Поиск:poly

Following a trio of quick sell out, limited lathe cut 45 to kick off 2025, Feral Child now embark on a stash of more widely available full lengths (from the likes of Lake Ruth, The Jonny Halifax Invocation and Polypores amongst others). First up is a wonderful follow up to 2023’s “Refrains” 10” EP from Swedish band TAPE. “Refrains” figured in 2 or 3 notable UK stores’ end of year polls, noticeably Monorail in Glasgow where Stephen Pastel gave it a top 3 for 2023 nomination. “Preludes” is -if anything- even more majestic and acts as a superb follow up. The record is released 11th April on Feral Child as one time pressing 10” vinyl only release, featuring beautiful artwork once more from Peter Liversidge and the calligraphic hand of Klas Augustsson. The return of Swedish trio Tape has been reassuringly slow motion. They’ve always moved at their own pace, these three peripatetic musicians – brothers Andreas and Johan Berthling, and companion Tomas Hallonsten – though it’s been over a decade since their last full-length, 2014’s Casino. Not a disappearing act, rather a break for consideration, time to explore other avenues of creativity, perhaps… But their reappearance, with the Refrains 10”, was one of 2023’s most encouraging moments; doubly so, as it was proof they’d not lost their way, at all, in the intervening nine years. The Tape modus operandi is one of deceptive simplicity and artful innocence. On Preludes, a typically right, one-word Tape title, this means five wordless songs that move between fully fleshed out, lovingly tended folk threnodies – the beautiful opener, “Lights Out”, that spins webs via simple, hypnotically repeating guitar – and textural conceits that hover, appealingly, in a kind of no-place. “Naukluft Plateau” is lovingly dappled, with ruminative piano adrift on a cascading tonal waterfall. Then, feather-fall strums of guitar meet huffing harmonium and electronic scrum on the brief “Golden Gain”. Is there a more perfect song title for Tape than “Tangential Thoughts”? It sums up the way their music, nimble and dainty but also carefully tended, lends itself to the reverie, the meander, the anfractuous. The madeleine-like power of this song’s two-chord figure allows the music to take flight: rustling organ, oscillating cymbal, droplets of percussion, a spinney of sound. And Preludes slips away “On The Accordeon Bus”: there’s something lovely about the way that title collapses transit, articulation and bellows, reflected in the see-sawing sway and glitch-like rivulets of sound that course through the song. So, Preludes, then – alive to the moment, both gentle and sturdy. A copse of tone, and a most gorgeous wool-gathering.

Following his previous appearance on Kevin Saunderson’s KMS Records 11 years ago, Tomio Ueda returns with "nonbot EP" and the debut of his own vinyl imprint, bounce connection records.

Each of the four tracks question the boundary between human error and machine precision blending hypnotic basslines, pads reminiscent of 90's Detroit techno, hardgroove-style percussion, and plenty of mind-bending surprises.

Early support from Dax J, Richie Hawtin, Kangding Ray, A Thousand Details, Answer Code Request, Slam, Takaaki Itoh, Perc, Online Narcotics, and HAMY

Hand-stamped black vinyl in white jacket and polyline

Limited pressing of 100 available

Das verträumte Debütalbum der neuen texanischen Welle des amerikanischen Krautrocks. Aufgenommen 1996, bewegt sich "The Fun Of Watching Fireworks" zwischen zwischen Lo-Fi und Living Stereo. Mit hypnotischen Chemtrails, Ampex 456 Polyfaserstaub und subtropisches Ozon, während die Farfisa aufgewärmt wird. Remastered von den Originalbändern, als Erinnerung daran, wie das Leben in den früheren Zeiten gewesen ist. Unbefugte sind willkommen.

Farbiges "Too Tired Too Shine" VInyl. Das verträumte Debütalbum der neuen texanischen Welle des amerikanischen Krautrocks. Aufgenommen 1996, bewegt sich "The Fun Of Watching Fireworks" zwischen zwischen Lo-Fi und Living Stereo. Mit hypnotischen Chemtrails, Ampex 456 Polyfaserstaub und subtropisches Ozon, während die Farfisa aufgewärmt wird. Remastered von den Originalbändern, als Erinnerung daran, wie das Leben in den früheren Zeiten gewesen ist. Unbefugte sind willkommen.

