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Toronto Vs Boston: Lace up those skates, The PATCHOULI BROTHERS face off against GMGN on the hockey rink of destiny, who's edit will burn hotter and melt the ice, transforming this frozen dance floor into a disco roller rink for the ages? The disco brothers from Canada kick things off with "BURNIN'", dark and sexy, with textural percussion, sultry vocals, and a straight ahead piano focused groove. After a short flight to Boston, GMGN comes in on the B-side with the instant classic "A LITTLE BIT". Cutting up 70s funk over a solid disco base and diva vocals that will have you proclaiming "All you need is a little bit of Soul!"

Kira Linn - baritone saxophone
Nino Wenger - alto saxophone, flute, alto flute
Christopher Kunz - tenor saxophone, soprano saxophone
Lukas Keller - electric bass
Johannes Koch - drums
Lukas Großmann - synthesizer, piano, Rhodes

ALBUM CREDITS

Fattoria Musica, Osnabrück, Germany (November 10th, 11th 2021)
Mixed by Patrik Zosso
Mastered by Patrik Zosso
Produced by Francesca Gaza
Executive Producer - Michael Janisch
Photography - Karl F. Degenhardt (Band Photo), Marina Rosa Weigl (Kira Linn)
Graphic Design by Maria Jarzyna

Kira Linn - baritone saxophone
Nino Wenger - alto saxophone, flute, alto flute
Christopher Kunz - tenor saxophone, soprano saxophone
Lukas Keller - electric bass
Johannes Koch - drums
Lukas Großmann - synthesizer, piano, Rhodes

ALBUM CREDITS

Fattoria Musica, Osnabrück, Germany (November 10th, 11th 2021)
Mixed by Patrik Zosso
Mastered by Patrik Zosso
Produced by Francesca Gaza
Executive Producer - Michael Janisch
Photography - Karl F. Degenhardt (Band Photo), Marina Rosa Weigl (Kira Linn)
Graphic Design by Maria Jarzyna

Long-time house music producer, DJ and journalist Anthony Teasdale is back with a new four-track EP for London’s Pamela Records.

The lead track is ‘Tango de la Boca’, an uplifting house tune with an unforgettable piano line and a groovy disco beat. Named after the barrio of La Boca in Buenos Aires, the tango feel is supplemented with layers of percussion, electric guitar stabs and moody strings. So far, it’s been played in clubs and on the radio by DJs like Rocky, David Holmes and Richard Sen.

“I think this is the most uplifting record I’ve ever made,” says Anthony. “Hearing those piano lines come in on a club system is a massive buzz.”

Second up is ‘A Pavement in Palma’ – a chilled jazz-house track. Inspired by lazy afternoons in Majorca’s capital, its swinging beat is joined by electric piano chords, live bongos and a bassline you can’t help but move to.

On Side B, we set sail on the good ship disco for ‘Deep in the Forest Something Stared’. Opening with bucolic bird noises – referencing the title – the track adds ’80s-style bass, glockenspiel melodies and soothing strings. It ends with a haunting piano motif that’s well worth the wait.

Finally, we return to 2023 with ‘It’s 5am Somewhere’, which blends old-school Roland 909 drum beats with minor chord synth stabs and rumbling piano melodies – plus an atmospheric breakdown guaranteed to excite any dancefloor.

Anthony says: “The EP reflects the music I’m listening to at the moment – which goes from classic techno to uptempo disco-house (and lots of synth pop!). The fusion of beautiful, often brittle, melodies with percussive house beats sets these records apart. And they sound as good on a dancefloor as they do in headphones when you’re relaxing at home.”

Since 2014, Silas Schletterer has been part of the Bordello A Parigi family. Under his Machinegewehr guise, the Rotterdam artist released three show-stopping synth centred records.

2023 sees him put out his fourth, Life. Burbling arpeggios, a signature of his sound, are present for “Sans.” Clever inviting melodies, another feature of Schletterer’s style, mix beautifully with clean percussion and samples for a definite dancefloor favourite. The title work follows. Measured and meditative, “Life” employs a familiar sound palette with very different outcomes. The pulsations, the throb, of Machinegewehr is there, but there is a considered melancholy that brins a bittersweet balance to the piece. Steady kicks and vocal snippets introduce “Pills.” Shifting melodies, piano stabs, driving rhythms and spoken word come together to create a heady brew of sheer pleasure. Vocals are central in the closer. “Neurons” narrates a fantastical story of subdued sci-fi sorrows and wistful yearning, all to a silken synth-pop soundtrack.

