Rome’s very own Electro-Psych outfit, Big Mountain County, is set to release their third LP ‘Deep Drives’ on November 29th via Sister 9 Recordings. After unveiling their latest EP, ‘Klaus’, at the New Colossus Festival in New York and SXSW in Austin, the band took a year-long studio break, honing and redefining a distinctive sound that bridges primitive Garage Rock and Neopsychedelia with Electroclash, Kraut and Disco. Stay tuned for updates as we’ll reveal more details and the release date in the coming weeks. Big Mountain County was formed in Rome in 2013 after four southern boys, two from the slopes of Mount Etna and two from the Adriatic Coast, came together. They instantly bonded over their mutual love for The Stooges, MC5, The Velvet Underground, and Joe Spencer, leading to the release of a 7-inch record brimming with raw Garage Rock & Roll. This debut propelled them into an exciting tour across Eastern Europe, hitting countries such as Hungary, Serbia, Croatia, and Bosnia-Herzegovina. They soon moved beyond Garage Rock to immerse themselves in the European Neopsychedelic resurgence and spent the following years carving out a reputation in the vibrant continental live scene. They dropped two LPs—Breaking Sound (Gas Vintage Records, 2015) and Somewhere Else (Porto Records, 2020)—along with two live albums. After relentlessly touring across Europe and the UK and opening the Italian tour for the U.S. band Cloud Nothings in 2019, they finally hit the US in 2023, gracing six different venues at SXSW and sharing stages with Osees and Os Mutantes. By the time they returned to Italy, they had secured summer opening slots for the likes of Brian Jonestown Massacre and La Femme. That year’s EP ‘Klaus’ marked a bold new chapter, showcasing a thrilling shift, diving into a more dance-driven and electronic sound. Featuring collaborations with electronic psych producer and LEVITATION DJ in residence Al Lover, along with the distinguished Roman producer Hugo Sanchez, the making of ‘Klaus’ provided the band with a revitalizing spark, steering them into a new musical direction
Composer and performer Stina Stjern have for over 25 years been a steady presence in the Norwegian music scene – starting out as a vocalist in the rock band Supervixen while studying jazz in Trondheim, Stjern’s road has been anything but predictable, and has over the years shown a will to experiment and explore new areas in her music making. Her new album ”Vivid Peace Restored” is perhaps her most radical musical statement yet, as the entire album is made using cassette tape. The sound sources vary from found sounds, various instruments and Stjern’s own voice, but there is no hierarchy, the different elements are given equal importance, and through considerate looping, layering, cut-ups, re-arranging the bits and pieces it forms a rich tapestry of sound. This blurring is intentional, Stjern wants us to get lost in her sound world, a place where nothing is forced or overstated. Tape hiss, subtle melody lines, distant location recordings, gentle waves of noise, and voices melt together creating lush soundscapes
NYC duo Straw Man Army return with their third LP, “Earthworks”, to complete a trilogy of records begun with 2020’s “Age of Exile,” and 2022’s “SOS”. Whereas “Age of Exile” dealt with the haunted landscapes of colonial history in the Americas, and “SOS” gave voice to a crisis of the present moment, like a prayer in bewildering times, 2024’s “Earthworks” signals the band’s attempt to close this trilogy by turning their gaze towards the future, where paradox, complexity and contradiction spiral in ascendance to an agonizing pitch. While continuing to develop their own style of anarcho-punk, “Earthworks” finds the band pulling once again from jazz and ambient influences, expanded Krautrock rhythms, and post-rock experiments, with a stronger emphasis on melodic vocals and varied song structures than on previous offerings. Taking cues from the wistful anti-war harmonies of The Byrds and the angry melodies of Zounds, tracks like “Turn the Wheel” and “Second Nature” mark new territory for a group whose messages and methods of experimentation have merged to form a singular sound equally at home on All the Madmen Records or in the spiritual legacy of ESP Disk. “Earthworks” is an album that holds and subverts many contradictions—juggling the weight of melancholy, grief, guilt, impunity, and the yearning for clarity against the backdrop of boiling wrath; the wrath of nature, the occupied, the dispossessed, and of the mind against itself. To quote the track “Spiral” — “Is this all that’s left for us these days? / Apathy and rage?”— Straw Man Army offers this record as a companion to our frustration, our sickness, our despair, and a lifeline for our fugitive attention in the struggle for peace.
If you feel like motoring down the highway at 100 miles per hour breathing in pure rock n roll exhaust then look no further– Rowdy is here to kick out the jams and rev up with their self-titled debut LP Rowdy! These seasoned rockers are dealing out a heavy dose of song-forward classic garage punk that sounds like a mixed bag of Joan Jett singing for Teengenerate and Roky Erikson and The Aliens covering Oblivions. This is no surprise as Rowdy is formed by members of legendary Austin band Hex Dispensers and Scotland's Goldie Dawn, (Hex Dispensers, major contributors to the Texas garage punk scene). Rowdy’s sound runs the gamut with catchy 77 punk tunes like “All in My Head”- with its huge chorus, anthemic doo-wop tinged songs like “Fine Mystery, and bluesy garage rippers like “Cost Of It”. The recording is raw and punchy, dripping with overdriven twangy guitars, a steadfast, tight rhythm section, and blown out vocals. This record is pure rock n roll madness! Pop this Rowdy on in your headphones, shotgun a Steel Reserve, and you’ll be on your motorcycle doing donuts on your highschool principal’s lawn in no time.
