In the words of Jerzy Mączyński, Sariani is a musical meditation exploring Indian musical culture and the widely understood concept of trance. The album has its roots in Mączyński’s growing friendship with Waclaw Zimpel, a fellow Polish avant-garde musician with experience in both experimental jazz and meditative ambient music. The pair first connected online during the early stages of the COVID-19 pandemic, with Mączyński suggesting they join forces on an album-length collaborative project a few months later.
Sariani was recorded over the course of eight months at two different studios in their home city of Warsaw (one of which included access to an empty swimming pool, whose unique acoustics were utilised during the recording). Both composers recorded electronic textures, loops, and rhythms, onto which they added saxophone (Mączyński) and voice textures courtesy of fellow Polish musicians Wiktoria Jakubowska and Olga Koziel.
The album comprises six separate musical stories, each of which was inspired either by a specific “empirical experience” from Mączyński’s travels in India, or wider cultural themes relevant to the country in the 21st century. These include Mączyński’s first encounter with the Book of Rag (‘Raga or Raga’); the essence of spirituality within temple buildings (‘Temple of Jetsu’); a vivid dream featuring a superhero who calls for reflection on equality and freedom (‘Sariani’); and a life-changing trip to Mount Everest with guitarist Szymon Wójcik (‘Everest Inn’, which features recordings made by the pair at the Monkey Temple in Kathmandu).
Cerca:pro 7
Limitierte farbige LP! "Public Storage" baut auf dem Sound von Vus früheren Veröffentlichungen auf und unterstreicht ihre Stärken als Songwriterin mit einem tieferen Sinn für Glanz, Raffinesse und Dringlichkeit. Sie nennt es eine "sehr invasive und intensiv klingende Musik", die erfrischend unkonventionell zu den zeitgenössischen Trends ist; dies ist Musik, auf die man sich einlässt, anstatt sich zurückzulehnen. Co-Produzent Jackson Phillips (Day Wave) half Vu dabei, eine riesige, körnige, facettenreiche Welt zu erschaffen, in die sie sich stimmlich hineinbegeben kann, wobei ihre ausgeprägte Altstimme frei zwischen beschwörenden, tiefgründigen Betrachtungen und gefühlvollen, himmelwärts strebenden Ausbrüchen hin- und herpendelt. Die ersten Klänge, die wir hören, sind bezaubernd: Vereinzelte Klaviertasten gehen in "April Fool" in warme Schläge und Selbstharmonien über, während Vus Protagonistin ihre Umgebung und ihre Fähigkeit zu kommunizieren verleugnet. Das sanfte bernsteinfarbene Glühen geht über in den Titeltrack des Albums, einen dunkleren, düsteren, lauteren Ort. Vu rennt durch "Public Storage" mit einer Reihe von trotzigen Zurückweisungen (Versagen, Familie, Magie) und kathartischen Forderungen. Es ist eine seltene und kraftvolle Zurschaustellung von Verletzlichkeit von einem Texter, der das Abstrakte dem Autobiographischen vorzieht. Aubade", das auf einem Disco-Synthie-Muster und groovenden Bass-Stabs aufbaut, hat den hellen Schwung seines morgendlichen Namensvetters, der geschickt im Widerspruch zu seinem niederschmetternden Thema steht. Der Kontrast setzt sich in "Keeper" fort, einem pulsierenden New-Wave-Song mit träumerischen Synthesizern und einem coolen, knurrenden Erzähler, der diese Kraft erneut herausfordert. "Gutter" kehrt zum grungigen Lowlight zurück, mit muskulösen Gitarrenriffs, die sich über einem Bett aus Rückkopplungen abzeichnen und zusammen mit orchestralen Streichern zu einem brüllenden Finale anschwellen. Die hintere Hälfte von Public Storage bietet einige der markantesten Momente: Das rhythmische, hooklastige "Everybody's Birthday" spricht von der bösen Absurdität der Gegenwart, dem Ende der Zeiten. Die Nacht ist rot, die Stimmung ist blau, und die Scham ihrer Figur ist goldfarben. Vu hebt sich "Maker" für den Schluss auf, einen letzten Versuch im Existenziellen.
- A1: Lonely Boy
- A2: Dead And Gone
- A3: Gold On The Ceiling
- A4: Little Black Submarines
- A5: Money Maker
- B1: Run Right Back
- B2: Sister
- B3: Hell Of A Season
- B4: Stop Stop
- B5: Nova Baby
- B6: Mind Eraser
- C1: Howlin’ For You
- C2: Next Girl
- C3: Run Right Back
- C4: Same Old Thing
- C5: Dead And Gone
- D1: Gold On The Ceiling
- D2: Thickfreakness
- D3: Girl Is On My Mind
- D4: I'll Be Your Man / Your Touch
- D5: Little Black Submarines
- E1: Money Maker
- E2: Strange Times
- E3: Chop And Change
- F1: Tighten Up
- F2: Lonely Boy
- F3: Everlasting Light
- F4: She’s Long Gone
- F5: I Got Mine
- E4: Nova Baby
- E5: Ten Cent Pistol
Box[162,48 €]
The Black Keys release a special tenth anniversary edition of their landmark seventh studio. El Camino (10th Anniversary Deluxe Edition) will be available in several formats including a Super Deluxe edition of five vinyl LPs or four CDs, featuring a remastered version of the original album, a previously unreleased Live in Portland, ME concert recording, a BBC Radio 1 Zane Lowe session from 2012, a 2011 Electro-Vox session, an extensive photo book, a limited-edition poster and lithograph, and a ‘new car scent’ air freshener. A three-LP edition, which includes the remastered album and the live recording, will also be available. The Super Deluxe version will also be available digitally.
El Camino was produced by Danger Mouse and The Black Keys and was recorded in the band’s then-new hometown of Nashville during the spring of 2011. The Black Keys won three awards at the 55th annual GRAMMY Awards for El Camino – Best Rock Performance, Best Rock Song, and Best Rock Album – among other worldwide accolades. In the UK, the band was nominated for a BRIT Award (Best International Group) and an NME Award (Best International Band). The week of release, the band performed on Saturday Night Live, The Colbert Report, and the Late Show with David Letterman, and later that year, went on to perform their first Madison Square Garden show.
Rolling Stone, which featured the band on their cover around the release, hailed El Camino for bringing ‘raw, riffed-out power back to pop’s lexicon,’ and called it ‘the Keys’ grandest pop gesture yet, augmenting dark-hearted fuzz blasts with sleekly sexy choruses and Seventies-glam flair.’ The Guardian said, ‘They sound like a band who think they've made the year's best rock'n'roll album, probably because that's exactly what they've done.’
In the newly written liner notes for El Camino (10th Anniversary Deluxe Edition), David Fricke says:
The story of the Black Keys' seventh album, named after an automobile, long out of fashion and featured nowhere in the artwork, begins on a sidewalk in the middle of a blizzard. On the afternoon of January 9, 2011, singer-guitarist Dan Auerbach and drummer Patrick Carney stood on the pavement outside the Bowery Hotel in New York City, saw the weather turning vicious, looked at each other and came to the same decision: They had to get off the road.
The night before, the duo scored another first in a season getting crowded with them: The Black Keys' debut appearance on Saturday Night Live, performing ‘Howlin' for You’ and ‘Tighten Up’, the breakout singles from their latest release, Brothers. Two days earlier, Brothers – the Keys' first Top 5 album, released in May 2010 – became their first Gold record, passing a half-million in sales thanks to heavy FM rotation and a near-year of gigging, now set to run deep into 2011 including a prestige slot at Coachella and victory laps in Europe and Australia.
The Keys "tried to settle down" after cancelling the tour, Carney says. But that didn't last. "I said, 'We should just make another record.' And I asked Dan if we should get Danger Mouse" – the hip-hop and modern-rock producer, real name Brian Burton, who worked on the Keys' 2008 record, Attack & Release, and co-produced ‘Tighten Up’. Auerbach and Carney did not have any new songs, but as the drummer notes, "Most of our records – we don't have material when we start. Brothers was made up in the studio."
In the UK, the record gave the band their first top 10 hit, and in the US it debuted at #2 on the Billboard Top 200. The band was also the #1 most played artist at Alternative and AAA radio formats for 2012 in the US. The album’s first single, ‘Lonely Boy’: reached #1 on the Alternative and AAA charts; it also entered the top 10 at Rock radio. The second single, ‘Gold on the Ceiling’, also reached #1 on Alternative radio and the third single, ‘Little Black Submarines’, reached the top 3 at Alternative radio.
El Camino has been certified Double Platinum in the US; Platinum in the UK, Belgium, France, Ireland, and the Netherlands; Triple Platinum in Australia and New Zealand; Quadruple Platinum in Canada; and Gold in Austria, Denmark, Finland, Italy, Mexico, Norway, Spain, and Switzerland. Of the album’s singles, ‘Lonely Boy’ was certified Double Platinum in the US, nine-times Platinum in Canada, Triple Platinum in Australia, Platinum in New Zealand, and Gold in Denmark and the UK. ‘Gold on the Ceiling’ was certified Platinum in the United States, Australia, and Canada. ‘Little Black Submarines’ was certified Platinum in the United States. The Black Keys also were nominated for an MTV European Music Award in 2012.
Recently, the band announced their World Tour of America. The Black Keys will perform three intimate shows in Oxford, MS, Athens, GA, and St Petersburg, FL, surrounding their September 25 headlining set at Pilgrimage Fest in Tennessee.
The Black Keys recently released their tenth studio album, Delta Kream, which was recorded at Easy Eye Sound studio in Nashville. The album takes its name from William Eggleston’s iconic Mississippi photograph that is on its cover.
Formed in Akron, Ohio in 2001, The Black Keys, who have been called ‘rock royalty’ by the Associated Press and ‘one of the best rock ‘n’ roll bands on the planet’ by Uncut, are guitarist/singer Dan Auerbach and drummer Patrick Carney. Cutting their teeth playing small clubs, the band have gone on to sell out arena tours and have released nine previous studio albums: their debut The Big Come Up (2002), followed by Thickfreakness (2003) and Rubber Factory (2004), along with their releases on Nonesuch Records, Magic Potion (2006), Attack & Release (2008), Brothers (2010), El Camino (2011), Turn Blue (2014) and, most recently, “Let’s Rock” (2019), plus and a tenth anniversary edition of Brothers (2020). The band has won six Grammy Awards and a BRIT and headlined festivals in North America, South America, Mexico, Australia, and Europe.
- A1: Lonely Boy
- A2: Dead And Gone
- A3: Gold On The Ceiling
- A4: Little Black Submarines
- A5: Money Maker
- B1: Run Right Back
- B2: Sister
- B3: Hell Of A Season
- B4: Stop Stop
- B5: Nova Baby
- B6: Mind Eraser
- C1: Howlin’ For You
- C2: Next Girl
- C3: Run Right Back
- C4: Same Old Thing
- C5: Dead And Gone
- D1: Gold On The Ceiling
- D2: Thickfreakness
- D3: Girl Is On My Mind
- D4: I'll Be Your Man / Your Touch
- D5: Little Black Submarines
- E1: Money Maker
- E2: Strange Times
- E3: Chop And Change
- F1: Tighten Up
- F2: Lonely Boy
- F3: Everlasting Light
- F4: She’s Long Gone
- F5: I Got Mine
- G1: Howlin’ For You
- G2: Next Girl
- G3: Gold On The Ceiling
- G4: Thickfreakness
- G5: I’ll Be Your Man
- G6: Your Touch
- H1: Little Black Submarines
- H2: Dead And Gone
- H3: Tighten Up
- H4: Lonely Boy
- H5: I Got Mine
- I1: Dead And Gone
- I2: Gold On The Ceiling
- I3: Howlin’ For You
- I4: Lonely Boy
- J1: Money Maker
- J2: Next Girl
- J3: Run Right Back
- J4: Sister
- J5: Tighten Up
- E4: Nova Baby
- E5: Ten Cent Pistol
Vinyl[43,07 €]
The Black Keys release a special tenth anniversary edition of their landmark seventh studio. El Camino (10th Anniversary Deluxe Edition) will be available in several formats including a Super Deluxe edition of five vinyl LPs or four CDs, featuring a remastered version of the original album, a previously unreleased Live in Portland, ME concert recording, a BBC Radio 1 Zane Lowe session from 2012, a 2011 Electro-Vox session, an extensive photo book, a limited-edition poster and lithograph, and a ‘new car scent’ air freshener. A three-LP edition, which includes the remastered album and the live recording, will also be available. The Super Deluxe version will also be available digitally.