A welcome return from a multifaceted musician.

2023 Repress!

A stunning follow-up to his late 2018 release. Mostly recorded live at the Apollo Hotel Amsterdam in 1991. This is a compilation of the ''Apollo Hotel CD box'', that Ronald made himself, for family and friends.. BIG tip!

Some words from the label:

From 1986 until 1992, Ronald had a residency in the lounge of Amsterdam’s Apollo Hotel. He would play there 5 days a week, for 5 hours a day. In 1991, throughout several sessions, he recorded himself on a cassette recorder. The recordings were ranging from re-interpreted cover versions to multiple own compositions.

The Apollo was particularly known for its sophisticated and elegant crowd. Guests would come to meet in the lounge to talk business, or end the day with a drink at the bar - dancing was never an option.

Listening to the album, one must wonder how some of this music would go hand in hand with a place like that. It seems Ronald gets lost in music and returns in unequally balanced patterns. Lounge sounds meet drum computer rhythms, punchy baselines, distorted space noises, reoccurring clarinet interludes and improvised piano solos.

Back then, just as now, Ronald never liked to be the center of attention. He simply tried to interact with the surrounding as a provider of the mood - as he explains himself.

Instruments
Live: Grand Piano, Yamaha QX1 Sequencer, 2x Yamaha TX7 Tone Generator, Drumtraks Sequential Circuits, Clarinet, Voice
Added at home: Yamaha DX7 Sounds, Roland R-8
Space Train: Kurzweil Piano, Yamaha DX7, Roland R-8, Soprano Sax, Voice

Recorded live at the Apollo Hotel Amsterdam in 1991, except 'Space train', which was recorded in Ronald’s living room.

All instruments played and arranged by Ronald Langestraat.
All tracks written an composed by Ronald Langestraat, except 'Lowdown' which was written by David Paich & Boz Scaggs, 'Give and take' which was written by Michael Shrieve, Tom Coster & Carlos Santana and 'Orpheus' which was written by David Sylvian.

2023 VINYL REPRESS.

IN HER OWN WORDS...

Ruins was made in Aljezur, Portugal in 2011 on a residency set up by Galeria Zé dos Bois. I recorded everything there except the last song, which I did at mother's house in 2004. Iʼm still surprised by what I wound up with.

It was the first time Iʼd sat still for a few years; processed a lot of political anger and
emotional garbage. Recorded pretty simply, with a portable 4-track ,Sony stereo mic and an upright piano. When I wasnʼt recording songs I was hiking several miles to the beach. The path wound through the ruins of several old estates and a small village.

The album is a document. A nod to that daily walk. Failed structures. Living in the remains of love. I left the songs the way they came (microwave beep from when power went out after a storm); I hope that the album bears some resemblance to the place that I was in.

First time repressed since 1982, Akin Nathan was a seasoned session saxophonist who featured on several albums but was chiefly known for his tenure with Sonny Okosuns' Ozziddi during the group's most productive period in the 70s & 80s.

Nathan's Ijama 1982 solo outing Sweet Country, includes drummer Geoffrey Omadehbo, guitarist Brother Didi Lead, bass guitarist Yakubu Daniel, keyboard player Johnny Woode, trumpet Big John Oaikhena & piano Brother Francky Ntoh Song.

Featured cuts are K'ale San Wa, Congratulation & Free Namibia.

Played by dearly beloved luminaries such as Tone Nimble, Ge-ology, Sadar Bahar & Charlie Dark.

For Fans of Horror, Halloween, and Haunted Attractions! Shadow’s Symphony creator Grant Smoker has loved everything to do with Halloween since he was a kid and always wanted to be able to contribute or be a part of Halloween in some way. Hearing music at Haunted Attractions inspired him to start writing and recording. He writes this instrumental music with haunted attractions, films, and gaming in mind. Since 2014 Shadow's Symphony has been played in haunts around the world. Each album that he writes has a different theme, which means different instrumentation as well as style that pertain to the theme of the album. There's a bit of everything from melancholy piano to full blown dark orchestral strings and creepy ambient synth over the course of an album. For this release, The House in the Mist was written using unpolished instruments and synthesizers to match the "look and feel" of old silent films. It was his first album written in 2011 and is still a popular choice for haunted attractions. This is a fist in a multi part series from Shadow’s Symphony