Second EP from Bristol indie pop six-piece, Hamburger. ‘Beat Back The Ghouls’ sees the band take their sound in a more lush, subtle and layered direction, developing skilfully on the raw songwriting ability offered in their debut. On this record Hamburger create a more complex and sophisticated sound, flitting masterfully between driven guitar hooks, emotive lilting melodies, singalong angst-fuelled hits, and warm dreamy fuzz. ‘Beat Back The Ghouls’ is a record packed with songwriting craft. Each track is a finely-tuned pop song, with catchiness, beautiful melodic turns and delicate harmonic progressions at its heart. The soft, layered vocals add a wonderful contrast to the distorted, driven guitars, as they explore themes such as longing, want and alienation. If you’ve heard Hamburger before, ‘Beat Back the Ghouls’ will mark a new, more refined experience, a band finding itself fully-grown. If you haven’t heard them before, this record is an opportunity not to be missed. Limited to 300 copies on black vinyl.
Suffocating, the hidden child of Plastikman, Farmer's Manual and Warp. The glitches could just as well be the disgusting sound system of the club crackling under the humidity as a rhythmic pan too well timed to be honest. From durations to sound grain, the gloves are removed. The standards are far behind, the pleasure vibrates from the ears to the lower abdomen. The listener manages to get lost on a straight line, the perfect labyrinth according to Borges, but the exits flash red for those who want to escape. Will Elvis leave the building?.
Airelle Besson, the French multi-award-wining jazz trumpeter, has been lighting up the European jazz scene for several years at the head of her quartet, duo with virtuoso accordionist Lionel Suarez, and the Besson/Sternal/Burgwinkle trio, featured here on 'Surprise!'.
A production without the inclusion of a bass player, the combination of trumpet, piano, and drums is both unusual and intriguing. The result is totally refreshing and provides a new dynamic to the jazz trio format. Featuring ten original compositions, five apiece from Besson and pianist Sternal.
As a much sought-after side-musician, and composer/arranger for the band Metronomy and the Orchestre National de Lyon, Airelle Besson has performed with Charlie Haden and Carla Bley, Michel Portal, Manu Katche, Philip Catherine, Billy Hart, Rhoda Scott, Daniel Humair, Henri Texier, Tom Harrell, Avishai Cohen, Greg Hutchinson, Jose James, and may others.
Airelle Besson: trumpet
Sebastian Sternal: piano, Fender Rhodes, FX pedals
Jonas Burgwinkel: drums
Recorded & mixed by Christian Heck at Loft Studios, Cologne, Germany.
In the week that Billy Reeves second LP sells out, we are delighted to announce LP 3. When Lord God Almighty Reads The News will be released on CD and Lossless download in November 2024. (Limited Edition Vinyl will follow shortly thereafter)
Vinyl will be strictly limited - as was the case for Steve. The first 50 copies will be include a signed insert print and individually numbered.
We are manufacturing a mere 200 units, thus we urge you to grab one soon if you wish to add this album to your collection.
Workout features a mix of original compositions and jazz standards, highlighting Mobley's ability to blend sophisticated harmonies with rhythmic complexity and received critical acclaim upon release and is regarded as one of Mobley's finest works
The album has been praised for its engaging arrangements and the strong interplay between the musicians, the tracks often feature rhythmic grooves and vibrant solos, which became characteristic of the hard bop movement. Released in 1962, it is considered a classic in the jazz genre, particularly within the hard bop substyle and it's often recommended for both jazz enthusiasts and newcomers to the genre and showcases Hank Mobley's lyrical approach to the saxophone and is frequently included in lists of essential jazz albums. The album continues to influence contemporary jazz musicians celebrated for its artistry and innovation, making it a significant contribution to the jazz landscape of the 1960s. So Workout stands as a significant milestone in jazz history, exemplifying the creativity and musicianship of its time: with its engaging compositions and stellar performances, the album remains a beloved classic, inviting listeners to explore the depth and beauty of hard bop jazz, a treasure that continues to resonate within the jazz community.
Although never released until recently, Jazz Sabbath's music has been finding its way to millions for over 50 years. Through a vicious cycle of personal tragedy and plagiarism the songs intended to change the jazz world ended up giving birth to a much darker sound. Now a third recording from the Sixties has resurfaced, perhaps their most important one.
In 1968 Jazz Sabbath were an instant hit on the UK jazz scene. It wasn’t long until they were offered a record deal. They spent weeks in the studio recording the tracks that got the heaviest reactions at their shows until they captured their live energy on tape. Unfortunately, the label manager told them the album was far too experimental and there was no hit potential. Ordered to play some of their ‘easier’ tracks instead, they reluctantly gave in.
The 2 albums that followed still are classics in their own right, but they were not mistaken in thinking they had recorded their best work in 1968. Like the tracks from their 2 albums, these tracks were also blatantly presented as 'original songs' by that band from Birmingham a few years later. Whether they copied them from live bootlegs or if they got their hands on the mix, it doesn’t really matter. Their lasting popularity, even in the crude way they were covered, only proves just how monumental these songs were and how record labels are often wrong.
With the truth now finally out there and that Birmingham band exposed as the musical charlatans they are, Jazz Sabbath have finally mastered the 1968 tapes to present their best work to the public.
THE CLASSIC 1990 ALBUM REISSUED & REMASTERED BY ED WYNNE ON COLOURED VINYL FOR FIRST TIME ON KSCOPE
One of the most influential bands to emerge from the UK’s festival scene, the Ozrics layer ambient and ethereal landscapes with freeform dub trips, incredible rave grooves and psychedelic progressive rock. It’s an open exploration of music and the soul.
For over 30 years, the Ozrics have experienced the vicissitudes of the rock and roll life. The band has flourished through a number of line-up changes, spawned several side projects, created their own record label, scored a hit record and sold over a million albums world-wide. And yet, the basic motivation behind the band’s existence has never wavered.
Their signature blend of hippy aesthetics and raver electronics with spiraling guitars, textured waves of keyboard and midi samplers, and super-groovy bass and drum rhythms continues to delight fans across the world to this day.