Vinylpostcard

Buenoventura is the alter ego of the Viennese musician Bernhard Hammer (Elektro Guzzi, Monochord, Maraskino), with whom he implements his musical ideas as a solo artist.
The fictional character Buenoventura is an ex-sailor* born in the Bahamas, punk, raver and music lover who performs in a colorful one-man show. As Buenoventura, Bernhard Hammer can switch between genres with ease and intuitively let his ideas run free.
Bernhard Hammer has found a companion in Buenoventura with whom he can break through stylistic conventions and redefine genre boundaries for himself.
Saft is a foretaste of Buenoventura´s debut album Gelb. He chose the electric guitar as the central means of expression and used it to combine abstract sound patterns, hypnotic guitar melodies, with repetitive (poly)rhythms. The music is organic, minimalist and ritualistic.

One of the UK’s most exciting breakout stars of the past decade, Rebecca Lucy Taylor AKA Self Esteem emerged from cult favourite status to mainstream hero following the huge success of her empowering, truth-telling 2021 single ‘I Do This All The Time’. The song resonated intensely as a perfect example of Taylor’s affectionately termed ‘trojan horse’ or ‘salad and chips’ approach, fearlessly packing important, emotive messages into witty, resonant pop music.

Self Esteem’s wildly acclaimed second album Prioritise Pleasure quickly followed, tackling the hypocrisies and joys found in her experiences of modern day womanhood across dating, friendship, comparison culture, self love, women’s safety and sexual assault and much more. Prioritise Pleasure received Mercury Prize, BRIT Award, Sky Arts and NME Award nominations, was crowned The Guardian and Sunday Times Culture’s Album of the Year, and ‘I Do This All The Time’ was also named The Guardian’s #1 song of 2021.

Quite the opposite of an overnight success, Taylor spent a decade as one half of indie duo Slow Club before adopting the pop star persona she’d always dreamed of. She released her first Self Esteem album Compliments Please in 2019, featuring fan favourite singles ‘The Best’, ‘Girl Crush’ and more.

Gathering a passionate and vast legion of fans ever since, Taylor has appeared on The Graham Norton Show, Celebrity Gogglebox, Friday Night Live & Taskmaster, performed three times on Jools Holland including the NYE Hootenanny, graced the covers of magazines from Grazia to NME to Sunday Times Style, and is one of a handful of artists to have been playlisted across BBC Radio 1, 2 and 6 Music simultaneously.

Having reached new heights of acclaim, Taylor continued to grow, diversify, and create in 2024. Branching out into the world of acting, Taylor starred in a regular role in the Sky series SMOTHERED before completing a run playing Sally Bowles in the multiple Olivier Award-winning production of 'Cabaret at the Kit Kat Club' in London's West End. Starring alongside Jake Shears (Scissor Sisters) as Emcee, the pair’s time on stage was extended due to popular demand and showcased the sheer range of talent in Taylor’s repertoire. Last year’s releases ‘Big Man’ and ‘Love Second Music First’ followed a collaboration with Becky Hill on her song ‘True Colours’.

d4vd’s debut album, WITHERED, is one of the most hotly anticipated albums of the year. It completes the story laid out in his 2023 EPs, Petals to Thorns and The Lost Petals, as he continues to articulate a relationship’s ricocheting emotions: the coruscating highs and bleak lows, all set to music that’s intimate, hook-heavy, and refreshingly direct. Created primarily on Bandlab, WITHERED brought d4vd back to the place his music journey began: his sister’s closet, alone with his iPhone. To finish the record, d4vd journeyed to London with a trusted crew of collaborators to create a cohesive, intimate record that’s meant to be listened to sequentially — the songs consumed like chapters — that spotlights his evolution as a deft and dynamic vocalist.