Feldman's last composition, Piano, Violin, Viola, Cello, was completed in 1987; although its instrumentation largely corresponds to that of Piano and String Quartet, with one instead of two violins, it differs in almost every other respect from the composition written only two years earlier, for here, in contrast to Piano and String Quartet, Feldman makes every effort to integrate the piano into the string section, and the basic formal components of the composition are no longer staves, as they were in Piano and String Quartet, but individual bars... ...From a compositional point of view, the essential change that transfers the "monolithic block" of late orchestral works such as Coptic Light and For Samuel Beckett to chamber music instrumentation is that the material, already largely homogeneous, is rearranged not in whole systems but in small-part permutations, so that the systems and pages no longer represent periods or sections, and a continuous musical progression emerges with a much reduced internal structure compared to previous works.

from liner notes by Sebastian Claren
dissonArt Ensemble is Lenio Liatsou, Piano Theodor Patsalidis, Violin Chara Seira, Viola Vassills Saitis, Violoncello

Repress!

Four Units is a kind of Japanese jazz “all star”. Recorded in Tokyo on April 1969, it was released the same year on Union records.
On the first two long songs that open this album, “Four Units” and “Dull Slumber”, we can feel the influence of the “avant-garde” scene of US jazz (and in particular ESP Disk), without however the music sounding too “free”. A whole new vibe on the astonishing cover of “Scarborough Fair”, in a modal style, where the shadow of McCoy Tyner seems to hang over the piano.
The next two tracks, “Rainbow Trout” and “Black Bass”, are still pretty much along the same line, sometimes oscillating towards “hard bop”, the album ending in a blaze of glory with a solo by Masahiko Togashi. While this album had a second pressing in Japan in the 70s, this is the first time it has been reissued with its gatefold cover. Musicians : Tenor Sax, Flute - Akira Miyazawa Piano - Masahiko Sato Drums - Masahiko Togashi Bass - Yasuo Arakawa Recorded in Tokyo, April 2 and 25th 1969

In the early 1990s, a team of linguists, engineers, anthropologists, and archaeologists were tasked with constructing a type of communication that could transcend time. How might we converse with future civilizations when language may evolve or dissolve entirely? The result yielded the design of spike fields; a strange construction of granite thorns bursting from the earth to alert its viewers to the deadly uninhabitability of nuclear waste disposal sites. For Maria BC (they/them), this state of temporal focus molds the wanderings on their second full length album Spike Field. How do we connect with the weathered shadow of our experience, while envisioning the self a few steps ahead of us? While their debut album Hyaline (2022, Father/Daughter) explored grief and anxiety through a series of character-led accounts, Spike Field recognizes that the past will continue to lurk below the surface until we decide to break through the soil. Spike Field was recorded in the home of a family friend. The home featured an out-of-tune baby Steinway piano, complete with squeaky hammers and strange, sporadic sounds. The piano is sprinkled throughout the album, and features extensively on opener "Amber," showcasing Maria BC's looser, more extensive arrangements. The song flickers with electronic wonder, like a wave seeking out its station, before crashing into the angelic choral introduction of "Watcher". Strings, plucked guitar and buzzing swells accompany their classically-trained mezzo-soprano voice on "Return to Sender," a song that focuses on the frustrations and turmoil of being unable to reach a loved one--both physically and emotionally. Spike Field reminds us that despite our best efforts to bury certain aspects of ourselves, they will always lurk beneath the surface. Instead of ignoring the seeds striving to break through, we can point to these places with a curious grace, concocting a language that transcends words to converse with our previous selves. Maria BC pieces together juxtaposing sonic landscapes and oscillating vocals to represent the thread of miscommunication, or the failure of words, that weaves throughout the album, transforming it into a distinct and ever-evolving sonic tongue. If we listen, we might find something new within ourselves.

Nach dem internationalen Erfolg von "Planet" und "Letter" veröffentlicht der französische Star-Pianist Sofiane Pamart am 20. Oktober 2023 sein neues Album "Noche". Während „Planet“ eine Reise um die Welt abbildete und "Letter" ein Liebesbrief an sein Publikum war, entführt er uns auf seinem dritten Album, das komplett in Südamarika entstanden ist, in die Untiefen der Nacht. Sofiane Pamart gehört 2023 zu den zehn meist1gestreamten Künstlern klassischer Musik weltweit und verkaufte als erster Pianist überhaupt die legendäre Accor Arena Bercy aus (20 000 Zuschauer).