Erpland, the band’s 1990 eighth release, is considered one of their finest works. This 2LP set presented in wide spine packaging, will be released on turquoise heavyweight vinyl as the third title in t
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Upon its release, Big Band Bossa Nova by the renowned American music producer, conductor, arranger, and composer Quincy Jones, released in 1962 received favorable reviews from critics, who praised its innovative arrangements and the seamless integration of bossa nova into big band jazz
It was noted for its lively and fresh sound, appealing to both jazz enthusiasts and fans of Latin music. Over the years, the album has been recognized as a classic in the realms of both jazz and Latin music. It continues to influence musicians who seek to explore the fusion of different genres. The album played a crucial role in popularizing bossa nova in the United States, introducing many listeners to Brazilian music. It paved the way for future collaborations and crossover projects between jazz and Latin music. It is often cited by contemporary artists and arrangers who are inspired by its innovative blend of styles. Its influence can be seen in various genres, including jazz, pop, and world music and is a testament to Jones's ability to adapt and innovate throughout his career. It solidified his status as a pioneer in the music industry, influencing countless artists across genres and generations. Big Band Bossa Nova not only captures the essence of its time but also continues to resonate with audiences today, highlighting the enduring appeal of both big band features contributions from several talented musicians.
Kevin Parrot, Brian McGladdery, Roger Tweedale, Gary McDougall and Tony Bamforth formed Samsun at the beginning of 1969. After several tours abroad they came to the attention of Geoff Gill (ex-The Smoke), Wil Malone (ex-Orange Bicycle) and Cliff Wade (ex-Fickle Pickle). They spent a week at Morgan Studios recording an entire album but only three songs were released for the Dutch and UK markets. A few years later, the band rebranded as Oscar.
Buried until now in the vaults, Samsun's self titled album finally emerges blinking into the daylight a mere 52 years after it was recorded to provide yet another missing piece of the seemingly forever incomplete Morgan jigsaw. Taken from the original master-tapes, it provides yet more evidence that, during a five-year period in the late Sixties/early Seventies, the in-house Morgan team was as productive as any similar-sized British pop collective. Available on both vinyl and CD with comprehensive sleeve notes.
The Tokyo Blues is an album that reflects Horace Silver's deep musicality, cultural curiosity, and love for the blues
Its combination of relaxed grooves, melodic beauty, and hints of Eastern influence make it a unique and memorable work within Silver's extensive catalog. It's a perfect example of how jazz can both explore new territories and remain grounded in its own traditions, showcasing Silver's versatility as both a pianist and a composer. Released in 1962 it is considered a gem within Horace Silver's prolific career and offers an intriguing combination of Horace Silver's unique jazz language with the subtle influence of his experiences in Japan, producing a warm, thoughtful, and musically rich album. Horace Silver's The Tokyo Blues is the result of his quintet's tour of Japan in 1961, which left a strong impression on him. While on tour, Silver was struck by the culture, atmosphere, and aesthetics of Japan, which he sought to translate into the musical language he was deeply rooted in hard bop. The album, however, doesn't feature overt Japanese musical scales or instrumentation, but rather evokes a mood and a sense of place. Silver's approach was more about integrating his impressions of Japan, its serenity, beauty, and mood of reflection, into the compositions. He did this within the framework of the jazz tradition, creating music that remains unmistakably his own. His quintet was already known for its catchy themes, complex rhythms, and inventive solos, and The Tokyo Blues adds a layer of atmospheric and emotional depth to that established style. In the early 1960s, Horace Silver was at the height of his creative powers. His work was instrumental in shaping the hard bop movement, a style that emphasized blues, gospel, and soul influences over the more intricate, intellectual sounds of bebop. The Tokyo Blues stands as an example of Silver's ability to evolve his sound while staying true to the groove-based essence of hard bop.
Brilliant Corners is an exceptional example of Monk's distinctive approach to jazz, which was characterized by angular melodies, unusual chord progressions, complex rhythms, and an idiosyncratic sense of timing
The title track, "Brilliant Corners," for example, was so intricate that it took multiple takes to complete, and the musicians found it challenging to follow its unconventional structure. This difficulty speaks to Monk's originality and his pushing the boundaries of what jazz could be at the time. The LP is one of Thelonious Monk's most acclaimed and influential albums, recorded in 1956 and released in 1957. It stands as a cornerstone in Monk's discography, showcasing his innovative approach to jazz composition and performance, and is often regarded as one of his finest works. Upon its release, Brilliant Corners was met with widespread critical acclaim and remains a significant album in jazz history and helped solidify Monk's status as one of the great innovators of modern jazz. It was a breakthrough album for Monk commercially as well, attracting attention from jazz critics and listeners who were beginning to appreciate his genius more widely. Today, Brilliant Corners is considered an essential jazz record, often cited as one of the greatest jazz albums of all time: musicians like Ornette Coleman, Cecil Taylor, and Eric Dolphy were influenced by Monk's ability to push the boundaries of jazz without losing its essence. The album is not just a masterwork in Thelonious Monk's discography but a pivotal moment in the evolution of modern jazz.
Released in 1956 this album is a compilation of recordings from different sessions held between 1953 and 1954
Thelonious Monk and Sonny Rollins were both giants of jazz, each known for their individual approaches. Monk, with his unorthodox approach to rhythm and harmony, was one of jazz's most original composers and pianists. Rollins, one of the greatest saxophonists in jazz history, was known for his inventive and bold improvisations. Thelonious Monk was still establishing his reputation during this time. Though considered a genius by some, Monk's highly original style, marked by dissonant harmonies, abrupt rhythmic shifts, and a percussive attack on the piano, was still divisive among critics and audiences in the early '50s. It wasn't until later in the decade, when he started working with Columbia Records and gained wider recognition, that he achieved broader commercial success. Sonny Rollins, though younger, was already a notable figure in the jazz scene by this point, having played with Miles Davis, Charlie Parker, and Bud Powell. He was known for his inventive and bold improvisational style. In these recordings, Rollins was solidifying his status as one of the major voices on tenor saxophone. The album shows both musicians in their prime, experimenting with harmonies and extended forms. Even though the sessions were recorded at different times, there is a strong synergy between them, particularly in how Monk's percussive piano style complements Rollins' flowing saxophone. A record that captures a moment in jazz history, a testament to the artistic brilliance of both musicians and a significant piece of jazz history, blending the freewheeling spirit of jam sessions with complex, forwardthinking compositions.
