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With his Electric Blues All-Stars, Kai Strauss has made a name for himself all over Europe with dynamic, driving live shows and award-winning CDs, featuring an individual style that’s based on the urban blues tradition, but taking in big chunks of soulful and funky grooves. And this band knows how to rock the house!
For “Wailin’ In Vienna”, Kai has realized his long-standing plan to record an old-school blues album, going back to his roots and beyond. And the results are nothing short of spectacular, with 15 self-composed songs that cover lot of traditional ground: swinging R&B, 50’s Chicago blues, instrumental shuffles, even some bluesy jazz, a minor-key cha-cha and a tribute to Bill Doggett and his guitarist Billy Butler.
Although the shadows of T-Bone, the three Kings and others loom large over the proceedings, Kai Strauss never fails being his own man. Of course it helps when you can realize such a project with a team comprising some of the best players in this style: Dani Gugolz and Peter Müller have been a steadily swinging rhythm team for 35 years. Pianists Dave Ruosch and Andreas Sobczyk combine tasteful chordal work with cascading treble runs. Sax Gordon has been a first-call R&B horn man for decades. Gerry Lülik’s is one of Austria’s foremost bluesharp players. Pianist Christian Dozzler, who came up in Vienna but has long made his home in Texas, can be heard with the likes of Anson Funderburgh when not doing his own thing. Finally, the two guitar greats heard alongside Kai hardly need much introduction: Rusty Zinn and Alex Schultz have been among the top tier of traditional blues string-benders since the 1990’s. Here, they are mostly heard in a supporting role for their friend and colleague, but ready to step out in style when called upon.

Knox Chandler’s career has spanned for over four decades, including performing, recording, arranging and producing, with such acts as REM, Depeche Mode, Grace Jones, Marianne Faithful, Natalie Merchant, Tricky, The Creatures, Dave Gahan Paper Monsters and The Golden Palominos etc. His long stints as a member of The Psychedelic Furs, Siouxsie and the Banshees and Cyndi Lauper’s band; has given Knox the experience of a worldwide recording and touring musician. For the past ten years Knox was residing in Berlin Germany, deepening his exploration of sonic soundscapes (Sound Ribbons), and applying it to different genres and mediums.

Bobby Previte is a drummer, composer and bandleader whose work explores the nexus between notated and improvised music. One of the seminal figures of the 1980s New York ‘Downtown’ scene, Previte has received multiple awards for music composition including the 2015 Greenfield Prize for Music and a 2012 Guggenheim Fellowship. His original compositions have been recorded and released on Sony, Elektra, Rykodisc, New World, Cantaloupe and Rarenoise. Leading a plethora of diverse ensembles from the drums, he has collaborated with an array of leading lights in and beyond the music world, including master composer John Adams, pianist Terry Adams of NRBQ, pantheon filmmaker Robert Altman, fellow Doom Jazzer Jamie Saft (recording released by Subsound), country music star Jessi Colter, blues great Johnny Copeland, composer and visionary Lukas Foss, computer music pioneer Lejaren Hiller, seven-string guitar wizard Charlie Hunter, re-discovered genius Julius Eastman, Rock author and ambassador Lenny Kaye, Lounge Lizards leader John Lurie, jazz/noise shredder Sonny Sharrock, folk hero Victoria Williams, maestro Michael Tilson-Thomas, the legendary Tom Waits, and, most recently, rock icon Iggy Pop.

Knox Chandler’s career has spanned for over four decades, including performing, recording, arranging and producing, with such acts as REM, Depeche Mode, Grace Jones, Marianne Faithful, Natalie Merchant, Tricky, The Creatures, Dave Gahan Paper Monsters and The Golden Palominos etc. His long stints as a member of The Psychedelic Furs, Siouxsie and the Banshees and Cyndi Lauper’s band; has given Knox the experience of a worldwide recording and touring musician. For the past ten years Knox was residing in Berlin Germany, deepening his exploration of sonic soundscapes (Sound Ribbons), and applying it to different genres and mediums.

