle while dodging lightning rod guitar licks the whole way, Sacred Times takes things to somewhere far beyond the proverbial "next level."

Co-vocalist/founder/multi-instrumentalist Annie-Claude Deschênes' (Duchess Says) signature howl and vocal acrobatics are present but so is a tendency towards beautiful melodies. Bassist Philippe Clement's (Duchess Says) brings a nastier bottom end that locks onto Simon Besré's drumming with a death grip for the entire affair. And guitarist/co-vocalist Roy Vucino (Red Mass, CPC Gangbangs, Black Leather Rose, Les Sexareenos, a gazillion others) goes bonkers with wildass blown-out guitar that's like hornets caught in yr hair.

"Lonely Striped Sock" grooves along like "Earthbeat"-era Slits/ESG until the chorus transforms PYPY into something else entirely. Something huge. Something with monster riffs and wah wah that pins you to the back wall. So there is clearly a brilliance with dynamics here, and it proves to be a not-so-secret-weapon that repays the "ear-vestment" in dividends throughout. "Ear-vestment"? Yikes. Then it's time for "She's Back," a sort of part 2/continuation (maybe a trilogy is in the works?) of Pagan Day's best-known gem (the aforementioned "She's Gone"). This one packs a hook that'll make your brain take out a restraining order. Looking for lost keys? Jury duty? Underwater welding? Negotiating a hostage situation? It doesn't matter...nothing will stop it from invading your thoughts. They say the only way to get a song unstuck from the noodle is to listen to it from start to finish, but you'll be doing that anyway. A lot. "Erase" is a (synth) noise-punk nugget; revealing a need for Brainiac-meets-Blondie we didn't know we had...deceptively kicking off with a no-fi drum machine that is immediately lost in the massive pop din that seemingly includes everything within reach. "Poodle Escape" is two minutes of perfect (and perfectly distorted) synth-punk and "I Am A Simulation" – with lead vox from Vucino – is yet another hit that deviates from the noise a bit and pays homage to both Devo and classic late-70's (big) power-pop (ex: the first Cars LP), but with a manic nature that is 150% circa right now. "15 Sec" (actually 3:38 in duration, thankfully) serves up a stanky-brown bass line, Deschênes' gorgeous vocals, wonderfully combative white hot, pin-the-meters Oh Sees/early Comets on Fire guitar rips, and a stunning coda that seems to utilize everything great about this band over its final minute. The album's title track is a love letter to Hawkwind in the musical language already established here. "Vanishing Blinds" is like being chased through the rain-soaked streets in an unknown dystopian nightmare from 40+ years ago. The album closes with the brooding if not playful menace of "Poodle Escape,” which, like its predecessors, is completely unlike every track before it.

The Intercommunal Free Dance Music Orchestra was created in 1971 by French free jazz pianist legend, François Tusques. Free Jazz, was also the name of the 1965 recording Tusques made along with and other Michel Portal, François Jeanneau, Bernard Vitet, Beb Guérin and Charles Saudrais. Six years later, in 1971 Tusques would go ahead of free jazz.

Wondering if free jazz wasn’t a bit of a dead end together with Barney Wilen (Le Nouveau Jazz) or even solo (Piano Dazibao and Dazibao N°2), Tusques formed the Inter Communal Free Dance Music Orchestra, an association under the banner of which the different communities of the country would come together and compose, quite simply. If at first the structure was made up of professional musicians from the jazz scene it would rapidly seek out talent in the lively world of the MPF (Musique Populaire Française).French Popular Music, ndlt

As with L’Inter Communal a few years earlier, Le Musichien follows on from the group of varying musicians that Tusques had conceived as a “people’s jazz workshop”. In 1981, at the famous Paris address, 28 rue Dunois, the pianist sang with his partner Carlos Andreu “Le Musichien”, an Afro-Catalan tale over an exceptional bass line from Jean-Jacques Avenel backed by percussion from Kilikus, saxophones from Sylvain Kassap and Yebga Likoba and trombone from Ramadolf which presented a myriad of constellations. The sky has no limits, let’s make the most of it.