'Den Helder is the northernmost city of the province of Holland in the Netherlands. It is largely surrounded by water and seems to edge into the North Sea. It has had a military function since the 16th century, but few know that it is the most heavily bombed city in the Netherlands. Seventy years ago it was almost completely wiped off the map. The following is a story imagined in Den Helder...'
'the third of may' was written and recorded in 2020 over the course of six days spent in an old pumping station in the dunes of Huisduinen near Den Helder.
“Traurige Trinkerlieder” stands for itself. Hymns dedicated to alcohol. Sardonic songs of praise. Sung in a musty, shabby pub where the people are as old as the stories they tell, the tables are sticky, the light is a flickering, oily twitch and the landlord is the unfriendliest person for miles around.
“Traurige Trinkerlieder” stands for itself. Hymns dedicated to alcohol. Sardonic songs of praise. Sung in a musty, shabby pub where the people are as old as the stories they tell, the tables are sticky, the light is a flickering, oily twitch and the landlord is the unfriendliest person for miles around.
"From the ashes of Linköping’s pioneering punk band, Tings of London, IQ 55 emerged onto the scene in 1978. Their compelling performances quickly made them the most sought-after band in their hometown. In 1979, IQ 55 recorded their first and only single, ”Livet Är En Bluff (Balladen)/ Bara Svårigheter,” in Gothenburg. Following their contribution to the compilation album Arnes Korvbar and numerous attempts to attract record labels, the band disbanded in October 1983. Now, for the first time, the full-length album ”Livet Är En Bluff” containing IQ 55’s timeless, original, and raw sound is here."
Multiple praised and awarded Klabbes Bank returns with their special take on modern electronic jazz. From the deepest Swedish forests comes this rare gem.
"Panopticon’s ""...on the Subject of Mortality"" is a poignant exploration of grief, written in the aftermath of the loss of one of Austin Lunn's parents. Originally released in 2009 and remixed in 2016, it delves into the emotional depths of human existence, processing death, and the fleeting nature of life. With atmospheric black metal and post-rock influences, the album reflects Lunn's personal journey through loss, deeply inspired by the existential themes of The Seventh Seal.
This LP version comes on a limited coloured vinyl (electric blue) with an insert containing liner notes and lyrics."
On the EP 'Och sen kom vintern', the longing for something else is pervasive. The band Diket consists of Levina Storåkern, Jonathan Fimland Kleven, Oddbjørn Sponås and Hanna Skjerdal. With band members from prominent bands such as Benedikt, Ævestaden and Hey Gloria, Diket makes melancholic music with roots in the folk tradition. Diket is the interaction between text and music, and themes such as everyday life, nature and longing for something else are present throughout.
CARNIVORE is an American crossover / thrash metal band from Brooklyn, New York founded by singer and bassist Peter Steele, and was formed out of the breakup of the Brooklyn metal group FALLOUT in 1982. The first CARNIVORE album was heavily influenced by the contemporary New York metal scene. It also drew inspiration from BLACK SABBATH and early JUDAS PRIEST, whereas the second album had significant crossover influences. The "post-apocalyptic" theme that dominated the first album and was carried onto parts of the second album was apparently inspired by a dream Pete Steele had and which became the basis for the lyrics of "Predator", the first song from the original album. The lyrical theme was then expanded on to describe human society ( or the lack of one ) between imaginary World Wars III, IV and possibly V (as referenced in the song "World Wars III & IV"). Other lyrical themes included nihilism, anti-religious sentiment, cynicism, and explicit but tongue-in-cheek depictions of gore and despair. Song titles such as "Jesus Hitler", "Race War", "Thermonuclear Warrior" and "God is Dead" reflect these themes. In August 2017, it was announced that CARNIVORE would officially be reformed as CARNIVORE A.D., featuring original drummer Louie Beato and guitarist Marc Piovanetti along with secondary drummer Joe Branciforte sharing drum duties and also introducing new member Baron Misuraca as the bassist/vocalist. The band then made their live festival debut at the 2018 edition of Hellfest. CARNIVORE's "Retaliation" is a legendary and authentic metal/hc crossover album and an admittedly very heavy devastating wall of music with very much tongue in cheek lyrics. It became an absolute classic in the metal genre. It has remained unreleased for too many years and has now become very much in demand, now available again in Deluxe exclusive Limited edition 2LP vinyl and Digipack with no less than 3 bonus tracks ! ESSENTIAL CLASSIC !
Status Quo has endured for over 50 years and is known for worldwide hits and tours to millions of fans across the globe. This compilation collects together, for the first time, many of the band’s rare tracks from the late 1990s and early 2000s, some of which have been unavailable for over 20 years. Until now, many of these tracks have only been available on CD singles or editions of albums only available in one country. This remastered compilation is supported by the band and has been overseen by the recordings’ original producer, Mike Paxman, who has also written liner notes for the release. Mike Paxman said of the release: “Status Quo recorded many of these songs for soundtracks or non-album singles, so it’s fitting that this album is called Driving To Glory, because it’s the band striving for success. All of these songs were recorded as lead tracks and released in various different places. This collection brings them together and deserves to be thought of as an album.”