Bobby Previte is a drummer, composer and bandleader whose work explores the nexus between notated and improvised music. One of the seminal figures of the 1980s New York ‘Downtown’ scene, Previte has received multiple awards for music composition including the 2015 Greenfield Prize for Music and a 2012 Guggenheim Fellowship. His original compositions have been recorded and released on Sony, Elektra, Rykodisc, New World, Cantaloupe and Rarenoise. Leading a plethora of diverse ensembles from the drums, he has collaborated with an array of leading lights in and beyond the music world, including master composer John Adams, pianist Terry Adams of NRBQ, pantheon filmmaker Robert Altman, fellow Doom Jazzer Jamie Saft (recording released by Subsound), country music star Jessi Colter, blues great Johnny Copeland, composer and visionary Lukas Foss, computer music pioneer Lejaren Hiller, seven-string guitar wizard Charlie Hunter, re-discovered genius Julius Eastman, Rock author and ambassador Lenny Kaye, Lounge Lizards leader John Lurie, jazz/noise shredder Sonny Sharrock, folk hero Victoria Williams, maestro Michael Tilson-Thomas, the legendary Tom Waits, and, most recently, rock icon Iggy Pop.

Víkingurs Debütalbum „Philipp Glass: Piano Works“, das vor 7 Jahren bei Deutsche Grammophon erschien, war der Grundstein zu seiner bemerkenswerten Weltkarriere und markiert einen vielversprechenden
Start seiner Zusammenarbeit mit dem Label. Anlässlich des 80. Geburtstages des Komponisten Philip
Glass präsentierte Ólafsson eine Auswahl seiner Solo Piano Etüden. „Musik ist ein Ort, der so real ist wie
jeder andere Ort, an dem du schon einmal gewesen bist”, hat Philip Glass einmal gesagt. Mit seiner Musik
gelingt es ihm, Raum und Zeit zu überwinden und neue Dimensionen erfahrbar zu machen. Kaum jemand
hätte dies intensiver umsetzen können als Víkingur Ólafsson, der feinsinnige isländische Ausnahmekünstler.
Zur Feier seinererfolgreichen Karriere ist nun erstmalig eine 180g Vinyl Crystal Clear Edition seines Debü-
talbums „Philipp Glass: Piano Works” in allen Stores erhältlich

Kaum eine deutsche Band hat es seit ihrer Gründung vor gut 30 Jahren geschafft, einen so einzigartigen musikalischen Kosmos zu erschaffen wie die deutsche Band Bohren & der Club Of Gore aus Mühlheim. Mit ihren düsteren Instrumentalstücken konnten sich Bohren in den letzten Jahren eine beinharte Fangemeinde erspielen, und namhafte Musiker wie Mike Patton (Faith No More), Ry-X, John Grant, Soap&Skin und Thor Harris (Swans) sind den zeitlosen Songs von Bohren längst verfallen.

Das wunderbar betitelte "Bohren For Beginners" versammelt alle Highlights des Bohren-Katalogs in teilweise neu abgemischten Versionen sowie einen neuen Song, so dass die vorliegende Werkschau als Einstiegsdroge sowohl für Newcomer als auch für eingefleischte Fans interessant ist. Da ein großer Teil des Bohren-Backkatalogs schon seit Jahren gelöscht ist, werden hier musikalische Schätze gehoben, die nichts von ihrer Qualität verloren haben und auch in 20 Jahren noch für Gänsehaut sorgen werden.

Bisher gab es das Album nur digital und als CD, am 10.02.2023 erscheint das Album jetzt auch als 3LP in einem schicken Tri-Gatefold.

Folgeformat der transparent-roten Erstauflage (39226201) auf schwarzem Vinyl.