El Camino was produced by Danger Mouse and The Black Keys and was recorded in the band’s then-new hometown of Nashville during the spring of 2011. The Black Keys won three awards at the 55th annual GRAMMY Awards for El Camino – Best Rock Performance, Best Rock Song, and Best Rock Album – among other worldwide accolades. In the UK, the band was nominated for a BRIT Award (Best International Group) and an NME Award (Best International Band). The week of release, the band performed on Saturday Night Live, The Colbert Report, and the Late Show with David Letterman, and later that year, went on to perform their first Madison Square Garden show.
Rolling Stone, which featured the band on their cover around the release, hailed El Camino for bringing ‘raw, riffed-out power back to pop’s lexicon,’ and called it ‘the Keys’ grandest pop gesture yet, augmenting dark-hearted fuzz blasts with sleekly sexy choruses and Seventies-glam flair.’ The Guardian said, ‘They sound like a band who think they've made the year's best rock'n'roll album, probably because that's exactly what they've done.’
In the newly written liner notes for El Camino (10th Anniversary Deluxe Edition), David Fricke says:
The story of the Black Keys' seventh album, named after an automobile, long out of fashion and featured nowhere in the artwork, begins on a sidewalk in the middle of a blizzard. On the afternoon of January 9, 2011, singer-guitarist Dan Auerbach and drummer Patrick Carney stood on the pavement outside the Bowery Hotel in New York City, saw the weather turning vicious, looked at each other and came to the same decision: They had to get off the road.
The night before, the duo scored another first in a season getting crowded with them: The Black Keys' debut appearance on Saturday Night Live, performing ‘Howlin' for You’ and ‘Tighten Up’, the breakout singles from their latest release, Brothers. Two days earlier, Brothers – the Keys' first Top 5 album, released in May 2010 – became their first Gold record, passing a half-million in sales thanks to heavy FM rotation and a near-year of gigging, now set to run deep into 2011 including a prestige slot at Coachella and victory laps in Europe and Australia.
The Keys "tried to settle down" after cancelling the tour, Carney says. But that didn't last. "I said, 'We should just make another record.' And I asked Dan if we should get Danger Mouse" – the hip-hop and modern-rock producer, real name Brian Burton, who worked on the Keys' 2008 record, Attack & Release, and co-produced ‘Tighten Up’. Auerbach and Carney did not have any new songs, but as the drummer notes, "Most of our records – we don't have material when we start. Brothers was made up in the studio."
In the UK, the record gave the band their first top 10 hit, and in the US it debuted at #2 on the Billboard Top 200. The band was also the #1 most played artist at Alternative and AAA radio formats for 2012 in the US. The album’s first single, ‘Lonely Boy’: reached #1 on the Alternative and AAA charts; it also entered the top 10 at Rock radio. The second single, ‘Gold on the Ceiling’, also reached #1 on Alternative radio and the third single, ‘Little Black Submarines’, reached the top 3 at Alternative radio.
El Camino has been certified Double Platinum in the US; Platinum in the UK, Belgium, France, Ireland, and the Netherlands; Triple Platinum in Australia and New Zealand; Quadruple Platinum in Canada; and Gold in Austria, Denmark, Finland, Italy, Mexico, Norway, Spain, and Switzerland. Of the album’s singles, ‘Lonely Boy’ was certified Double Platinum in the US, nine-times Platinum in Canada, Triple Platinum in Australia, Platinum in New Zealand, and Gold in Denmark and the UK. ‘Gold on the Ceiling’ was certified Platinum in the United States, Australia, and Canada. ‘Little Black Submarines’ was certified Platinum in the United States. The Black Keys also were nominated for an MTV European Music Award in 2012.
Recently, the band announced their World Tour of America. The Black Keys will perform three intimate shows in Oxford, MS, Athens, GA, and St Petersburg, FL, surrounding their September 25 headlining set at Pilgrimage Fest in Tennessee.
The Black Keys recently released their tenth studio album, Delta Kream, which was recorded at Easy Eye Sound studio in Nashville. The album takes its name from William Eggleston’s iconic Mississippi photograph that is on its cover.
Formed in Akron, Ohio in 2001, The Black Keys, who have been called ‘rock royalty’ by the Associated Press and ‘one of the best rock ‘n’ roll bands on the planet’ by Uncut, are guitarist/singer Dan Auerbach and drummer Patrick Carney. Cutting their teeth playing small clubs, the band have gone on to sell out arena tours and have released nine previous studio albums: their debut The Big Come Up (2002), followed by Thickfreakness (2003) and Rubber Factory (2004), along with their releases on Nonesuch Records, Magic Potion (2006), Attack & Release (2008), Brothers (2010), El Camino (2011), Turn Blue (2014) and, most recently, “Let’s Rock” (2019), plus and a tenth anniversary edition of Brothers (2020). The band has won six Grammy Awards and a BRIT and headlined festivals in North America, South America, Mexico, Australia, and Europe.
New Orleans-based African-American producer/composer, IFÉ feeds Afro-Caribbean hand percussion through digital synthesizers and drum machines as he delivers explosive lyrics tackling life, death and the world we live in today to create a 21st century soundsystem experience on 0000+000 - the follow up to IFÉ's acclaimed 2017 debut LP IIII+IIII.
Having stepped into fourth year of existence the factory of Depth.Request manufactures an article in form of an EP titled "Night Wounds Time" produced by British-born underground scene veteran Mahk Rumbae under the guise Antechamber, which - in slight contrast to his arguably better known alias Codex Empire - he ostensibly reserves for a more dysfunctional brand of electronic music intended as much for frantic terpsichorean participation as for contemplating the inevitable under the gloom of moonless nights. In line with offbeat nature of sounds presented, the release gives a subtle nod to Tod Phillips' literary work "A Humument", borrowing its name and
track titles from the lines within the idiosyncratic book.
clear red vinyl / incl. poster
The fourth release (ZC-ELEC004) of the Electro Acid Series has arrived. With "Lightsplitter", you can expect four dancefloor fillers that also provide truly captivating listening experiences. Created by The Human Behind Pluto, Johnfaustus and VSO who's passion for electro, acid and IDM meet on this high-quality release.
About the artists:
Human Behind Pluto: Born somewhere else, raised liked a human... using synthesizers, some hardware some not to express something hard to grasp... Eclectic mixes between IDM, Braindance, Electronica and Ambient is a good guess of what it would sound like if you join the ride...
Johnfaustus: Piano lesson in the 80's, rocking the guitar in the 90's, pacing free party since the end of the millennium (followed by a hardware addiction), johnfaustus is still making noise. Versatile producer, he navigates from dub to death metal with of course some mental acidcore in between.
VSO: VSO, aka Vasco Oliveira, based in Porto, started his journey in electronic music around 2017. Since then, he has been experimenting with acid, electro, IDM, breakbeat and ambient.
Human Behind Pluto - Lightsplitter
the Human Behind Pluto delivers an excellent up-tempo electro track with 'Lightsplitter' Superb atmospheres are driven by subtly distorted beats and a razor-sharp arrangement that manages to split light to be projected into the mind's eye. A truly captivating track that enchants instantly!
johnfaustus - Red Sonjia
With 'Red Sonjia' John Faustus tells a dark and ominous tale voiced by analog synths and mesmerizing vocals. A hypnotizing 303 line tops of this high-quality sonic adventure, where Sonjia manages just fine without Conan.
VSO - Sinking
With 'Sinking', VSO has created a beautiful and all-encompassing electro adventure. The hard-hitting beats won't stop you from sinking in the sonic pool filled with melancholy and acidic creatures.
VSO - Complacency
'Complacency' by VSO is an offbeat electro killer accompanied by 303 basslines and distant electrofied voxes. Don't get too comfortable balancing between the beautiful contrast of the intense beats and the dream state vibe because complacency is on the lurk.
New album of Québecois performer Bernardino Femminielli after several releases on Mind Records or Desire Records. Produced by Dominic Vanchesteing (Marie Davidson, Jef Barbara, Chocolat, Bernardino Femminielli...). A synth-pop/chanson act in between Sebastien Tellier, Serge Gainsbourg and lust.
Bernardino Femminielli, a lucid and tempestuous entertainer, abandons his performance and his leather clothes to take on the role of a triple agent in a sentimental mise en abyme, far from the tumultuous moral, political and philosophical conflicts. By turns storyteller, voyeur and actor of this tragedy in six acts, it is his word against that of another.
The other is Brad Cerini.
Lulled by the variety of his Italy, this unaware student of Vannier, Lai and Musy projects Femminielli into the heart of the torments of a high school girl in love and betrayed.
The mouse slips out of the shadow of the palaces and embraces her fate with a gunshot. Iris embarks on a hellish journey, assumes her excesses of politeness and turns an unexpected encounter into a grandiose event.
An introspective and/or schizophrenic tale that polarises a toxic, vital desire, carried by a flowery music that frees the artist from her principles.
Femminielli plays "an assumed, sincere role, a more serious posture and a more serious tone, but also an emotional distance in the face of this painting of manners. I had to act for her and him.
Directed by Dominic Vanchesteing (Marie Davidson, Jef Barbara, Chocolat, Bernardino Femminielli...), Dans les yeux d'Iris is the first release of the Parisian label Corps Double.
Two classic sides from the Michigan soul singer
with a stash of soul goodies in his repertoire.
The original pressing of ‘What Good Am I Without
You’ from 1967 on Jacklyn Records goes for just
over £200 and one listen explains why.
Featuring an emotional, heart-wrenching vocal
soaked with flying strings over an impulsive
rhythm, it’s a lovelorn anthem; an emotional
rollercoaster.
Backed with ‘That Certain Little Something’ from
the Groovy label 12 months earlier.
A funky guitar-led scorcher with a bluesy brass
break and a spin and drop chorus aided by a
rampaging drummer.
Two must-have sides from Fletcher, a child
prodigy, who found success in Chicago in the mid-
1960s which led to shows with Stevie Wonder and
BB King, among others.