Originally released in 1977, this was the first album Iggy Pop made after the dissolution of the Stooges, several jailings and a self-imposed stay in a mental institution. Produced by David Bowie, and including music written almost entirely by him, this is Iggy's most introspective and heavy work. Much more mechanical than the sleazy proto-punk of the Stooges, The Idiot was a huge influence on the post-punk sound of folks like Joy Division and Magazine. An absolute classic on red and yellow vinyl. Limited edition of 1,000.
"Long sought-after by those in know, this essential Irish jazz album finally gets a vinyl reissue on Outernational Sounds! Fully licensed from producer John D’Ardis, remastered at Abbey Road from the original tapes, and with lacquers cut at Dubplates and Mastering, the Noel Kelehan Quintet’s stunning 1979 Ozone is presented with unseen photographs of the band and commentary from original band members.
Featuring moody, modal jazz of the first order, subtle and original composing and world- class playing, Ozone was the creation of Ireland’s most respected jazz composer and musician, pianist Noel Kelehan (1935-2012). The only small-group album under his name, and arguably the first ever Irish jazz LP, Ozone was a landmark recording, but it was far from Kelehan’s only achievement. Born in Dublin, Kelehan had studied music from an early age. From the mid-1950s he worked at state-broadcaster Radio Éireann (RÉ, later RTÉ – Radio Telefis Éireann), and from the early 1960s he fronted Dublin’s first be-bop unit, the Jazz Heralds. A busy professional career saw him compose for numerous Irish pop stars, arrange and conduct many of Ireland’s Eurovision entries, and even contribute string arrangements to U2’s Unforgettable Fire LP.
But jazz was Kelehan’s first passion, and he never stopped playing in both small modernist units and composing for his own big band. The late 1970s saw him fronting the Noel Kelehan Quintet, alongside drummer John Wadham, saxophonist Keith Donald, bassist Frank Hess and trumpeter Mick Nolan. Playing weekly in Dublin for several years, they opened for visiting stars including Dollar Brand and the Ronnie Scott Orchestra, and eventually played a two-week residency at Ronnie Scotts in London. Though Kelehan had recorded a big-band LP of traditional Irish songs arranged as easy jazz in 1970, Ozone was his first album of modern jazz. Released on John D’Ardis’s independent Cargo imprint and press on blue vinyl, it featured original compositions such as the deep collectors cut ‘Spon Song’, subtle Latin flavours on ‘Spacer’s Delight’ and a beautiful modal arrangement of the traditional Irish air ‘Castle of Dromore’. A legendary recording in Ireland, Ozone reflected Kelehan’s keen appreciation of classic quintet-era Miles, with touches of the cerebral fusion of Ian Carr and the arranging genius of Neil Ardley. Not just a landmark Irish jazz set, Ozone is a lost classic of European jazz more widely."
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Almost exactly a year since since ‘Felt Cute’ debuted on Kalahari and Blu:sh is back in the building. But this time around, it’s with a record evoking the muggy closeness of a dancefloor suspended somewhere between peak-time elation and wide-eyed vision quest.
Tweaking the blueprint to rapturous ends, the latest offering from this Blu:sh project propels itself forward with a muscle-bound groove. Six robust, deadly club trax replicate the breathy seduction of its predecessor, but this time, with added velocity.
Pinky Promise is full frontal and deadly while channelled through the same explorative prism characterising Benoit’s best work. Probably the toughest material the prolific shapeshifter has put out to date.
Nods to Eurocentric styles shine through with particular emphasis on the sexy and trance-inducing. It goes straight out the traps with a big dose of fractal fuel and stays murkily psychedelic to the very end.
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Ta Kish Kan is an explosion of color, a defiant rush of life. Over three tracks, aka-Sol has turned their psychedelic approach to sound toward the punk roots of electronic music, employing modular synthesizers and analog sonics to recapture the energy from before dance became homogenized and hard genre lines were drawn, challenging the conventions of modern club music and embracing a wider and more dynamic spectrum of human emotion.
A fearless debut, Ta Kish Kan is an offering exploding with heart and dripping with lust, a love letter and a provocation, a rare invitation to hair whip and headbang in the club. The release is rounded out with a remix from Osare! Editions head Elena Colombi who further explores the space between experimental, post-punk and club music, dispensing with comfort and bidding us to embrace what lies beyond.
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Recorded by long-time collaborator and producer Elliot Heinrich at the band’s own Pony Studios in East London, it’s clear that Tempesst spent time developing a sound tailored to the subject matter. Parallels can be drawn from the great alternative writers of the nineties (Stipe, Buckley, Cocker) by way of the storied lineage of the dark narrators (Cohen, Waits, Cave). “My process is mostly reactive, like writing a journal and reflecting on what I watch, read and listen to,” says Lyricist Toma Banjanin, citing “The Myth of Sisyphus” by Albert Camus as an influence of the record. Forbidden Fruit showcases a new sound, shedding their previous Spector-esque production for a modern hi-fi approach. Tempesst maintain a surrealist soundscape with precision, conjuring images of René Magritte: layered sounds within sounds to draw the listener deeper. They lean into chaos, with fuzz-infused, reverb-laden guitars that drone through the record indifferent to harmony, restrained by a swampy rhythm section. Tempesst reach for the bright lights of the expressionist late eighties while descending into the rawness of the early nineties.
Rotterdam based Bright Message Records kicks off their label with this beautiful 12", produced & mixed by Slimmah Sound. It features French singer Prince Chamba on vocals, Ital Horns from the UK on horns, and Slimmah Sound himself on melodica, with a dub cut included on both sides.
Sounds wicked on a soundsystem!