Today, the Toronto-born-and-raised singer, songwriter, producer, and multi-instrumentalist Charlotte Day Wilson announces her highly-anticipated sophomore album Cyan Blue out May 3rd via Stone Woman Music / XL Recordings

Along with the announcement of her new album comes the release of first single, "I Don"t Love You", a stark and devastatingly beautiful confessional, highlighting Wilson"s immaculate production skills and chill inducing vocals laid atop smooth groove piano chords and soft drums. The track also arrives with a visual directed by Dani Aphrodite featuring layered low fi footage of the artist and producer performing at home, living every day life and having moments of solitude in her car, a theme that comes up throughout the album. Cyan Blue finds Wilson crafting a smoothly woven cyan tapestry of her eternal influences; thumping gospel piano, warm soul basslines, atmospheric electronics, and penetrating R&B melodies. Yet, it possesses a sense of vastness that rings in a new era for Wilson, one in which she"s embracing collaboration and newfound creative openness tinged with wistfulness and yearning and a reflection on youthful innocence. "I want to look through the unjaded eyes of my younger self again," Wilson explains of making Cyan Blue. "Before there wasn"t as much baggage, before so much life was lived. But I also wish that my younger self could see where I am now. It would be nice to be able to impart some of the wisdom and clarity that I have now onto her.

" Working with producers like Leon Thomas (SZA, Ariana Grande, Post Malone), and Jack Rochon (HE.R, Daniel Caesar), Cyan Blue demonstrates Wilson´s sonic expertise while also showcasing the next evolution of her time-bending songwriting. Through 13 hypnotizing tracks, she continues to use music as a vessel for unpacking relationships, which in turn allows her to meet and understand herself in life-spanning, panoramic focus.

But, on Cyan Blue, she challenged herself to kick her perfectionist tendencies. "Before, I was extremely intentional about creating music with a strong foundation, a bed of artistic integrity," Wilson reflects. "But that was a bit stifling, like, "Let me just make a great piece of art that will stand the test of time, no pressure." Now, I think I"m getting out of this frozen state of needing everything to be perfect. I"m more interested in capturing feelings in the moment as they happen and leaving them in that moment."

While this is only her second album, Wilson"s influence in music has made a major mainstream impact. Wilson broke out in 2016 with her critically acclaimed EP, CDW, followed by 2018"s Stone Woman and made her debut studio album an official coming out moment in 2021 with the critically acclaimed, self-released Alpha.

Over the past decade, she´s been sampled by Drake, John Mayer, and James Blake, while Patti Smith has recently praised and covered Wilson´s 2016 breakout single "Work." Additionally, she´s collaborated with artists like Kaytranada, BADBADNOTGOOD, and SG Lewis, demonstrating that there´s no sound Wilson can´t adapt to and sprinkle her cyan-colored magic over.

An introspective dive into an ethereal atmosphere, "Glimpses of anEternal Bloom" is the debut album of Turkish producer, composer and pianist Berk Icli. The album is an attempt to frame certain moments of "being" no matter the emotional state concerned, whether euphoric, sentimental or dark and contemplative. At times, this is done through orchestrations of strings, brass and woodwinds. Other times with solo piano, field recordings, electronics and the use of samples.

WRWTFWW Records is delighted to announce the first official worldwide reissue of Satsuki Shibano’s Wave Notation 3: Erik Satie 1984, the final album from the sound-defining Wave Notation environmental music series curated by Satoshi Ashikawa. Originally released in 1984 on the Sound Process label, Wave Notation 3 followed Ashikawa’s own Still Way (1982) and Hiroshi Yoshimura's Music For Nine Postcards (1982).

The highly sought-after album, sourced from the original master tape, is available as a double LP (housed in a luxurious heavyweight sleeve) for the first time ever. Digipack CD and digital formats are also available. This exclusive reissue, including English and Japanese liner notes by the artist, was supervised by Japanese ambient legend Yoshio Ojima.

Wave Notation 3 is a splendid tribute to seminal French composer and pianist Erik Satie, himself one of the main influences behind kankyo ongaku / environmental music (alongside Brian Eno, John Cage to name a few). The alphabetically-sequenced album features 26 pieces showcasing Shibano's unique piano interpretation of Satie’s works.