Coco Jones is redefining herself through her music and Why Not More? stands for everything Coco believes in; being more authentically herself, and encouraging others to do the same. Both the it- girl you want to be, and the best friend you hope to have. With vocals that inspire nostalgia while the themes and creativity speak to the modern woman, this album is a celebration of owning everything you are. In the words of Coco “you get me, and I get you.” Why Not More? Do more, be more, say more The R&B songstress’s album debut Candid, personable, and more real than ever A genre reset . Coco Jones has captivated the world with her timeless artistry, sensual voice and emotive songs to become R&B’s breakout artist

One of the UK’s most exciting breakout stars of the past decade, Rebecca Lucy Taylor AKA Self Esteem emerged from cult favourite status to mainstream hero following the huge success of her empowering, truth-telling 2021 single ‘I Do This All The Time’. The song resonated intensely as a perfect example of Taylor’s affectionately termed ‘trojan horse’ or ‘salad and chips’ approach, fearlessly packing important, emotive messages into witty, resonant pop music.

Self Esteem’s wildly acclaimed second album Prioritise Pleasure quickly followed, tackling the hypocrisies and joys found in her experiences of modern day womanhood across dating, friendship, comparison culture, self love, women’s safety and sexual assault and much more. Prioritise Pleasure received Mercury Prize, BRIT Award, Sky Arts and NME Award nominations, was crowned The Guardian and Sunday Times Culture’s Album of the Year, and ‘I Do This All The Time’ was also named The Guardian’s #1 song of 2021.

Quite the opposite of an overnight success, Taylor spent a decade as one half of indie duo Slow Club before adopting the pop star persona she’d always dreamed of. She released her first Self Esteem album Compliments Please in 2019, featuring fan favourite singles ‘The Best’, ‘Girl Crush’ and more.

Gathering a passionate and vast legion of fans ever since, Taylor has appeared on The Graham Norton Show, Celebrity Gogglebox, Friday Night Live & Taskmaster, performed three times on Jools Holland including the NYE Hootenanny, graced the covers of magazines from Grazia to NME to Sunday Times Style, and is one of a handful of artists to have been playlisted across BBC Radio 1, 2 and 6 Music simultaneously.

Having reached new heights of acclaim, Taylor continued to grow, diversify, and create in 2024. Branching out into the world of acting, Taylor starred in a regular role in the Sky series SMOTHERED before completing a run playing Sally Bowles in the multiple Olivier Award-winning production of 'Cabaret at the Kit Kat Club' in London's West End. Starring alongside Jake Shears (Scissor Sisters) as Emcee, the pair’s time on stage was extended due to popular demand and showcased the sheer range of talent in Taylor’s repertoire. Last year’s releases ‘Big Man’ and ‘Love Second Music First’ followed a collaboration with Becky Hill on her song ‘True Colours’.

First ever vinyl edition of the acclaimed British
Jazz artist’s debut album.
In January 2020 Downbeat Magazine named Yazz
as one of 25 artists set to shape the future of jazz
over the next decade.
Recipient of the highly prestigious Ivor Novello
Award for Innovation.
Jazz FM ‘Jazz Act of the Year’ 2020
Jazz FM ‘Jazz Album of the Year’ 2020, for her
2019 album, ‘Polyhymnia’.
Has won accolades from The Wire (Jazz Album
Of The Year), Bandcamp (Best albums of 2017,
Best Jazz Album), The Vinyl Factory, Stereogum,
The Guardian, All About Jazz, and many more
publications.
Yazz Ahmed receives regular airplay on Soho
Radio, Deutschlandfunk, Openlab, BBC Radio
2, BBC Radio 3, FBI Radio, FIP, Radio Raheem,
KCRW, Rai Radio 3, Radio 1 (BE), NTS, Worldwide
FM, and many more.
‘The Birth Of The Fool’ amongst Yazz Ahmed’s
most streamed tracks.
‘Conciliation’ features on the soundtrack of Steve
Buscemi’s 2022 film, ‘The Listener

Released in late 2012, Odes was the fourth studio album from The Flowers of Hell. It is a covers record and the first release from the group to feature vocals and verse-chorus-verse song structures. Never available on vinyl until now. Greg Jarvis, front man of The Flowers of Hell, has created something very special; the artwork features a die cut outer sleeve, revealing the printed inner sleeve and when removed, revealing more artwork on the inside of the 300gsm outer sleeve. The music has been remastered for LP by Odes co-producer Peter Moore.Pressed in a red 180g heavyweight vinyl, the whole package is stickered and poly bagged, a real show stopper!