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This is one of Ray Pérez’s most highly sought-after albums, not only for its strong salsa dura anthems and funky boogaloo numbers but also for its brave, quirky eclecticism and youthful, rebellious spirit, all of which are reflections of “El Loco” Ray’s unique genius, making him a beloved figure in rare record collector circles everywhere.
The original is not that easy to find today and carries a hefty price. Thankfully, it has been remastered from the original tapes, fully licensed, with the original artwork, preserving and presenting the legacy of this great Venezuelan music for today’s generation.
DESCRIPTION
The late 1960s was a very busy time when Pérez was juggling several different studio bands: Los Dementes, Los Calvos and Los Kenya.
The daring experiment Pérez created with Los Calvos laid the basis for Los Kenya, an actual working band that released six albums between 1968 and 1972. Despite being titled “Los Kenya, Vol. 2” because it was the second released by Discomoda, the record actually represents Los Kenya’s third album, and is perhaps the most mature, well-rounded venture in the lot.
In February 1969, on Discomoda, came “Los Kenya, Vol. 2” focused on the upcoming carnival season and was calculated to compete with rival bands Federico Y Su Combo Latino and Sexteto Juventud for the plethora of gigs offered at that time of year.
The album, like all Ray Pérez releases of the time, is short and powerful, with five tracks per side, showcasing a variety of singers, genres, rhythms, influences and arrangements, making this one of his more eccentric and interesting efforts. 1960s California “sunshine pop” rock (often referred to as ‘surf’ on Los Kenya records), guajiras, boogaloos, descargas and even Mexican mariachi corridos are all added to the pot of salsa cooked up by “El Loco Ray” and his band.
The album has been rescued from obscurity and lovingly restored, remastered from the original tapes, fully licensed, with its original artwork intact, preserving and presenting the legacy of this great Venezuelan music for today’s generation of global salsa dura fans.
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Last delivered 22 months ago available to reorder, subject to availability
First time 7” reissue of this mega-rare Bobby Marin produced Latin funk gem.
‘Together People (Pamoja Watu)’ sounds like a cross between James Brown’s ‘It’s A New Day’ and Manu Dibango’s ‘Soul Makossa’, while 'It's Your Thing' is a heavy Latin funk instrumental version of the Isley Brothers classic, featuring screaming Hammond organ. Both are DJ favorites and the original 45 fetches large sums, if you can find a copy.
DESCRIPTION
Generally, when discussing the first wave of Latin soul and boogaloo, it’s the bands and their leaders, the singers and the songs that get all the recognition. But what of the producers, composers, and arrangers?
One of the top old-school New York Latin music producers, Bobby Marin, was behind the scenes for some of the best independently produced boogaloo and salsa of the ‘60s and ‘70s. One of his best and most obscure productions was credited to Los Africanos, a studio project featuring Chico Mendoza and New Jersey-based band Ocho.
‘Together People (Pamoja Watu)’ sounds like a cross between James Brown’s ‘It’s A New Day’ and Manu Dibango’s ‘Soul Makossa’ and was originally released in 1974 on Tito Rodriguez’s label TR Records. On the B side, 'It's Your Thing' is a heavy Latin funk instrumental version of the Isley Brothers classic, featuring screaming Hammond organ.
Both are DJ favorites and the original 45 fetches large sums, if you can find a copy. First time 7” reissue.
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In recent years, the introductory texts for the Pop Ambient compilation series, which is released every year on Kompakt as the last release before the Christmas break, often began with the sentence "Every year again...".
“Every year again”, a quiet, almost unnoticed maxim of self-evidentness. Because this is already the 25th issue to be published this year.
25 years in increasingly fast-moving times in the even faster-moving music business is an eternity that doesn't just feel like it. It is all the more remarkable how I, as someone who is always restless and often driven by this fast pace himself, pleasantly almost haven’t realised how - in pop-ambient contexts - time does not pass (or passes differently) in the best sense.
When compiling the 25th edition I was asked, among other things, what it was like that I was still doing this and whether I had a favorite track. In the spirit of bringing all the tracks together I don't have a favorite track, or all of them. But I have a favorite part (moment) that I played. In this case it was a broad chord in a change of key at minute 2:55 in the piece Circles by Max Würden. A moment of majesty and familiarity that, at that moment, contains the entire Pop Ambient cosmos, that just works and doesn't explain anything - and I said: “...that's the reason why I'm still doing this.. .”
Pop Ambient is a statement without demands. Is promise without expectation. Is a path without a destination. Every year again.
The intercontinental collaboration between the two long-standing Pop Ambient artists Leandro Fresco from Argentina and Thore Pfeiffer from Mainz is a regular part of the series. They open this year's anniversary edition with the usual filigree.
02. Pass Into Silence – Mirage
The Japanese artist Tetsuo Sakae aka Pass into Silence returns to Kompakt 20 years after his legendary album “Calm Like A Millpond”. A master of tones that are as fine as they are stoic and crystal clear.
03. Tamarma & Sebastian Mullaert – Follow Me
For the first time, the well-known Swedish producer and DJ Sebastian Mullaert will be performing on Pop Ambient in cooperation with the Georgian sound artist Tamara Davitashvili. Their piece “Follow Me” fits confidently into the intimate, familiar sound cosmos.
04. Sono Kollektiv feat. Nathalie Brum – Periadriatische Naht
Sono Kollektiv is now a fixture on Pop Ambient, this time with Nathalie Brum. In particular, Luis Reich's characteristic flugelhorn always gives their sound that special jazzy touch.
05. Thore Pfeiffer – Phase Locked Loop 1
Thore Pfeiffer is a master of shimmering surfaces and hypnotically meandering loops.
06. Andrew Thomas feat. Julia Parr – Sunshine Night
An old friend from New Zealand is back with spherical sounds. Andrew Thomas, in collaboration with Julia Parr, sprinkles finely placed piano tones into distant soundscapes and even more distant voices.