The artist explains: « For this album, I sequenced the compositions in alphabetical order of each title, irrespective of the period of each composition or style. By doing this, I attempted to effectively create ‘Music as an environment’ and at the same time, allow the listener to genuinely experience Satie’s music. »

Satsuko Shibano’s minimalistic approach to ambient classical is simply perfect and offers a beautiful and tranquil listening experience, furniture music with extra comfort and soothing simplicity, relaxing to the mind and to the soul. This Wave Notation deserves a spot among the pillars of Japanese environmental music, next to Midori Takada’s Through The Looking Glass, Hiroshi Yoshimura’s Green, and Satoshi Ashikawa’s Still Way.

Born in Australia and moving to the UK in her early 30s, Peggy O’Keefe became the resident pianist at the Chevalier Casino in Glasgow in 1962. Initially the residency was for six months, which then turned into six years. It was at this point she recorded her 'Mood Chevalier' LP in 1966, a collection of the band’s favourites but the gold is found in her version of 'Cubano Chant', made famous by Art Blakey and then played across jazz dances ever since.

Peggy’s playing was admired by Cleo Laine and Oscar Peterson, and once had a brief, impromptu duet with Frank Sinatra, Peggy and her band showed their true talent with these two versions of jazz favourites.

Hiding in the shadows for nearly 60 years, Now PANORAMA unearth this gem in their trademark 7 inch format, from a Glaswegian restaurant to a dancefloor near you.

PANORAMA Records is an emerging new label based in London, dedicated to rediscovering and showcasing musical gems with a fresh approach. With early support from notable DJs such as Gilles Peterson, Patrick Forge, Rainer Trueby, Mr Bongo DJs and Zag Erlat from My Analog Journal. Their unique take on Jazz and Funk from the further afield has shown they will become trailblazers in the reissue game for a long time.

Art Blakey, whose career spanned nearly 50 years of Black music history, exemplifies the timeless role of the drums in jazz. This Album of the Year LP, originally released in 1981, features the Jazz Messengers: trumpeter Wynton Marsalis, saxophonists Robert Watson and Bill Pierce, pianist James Williams, and bassist Charles Fambrough, alongside drummer and bandleader Art Blakey.

The album was recorded in Paris, and tracks include “Cheryl” (written by Charlie Parker), “Soulful Mister Timmons,” and “Little Man,” among others. The accompanying liner notes were written by Ted Panken.

Andrew Hill’s 1968 album Grass Roots stands as one of the most immediately accessible albums in the pianist’s beguiling Blue Note discography. Featuring Lee Morgan, Booker Ervin, Ron Carter, and Freddie Waits, this set of five Hill originals is imbued with a deep sense of feeling, groove, and lyricism. This stereo Tone Poet Vinyl Edition was produced by Joe Harley, mastered by Kevin Gray from the original analog master tapes, pressed on 180g vinyl at RTI, and packaged in a deluxe gatefold tip-on jacket.

'OK Crooner' the debut LP from French drummer and percussionist Vincent Taeger under his own name (after previous album under his alter ego Tiger Tigre) and his debut on vocals - mixes avant pop with jazz-fink and AOR.

Taeger, who has worked with Air, Damon Albarn, Justice, Lenny Kravitz, Skepta, Tony Allen, Oumou Sangare, Jeff Mills, Archie Shepp and Sampa the Great, during COVID started frantically listening to French vocalists such as Alain Souchon, Alain Chamfort, Richard Gotainer, and Christophe. Inspired by his elders, while not renouncing his attachment to the meticulous arrangements reminiscent of Alain Goraguer's soundtracks, he picked up a pen to jot down snippets of songs to accompany his increasingly sophisticated compositions. Coming from rap, he has a knack for punchlines. Throughout the album, he alternates between risque humour, Gaulish wit, and poetry.