Haley Dahl, die seit ihrer Teenagerzeit als Sloppy Jane auftritt, ist neuerdings bei Phoebe Bridgers' Label Saddest Factory Records unter Vertrag. Phoebe und Haley sind schon seit Schulzeiten eng befreundet. Damals war Sloppy Jane eine Teen-Punkband. Die ersten Mitglieder waren Phoebe Bridgers am Bass, Sarah Cath an der Gitarre und Imogen Teasley-Vlautin am Schlagzeug. Heute hat die Band mehr als ein Dutzend Mitglieder und sich in ein Kammerpop-Projekt verwandelt. Für ihr neues Album "Madison" verbrachte Dahl drei Jahre damit, Höhlen zu erkunden, die ihre Vision für das Album einfangen könnten. Ihre Suche führte sie quer durch die USA, wobei sie sich mit der unterschiedlichen Akustik jeder Option beschäftigte, bevor sie bei den Lost World Caverns landete. Das Ergebnis ist ein wunderschönes, persönliches Werk, eine große Geste, ein kraftvolles Statement über obsessive Liebe und über das Hineinwachsen in sich selbst nach einer lebensverändernden Beziehung. Dahl und ihre 21 Bandkollegen nahmen Madison zwei Wochen lang jeden Tag von 15 Uhr bis 8:30 Uhr in den Höhlen auf. Um in die Höhle zu gelangen, mussten sie durch die Rückseite eines Geschenkeladens in einen langen Tunnel eindringen, wo sie über 200 Treppen zum Eingang hinuntergehen mussten. Dahl und Co. bewältigten diesen steilen Weg mit einem Klavier. Die Decke der Lost World Caverns ist riesig hoch und bildet eine perfekte Kuppel. Außerdem herrschte im Inneren eine Luftfeuchtigkeit von 98 Prozent, was sowohl zu einem hervorragenden Klang als auch zu Problemen mit der Stimmung und der Ausrüstung führte. Der Tontechniker Ryan Howe saß mit seinem Mischpult und seinem Computer im Subaru seiner Eltern oberhalb der Höhle und fädelte Kabel durch ein Loch im Boden bis zur Decke der Höhle. Auf dieses Album, das so vollständig realisiert und sorgfältig ausgeführt wurde, hat Dahl lange gewartet und auch als Musikerin viel gelernt: Für Madison lernte sie, wie man für Kammermusikinstrumente schreibt und brachte sich selbst das Klavierspielen bei. Die Platte lässt sich nur schwer kategorisieren. Es ist David Bowie wenn der Song "Crying" von Roy Orbison am Ende von Harmony Korines Film "Gummo" gespielt wird. Es ist My Chemical Romance trifft Sgt. Pepper. Courtney Love und Queen. Es ist ein riesiges, blumiges, samtiges Ding voller Spielzeugpferde und Stalagmiten. Er folgt einer großen Linie: einer großen Geste, die so groß ist, dass sie die ganze Erde bewegt. "I'm glad to live in a world where Haley Dahl wanting to go to a cave to make a record just makes sense. This is already a classic album." - Phoebe Bridgers
Australia's biggest selling dance act and one of the most popular drum'n'bass acts of the early 21st century, Pendulum are an Australian group based in the United Kingdom. Formed in Perth in 2002, the group was originally comprised of producers Rob Swire and Gareth McGrillen, who worked in tandem with a local DJ named Paul "El Hornet" Harding. One of the team's initial releases, "Vault," became a sensation amid the drum'n'bass community in 2003, benefiting greatly from its high-profile placement at the beginning of J Majik's FabricLive mix album. In 2005, Pendulum made their full-length album debut, Hold Your Colour, featuring the singles "Tarantula" and "Slam."
Pendulum signed to Warner Music U.K. and made their major-label debut with 2007's "Granite," a Top 30 hit. Their second full-length album, In Silico (2008), spawned four singles, including U.K. Top Ten hit "Propane Nightmares". In Silico went on to reach platinum status in the U.K., as well as just missing out on the U.K. number one album chart spot. Their third album, Immersion, was released in 2010, and shot straight to the top of the U.K. albums chart. It featured collaborations with the Prodigy's Liam Howlett, Porcupine Tree's Steven Wilson, and Swedish metallers In Flames. In support of the album, Pendulum embarked on a world tour, playing two sold-out shows at London's Wembley Arena and headline slots at some of the U.K.'s largest festivals.
At the end of 2011, Pendulum took a break from live performing, with Rob Swire and Gareth McGrillen focusing their energy on their side project, Knife Party. In 2018, Pendulum returned from a seven-year hiatus, with Rob Swire, Gareth McGrillen and Paul Harding currently touring as Pendulum - Trinity.
Daniel Brandt/John Kameel Farah/Paul Frick/Erol Sarp/Kai Schumacher/Gregor Schwellenbach
Live im Haus des Rundfunks
- A1: John Kameel Farah - Introitus
- A2: Gregor Schwellenbach - Superpitcher's Happiness
- A3: Erol Sarp / Gregor Schwellenbach Vulcanus
- A4: Daniel Brandt / Erol Sarp / Gregor Schwellenbach - Geduld Ungeduld
- B1: Daniel Brandt / Paul Frick / Kai Schumacher - Ocean Drive (Schamane)
- B2: Kai Schumacher - The Fool
- B3: Kai Schumacher - Rausch
- B4: John Kameel Farah - Fugal Metamorphosis
The story of six soulmate musicians meeting at the intersection of classical composition, pop, electronic and minimal music begins in 2016 with their celebrated performance at the Cologne Philharmonie. After follow-up performances at the Bundeskunsthalle Bonn as well as the Hamburg Elbphilharmonie, Gregor Schwellenbach, Daniel Brandt, John Kameel Farah, Paul Frick, Erol Sarp and Kai Schuhmacher made a guest appearance at the invitation of Radio Berlin Brandenburg in the iconic Haus des Rundfunks in Berlin's Westend on February 2, 2019. "Live im Haus des Rundfunks" documents the first half of this evening, in which the individual composer-pianists introduced themselves to the audience in solos, duos and trios. This carefully choreographed set served as an electrifying prelude to the grand finale, the 20-minute collective mantra of Steve Reich's 1973 composition Six Pianos, a studio recording of which has already been released on the 2016 record Steve Reich "Six Pianos" – Terry Riley "Keyboard Study #1" (FILM LP/CD 002).
Im Jahr 2016 beginnt die gemeinsame Geschichte der Pianisten Gregor Schwellenbach, Daniel Brandt, John Kameel Farah, Paul Frick, Erol Sarp und Kai Schuhmacher, sechs seelenverwandten Musikern, die sich zu einem Kollektiv an den Schnittstellen von klassischer Komposition, Pop, Elektronik und Minimal Music zusammengefunden haben. Nach gefeierten Auftritten in der Kölner Philharmonie (mit Hauschka, ohne Kai Schumacher), der Bundeskunsthalle Bonn sowie der Hamburger Elbphilharmonie gastierte das Projekt am Abend des 2. Februar 2019 auf Einladung des RBB im geschichtsträchtigen Haus des Rundfunks im Berliner Westend. Die damals entstandene Aufnahme des Konzerts im Großen Sendesaal bildet die Grundlage der nun vorliegenden Veröffentlichung. “Live im Haus des Rundfunks“ dokumentiert den ersten Teil des Abends, innerhalb dessen sich die einzelnen Pianisten solo, im Duo oder Trio, dem Publikum vorstellen. Dieser Part stellte das Vorspiel zum großen Finale dar, dem 20-minütigen, kollektiven Mantra von Steve Reich’s Komposition Six Pianos aus dem Jahr 1973. Eine Studioaufnahme hiervon wurde bereits auf der 2016 auf FILM erschienenen Schallplatte STEVE REICH "SIX PIANOS" - TERRY RILEY "KEYBOARD STUDY #1" (FILM LP/CD 002) veröffentlicht.
- 1: Gier
- 2: Es Funktioniert
- 3: Unterwerfung
- 4: Stirb Es Gleich
- 5: Jahrhundertfick
- 1: Paradies
- 2: Manchmal Wage Ich Mich Unter Leute
- 3: Die Wand
- 4: Stumpfer Werden
- 5: 3:3 Uhr
- 1: Deutsch
- 2: Nichts In Mir Ist Einer Liebe Wert
- 3: Pawlow
- 4: Kein Mensch
- 5: Guter Junge, Böser Junge
- 6: Pandora
- 1: So Geht Die Geschichte
- 2: Tier
- 3: So Soll Es Sein
- 4: Szene Einer Ehe
- 5: Wir Sind Sicher
Gewalt - "Paradies" A cross-reference of music influences may be difficult for even the most inclined listener to deconstruct. Partly due to our personal limits and partly because of the short time for songwriting and production, we didn’t arrive with a plan. Instead, we went for it. We indulged ourselves. We owned it. And this is what it is.
Aarhus (DK) based MØL blend swirling guitars and hissing vocals with the dreamy ambience of shoegaze to form a unique blend of soundscapes and crushing passages. Inspired by bands like My Bloody Valentine, Slowdive, Drop Nineteens, Lantlôs and Alcest, MØL released their self-titled debut EP back in 2014. A year later, the band had perfected their sound on their second EP "II", produced by Jacob Bredahl and released in 2015. Both EPs were very well received and drove them on to do some empathic live shows, which were praised by press and helped establishing a dedicated audience. In 2018, MØL made an international breakthrough signing with Holy Roar Records (UK) who released their debut album “JORD” to critical acclaim. Recorded at Grapehouse Studios and mixed and mastered by Chris Kreutzfeldt, “JORD” gained massive media acclaim turning MØL into one of the most talked about Danish metal newcomers in recent years. The album was also released as an instrumental version and in 2019, the band re-released their two first EPs, remastered for CD and vinyl. On November 5th, 2021, MØL now return with their second studio album, “DIORAMA”, the group’s first for Nuclear Blast Records. Recorded and mixed by Tue Madsen (Gojira, Meshuggah, Heaven Shall Burn), the band has successfully developed its captivating, aggressive sound even further. Brace yourself for a ferocious yet melodic blackgaze monument! Praise for ‘JORD’: “It’s epic and stirring stuff. Absolutely crushing” - Daniel P. Carter , BBC Radio1 Rock Show “JORD is one of the exhilarating blackgaze albums to drop in a long time” - Metal Hammer “JORD has received unanimous praise and has immediately seen them heralded as one of the greatest examples of the blackgaze movement” - The Independent UK “By far one of the genre’s most accomplished records” - KillYourStereo
Lists and nomations for “JORD” Metal Hammer - #12 on “The 50 Best Albums of 2018” Loudwire - #19 on “The 30 Best Metal Albums of 2018 Kerrang! - #17 on “The 50 Albums that Shook 2018” Kerrang! - Music video for Bruma on “The 12 Best Music Videos of 2018” The 405 - #20 on Top 50 Albums of 2018 Distorted Sound Magazine - #2 on “Top 20 Albums of the Year” WhatCulture - “10 Best New Heavy Metal of 2018” GAFFA Awards 2019 – Nominated for “Best Metal Album of the Year”
- 1: Les Jours Heureux (The Happy Days)
- 2: Imagine
- 3: De Couleurs Vives (Of Vivid Colors)
- 4: Ce Que Tu Es Dans Ma Vie (What You Are In My Life)
- 5: Là-Haut (Up There)
- 6: Il Faut Qu’on Se Donne (We Need To Give Ourselves)
- 7: Exister (To Exist)
- 8: A Perte De Rue (Beyond The Streets)
- 9: Comme Tu Voudras (As You Wish)
- 10: Avec Son Frère (With His Brother)
- 11: Le Jardin Des Larmes (Feat. Till Lindemann) *
- 12: Le Chant Des Grives (Thrushes’ Song)
- 13: Et Le Reste (And The Rest)
Three years after the platinum Effet Miroir (Mirror Effect), Zaz is about to release her fifth album. A record she began making during the spring 2020 lockdown.