Für sein Album "Night After Night" hat Komponisten-Star James Newton Howard acht neue konzertante Suiten auf Basis der bekanntesten Melodien seiner poetischen Soundtracks aus seinen Filmen mit Regie-Star M. Night Shyamalan geschrieben. Ein All-Star-Ensemble klassischer Solist*Innen hat die so entstandenen neuen Stücke des mit dem Grammy ausgezeichneten Komponisten in den berühmten Londoner Air Studios aufgenommen: Pianist Jean-Yves Thibaudet, Geigerin Hilary Hahn, Cellistin Maya Beiser sowie ein Session-Orchester und der Chor "The New Voice" unter der Leitung von Gavin Greenaway. Zur Gestaltung seiner neuen Suiten hat James Newton Howard zentrale Motive und Themen aus seiner Filmmusik zu "The Sixth Sense" (1999), "Unbreakable" (2000), "Signs" (2002), "The Village" (2004), "Lady in the Water" (2006), "The Happening" (2008), "The Last Airbender" (2010) und "After Earth" (2013) verarbeitet. Das Klavier steht dabei immer im Mittelpunkt. Pianist Jean-Yves Thibaudet ist auf allen Stücken zu hören. Hilary Hahn spielt die Solo-Violine, wie bereits auf dem Originalsoundtrack von 2004, in der Suite zu "The Village". Auch Maya Beiser hat das Cello bereits in der Filmmusik von "The Happening" gespielt und tut dies nun ebenfalls in der gleichnamigen Suite. "Night After Night" feiert die einzigartige Zusammenarbeit zwischen dem berühmten Filmregisseur M. Night Shyamalan und dem Emmy- und Grammy-prämierten sowie neunfach Oscar-nominierten Komponisten James Newton Howard. Eine kreative Partnerschaft, die vor einem Vierteljahrhundert während der Produktion von "The Sixth Sense" begann. M. Night Shyamalan erinnert sich, wie er schon bei der ersten Begegnung das große "Potenzial und die Begeisterung", die aus ihrer Kollaboration erwuchs, spürte. In James Newton Howard fand der Ausnahme-Regisseur einen vertrauensvollen Partner, um die passende musikalische Sprache für seine übernatürlichen Thriller zu entwickeln. "Es gab keinen festen Plan", erinnert sich M. Night Shyamalan, "im Rückblick ist seine Fähigkeit, verschiedene Genres zu verbinden, das Wichtigste. Das interessiert mich. Es gibt den Aspekt des Thrills und des Schreckens in meinen Filmen, aber genauso wichtig ist die Emotionalität. Ein Komponist muss musikalisch sehr vielseitig sein, um all diese Facetten ausdrücken zu können, und einer der wenigen Komponisten, die das können, ist James.""Night ist ein unglaublich positiver Mensch", erklärt James Newton Howard, "er hat mich immer unterstützt, wenn ich verunsichert war oder an meiner Arbeit zweifelte. Das bedeutet mir sehr viel." "Das ist keine Fassade", erwidert M. Night Shyamalan, "es kommt wirklich aus meinem Glauben an dich."

The lush psych-pop sound of Copenhagen's Halasan Bazar returns with their ambitious third album, "Burns". After numerous shows, recording sessions, a powerful collaboration LP and tours, "Burns" finds the band even more seasoned and impressive, giving the record a breezy naturalism from these gurus of their psychedelic craft.

Recorded in the French mountains, armed with a magical unending bag of weed, Halasan Bazar laid down these tunes mostly live - all vocals, acoustic guitars, drums and piano. This immediacy emphasizes their blissed out sonics, buoyant melodies and kaleidoscopic composition, each moment purposefully placed creating their rich sonic tapestry. Inspired by the greats of Greenwich Village's '60s folk, the lavish production of Lee Hazlewood, vocal harmonies of yesteryear and hallucinogenic day tripping. Some surf-y guitar vibes and plenty of driving piano jams too.