07. Segensklang – Artifacts of Synthesis
We are pleased that Segensklang will be there again this year after his brilliant Pop Ambient debut last year. Deep and beautiful.
08. Ümit Han – Im Delirium
The Cologne producer Ümit Han is back for the third time. While he has so far explored the more emotional, soundscape aspects of the Pop Ambient universe, this year's piece "Im Delirium" rises to a pulsating mountain of sound with pearly, clear, effervescent sound crystals.
09. Würden & Schäfer – Analysis Of Variance II
In their track Analysis Of Variance II, Max Würden and Lukas Schäfer embed a finely placed beat impulse in a soft bed of modulating soundscapes and pleasant psychedelic spaceyness.
10. Max Würden– Circles
Max Würden once again shows his special feeling for one of the core statements of the Pop Ambient style spectrum. The abstract chord and soundscape movement between formal construction and emotional touchability, which seems like “pop music” under the microscope.
11. Blank Gloss – Jennifer’s Convertible
The Californian guitar-ambient duo takes us into their sublimely beautiful sound cosmos with their usual aplomb. Maximum condensed transparency. Lightness - heavy as gold.
12. Hendrik Meyer – Grün War Die Klamm
Another new addition is Hendrik Meyer. The versatile musician, also known for his MYR project distributed by Kompakt, leads us with a glistening, beautiful “wall of sound” determination into the eternity of a sunset that is only ended by the following track. Filmy Music.
13. Triola – Zum Renngraben
Jörg Burger aka Triola combines his typical “handmade” impulses and accents with a multi-dimensional, digital sound scenario in a pleasantly smoky, blurred stonewashed aesthetic.
As always, the indispensable final mastering by Jörg Burger ensures that everything is brought together and the sound is fine-tuned.
And like every year, the 25th edition is of course wrapped in an abstract, floral magic creation by Veronika Unland. Over the years, the grace of her imagery has increasingly merged with the musical aura to form an unmistakable magical symbiosis.
Hallo Leute,
In den vergangenen Jahren begannen die Anmoderationstexte zur Pop Ambient Kompilation-Reihe, die jedes Jahr als letzte Veröffentlichung vor der Weihnachtspause auf Kompakt erscheint, sinnigerweise immer mal wieder mit dem Satz “Alle Jahre wieder...".
„Alle Jahre wieder”, eine leise, fast unbemerkt zur Formel gewordene Maxime der Selbstverständlichkeit. Denn in diesem Jahr erscheint bereits die 25ste Ausgabe.
25 Jahre in zunehmend schnelllebigen Zeiten im noch schnelllebigeren Musikgeschäft, sind gerne mal eine nicht nur gefühlte Ewigkeit. Umso bemerkenswerter wie mir, als ewig Rastlosem und oft selbst von dieser Schnelllebigkeit Getriebenem, auf angenehme Weise fast entgangen ist wie sehr, in pop ambienten Zusammenhängen (gedacht), die Zeit im besten Sinne nicht (oder anders) vergeht.
Beim Kompilieren der 25sten Ausgabe wurde ich u.a. gefragt, wie es ist, dass ich das immer noch mache und ob ich ein Lieblingsstück hätte. Im Sinne des Zusammenbringens von allen Stücken habe ich kein Lieblingsstück, oder alle. Aber ich habe eine Lieblingsstelle, die ich dann gespielt habe. In dem Fall war es ein breit gesetzter Akkord in einen Tonartwechsel bei Minute 2:55 im Stück Circles von Max Würden. Ein Moment der Erhabenheit und Vertrautheit, der in diesem Moment den gesamten Pop Ambient Kosmos in sich trägt, der einfach nur wirkt und nichts erklärt - und ich habe gesagt: „...das ist der Grund, warum ich das immer noch mache...“
Pop Ambient ist Statement ohne Forderung. Ist Verheißung ohne Erwartung. Ist Weg ohne Ziel. Alle Jahre wieder.
Die interkontinentale Kollaboration der beiden langjährigen Pop Ambient Stamm-Künstler Leandro Fresco aus Argentinien und Thore Pfeiffer aus Mainz, ist regelmäßiger Bestandteil der Serie. Gewohnt filigran eröffnen sie die diesjährige Jubiläumsausgabe.
02. Pass Into Silence – Mirage
Der japanische Künstler Tetsuo Sakae aka Pass into Silence meldet sich 20 Jahre nach seinem sagenhaften Album „Calm Like A Millpond“ auf Kompakt zurück. Ein Meister der ebenso feinen wie stoisch-glasklaren Töne.
03. Tamarma & Sebastian Mullaert – Follow Me
Zum ersten Mal gibt sich der bekannte, schwedische Produzent und DJ Sebastian Mullaert in Kooperation mit der georgischen Klangkünstlerin Tamara Davitashvili auf Pop Ambient die Ehre. Ihr Stück „Follow Me“ fügt sich souverän in den intim-vertrauten Klangkosmos ein.
04. Sono Kollektiv feat. Nathalie Brum – Periadriatische Naht
Mittlerweile eine feste Größe auf Pop Ambient ist das Sono Kollektiv, diesmal mit Nathalie Brum. Insbesondere das charakteristische Flügelhorn von Luis Reich gibt ihrem Sound immer wieder diesen besonderen jazzigen Touch.
05. Thore Pfeiffer – Phase Locked Loop 1 Thore Pfeiffer ist ein Meister der flirrenden Flächen und hypnotisch mäandernden Loops.
06. Andrew Thomas feat. Julia Parr – Sunshine Night
Ein alter Bekannter aus Neuseeland meldet sich mit sphärischen Klängen zurück. Andrew Thomas, in Kooperation mit Julia Parr, sprenkelt fein gesetzte Klaviertöne in weit entfernte Flächen und noch entferntere Stimmen.