After a frenzied decade of sold-out concerts, awards and prestigious collaborations (Quincy Jones, Charles Aznavour), it was after her last world tour which ended in the United States that Zaz refocused herself. For this album, recorded between Provence (Southern France), Brussels and Amsterdam’s area, Zaz worked with Dutch producer REYN (Vanessa Paradis, Stephan Eicher, Benjamin Biolay, Gaëtan Roussel…). “Imagine a world in tune with you”, advises Zaz in the first single. “When you see the state the world is in, it saddens me. What are we going to leave for our children?", asks the artist, who has always held deeply ingrained questions of education and environment. “It's sad, scary. But ‘Imagine’ is a song of hope", she explains, putting things into perspective.
With the release of their new single ‘R&B’, the ever-exciting
English Teacher prove they could be your new favourite band.
As far as Northern cities go, Leeds probably isn’t the first place
you’d think of as a burgeoning hotbed of fiercely independent
and DIY bands. Often overshadowed by its neighbours further
along the M62, it’s precisely because of this that Leeds’ music
scene is as vehemently independent and self-sufficient as it is.
The latest band to emerge from the city are four-piece English
Teacher. Keeping Leeds’ longstanding tradition of
uncompromising post-punk alive, the quartet’s latest single
‘R&B’ is three minutes of clattering bass and crisp percussion,
sporadic guitar occasionally punctuating the tension as
frontwoman Lily Fontaine explores ideas of imposter syndrome
and lethargy throughout the creative process.
Lethargic is one thing ‘R&B’ isn’t, however. Fraught and frantic
perhaps. Imbued with a dry wit and self-awareness certainly,
but no one’s about to level any accusations of indifference at
English Teacher. The band explain, “the song is about the
cyclical, productivity-diminishing paradox of low self-esteem and
imposter syndrome-induced writer’s block that then fuels low
self-esteem and imposter syndrome. It’s also about racial
identity and putting the love that you have to offer a potential
romantic partner back into yourself.”
Harbouring a cloying sense of paranoia that only increases as
the track progresses, there are elements of bands such as Slint
and Sonic Youth at play. Rather than feel like a ‘90s throwback,
however, ‘R&B’ succeeds feeling not just contemporary but vital.
Providing both a short, sharp gut punch and insight into Leeds’
ever-growing indie scene.
Recently supported Sports Team on tour.
Dan Carey is set to produce a forthcoming album and also
plans to release a single on Speedy Wundergound.
Fela Kuti (1938-1997) was a Nigerian musician,
producer, arranger, political radical and outlaw, and the
originator of Afrobeat. A titanic musical and sociopolitical
voice, Fela’s legacy spans decades and genres,
touching on jazz, pop, funk, hip-hop, rock and beyond.
After graduating from Trinity College of Music (now
Trinity Laban Conservatoire of Music and Dance) in
London, Fela returned to Nigeria with his band Koola
Lobitos. Fusing the sounds of Jazz and Funk with the
traditional African music he had been raised on, his star
status began to flourish.
EMI, his label at the time, saw the true power of his
musical creation, what we now know as Afrobeat, and
brought Fela and his band back to London. The result
was ‘London Scene’. While recording, Fela began his
friendship with Ginger Baker, who plays uncredited on
the track ‘Egbe Mi O’.
‘London Scene’ is the beginning of what would become
Fela’s signature Afrobeat style and serves as a great
introduction to Fela’s music. Recorded and remastered
at none other than Abbey Road Studio.
This 50th Anniversary edition of the classic Fela album
comes on red, blue and white splatter vinyl, with a gold
foil obi strip that will be the hallmark of all of the Fela
50th Anniversary reissues.
Liner notes by the legendary Chris May.
Fela recently came in second place, behind Tina Turner,
for the fan vote for the Rock & Roll Hall of Fame
nominations and received great press coverage in NY
Times, Rolling Stone, MOJO, Record Collector and
more.
With another week comes another gem to be let loose into
the world via Nice Swan. This time it’s the turn of Brighton
set Opus Kink, releasing their second offering of the year
in ‘Wild Bill’ / ‘This Train’.
Having been recorded at the seminal Rockfield Studios in
Wales and produced by Tim Burgess, it’s every bit as
zealous and free as we’d expect and in discussing the
release, the group revealed: “‘This Train’ is a hell-forleather ride through humanity’s self-destructive tendencies
and futile battle against nature, flipping on its head the old
adage that ‘this train is bound for glory’.”
A spooky intro converts to a fast-paced and frenetic sound
as trumpets and sax blare with feral delight. The single
comes to a screeching crescendo and we’re sonically
transported to what could easily be a pub parlour, perched
on the crimson material of a baby bar stool as beautifully
bedraggled chants echo out. They can’t remember how
they got there but are united in their message: “Don’t lose
yourself to everyone else; Don’t lose yourself to this train.”
So far, Opus Kink have succeeded in turning listeners on
their head, leaving a simultaneous excitement and
perplexity as the struggle to brandish them with a ‘wemust-define-you’ handle ensues. With an underlying tone
likened to that of a Dickensian tale, they possess the edge
of a brooding petty criminal, the charm of a street urchin
and the philanthropic spirit of any good protagonist.
The band have a flurry of nationwide gigs scheduled over
the coming months, including two Nice Swan showcases
alongside labelmates Malady, Mandrake Handshake and
Hallan. Taking the studio energy and general raucousness
into consideration, catching them live will be well worth a
look-in.
When you’re trying to make it through tough times, you need a little light to find your way. That light blazes brightly on the alchemical second album from Penelope Isles, an album forged amid emotional upheaval and band changes. Setting the uncertainties of twentysomething life to alt-rock and psychedelic songs brimming with life, colour and feeling, ‘Which Way to Happy’ emerges as a luminous victory for Jack and Lily Wolter, the siblings whose bond holds the
band tight at its core.
Produced by Jack and mixed by US alt-rock legend Dave Fridmann, the result is an intoxicating leap forward for the Brighton-based band, following the calling-card DIY smarts of their 2019 debut, ‘Until the Tide Creeps In’. Sometimes it swoons, sometimes it soars. Sometimes it says it’s OK to not be OK. And sometimes it says it’s OK to look for the way to happy, too. Pitched between fertile coastal metaphors and winged melodies, intimate confessionals and expansive cosmic pop, deep sorrows and serene soul-pop pick-you-ups, it transforms ‘difficult second album’ clichés into a thing of glorious contrasts: a second-album surge of up-close, heartfelt intimacies and expansive, experimental vision.
Field recordings were made during a stay at a small cottage in Cornwall, where Penelope Isles began work on the album. With romantic heartache already in the air, things swiftly got worse:
lockdown began, claustrophobia kicked in and emotions ran high. As Jack puts it, “We were there for about two or three months. It was a tiny cottage with four of us in and we all went a bit bonkers, and we drank far too much, and it spiralled a bit out of control. There were a lot of emotional evenings and realisations, which I think reflects in the songs.”
At different points along the way, Jack Sowton and Becky Redford left the Isles. An old friend, multi-instrumentalist Henry Nicholson, stepped in swiftly - “A godsend after a low time,” says Lily. Another friend, Hannah Feenstra, contributed drum parts; now, Joe Taylor is the band’s drummer. After Cornwall, the band redid many of the rhythm tracks, recorded a little in Brighton, then recorded more in Cornwall at their parents’ house. “It was,” says Jack, “a proper
rollercoaster ride.”
The ride continued with Fridmann, whose recent credits include Isles’ favourites Mogwai’s No 1 album, ‘As the Love Continues’. As Lily puts it, the process of sending Fridmann a mix, receiving it back in the morning and then having five hours to make decisions on it resulted first in stress, then in something sublime. “I love everything he’s touched - MGMT, Mogwai, Mercury Rev. He would turn our mix into this electric, fiery thing. There were some moments that were
initially hard, like on ‘Miss Moon’, where he took out the bass when it gets to the chorus. But now it’s my favourite bit on the record. He made everything so colourful. It’s an intensesounding record - a hot record. It was so refreshing to have that blast of energy from Dave - it’s like he framed our pictures.”
Away from the confines of the cottage, the Wolters also opened the door to a collaboration with storied composer Fiona Brice, whose credits include John Grant, Lost Horizons and Placebo. A
“big bucket-list tick” for Jack and Lily, the team-up results in glorious arrangements across the album: for Lily, ‘11 11’ stood out. “I was in absolute tears when she sent back the strings for ‘11 11’. It was like, oh my goodness, she’s nailed it.”
On its release, ‘Until the Tide Creeps In’ received rave reviews from Q, DIY, The Line of Best Fit and many others, while finding champions in Steve Lamacq and Shaun Keaveny. It also become part of a lifeline for music fans during the 2020 lockdown when the band participated in Tim Burgess’s Twitter Listening Party. Meanwhile, extensive touring saw the Isles develop into a formidable live force, with ‘Gnarbone’ emerging as a sure-fire showstopper.
Now, the Isles have 11 more showstoppers to add to the mix. At the album’s heart, the band’s core traits have never been stronger: the bond between the Wolters, a sensitivity towards complex feelings, a desire to celebrate life in all its facets and an ambitious reach combine to create an album that feels utterly, emphatically present on every front, rich in depth and uplift.
LP pressed on 180g clear vinyl with A4 print.
ATO Records and Prawn Songs are excited to
bring you a 10th Anniversary pressing of Primusʼ
2011 album ‘Green Naugahyde’.
This new 2021 pressing comes in a deluxe
gatefold jacket (spot gloss and emboss) with newly
expanded artwork and includes two LPs on ghostly
green coloured vinyl plus digital download code.
‘Green Naugahyde’ was produced and engineered
by Les Claypool in his personal studio, Rancho
Relaxo in Northern California, and features
Claypool, long-time guitarist Larry LaLonde and
drummer Jay Lane.
Over the course of two EPs, two singles and a stripped-back
live album, Puma Blue has established himself as one of the
UK’s most vital new talents, quietly amassing over 50 million
streams in the process and selling out shows from London to LA
and Paris to Tokyo.
His long-awaited debut album, ‘In Praise Of Shadows’, was a
delirious dreamland of soulful vocals, D'Angelo-ish guitars and
muted electronic beats. Its fourteen tracks are a contemplation
on “the balance of light and dark, the painful things you have to
heal from or accept, that bring you through to a better place,”
says the 25-year-old Puma Blue, real name Jacob Allen. “It's
about finding light in darkness and realizing that it’s what got me
here today.”
Described by NME as “a brief moment of relief for those lost in
the darkness,” the album found his storytelling at its most
honest and vulnerable to date whilst his production reached
new heights, retaining its characteristic bedroom intimacy. Yet
for all the intimacy of his ‘voicemail-ballads’ on record, his songs
carry a different resonance in a live setting; a mix of
improvisation, in-the-moment escapism and the collective
power of an audience taking his music to new heights.
‘In Praise Of Shadows: B-Sides & Live Versions’ features
rarities and live recordings, mostly taken from rehearsals in
early 2021. With limited opportunities for people to hear the
album in a live setting thus far, this represents an intimate first
glimpse at the magic unique to the full band arrangements.
This edition is completed by two new bedroom studio
recordings with new single ‘All I Need’ (a Radiohead cover)
perfectly extending the album’s small hours spirit, the raw
emotion of Puma Blue’s voice growing in tandem with the scale
of the initially skeletal production, and the previously unreleased
‘Postcard From Toyko’ exploring loneliness with brutal honesty
and a sparse acoustic atmosphere.
Crystal clear LP in a deluxe clear PVC sleeve.