In den letzten 24 Jahren war Tunde Adebimpe vor allem als Mitbegründer, Co-Sänger und Hauptkomponist von TV On The Radio bekannt. Die mehrheitlich schwarze Art-Rock-Band überstand zwei Jahrzehnte des unbeständigen kulturellen Wandels und wurde zu einer der beliebtesten, beständigsten und einflussreichsten Gruppen der New Yorker Rockszene der frühen 2000er Jahre. Obwohl Tundes poetisches Songwriting und seine überragende Stimme im Mittelpunkt von TV On The Radio stehen, wird die Band immer eine Zusammenarbeit zwischen einer Gruppe von Musikern sein. Tundes persönliche Geschichte verläuft parallel dazu, er ist eine Art kreativer Polymath. Er ist Musiker, aber auch Illustrator und Maler. Er ist ein ehemaliger Animator und Stop-Motion-Filmemacher (Celebrity Deathmatch). Er ist ein Fernseh- und Filmschauspieler, mit Rollen in Jump Tomorrow (2001), Rachel Getting Married (2008), Spider-Man: Homecoming (2017), Twisters (2024) und Star Wars: Skeleton Crew (2024). Und jetzt ist er auch ein Solokünstler, mit seinem allerersten Soloalbum, "Thee Black Boltz". Das Album wurde von Tunde Abebimpe & Wilder Zoby produziert, mit Zoby als ausführender Produzent, mit zusätzlicher Produktion und Beiträgen von Jaleel Bunton & Jahphet Landis (von TV On The Radio) und anderen. Tunde hatte die Idee zu diesem Album im Jahr 2019, als TV On The Radio eine Pause einlegten. Zwei Jahre später, als sich die Welt von der Covid-Pandemie erholte, begann er ein Notizbuch mit Worten, Illustrationen und Ideen zu erstellen, das er als "Mixtape der Emotionen, die die Musik hervorrufen könnte. Eine Art Gefühlskarte" bezeichnet. Auf diese Weise beginnt Tunde die meisten seiner Projekte, und 2021 begann er, diese Ideen mit Hilfe des Multiinstrumentalisten Wilder Zoby (Run The Jewels), mit dem er sich in Los Angeles ein Studio teilt, in Musik umzusetzen. "Thee Black Boltz" ist kein TV On The Radio-Album. Aber die Aufregung, etwas alleine zu machen, entfachte in Tunde einen ähnlichen Funken wie in den frühen TV On The Radio-Tagen. Der Songwriting-Prozess ist derselbe, aber ohne seine TVOTR-Bandkollegen hatte Tunde "nicht dieses Gerüst, an dem er sich festhalten konnte. Das war sowohl beängstigend als auch aufregend". Das Herzstück des Albums ist sein Titel, eine Anspielung auf Tundes Neigung, über den Zustand des Menschen zu schreiben und zu singen, in all seinen Formen, unter all seinen großen und kleinen Stressfaktoren. Es ist seine Antwort auf das makroökonomische Unbehagen einer Welt nach der Pandemie, die sich auf einen gewalttätigen Autoritarismus zubewegt, und auf die persönliche Trauer, die durch den Verlust der letzten Jahre entstanden ist, insbesondere durch den plötzlichen Tod seiner jüngeren Schwester während der Aufnahmen zu diesem Album. "Thee Black Boltz" ist Tunde's verzweifeltes Festhalten an kleinen Momenten der Freude inmitten der Dissonanz und Traurigkeit, auf jede erdenkliche Weise. "Es war meine Art, mir einen Felsen oder eine Plattform inmitten dieses verdammten Ozeans zu bauen." Tunde schreibt in sein Notizbuch: "Die Funken der Inspiration/Motivation/Hoffnung, die inmitten von (und manchmal als Ergebnis von) tiefem Kummer, Depression oder Verzweiflung aufblitzen. Wie Elektronen, die sich in Gewitterwolken ansammeln und zusammenstoßen, bis sie einen Blitz abfeuern und einen Ausweg erhellen, wenn auch nur für eine Sekunde." Er fügt hinzu: "Außerdem ist es ein guter Name für eine coole Metal-Band, und ich denke, dass die meisten Leute mich als eine sehr coole Metal-Band bezeichnen würden."