“Les Amis d’Afrique” is recorded the following year, at the ‘Tombées de la Nuit’ festival in Rennes, bassist Tanguy Le Doré would weave with Tusques the fabric on which would evolve an explosive “brotherhood of breath”: Bernard Vitet on trumpet, Danièle Dumas and Sylvain Kassap on saxophones, Jean-Louis Le Vallegant and Philippe Le Strat on... bombards. With hints of modal jazz inspired by Coltrane or Pharoah Sanders, the Intercommunal Free Dance Music Orchestra is an ecumenical project which speaks to the whole world.

Best of 1996-2019” , the very first Cassius Best Of.
Cassius , one of the seminal & most exciting French Touch pioneers.
20 track / 2LP Black gatefold sleeve with
Liner notes by Hubert ‘Boombass” Blanc-Francard about the story of Cassius and his beloved mate Philippe” Zdar”Cerboneschi who sadly passed away 5 years ago.
Covering all classics of all albums : from Cassius 1999 – I < 3 U So - Feeling For You – Toop Toop to Go Up & The Sound Of Violence & Don’t Let Me be.
Including some Boombass’sx favourites with some rarities.

As Freerange hits another landmark release with their 300th EP we see label head Jimpster join forces with Philippa who together deliver 3 original tracks which epitomise the labels’ sound over the past (almost) three decades.

With recent releases appearing on Slothboogie and Razor n Tape, remixes for Roach Motel on Faith, and James Curd and Robert Owens on Pronto, not to mention her recent Panorama Bar debut, it’s safe to say Philippa is making waves. The Berlin-based New Zealander has a sound all her own with an organic, deep and musical style winning her many fans from Terry Farley and Aroop Roy to DJ Spen and Dave Lee.

Lead track All I Wanted sees the duo pooling their influences with both producers sonic touches shining through. Chunky drums and bassline are the bedrock for pulsing synths and MON’s vocal which is chopped up and looped bringing a rolling momentum to the track.

Dreaming features the wonderful vocals of Care and goes on a floaty vibe with chiming synths and crusty Rhodes keys layering up to produce a densely textured track. The mood is powerful yet subtle and refined and will work as nicely on a chilled house playlist as it will on a discerning dance floor at 4am.

Closing out the EP we have Say What which goes on a jazzed out, UKG inspired excursion. Shuffling beats, bouncing square wave bassline and big brash synth chords all combine to form a track which sounds both retro and contemporary.

"Auto-Reverse" is a compilation of the greatest hits of Guillaume Fédou, a pioneer of French independent pop since 2003, the year of his first single "Garçon Moderne" released by Village Vert. Presented as a best-of and not an anthology, this project of 12 hand-picked tracks tells the sentimental and offbeat story of a "singer since 1974" who is both vintage and furiously contemporary.

Coming from collaborations with Arnaud Fleurent-Didier, Plaisir de France, Benjamin Diamond, Jérôme Plasseraud or les Soucis (his group composed of Victor le Masne, Pierre Leroux, Philippe Monthaye, Judah Warsky and Mattias Mimoun), these 12 songs are as many chapters of a melodic novel that defies the laws and especially the spirit of the times.

No need to rewind, Auto-Reverse does it for you.

Yannis Philippakis von Foals veröffentlicht sein erstes Solowerk, eine Kollaboration mit dem verstorbenen legendären Schlagzeuger Tony Allen. Yannis & The Yaw" präsentieren die EP 'Lagos Paris London', die nach den Orten benannt ist, an denen sie geschrieben und aufgenommen wurde und an denen sie beide gelebt haben. Das fünf Tracks umfassende Werk wird am 30. August auf Transgressive veröffentlicht.

Im Jahr 2016 bot sich Yannis die Chance seines Lebens: eine zweitägige Session mit dem großen Schlagzeuger Tony Allen, den er für seine einflussreiche, genreübergreifende Arbeit mit Künstlern wie Fela Kuti, Sébastien Tellier und Jeff Mills sehr bewundert.

Als Yannis sich in ein verrauchtes 70er-Jahre-Studio in Paris begab, erwartete er, dass sie eine nostalgische Afrobeat-Platte aufnehmen würden. Doch es kam etwas ganz anderes dabei heraus. Die beiden entwickelten schnell eine intuitive Telepathie, die Musik entstand aus Jams und Loops, und die verschiedenen Berührungspunkte - Rock, Funk, Jazz, Dub und mehr - wurden durch die einzigartige Atmosphäre des Aufeinandertreffens zweier Kulturen und kreativer Köpfe ergänzt, deren Ausdruck durch das Musizieren im und für den Moment selbst befreit wurde.