‘X’ is the first new music from Working Men’s Club
since their acclaimed self-titled debut was released
in the autumn of 2020. The album was the band’s
perfect statement of intent, ‘X’ is the delivery, the
message, the action.
‘X’ rides on a sustained attack and gives way to a
glorious synth heavy release of a chorus that’s just
biding its time for a summer of discontent and
dancing. This is the sound of your new favourite
band hitting their stride. Count the days ’til you can
see them in a field or in a club again.
Self-produced by Syd Minsky and once again
mixed by Ross Orton, ‘Y’ is a synth heavy assault
which picks up where X left off before venturing off
into deeper acid-laced territory.
Following the 7” release of ‘X’, the first new music
from Working Men’s Club since their acclaimed
self-titled debut was released in the autumn of
2020, the band share remixes from Paranoid
London and Minsky Rock.
A side project of Syd from the band and producer
Ross Orton, the Minsky Rock remix channels the
energy of the primetime Detroit electro of Aux 88 or
Cybertron, while Paranoid London, the duo made
up of Quinn Whalley and Gerardo Delgardo, turn in
a bubbling 303 drenched acid workout.
- 1: Running Away
- 2: Wolves
- 3: Medicine
- 4: September
- 5: Always
- 6: Emily
- 7: Last Of The Whiskey
- 8: Never Let You Go
- 9 40: 00 Miles
- 10: Deja Vu
- 11: Ride
- 12: Avalanche
- 13: Sos
- 14: Take It Or Leave It
Teeside singer/songwriter returns with his 4th album feauturing lead single ‘Emily’. James will tour the UK/Ireland in March 2022, with dates including a special show at London’s prestigious Royal Albert Hall. A North American tour follows in April/May. James has sold over 30 million records worldwide and has to date released three hugely successful albums 'James Arthur' (UK No.2), 'Back From The Edge' (UK No.1) and 'YOU' (UK No.2), alongside nine solo UK Top 40 singles. This new album features 14 stunning songs across a standard single CD and double black vinyl LP. TV promo includes BBC Breakfast, Sky News, James Martin Saturday Morning and more. TV ad campaign. Online/social media activity. Ads, features, interviews and reviews across all press. Radio support with playlists, interviews, sessions and ads. Poster campaign and database mailout.
- 1: O Mar
- 2: I_Still Hear_The Roar Of A Distant Crowd
- 3: Small Piece With Walfisch And Autodrum
- 4: ??
- 5: Icaro
- 6: Cycloïd-E
- 7: Móbil
- 8: Escucha Para Acelerador De Partículas, Parancatadora Y Voz
- 9: Música Nocturna
- 10: Tripa Con Dientes
- 11: Uma Isis Esfera
- 12: Aerodrones
- 13 1: Prepared Dc-Motor, 1 Mdf Wheel, Touch Fasterner, Mdf Box 25X25X9Cm
HIGHLIGHTS: Objetos Musicais is a collection of 13 sound pieces created by artists from South America and Switzerland, who work in an intermediate zone among the craft of luthiers, visual arts and experimental music. Their works evoke the visionary ideas of Walter Smetak, a Swiss composer who lived in Salvador, Bahia (Brazil) Smetakian spirit tunes in with a new community of contemporary artists, who relate to the work of the so-called "experimental luthiers": artists who build their own instruments, lead them towards radical extended versions or take the exploration towards the building of resonant machines. DESCRIPTION: Objetos Musicais is a collection of 13 sound pieces created by artists from South America and Switzerland, who work in an intermediate zone among the craft of luthiers, visual arts and experimental music. Their works evoke the visionary ideas of Walter Smetak, a Swiss composer who lived in Salvador, Bahia (Brazil). Smetak was a pioneer of musical experimentation in that country and developed, in the 60s and 70s, a musical poetics that was captured in two seminal albums, Smetak (1974) and Interregno (1980), both of which, after being out of print for a long time, have been reissued today, hence the motivation for this tribute. On those two albums, Smetak combined Afro-Brazilian ritual traditions, theosophy, microtonality studies, collective improvisation and the use of unconventional musical instruments, which he called Plasticas Sonoras. Smetak came to build around 150 acoustic instruments, many of which are true sound sculptures of great visual impact. This latter aspect is the most directly evoked one on this album-and it so happens that the Smetakian spirit tunes in with a new community of contemporary artists, who relate to the work of the so-called "experimental luthiers", artists who build their own instruments (Marco Scarassatti, Phillipp Laeng, Maria Anália), lead them towards radical extended versions (Ruben Dhers, Claudio Merlet), develop hybrid projects involving instruments and sound sculpture (Javier Bustos, Alvaro Icaza and Verónica Luyo, Juan Pablo Egúsquiza, Edgardo Rudnitzky) or take the exploration towards the building of resonant machines (Nicole L'Huillier, O Grivo, Zimoun, Cod.Act), without these categories being mutually exclusive, but rather tending to mix, thereby opening up new sonic possibilities. This new community of artists has begun to create a whole new field of research and, in a way, a new discipline, understandable within the context of this new paradigm opened by the maker culture, which has pushed creators and developers from all over the world to conceive alternative-anti-hegemonic and DIY-forms of production. Therefore, this collection allows the artists to evoke Walter Smetak but also to connect his work to this new scene-to which it precedes-a link for this new art that makes its way at some point among the work of experimental luthiers, sound art, experimental music and the DIY ethics. Curated by Luis Alvarado and Chico Dub. Art by René Sánchez. Limited edition of 300 copies on vinyl. This project is part of the experimental music and sound art platform Incidencias Sonoras: COINCIDENCIA, by the Swiss Arts Council Pro Helvetia.
HIGHLIGHTS: For the first time a sample of the essential work of Mesías Maiguashca, covering a period that goes from 1967 to 1989. This release includes historical pieces of electronic music, such as "El mundo en que vivimos" (1967) or "Ayayayayay"(1971), which are early references for electronic music in Latin America. DESCRIPTION: Mesías Maiguashca is a relevant figure on the map of contemporary avant-garde composers. Born in Ecuador but currently based in Germany, he has been a composer who, since the 60s, would constantly expand his possibilities in fields such as electronic music (where he stands out as a pioneer), mixed works, expanded interdisciplinary pieces and the creation of unconventional instruments, where the encounter between his country of origin's popular folkloric tradition and the new European music has produced a universe of tension, as fascinating as it is startling. Mesías Maiguashca: Música para cinta magnética (+) instrumentos (1967-1989) presents for the first time a sample of the essential work of Maiguashca, covering a period that goes from 1967 to 1989. This is the first of a new collection, a new series of albums that seeks to document the extensive recorded work of Maiguashca, with pieces that date from the mid-60s to the present. This first release is a good introduction to understand the various aesthetic options developed by the artist throughout his career. It includes his historical pieces of electronic music, such as "El mundo en que vivimos" (1967) or "Ayayayayay"(1971), which are early references for electronic music in Latin America, and also mixed pieces, such as "Intensidad y altura" (1979) for six percussionists and magnetic tape, "The wings of perception" (1989) for a string quartet and tape, and "Nemos Orgel" (1989) for organ and magnetic tape. As the critic Fabiano Kueva has pointed out: "During six decades of musical creation, Maiguashca has outlined diverse aesthetic axes, raising questions about the aural experience and generating a sound flow, a permanent oscillation between Latin America and Europe. Therefore, the blend of Western and non-Western concepts, techniques and timbres, the literary references or the historical approach are perceived as a complex gesture that reveals the tensions, the memories, the place of the artist." Mesías Maiguashca studied at the Quito Conservatory, the Eastman School of Music (Rochester, N.Y.), the Di Tella Institute (Buenos Aires) and the Musikhochschule Köln (Cologne). He has made recordings at the WDR music studio (Cologne), Center Européen pour la Recherche Musicale (Metz), the IRCAM (Paris), the Acroe (Grenoble) and the ZKM (Karlsruhe). In 1988, together with Roland Breitenfeld, he founded the K.O.Studio Freiburg, a private initiative for the cultivation of experimental music. He has been living in Freiburg since 1996. Mesías Maiguashca: Música para cinta magnética (+) instrumentos (1967-1989) is released as a double vinyl LP, in a limited edition of 300 copies, including photos and detailed information on the pieces. Liner notes by Mesías Maiguashca and Fabiano Kueva. Mastering: Alberto Cendra at Garden Lab Audio. Desing by Martín Escalante. Project carried out thanks to the Ibermúsicas fund.
"The Tragically Hip announce they will be releasing a special version of their sophomore album, Road Apples 30th Anniversary Deluxe, on Friday, October 15. The album is available in comprehensive physical deluxe CD and Vinyl and Pure Audio blu-ray audio box set editions.
Created to mark the 30th anniversary of the band’s second studio album which became their first record to hit #1, the Road Apples 30th Anniversary Deluxe editions were carefully crafted with input from each living member of the band. The outcome is a deep dive behind the scenes of what made this album one of the most beloved in The Tragically Hip’s vast catalogue. With all tracks completely remastered in 2021 by Ted Jensen at Sterling Sound in Nashville, for the first time, fans will hear music from the band with all the grit, vibrancy, and passion of their original recordings, second only to being in the recording studio with them. The physical box set editions, (CD and Vinyl), of the release will contain special Dolby Atmos, 7.1, 5.1 and binaural mixes by Richard Chycki of Road Apples and 5 cuts from Saskadelphia, ensuring fans have a one-of-a-kind listening experience. Fans and collectors will also appreciate the brand-new artwork for each of the packages within the physical box sets.
The expansive deluxe editions of the release are jam packed with rare and more previously unreleased and never heard before pieces of music chronicling The Tragically Hip’s Road Apples era, including:
• Road Apples, the original album re-mastered in 2021 by Ted Jensen at Sterling Sound in Nashville.
• Saskadelphia, as released earlier this year.
• Live At The Roxy Los Angeles, May 3rd 1991, originally recorded for a Westwood One radio show, often bootlegged and sought after by fans for many years. It has been re-mastered and expanded and includes the rare “Killer Whale Tank” version of New Orleans Is Sinking. This legendary Roxy show is now a double vinyl album. This album is available exclusively in physical product.
• Hoof-Hearted, an album of previously unreleased demos, outtakes, and alternate versions."
Los Angeles post-punkers SHARK TOYS delight with off-kilter clatter of the highest caliber, possessing a jagged beauty that defies the songs shamble-pop brevity. Swell Maps and Television Personalities flavor the proceedings without dominating, with SHARK TOYS retaining their own American-DIY-art-punk identity through their wonderfully constructed and sonically thrilling songs. From Gainesville Florida, UV-TV's debut vinyl offering is a unique hybrid of infectious psyche-punk and dynamic indiepop. C86/Shop Assistants-esque melodies coupled with pounding toms and soaring dark angular post-punk guitar. This is stripped down 3 piece brutal-pop, with smatterings of feedback, counter balanced perfectly by the sweet melodic vocal delivery of Rose Vastola.
Storage units hold possessions on pause from the outside world, objects capable of reconnecting us to a time or place. Hana Vu (born in 2000s California) grew up with her family making regular use of public storage spaces in Los Angeles, moving every few years, leaving a mix of the sacred and the mundane to sit inside concrete and steel. The 20-year-old musician sees the art of making and releasing songs in a similar sense: “these public expressions of thoughts, feelings, baggage, experiences that accumulate every year and fill little units such as ‘albums.’” She lived next to one of these buildings when she started writing her full-length Ghostly International debut, Public Storage, and its towering presence lends a metaphor to a record that sounds far bigger than the bedroom it came from.