While Vincent Taeger is the chief fireworks maker, playing most of the instruments, some of his longtime collaborators come to support him on a few tracks, forming the Jazz Kamasutra: Ludovic Bruni (bass), Sylvain Daniel (bass), Arnaud Roulin (piano, synth), Fred Soulard (synth), Maud Chabanis (vocals), Bettina Kee (vocals), Mathias Allamane (double bass), Emile Sornin (ondioline), and Remi Sciuto (saxophones). Vincent Taurelle, mixed the abum. Recently, he has worked on albums by Justice, Seun Kuti, Raphael, and Clara Luciani.

Roger & Brian Eno have revolutionized many concepts of music production and performance, from Brian Eno's groundbreaking treatment of pop music to younger brother Roger Eno's Erik Satie-esque ambient synth/piano recordings. These qualities resonate on this release. Each brings their unerring sense of place and mood to the album. The timbre in each track deepens and opens up with each listen. Concrete yet abstract tracks guide the listener through the collection, which was created over several years in a unique collaboration between the two artists.

Die aus Bristol (UK) kommenden IDLES haben heute ihr kommendes fünftes Album 'TANGK' angekündigt. 'TANGK', der 11-Track-Nachfolger ihres Grammy-nominierten Albums CRAWLER, wurde von Nigel Godrich (Radiohead, The Smile, Beck), Mark Bowen und Kenny Beats (Denzel Curry, Vince Staples, Benee) und der Band selbst co-produziert. 'TANGK' - ausgesprochen "Tank" mit einem Hauch von "g" und einer lautmalerischen Anspielung auf den peitschenden Gitarrensound, den sich die Band als eine Art Siegel für das Leben in der Liebe vorstellte - ist das bisher ehrgeizigste und eindrucksvollste Album der Band.

IDLES sind eine der stärksten Rockbands des letzten Jahrzehnts. Godrich, Beats und Bowen waren auch für die IDLES ein hervorragendes Tandem, das sie in neues Terrain vorstieß und dann die Zügel anzog, wenn es nötig war. 'TANGK' ist gleichzeitig ausladend und konzentriert, einfallsreich und unmittelbar. Über das Album sagt Sänger Joe Talbot: "TANGK. Ich brauchte Liebe. Also habe ich es gemacht. Ich habe der Welt Liebe gegeben und es fühlt sich wie Magie an. Dies ist unser Album der Dankbarkeit und der Kraft. Alles Liebeslieder. Alles ist Liebe."

Wo IDLES einst darauf aus waren, die Welt zu verarschen, den ewig Gestrigen die Stirn zu bieten und persönliche Traumata in Echtzeit zu exorzieren, sind sie in diesem neuen Akt angekommen, um die Früchte solcher Beharrlichkeit anzubieten: Liebe, Freude und tatsächlich Dankbarkeit für die bloße Möglichkeit der Existenz. Diese Musik gedeiht nicht trotz unserer Probleme, sondern wegen ihnen. Wenn wir uns nicht um uns selbst und um die anderen kümmern, so scheint 'TANGK' in einem gewaltigen Hook nach dem anderen auszurufen, wer dann?