Tornamented Walls is the first result of a collaboration that began in 2022. The album is a freeze-frame of emergence: personal preparations prior and minor aside, the album was live and improvised. Rosa Anschütz sings, speaks, plays harmonium, and utilizes a looper as an instrument in itself. Her symbolic prose is at the heart of the music, emotionally direct yet haunted by a translucent potential of meaning. In lockstep with the voice, Tennota dissolve the dense rhythmic complexity of their recent work into a creeping mantra, the material interrogated until the patina of the sound is the music itself.

Tornamented Walls floats on top of a wave of slow-motion techno influences, a deepened ambient and experimental perspective, and a feel of subtle and subdued lyricism not strictly limited to its vocal parts. It is a record of darkly ambient and abstracted techno pop, listening music to be played loud. More disenchanted than dark, it is confrontational through its fearless incorporation of a widely varying set of different states of mind.

Tennota are Tom Wheatley & Grundik Kasyansky. Since 2019, they have been reimagining the relationship between physical and digital worlds through music, using gut strings, sine waves, tree sap, and feedback, and flexing them over contemporary technologies into an elemental suspension. Not futuristic, but rather an alternative present.

Rosa Anschütz is an artist and musician whose sound-based practice is framed by sculpture, installation, and scenography. Her meditative and sometimes haunting compositions combine the dark ambiance of post-punk and cold wave with ethereal polyphony, synth-driven melodies, and spoken word.

Теnnota & Rosa Anschütz will be touring in April, stopping over in Eupen on April 18th for a concert night at the Galerie vorn und oben. Further on the bill that night will be Tristwch Y Fenywod.

Beatrice M's amusingly entitled Bait label has in fact become exactly that - very desirable to those who know. Its latest is a four tracker that serves as a taster of a forthcoming digital album by Trois-Quarts Taxi System. Behind the moniker is Eloi Petillon, a versatile producer, DJ and live act who has a knack for blurring genre lines. On this one, they mix up elements of dubstep, techno and d&b into soundscapes that are cerebral, hypnotic and psychedelic. Each one is made from futuristic sound design, field recordings and intricate polyrhythms: 'Metamorphism' warped, linear, deft and brilliant deep techno. 'Coma' is more busy, 'Fraction' has wispy synths and a sparse soundscape and 'Spectre' is a fizzy, skeletal sound that tickles the brain.

The new live album from Enemy, marking their fourth release, captures a decade of fearless exploration and deep musicalconnection between pianist Kit Downes, bassist Petter Eldh, and drummer James Maddren. Reuniting with Edition Records after three albums that spanned Edition, ECM, and We Jazz, this album was recorded over a two-day residency at Bird’s Eye in Basel.

It’s an ambitious retrospective and forward-looking statement, covering pieces from each record while presenting new material that reflects how Enemy’s sound has evolved—balancing intensity with a striking, refined subtlety. Known for their masterful use of poly rhythms, Enemy’s live performance pushes their collective improvisation to new heights, with the trio freely transitioning between themes and compositions without a set list. Signature tracks like “Faster than Light” showcase an evolving interplay, where intensity meets lightness and bursts of colour emerge from unexpected places.

This album also nods to the spirit of 90s studio jazz, with layered tunes and a playful yet sophisticated approach that challenges the boundaries of thepiano trio.

Kit Downes’ remarkable profile growth has only enriched the trio’s dynamic, bringing an ever-expanding lyricism to Enemy’s sound. Petter Eldh and James Maddren, both with deep ties to Edition through Eldh’s Project Drums and Maddren’s many Edition collaborations, add their own layers of innovation and depth to this release.

Together, they create an electrifying conversation thatis both intricate and instinctive—this is Enemy at their most potent, capturing a decade of artistic synergy and setting the stage for the next chapter.