07. Segensklang – Artifacts of Synthese
Wir freuen uns, dass auch Segensklang nach seinem fulminanten Pop Ambient Debut im letzten Jahr auch dieses Jahr wieder mit dabei ist. Deep and beautiful.
08. Ümit Han – Im Delirium
Zum dritten Mal dabei ist der Kölner Produzent Ümit Han. Hat er bisher eher die emotional-flächigen Aspekte des Pop Ambienten Universums ausgelotet, schwingt sich sein diesjähriges Stück „Im Delirium“ mit perlend-klaren, sprudelnden Soundkristallen zu einem pulsierenden Klanggebirge auf.
09. Würden & Schäfer – Analysis Of Variance II
Max Würden und Lukas Schäfer betten in ihrem Stück Analysis Of Variance II einen fein gesetzten Beat-Impuls in ein weiches Bett aus modulierenden Flächen und angenehmer psychedelischer Spaceyness.
10. Max Würden – Circles
Max Würden zeigt einmal mehr sein besonderes Gefühl für eine der Kernaussagen des Pop Ambient Stilspektrums. Die wie „Popmusik“ unter dem Mikroskop anmutende, abstrakte Akkord- und Flächenbewegung zwischen formaler Konstruktion und emotionaler Berührbarkeit.
11. Blank Gloss – Jennifer’s Convertible
Das kalifornische Gitarren-Ambient Duo entführt uns mit gewohnter Souveränität in ihren erhaben-schönen Soundkosmos. Maximal verdichtete Transparenz. Leichtigkeit - schwer wie Gold.
12. Hendrik Meyer – Grün War Die Klamm
Ein weiterer Neuzugang ist Hendrik Meyer. Der vielseitige Musiker, u.a. auch bekannt durch sein über Kompakt vertriebenes MYR Projekt, führt uns mit gleißend-schöner „wall of sound“ Entschlossenheit in die Ewigkeit eines nur vom nachfolgenden Stück beendeten Sonnenuntergang. Film(Musik)reif.
13. Triola – Zum Renngraben
Jörg Burger aka Triola kombiniert die für ihn typischen „handmade“ Impulse und Akzente mit mehrdimensionalem, digitalen Soundszenario in angenehm rauchig-verwischter Stonewashed Ästhetik.
Für den alles zusammenführenden, klanglichen Feinschliff sorgt, wie immer, das unverzichtbare, finale Mastering von Jörg Burger.
Und wie in jedem Jahr ist auch die 25ste Ausgabe natürlich in ein abstrakt-florales Zaubergebilde von Veronika Unland gehüllt. Die Anmut ihrer Bildsprache ist über die Jahre immer mehr mit der musikalischen Aura zu einer unverkennbaren magischen Symbiose verschmolzen.
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Last delivered 17 months ago available to reorder, subject to availability
Mit ihrem bahnbrechenden Album 'Here in the Pitch' hat sich die in Los Angeles lebende Künstlerin Jessica Pratt als Songwriterin einer neuen Generation etabliert und ist die klare Nachfolgerin von Folk-Ikonen wie Nick Drake und Joni Mitchell sowie von genialen orchestralen Pop-Komponisten wie Brian Wilson und Burt Bacharach. Das unaufdringliche und doch ehrgeizige Album hat bei Kritikern und Fans gleichermaßen Anklang gefunden und brachte ihr bis heute über 15 Millionen Albumstreams ein, wichtige Beiträge in der New York Times und bei Zane Lowe, ausverkaufte Shows von Los Angeles bis London, Kollaborationen mit den Modemarken Chanel, Valentino und Chloé und einen Live-Auftritt in der Late Show mit Stephen Colbert, wo sie ihre herausragende Single „Life Is“ vorstellte. Pratts einzigartige Stimme und ihr Stil erregten auch die Aufmerksamkeit von A$AP Rocky, was zu ihrer brillanten gemeinsamen Single „HIGHJACK“ führte, die im Sommer 2024 veröffentlicht wurde.
Ausgezeichnet als „Best Of The Year so far): Pitchfork, NPR, The New York Times, Paste, Stereogum, Rolling Stone
Remastered Reissue des 1995er Israel Vibration-Albums "On The Rock", produziert von Doctor Dread unter Beteiligung der Roots Radics in Originalbesetzung. Mitte der 1990er klang der Israel Vibration-Sound härter und grösser und war besser produziert, was der Band die Türen zum internationalen Erfolg öffnete, die sich auf Marathontour durch Europa, die USA und Südamerika begab. Die LP enthält das kraftvolle "Rudeboy Shufflin", das kultige "On The Rock", beides Meilensteine ..der Bandhistorie, sowie die Beatles-Interpretation "Love Is All You Need". Um die Soundqualität weiter zu verbessern, wurde die ursprüngliche Einfach-LP auf ein Doppelformat erweitert.
Die Songs, die auf 'The Pronoia Sessions' neu interpretiert werden, reichen zurück bis zum 2004er Album 'The Curse' ('Right Side of the Bed') und dem 2006er Album 'A Death-Grip On Yesterday' ('Ex's & Ohs', 'Theft'). Zwei ihrer größten Hits, 'Warrior' und 'Save Us', wurden von 'Baptize' aus dem Jahr 2021 überarbeitet. Und es gibt neue Versionen von 'Gone' und 'Drowning' von ihrer letzten Veröffentlichung, 'The Beautiful Dark of Life' von 2023.
Zusätzlich zu ihren eigenen Songs bieten ATREYU düstere Versionen des Tom Petty and the Heartbreakers-Klassikers 'Mary Jane's Last Dance' und der ewigen Audioslave-Ballade 'Like a Stone' unter der Leitung von Chris Cornell.