Tunes like "Freak" wave that Halasan flag proudly atop infectious guitar melodies and layered vocal harmonies creating a sing-a-long anthem for the misfits and the weirdos out there. "Get Sick and Die" incorporates swelling strings for an unexpectedly dreamy passage alongside sophisticated rock 'n' roll. One of many highlights, "Burns My Mind" has a driving, catchy groove and the entire band firing on all cylinders crafting a bombastic party atmosphere.

A beautiful and vivid album from an unapologetic band of freaks and dreamers, Halasan Bazar effortlessly leave their mark with "Burns".

Steve Rosborough, Moon Glyph Records

A Tonic For The Troops have, after extensive touring, established themselves as a tight collective with high octane performances providing enjoyable and accessible jazz. After several ‘top of the year’ lists for their debut album Ambush, ATFTT are joining forces again for their second album! The ingredients still consist of straight ahead post-bop with a modern and contemporary sound, but ‘Realm of Opportunities’ also opens up a more lyrical and emotional approach. Ellen Brekken has established herself as one of the most versatile bass players in Norway today. In A Tonic For The Troops we can see her evolution as a composer as well, with a firm grasp of melody and development, demonstrated in cinematic and suite-like tunes.The band utilises the strengths of some of the most energetic performers on the Norwegian jazz scene today, leading successful bands in their own right. Espen Berg (piano), Magnus Bakken (sax) and Magnus Sefaniassen Eide (drums) all bring great solo contributions too, but the band´s real secret weapons are both their playful interaction and also their openness to using a melting-pot of musical ideas. A Tonic For The Troops demonstrate once again with 'Realm of Opportunities' that their energy and motivation are at their peak, showcasing a life-affirming band in top shape!
Ellen Brekken (double bass) Magnus Bakken (tenor saxophone) Espen Berg (piano) Magnus Sefaniassen Eide (drums)

Short Attention has more than grabbed ours with its first two EPs and this third one keeps up that good early form. It's a heavy-hitting mix of pivotal house talents starting off with prolific Windy City player Boo Williams.

The big man's 'Transformation' is a smooth and chord-laced house roller that has a more reflective vibe than his usual party-starting offerings.

Atlanta don Kai Alce's 'Love Exists' is a heartfelt house romance then the long-time partnership of Owen Jay & Melchior Sultana douse us in star-gazing chords on 'Soul Expression' that leave you feeling refreshed. Hector Ram's 'Morning Sun Vibes' then uplifts with beautifully gentle piano chords.

Classy French deep house label D3 Elements (D3, pronounced day-trois, is French for Detroit, which is a big inspiration on its sound) returns with more of that lush and timeless backroom tackle, this time from Neuronphase.

'Outside' is a dusty jam with atmospheric vocal samples and sustained chords, 'Information Society' has a more playful piano lead and ramshackle drums and 'Shadows' then brings some acid madness. 'Soru' comes as a skipping, percussion-laden original and as a hi-tek soul remix with cosmic leads from Hugo LX rework. Plenty to love here, as always from this label.

Als Support der Dropkick Murphys Tour im Frühjahr 2023 brachte Jesse Ahern tausende Fans dazu, seine bis dahin unveröffentlichten eingängigen Refrains lauthals mitzusingen. Hinter dem US-Folk-Musiker ein riesiges Banner mit den Worten 'ROOTS ROCK REBEL', dem Namen seines neuen Albums, das von Ted Hutt (Dropkick Murphys, Gaslight Anthem) produziert wurde, und am 15. September über Dummy Luck erscheinen wird.

For Volker Bertelmann, aka HAUSCHKA, music is not solely about its sound, but also a means to facilitate the exchange of ideas and foster meaningful interactions between individuals, revealing his fascination with human connection and engagement. Despite being known for his distinctive prepared piano sound, the Academy Award-winning composer intentionally named his 15th solo studio album PHILANTHROPY to express his compassion and openness. The album's song titles, such as "Diversity," "Nature," "Loved Ones," and "Altruism," perfectly align with their respective musical compositions. HAUSCHKA's albums often serve as a platform to provoke dialogue on specific themes, and PHILANTHROPY follows this pattern, aiming to offer optimism and energy in response to the challenges of recent years. The album combines upbeat and pensive pieces, featuring moments of joy, introspection, and peaceful interludes. Overall, PHILANTHROPY showcases HAUSCHKA's compositional prowess and serves as a gift that sparks reflection and celebration.