Zusammen mit Tonys regelmäßigen Mitstreitern Vincent Taeger (Schlagzeug), Vincent Turrell (Tasten, Marimba) und Ludovic Bruni (Bass, Gitarre) entstand bei diesem ersten Treffen eine Handvoll fast fertiger Songs, die in einigen nachfolgenden Sessions weiter entwickelt wurden. Aufgrund von Terminproblemen und Corona-Einschränkungen wurden die Aufnahmen jedoch nie abgeschlossen, bevor Tony im April 2020 im Alter von 79 Jahren verstarb.

Yannis fühlte sich zutiefst verpflichtet, das Projekt zu vollenden, nicht nur als bittersüße Art, seinen alten Freund zu ehren und zu feiern, sondern auch, weil Tony so begierig darauf gewesen war, diese Songs mit der Welt zu teilen. Das Ergebnis ist die kommende Fünf-Track-EP 'Lagos Paris London' unter dem Dach von Yannis & The Yaw - ein Projekt, zu dem er in Zukunft zurückkehren möchte, um weitere Kollaborationen mit inspirierenden Musikern aus der ganzen Welt einzugehen.

- Ltd. 12" EP

Kid Simius is back with his third full length album, this time via Bristol label Shall Not Fade.
JOSE LP is 10 tracks of high-quality dance music, delving deep on all things jazz, house & disco, showing with Kid Simius is one of the most innovating producers in the current dance music scene.

2024 Repress
Founded by Blue Hour and Philippa Pacho, positivesource is a sub-label of Blue Hour Music. The series brings together various electronic music artists with a focus on progressive attitudes in dance music while paying homage to our roots in early club culture.

Young Marble Giants' "Colossal Youth" has mystified and beguiled audiences since its 1980 release. Seen by primary songwriter Stuart Moxham as "a last gasp" at making a record, Stuart insisted the one-off 7" deal offered by Rough Trade be altered to allow an entire album . . . that paid off when with a big seller which produces cover versions even from bands whose members were a decade or two away from being born on the album's release. When YMG disbanded, Stuart was at a loss; he'd never envisioned a follow-up. A series of experimental recordings made with pal Phil Legg (Essential Logic) and supported by other YMG members, musicians from This Heat and Swell Maps, old Cardiffian pals, and new friends like Vivien Goldman resulted in an album, "Embrace The Herd", as The Gist. Released just before Rough Trade made bold moves toward pop charts with Scritti Politti, The Smiths and others, the album was odd for its time, but has since taken on the lustre of genius. Years of silence followed, thereafter intermittently broken by the odd release from small labels. Stuart delved into family life, though he never stopped writing and recording. In more recent years, two retrospective compilation of lost recordings by The Gist have been released, as well as a superb collaboration with French arranger Louis Philippe, "The Devil Laughs". "Fabstract" is the final gathering of Stuart's lost recordings. Compiling long-lost YMG-era tracks with the recent brilliance of "Crow, Crow" and "Suburban Monochrome", through bits of whimsy and vastly alternate versions of fan faves, this diverse album shouldn't work . . . but it does, telling a satisfying story of an underrated talent whose mistake was following his muse, not the charts. This album precedes a new recording, years in the making, produced by Dave Trumfio, which promises to be Stuart's most complete - and original - work since "Colossal Youth". Tracks:

2024 Repress

Great classic and timeless tune of the 80s and French Boogie scene, « Histoire d’1 Soir (Bye bye les galères) » is an ode to party, liberty, youth and freedom, interpreted by Bibi Flash aka Brigitte Gasté, an atypical singer from the French Boogie.

With its light lyrics and mythical chorus, its euphoria and irresistible disco-rap vibe, this track produced by Philippe Renaux (Holly Guns, Clever, Pianola…) released in 1983 is a sincere photography of its time, during which these children of the « summer of love » and May 68 criss-crossed Paris in search of endless nights, pleasure and freedom.

A prized and rare record which is nowadays repressed by Barbecue imprint in 2021, in its 12’’ version, with the original, the Disco Mix, instrumental and the A Cappella, and is accompanied by a new modern and festive edit by French house producer Blutch.

As a bonus, an insert with exclusive texts and photos by Bibi Flash and Philippe Renaux, in a fun and flash universe full of bright colors, revealing the spirit of these good old times.