While she was waiting for her last album 'Pripyat' to be released, Catalan composer and producer Marina Herlop was restless. She was concerned about her (by then) uncertain music career, and felt emotionally unmoored. "Some days I used to sit on the balcony of my flat to catch some sun," she explains, "I would close my eyes and start visualizing myself as a gardener, pulling out purple weeds from the soil, every bad memory or emotion I wanted to expulse being one of the plants." As the days dragged on, the fantasy deepened, and Herlop discovered that parts of the garden was withering; the energy she had been putting into the non-musical side of her life had seeped into her creative pasture and poisoned it. She knew what she needed to do to overcome the blight: plant some seeds and tend to her art to help it blossom and bloom once again. 'Nekkuja' is a place for Herlop's warmest, sweetest sentiments to rise to the surface and crack through the topsoil. She describes the record as a way for her to seek and affirm inner light, and it's undoubtedly her brightest, poppiest statement to date. The forward-thinking, experimental touches that nourished 'Pripyat' are still present, but blessed with a level of positivity that's rare to find in a scene so entranced by darkness and melancholy. Skittering fragments of ornate acoustic instrumentation provide a serene welcome to 'Busa', punctuated by precise electronic processes that shuttle the sound towards abstraction and fantasy. Herlop's voice grows over the tangle of sounds from a childish giggle into a layered, matted mantra, sounding passionate, hopeful and full of energy. The vitality spills over into 'Cosset', where she wraps powerful motifs around ricocheting beats and dramatic piano rolls. Herlop's garden opens up dramatically on 'Karada' when bucolic field recordings crack like sunlight over harp plucks and willowy vocals. Her voice seems to bend around the whooshing streams and chittering of birds as if she's singing to the manicured land itself - a utopian paradise that Herlop employs as a metaphor for the creative process. In contrast to the view that an artist is an isolated genius or an idol to be worshipped, Herlop believes that the garden helps us see the process as closer to devotion or perseverance. A gardener brings order to the wild chaos of the outdoors, collaborating with nature to arrange something vibrant and enduring. Blending familiar sounds with fanciful concepts, Herlop traces an imaginary garden, imploring us to wander and wonder. And by the album's billowing final track 'Babel', it's flowered into a flush of pruned vocal phrases and delicately groomed orchestral rushes, painted in orange, green, blue and red.

Repress!

Voodoos and Taboos first appeared in 2019. A mysterious outfit, their melting pot sound immediately caught the ears of the faithful; acid cut with house, electro beats shot through with a punk D.I.Y. attitude. Their escapades didn’t miss us here at Bordello.

Reversible Dreams collects four examples of this chameleon club style that Voodoos and Taboos have cultivated, the EP opening with the title piece. Cascading chords and whispered samples give way to rich bass strings as a playful piano melody transforms into squirming acid beams.

Claps and neat notes introduce “Unconditional Love”, vocoder lyrics mingling with spoken word and juddering space TB303 squawk. The flip adopts a darker hue. Off-kilter bars and stern beats introduce “Animae”, alien electro melodies descend as a fizzing late night energy takes hold. BPMs drop for “Destino Lontano.”

Warm basslines and Eastern scented synth-play weave their way through the piece, delicate strings and dawn sunshine leading to a close.

Mary Coughlan, oft beschrieben als die grösste Sängerin, die Irland je hervorgebracht hat, feiert ihr 40-jähriges Jubiläum mit einem neuen Album. Coughlan verbindet whiskyverhangene, rauchig-heisere Töne mit dem lakonischen Witz von Billie Holiday und Peggy Lee, und den deepen, düster-schmutzigen Blues von Bessie Smith mit Edith Piafs sarkastischem Trotz und bittersüsser Verzweiflung. All das mit ihrem köstlich-kompromisslos-irischen Akzent: skeptisch, reumütig, traurig, schmelzend und glühend nach Liebe. "Repeat Rewind" ist ein gelungenes, gefühlvolles Album, ehrlich, offen und introspektiv, scharfsinnig und doch humorvoll. U.a. mit einem exzellenten Cover des Beach Boys-Klassikers "God Only Knows".

Visioni Fuggitive” is an unconventional project by Alien Alien and Foresta, influenced by Sergei Prokofiev’s “Visions fugitives, Op. 22.” The composition reimagines Prokofiev’s piano miniatures using electroacoustic music, combining various elements like piano fragments, electronic sounds, and field recordings. The result is a 45-minute immersive and emotive piece that beautifully evolves and shifts throughout. Alien Alien and Foresta successfully draw inspiration from classical music history, bringing Prokofiev’s work into a new age and context.

A collection of Haruomi Hosono's commercial works from '82 to '85. The collection features a variety of types of music, including elegant piano, oriental tones, and tango-infused pieces.