Vu’s relationship with music began when she picked up a guitar her dad had lying around and taught herself to play. She’d wake up every day and listen to LA’s ALT 98.7, home to ‘90s and ‘00s alternative rock; later in high school, she found the local DIY scene. She remembers, “A lot of my peer musicians were surf rock/punk type bands and so I tried to fit into that when I was gigging around. But what I was listening to at that time St. Vincent, Sufjan Stevens was very different from what I performed.” Ultimately she’d do her own thing, keeping a journal of bedroom pop ex-periments on Bandcamp, including a low-key Willow Smith collaboration and covers of The Cure and Phil Collins. She caught the ear of Gorilla vs. Bear, who released Vu’s self-produced debut EP in 2018 on their Luminelle Recordings imprint, followed by a double EP the next year.
Public Storage builds on the sound of Vu’s early work underscoring her strengths as a songwriter with a deeper sense of luster, sophistication, and urgency. She calls it “very invasive and intense sounding music,” refreshingly out of step with contemporary trends; this is music to engage with rather than lean back to. For the first time, she welcomes a co-producer, Jackson Phillips (Day Wave), who helps Vu create a vast, grainy, multifaceted world to stretch into vocally, her distinct contralto drifting freely between evocative low-lit ruminations and soulful, skyward bursts.
Storage units hold possessions on pause from the outside world, objects capable of reconnecting us to a time or place. Hana Vu (born in 2000s California) grew up with her family making regular use of public storage spaces in Los Angeles, moving every few years, leaving a mix of the sacred and the mundane to sit inside concrete and steel. The 20-year-old musician sees the art of making and releasing songs in a similar sense: “these public expressions of thoughts, feelings, baggage, experiences that accumulate every year and fill little units such as ‘albums.’” She lived next to one of these buildings when she started writing her full-length Ghostly International debut, Public Storage, and its towering presence lends a metaphor to a record that sounds far bigger than the bedroom it came from.
Vu’s relationship with music began when she picked up a guitar her dad had lying around and taught herself to play. She’d wake up every day and listen to LA’s ALT 98.7, home to ‘90s and ‘00s alternative rock; later in high school, she found the local DIY scene. She remembers, “A lot of my peer musicians were surf rock/punk type bands and so I tried to fit into that when I was gigging around. But what I was listening to at that time St. Vincent, Sufjan Stevens was very different from what I performed.” Ultimately she’d do her own thing, keeping a journal of bedroom pop ex-periments on Bandcamp, including a low-key Willow Smith collaboration and covers of The Cure and Phil Collins. She caught the ear of Gorilla vs. Bear, who released Vu’s self-produced debut EP in 2018 on their Luminelle Recordings imprint, followed by a double EP the next year.
Public Storage builds on the sound of Vu’s early work underscoring her strengths as a songwriter with a deeper sense of luster, sophistication, and urgency. She calls it “very invasive and intense sounding music,” refreshingly out of step with contemporary trends; this is music to engage with rather than lean back to. For the first time, she welcomes a co-producer, Jackson Phillips (Day Wave), who helps Vu create a vast, grainy, multifaceted world to stretch into vocally, her distinct contralto drifting freely between evocative low-lit ruminations and soulful, skyward bursts.
Echolocation is the debut album by Pamela Z, the pioneering Bay Area intermedia composer and performance artist. Written and recorded over three years, and self-released and distributed on cassette in 1988, Echolocation is genre-defying document of Z’s earliest experiments with live voice and delay, and the impetus of an artist’s three decade search for sounds yet unfelt.
Born and raised in Buffalo, New York, Z traded one snowy backdrop for another to attend the University of Colorado in Boulder at the tail end of the 70s, where she pursued a degree in music while taking local gigs covering Joni Mitchell and Malvina Reynolds b-sides on an acoustic guitar. While a host at KGNU, Z discovered a vast world of avant-garde music in the community radio station’s library, and was inspired to create towards, and alongside, the fringe sounds she pulled from the stacks and broadcast. This revelation intersected with a new era of accessible and affordable instruments and home recording technology, and a diversifying community of artists self-releasing music on cassette and finding an audience through underground publications.
Z moved again to San Francisco in 1984, legally changed her last name, and furthered her practice of vocal processing in live environments. A city simultaneously nurturing and stratifying the free spirit of the two decades prior, Z assumed an immediate role in the Bay Area’s interdisciplinary performance art scene, and began curating Z Programs, her own concert and event series.
Hungry for some modern melodic death metal with ridiculously catchy pop influences? Well, your dinner has just been served. This steaming nine-course setting is called "Origin" and it is honoringly brought into the table by the renowned Finnish heavy metal band Omnium Gatherum. Omnium Gatherum – OG for close friends – has been offering remarkable pieces of melodic death metal for already twenty-five shining years. While storming through these ferocious decades, Omnium Gatherum has convinced worldwide legions of heavy metal lovers by releasing unstoppable musical onslaughts and touring relentlessly all over the world. "Any sort of popularity hasn't come overnight for OG, and rising to that "next level" has sometimes taken a considerably long time, but one thing has been set in stone: progress has been inevitable. In other words: a lot of great things have happened along the way but the journey hasn't been the easiest one", says longtime singer Jukka Pelkonen. ... And recent times are no exception. Contrary to what you might think, we are not talking about a global scourge that gripped the entire world about a year and a half ago. "Although most of the things around "Origin" have been really good – we have never had so much time to compose and sharpen the material for instance –, there have been some serious roadblocks as well. This, of course, has not come as a big surprise as OG was not born under the happiest stars", laughs guitarist extraordinaire and the band founder Markus Vanhala. "Above all, our dear fans should know that since the previous studio effort "The Burning Cold" (2018), half of the band's line-up has changed. I would say quite surprisingly as we haven't really had any major problems, at least to my knowledge." "This internal turmoil lifted dark clouds into the band's vast sky and everything was falling apart... well, for a few hours at least. After that, as many times before, we decided to turn these difficulties into something better!" Before the arrival of "Origin", Omnium Gatherum's colourful discography features eight studio albums, but the newcomer does not pale in comparison. The truth is, in fact, quite the opposite... By the stylish, majestic and melodic splendor of "Origin", it really feels like the band's original style called AORDM – adult oriented death metal – has reached its peak. Well, so far... "Over the years, OG's material has been deliberately moving further away from the anxiety of the windy Northern shores and traditional melodeath's gloomy despair. These days our music is a powerful mixture of older deadly roots and newer AOR-vibes that you get while listening to Survivor and driving a Corvette along the sunny shores of Miami of us, we will not forget the original enthusiasm for playing heavy metal... And therefore we will never give up!"
"With over 20 years of experience and six studio albums under their belts, Hungarian Black/Pagan Metal outfit BORNHOLM are no longer strangers to the scene! Now, the four-piece is ready to present their exciting Napalm Records debut and releases their brand-new studio album, Apotheosis. Apotheosis not only showcases BORNHOLM’s tonal development, but also goes back to the origins of the band’s history and the heavy, often almost doomy influences mixed with indispensable atmospherically dark and raw flavor. Accompanied by sinister sacral sounds of historic proportions and a hypnotizing, incantatory chant, intro track ""I Divine"" heralds the dark ride to nowhere. It is precisely in the void between Pagan and Black Metal that the sound finds its home, with tracks like “Spiritual Warfare” and “Black Shining Cloaks” - including its sinister, atmospheric intro “The Key to the Shaft of the Abyss”- representing the mellowness and extremes of the band. The almost melodic borrowings and acoustic guitar inserts in combination with the pure rawness of “To the Fallen” and the hammering fast attacks of the track “I am War God” highlight the band’s variety and sonic progression. The title track “Apotheosis” is a slow, howling homage mixing aggressive, shrieking vocals and melodiously grim anecdotes. Album closer “Enthronement” closes the metaphorical and musical bracket and provides the 52-minute piece with a venerable, instrumental conclusion. On Apotheosis, the band has built a flowing, epochal sound concept that combines explosive guitar/bass lines with thunder-fast drums, spiced with choral elements and leading into a heavy blend, which BORNHOLM present successfully in all kinds of variations from track 1 to 11.
Following the release of acoustic EP Letters To Our Former Selves – Acoustic late last year, Youth Fountain is excited to be back at it with new single “Peace Offering" “This track was written in the perspective of knowing you could never truly love or be loved by anyone before being comfortable with who you are as a person,” shares Tyler Zanon “No matter what positive aspects can come out of a relationship - if the foundation isn’t there of having that bare minimum of self love, things inevitably tend to tarnish.” As Youth Fountain prepares to move forward, the future perfectly mirrors the past. What began as a solo project by guitarist/vocalist Tyler Zanon in 2013 under the name Bedroom Talk eventually blossomed into a full-blown band by 2017, with the Vancouver-based Youth Fountain (then a duo) proudly announcing their presence with the debut single “ Grinding Teeth ” and a pair of Pure Noise Records releases that expertly toed the line between pop-punk fervor and more reflective emo moments.
BBE Music celebrates the centenary of recorded Ghana Highlife music with a double album reissue of two rare 80s LPs recorded by the late Atakora Manu, AFRO HIGHLIFE and OMINTIMINIM. Born in Toase, Ghana, a proud Asante, Atakoras musical talent made itself clear from an early age. But it wasn’t until his late teens that he put that talent to use as a performer, first founding the legendary Princess Trio from 1961 till 1963 with drummer Togas and multi-instrumentalist Elder Osei Bonsu. After a spell from 1963 till 1966 as guitarist with the United Ghana Farmers’ Council Drama Troupe, Manu teamed up with Moses Kweku Oppong to form the legendary Kakaiku No. 2 Band, producing a string of national hit singles over the following three or four years. There followed a three year break from music until fate struck: Atakora found a job in 1973 as Recording Studio Attendant- and later recording engineer- at Ambassador Recording Studios in Kumasi, at that time the country’s largest independent label. On seeing his musical talents behind the studio desk, it wasn’t long before the boss suggested to Manu that he get back to making music himself, an opportunity that he was quick to take up- as will be more than apparent from the hardcore, rootsy Highlife and palmwine selections reissued here. As well as long-time associates Togas and Elder Bonsei, local Kumasi legends CK Mensah, Amoako Agyeman, Agyei Kyeremanteng (of the famous Keyeremanteng All Stars) , and Atta Fofie lent a hand from time to time, along with a handful of other seasoned Ambassador studio session players. THE MUSIC A unique selling point here is the mix of vintage, rootsy ‘palmwine’ blues-style guitar Highlife with quirky keyboard electronics, a sound well-established today but revolutionary in the comparatively conservative world of 70s and 80s Highlife. This comes across beautifully in Dada and Cape Coast Cousin, the latter toasting off guitar licks with bubbling wah wah organ. We find a similar juxtaposition in Asante Kotoko, a shout-out to Kumasi’s champion soccer team, which also features some sweet ‘village’ drumming, and in Meka A Ensa..
Night Divine is a series of hymns covered by Brian Fallon. This is a project he's been wanting to create for a long time, inspired by his time singing in the church choir as a child: “These are some of the very first sounds I remember hearing as a child. My mother used to sing these hymns everywhere she went. I felt it was time for me to join in.” He finally got the opportunity to make the intimate record during lockdown, with background vocals by his mother. The lead singer of beloved heartland-punk band The Gaslight Anthem, Brian Fallon stepped away from that sound and into a more soulful singer/songwriter territory on his third solo album, Local Honey. Produced by Grammy-award winning producer Peter Katis (The National, Frightened Rabbit, Death Cab for Cutie), the album debuted at #1 Americana/Folk Album Sales, #2 Current Rock Albums, #3 Americana/Folk Albums, and #9 LP Vinyl Sales. It was largely praised as one of his best works, with Rolling Stone saying “Local Honey is as warm and comforting as its title, full of hooks and narratives that draw you in” (Best Country & Americana Albums of 2020) and Kerrang saying “No matter what side of the genre he sets his mind to, Brian always delivers the goods” (Best Albums of 2020).
Last month you were probably thinking "Finally some new Bukez Finezt music again, but now we have to wait months again for the next release" well... well... well... well... well... Guess who guessed the wrong thing to guess, as our next release sees the German powerhouse coming back to deliver a one, two next level combo. But this time... He's coming at you with twice the force. On this release Bukez Finezt returns from his return for "Unsound Mind" a 4 track EP featuring some of his darkest and most mesmerising material. So strap yourself in because your in for a wild and psychedelic ride along.
Nyami Nyami Records are pleased to announce the first ever reissue 100% analog from the original
master tapes of the classic Zimbabwean album Soweto from 1986, with the same tracklist and original
artwork, produced at the peak of jit’s popularity in the mid-1980s. While staying within the chimurenga music
framework pioneered by Thomas Mapfumo and Jonah Sithole, Robson Banda and the New Black Eagles
produced a crisp, precise and exciting sound, emphasising the upbeat dance music favoured on the
dancefloors of independent Zimbabwe’s nightspots and beerhalls. Mbira-based guitar licks bring a nostalgic
feeling to these dance-floor gems championed at the time by legendary English DJ John Peel.
Atomnation's 90th release is to be an album from long time associate David Douglas. He first appeared on the label in 2012 and now Escapism is a triumphant return across 10 tracks of deeply melodic and melancholic electronic music, with artwork by Menno Fokma.
David is a consistently high quality and prolific producer who has put out key albums like Moon Observations and Spectators Of The Universe, as well as vital EPs such as Mountain Pink and Royal Horticultural Society. He is an accomplished video editor who also edits documentaries while at the same time being an all encompassing producer. David finds inspiration in the majesty of the cosmos and the grandeur of nature and manages to capture the essence of that in his music.
This is an album that finds a perfect balance between heady underground sounds and more catchy pop tracks - an accomplished and adventurous album that takes you on an emotional ride through the ups and downs of everyday life, all with a delicate musical touch.
Legally blind from birth, Brazilian keyboard player, composer and bandleader Manfredo Fest learnt to read music in braille and began studying classical music at a young age. By 17 he had fallen in love with jazz (particularly the music of fellow blind pianist George Shearing) before becoming swept up in Rio's emergent bossa nova movement in the sixties. Moving to the States in 1967 where he would go on to work with fellow countryman Sergio Mendes, Fest recorded and self-released Brazilian Dorian Dream in 1976, enlisting Thomas Kini (bass), Alejo Poveda (drums, percussion) and Roberta Davis (vocals).
Like a turbo-powered, intergalactic elevator ride, Brazilian Dorian Dream builds on the principle of the modal diatonic scales of the Dorian mode, with influences of Brazilian rhythms, North American jazz and funk, and music of the European baroque and romantic era. The coming together of these intergenerational and intercontinental styles coupled with Fest's visionary use of the Fender Rhodes, Clavinet, Arp and Moog synthesizers (plus a whole load of effects units), makes for an album light years ahead of its time.
The miraculous wordless vocals of American jazz singer Roberta Davis are nailed so tightly alongside Manfredo's keys and mind-bending synths that it sounds almost alien. On the album's liner notes, Fest preaches Davis' ability highlighting how hard it is to sing such precise intervals so accurately. One of the tracks on which the vocals shine brightest is space funk stepper "Jungle Cat", which features hard funky drums, freaky synth lines and expert Rhodes comping. The track builds up and up before releasing into the unmistakable scat melody in the chorus.
A few years after releasing Brazilian Dorian Dream, Fest recorded and released his Manifestations album in 1979, featuring 'Jungle Kitten'': a new dancefloor focused variation on "Jungle Cat". At around 140 BPM 'Jungle Kitten' was possibly deemed too fast for statside dance floors, which explains why it never got a US 12" release. But the track became something of an underground hit at jazz dance clubs and all-dayers across the UK in the 80s and as a result it has probably become Fest's most well known track since.
Stix Records, a sub-label of Favorite Recordings, proudly presents Push Push, the new album by acclaimed producer
Taggy Matcher aka Bruno "Patchworks" Hovart (Voilaaa, Mr President, The Dynamics, Uptown Funk Empire,
Metropolitan Jazz Affair, Da Break, …). After the success of his previous LP Singasong, Taggy Matcher returns with 8
tracks exploring his wide range of Reggae & Dub influences, each time magnified by a fine crew of vocal guests as LMK,
Birdy Nixon, Alexandra Charry, Hawa, John Milk & Elodie Rama. With a great sense of authenticity, they all bring their own
touch to Taggy Matcher's compositions and covers. Always faithful to its inspirations, brilliantly produced, Push Push is
your new invitation to follow the Lion to Zion.
The album starts with "Push Push", a title already released last year as a vinyl single 7", in collaboration with rising
singer LMK, who you may know from her successful previous reworks on Taggy's last album ("No Love Allowed", "My
Man"). Sharing the same love for the early 80's Digital Rub A Rub productions, lyrics are about street harassment of
women… with a pinch of humor!
On "Little Things", Taggy invites old mate Birdy Nixon for a cover of an early rocksteady classic by Hemsley Morris.
With the vintage bounce we love combined with modern sounds and productions, the song is all about tenderness and
simplicity.
"Volvere Mañana", the song has this very cumbia hip move with the participation of gifted singer Alexandra Charry
from Cali in Colombia, where they both composed the song. Then, Taggy invited Boris Pokora to play the "gaita" local flute
to give the song its proper Colombian Caribbean coast flavor.
The album continues with "Two Dimes" featuring longtime collaborator Hawa (from Mr President to Mr Day and other
numerous projects). This shaky disco reggae rockers is all about getting ready for the party… but with two dimes only!
"Q Fashion" is a song full of wittiness and self-mockery wrote during the first Covid-19 lockdown. Parisian Soul singer
John Milk was stuck in Paris while Bruno was in Lyon. On this minimalistic digital reggae tune, they give the ingredients to
perfect your next quarantine outfit.
Discoish reggae tune "Get Enough" featuring Birdy Nixon has a simple and successful recipe: just mix a big dose of
Lovers with the same amount of Rockers and you've got this 100% soulful song.
On "Suit and Tie", Taggy and John Milk go Pop with this version of Justin Timberlake, that fits perfectly with John's
tender and mellow style.
Finally, Elodie Rama with Taggy Matcher pay tribute to Erykah Badu and her legacy to the Soul music scene at the end
of the nineties. The mood is jazzy, mellow and warm, with a tiny Lee Scratch Perry early 70's vaporous vibes.
Trad Vibe Records proudly presents a first-time reissue of Caribou, a side-project of Cortex, originally released in 1977. A great and rare double-sider jazz-funk 7inch, now available as a reissue.
French avantgarde Jazz-Funk pioneers Cortex released three milestone albums during the seventies including the iconic Troupeau Bleu. Their music has been sampled by Hip Hop artists such as MF Doom, Wiz Khalifa, Lupe Fiasco and Rick Ross and as a consequence is still very much alive today.
This is the Second edition of Illegal Alien LTD new Various Artists Compilation Series called ‘Between Lands & Oceans’ this series will become an annual compilation and it will be presented in Vinyl, CD, Cassette and Digital format. For our first Volume, we are proud and delighted to count with all this great artists, some of them already with a very successful career and others with a very promising future. Nothing but quality Techno music inside this Various Artists and we thank everyone that is involved on the second Volume of Between Lands & Oceans’.
- A1: Check Out This 4 25
- A2: Stay Back (Keep Your Distance) 3 52
- A3: Yum 3 49
- B1: Jorun It (Live On Air) 3 21
- B2: Lower Your Expectations 3 32
- B3: Down With Jorun 3 04
- B4: Funky Fresh For '83 2 10
- C1: Rock The Party 4 29
- C2: The Truth Is Forever Featuring – Jay Quan 2 12
- C3: Mdm Freestyle (Live At Echo Park) 3 18
- D1: Can't Hang With Us 3 22
- D2: Q S. 3 42
- D3: Boom Box 3 56
The long awaited Jorun PMC album is finally here! Available on all formats – double vinyl, download from Jorun and Phill’s bandcamp pages plus limited CD and Cassette. Jorun Bombay and Phill Most Chill have impressive individual catalogues and together on AE Productions have a clutch of vinyl releases as Jorun PMC stemming from the debut ‘Magic Disco Machine’ EP with the associated 7” ‘The Champ’ from 2013. After a brief hiatus while working on other projects they returned with the ‘Check Out This’ 12” in September 2018 followed by the Stay Back (Keep Your Distance) b/w Sammy Davis 7” in February 2019. Due to some delays at the label the album was unfortunately delayed from it’s intended 2019 release but is now available including stunning sleeve artwork by the amazing Dan
Lish with design and layout by regular AE artwork supremo Mr Krum.
• Within a year of her ground-breaking Double-Album “Bad Girls”, Donna Summer left
Casablanca Records to become the first Artist signed to the new Geffen Records label.
• The fourth album released for the label was 1987’s “ALL SYSTEMS GO”, was recorded in both Los
Angeles and Munich and was predominantly produced by long-term Giorgio Moroder
collaborator and movie soundtrack composer, Harold Faltermeyer, giving the album a slightly
harder-edged, FM-radio friendly sound with a heavier R&B influence.
• Out of the two further tracks recorded for the album, ‘Dinner With Gershwin’, which was
produced by Richard Perry and written by Brenda Russell, gave the album that desired FMradio sound, with the single becoming a worldwide hit reaching #13 in the UK singles chart.
Other singles include ‘Only The Fool Survives’, a duet with Starship’s lead-singer Mickey Thomas
and the album’s title track ‘All Systems Go’.
• This special edition revisits the original album on 180g Orange Colour vinyl.
On 19th August at 2PM BST, Ed Sheeran will announce his brand new album ‘=’ alongside an album pre-order. 14 tracks in length, the album will be released on 29th October 2021.
Ed Sheeran is an era-defining artist. Through his fusion of thought-provoking songwriting, universal pop and multi-genre influence, his rich tapestry is not only perfectly suited to his audience but it’s something that transcends generations.
Since surfacing on the UK circuit in 2010 with his ‘No.5 Collaborations Project’ – an eight-track EP featuring his favourite grime artists of the time – the Suffolk-raised recording artist has resonated with fans across the world through his peerless songcraft and versatility. And now, with four UK No.1 albums to his name – ‘+’ (2011), ‘x’ (2014), ‘÷’ (2017) and ‘No.6 Collaborations Project’ (2019) – he has sold over 55 million albums and 160 million singles across the world.
Most notably, Ed’s 2017 blockbuster release, ‘÷’ (Divide), saw Ed reign supreme as one of the most in-demand pop stars on the planet – a feat he has continued to sustain ever since. Crowned as the fastest-selling album, ever, by a male artist in the UK, the chart-shattering album housed a swarm of singles including ‘Castle on the Hill’, ‘Perfect’ and ‘Shape of You’, with the latter becoming Spotify’s most-streamed song of the last decade.
But it’s not just his recorded music that’s seen the former Glastonbury headliner become one of the sought-after artists of the 21st century either. Possessing a mystical ability to turn 90,000 capacity venues into the pub back-rooms that he first started playing in, Ed made history in 2015 after becoming the first-ever artist to play Wembley Stadium solo - without a band and with just his guitar and loop pedal - over three, consecutive sold out nights. Move forward to the summer of 2019 and Ed would re-enter history books after the completion of his mammoth two-year Divide tour, which would officially become the most-attended tour of all time after it culminated with special homecoming shows in Ipswich, Suffolk.
Ed Sheeran - who was awarded an MBE for his services to music and charity in 2017 - is the proud recipient of 1 x IFPI Award (best-selling global artist of 2017); 4 x Grammys; 4 x Ivor Novello’s; 6 x BRIT Awards (including two consecutive wins for ‘Global Success’ in 2018 and 2019); 7 x Billboard Awards + more.
At the end of 2019, Sheeran was presented with the Official Chart Company’s first-ever ‘No.1 Artist of the Decade’ award following a host of accomplishments in his native UK including the most No.1’s across the UK’s Official Singles and Albums chart from the years 2010-2019.
- A1: Botafogo Blue (Feat The Bbc National Orchestra Of Wales)
- A2: Olá! (Feat The Bbc National Orchestra Of Wales)
- A3: Y Bywyd Llonydd (Feat The Bbc National Orchestra Of Wales)
- A4: Açai (Feat The Bbc National Orchestra Of Wales)
- A5: Cariad, Cariad (Feat The Bbc National Orchestra Of Wales)
- B1: Tristwch 20 (Feat The Bbc National Orchestra Of Wales)
- B2: Ynys Aur (Feat The Bbc National Orchestra Of Wales)
- B3: Y Ferch Ar Y Cei (Feat The Bbc National Orchestra Of Wales &Amp; Nina Miranda)
- B4: Arpoador (Feat The Bbc National Orchestra Of Wales)
- B5: Ble Aeth Yr Amser (Feat The Bbc National Orchestra Of Wales)
Carwyn Ellis from Cardiff/Wales is a singer, songwriter, composer, arranger, multi-instrumentalist and record producer. He fronts Colorama, formed the Welsh folk group Bendith and hosts a regular themed radio show on Soho Radio. In 2019, Ellis embarked on the first project under his own name, Carwyn Ellis & Rio 18. Sung in Welsh and recorded mainly in Rio de Janeiro, the album, "Joia!" was nominated for the Welsh Music Prize and followed by "Mas" in early 2020. The new album "Yn Rio" is a collection of new songs recorded in Cardiff together with The BBC National Orchestra Of Wales.
In 2017 Carwyn Ellis joined the touring line-up of The Pretenders. For Ellis, a record collector and fan of Brazilian music, the opportunity to tour South America would present opportunities he couldn't have possibly imagined when he accepted Chrissie Hynde's invitation. "The first place we went to was Rio and by the time I met Chrissie for breakfast the day after our gig, I already had a bag of albums I'd just bought. I'm sitting with her and she says, 'You should meet my mates, and do something in Welsh with them! Nobody's done a Welsh language album with Brazilian musicians?"
In 2018, when Alexandre Kassin, a leading light in that Brazilian scene announced a show in London, Hynde suggested that they see it. "I met him afterwards," Ellis recalls, "and we hit it off straight away." Within weeks, Ellis was on a plane to Rio with songs that would form the basis of the first album. This creative purple patch extended into another album released early in 2021 with Carwyn working once again with Kassin plus long-time friend Shawn Lee. The songs on "Mas" drew on the environmental threats that face both Wales and South America, spidering out around the central theme of water ("rains, no rain, droughts, rising seas and flooded valleys for corporate gain. We're screwed without it and screwed if there's too much").
With "Mas" recorded but weeks away from release, Ellis received a call from Gareth Iwan Jones, head producer of BBC Radio Cymru, offering a third album to be performed in March 2021. Ellis started to reflect upon the life-changing events triggered by his South American adventures. The Welsh word 'hiraeth' which describes the longing that Welsh people feel when they're far from home, was something that he was now beginning to feel for Rio de Janeiro: "'Yn Rio' is based around a day in Rio," he explains. "The events of 2020 influenced the record inasmuch as I wanted it to be a complete antidote to what was going on. If you couldn't go on holiday in real life, you could at least put this record on."
The first single "Olá!", incorporating Jorge Ben's spirit in the chorus and rhythmic breakdown, manages to sound languorous and euphoric. "Cariad, Cariad" was a Portuguese folk poem brought to Ellis' attention by Sonya from Quarteto em Cy and arranged by Christiaan Oyens. "Tristwch 20" is a nod to "Foot and Mouth 68" by Gorkys Zygotic Mynci from "The Blue Trees", 'one of the most beautiful albums of all time', while "Ynys Aur" is named after a 1929 book by Welsh missionary J. Luther Thomas written on returning from his travels to Papua New Guinea. With Kassin unable to participate, Ellis thanks him by translating his "A Paisagem Morta" to create "Y Bywyd Llonyd". For Carwyn Ellis "Yn Rio" is an extraordinary memorial to extraordinary times."There are some days so idyllic you just want tobe able to jump back into them at the touch of a button. That's what I was searching for when I was writing these songs."
• 1971 Invictus records release, The Glass House features the distinguished voices of Pearl Jones, Ty Hunter, Larry
Mitchell and Scherrie Payne. Each selected with great care to form HDH’s only mixed- gendered vocal group
• Scherrie Payne, sister of Invictus start Freda, who co-wrote many of the groups songs before joining The Supremes
in the mid 1970s
• ‘Crumbs Off The Table’ #7 in the R&B and Pop charts. Other stand out tracks include ‘Look What You’ve Done To
Love’, ‘If It Ain’t Love (It Doesn’t Matter) – a Payne/Hunter duet.
• Demon Music are proud to reissue the groups debut album on 180g heavyweight vinyl with printed inner sleeve
Nottingham don Lukas Wigflex and "The Wizard" Tom Smith come correct with their Me & Meds project. Following on from their debut together on Wigflex, the follow up is just as inventive & playful.
2 years in the making- the studio skills of the pair shine through across the 3 tracks. The opener "Curtains Nine Tails" moves and warps over the first few minutes only to penetrate the listener with a crescendo of god-like basslines and tripped out vocals.
Faffhammer which gained big popularity when Lukas played it on that boat party at Love International is an atmospheric, wonked out euphoric number of the highest order.
The records finished off with the offside ramblings of another notorious Notts head - Des Hagenasty. This is his first outing on wax and it does not disappoint, backed by the analog wobbles and techno grit of Me & Meds, this one bites. The videos an eye opener too, just you wait!
0115 is alive.
• Within a year of her ground-breaking Double-Album “Bad Girls”, Donna Summer left Casablanca Records
to become the first Artist signed to the new Geffen Records label.
• The third album released for the label was 1984’s “CATS WITHOUT CLAWS”, which was produced by
Michael Omartian, who followed-up his production duties on “She Works Hard For The Money” by giving
the album a mid-80s dance/pop themed sound. The album includes the singles ‘Supernatural Love’, ‘There
Goes My Baby’ and ‘Eyes’.
• “CATS WITHOUT CLAWS” reached the Top 30 in several countries across Europe, also becoming a Top 40
album in the USA and Japan.
• Michael Omartian’s production credits include albums with Michael Bolton, Peter Cetera, Christopher
Cross, Amy Grant, Whitney Houston, The Jacksons, and Rod Stewart. Alongside Quincy Jones, he coproduced USA For Africa’s 1985 No. 1 hit, "We Are the World".
• Donna won a Grammy Award for Best Inspirational Performance for the album’s final track, ‘Forgive Me’.
• This special edition revisits the original album on 180g Pink Colour vinyl.
Compound X launch new limited edition vinyl label CX BLACK, with four innovative tracks that set an immediately high standard.
Compound X is DAR and DULUM, both progressive and dedicated journeymen, their visions melting psychedelic rock and deconstructed techno to deliver a forward-thinking take on electronica. Their innovative sound first debuted in April 2020 on Distopic Utopia Records, and a live debut is scheduled for Dark Mofo festival in Tasmania, Australia, this June. The act's dynamic range and genuine sound artistry are what set Compound X beyond the status quo, something that’s clearly displayed with this latest release.
The opener 'Sending Me Signals' is dark and thrilling techno. The blistering synths bring fizzing energy to the hammering kicks, while tortured voices add extra layers of eeriness. There is haunting paranoia to the unsettling voices that loop in the background of 'Gone 2 Far.' The drums are again brilliantly brutal, and the whole atmosphere is utterly arresting.
The synths on 'Asexual Orgasm' sound as if fired from a machine gun with caustic textures, scraping hits, and dehumanised vocals add up to a wall of intense techno noise that will disorientate all dance-floors. Finally, 'Ancient Sentient' is a slightly more spacious cut with buzzsaw synths, undulating rhythms, and distorted bass that makes for maximum impact.
Produced off the back of a profoundly inspiring trip to his homeland last year, Luigi Madonna crafts the pin-sharp ‘Italian Shocks’ EP. The Amsterdam-based artist is a key Drumcode contributor, who runs the label off the back of last year’s well-received collaborative EP ‘Mad World’ with Roberto Capuano.
The title track is brain-spangling, industrial and brilliant, characterised by a suspenseful narrative, which is typical of Madonna’s creativity in the studio. ‘This is the Future’ is crisp and rolling, an intelligent tool for every set. ‘Enveloping Times’ is punchy and hypnotic, an immense transcendental belter ready to be unleashed this summer. ‘Interfrequencies’ is an exhilarating rush to the head, as a killer bass synth and piston-like drums for a rave-ready finish.
With sunshine, blue skies and good times on the horizon, Toolroom is ready to usher in the summer in a huge way with the brand new summer hit from Siege – ‘Reach Out’. Making his return to the label, Siege is back with a record that promises to steal the spotlight and your all-time favourite tune. Big favourite of Carl Cox, Alan Fitzpatrick and Adam Beyer, Siege has firmly planted his foot in the scene having released a selection of quality records already this year like, ‘Give It Up’ with Mark Knight, a collab with Eli Brown and a killer remix of Green Velvet and Technasia’s hit ‘Suga’.
Flawlessly proving just why he is one of the most exciting artists and producers out there in Dance Music right now, Siege flexes his talents on ‘Reach Out’. One of his best releases yet, Siege has reworked classic George Duke’s classic 1983 hit ‘Reach Out’ into the feel-good dance track of the summer. The track itself is pure ecstasy, from the sublime vocals and chorus melodies to the solid instrumentation of the record itself. Siege manages to retain every single drop of the feel-good magic that resonated throughout the original, reinvigorating the sound for the clubs of 2021.
The single also features a killer remix from Michael Gray and Dr Packer who bring their signature style and sound to the record, emphasising the Disco elements to a whole new level and an exclusive VIP edit from Siege himself. This is a euphoria laced Disco House record through and through, ‘Reach Out’ is a sure fire summer hit, classic in the making who has brought the infectiously catchy classic record back to life in a completely fresh and new way.
After the huge northern hemisphere summer of 2019, filled with amazing events and awesome music, Avalon releases his long awaited second album 'RISE' to great critical acclaim.
Every track a story, every track a magical moment lifting dancefloors to new realms of psychedelia!
Set almost ten years apart from his classic debut album 'Distant Futures', Avalon has since climbed to dizzying heights to become one of the leading and most in-demand artists of the global Psychedelic Trance scene. Chart topping number ones have lined-up one after another between massive collaborations, two remix albums, three collaboration albums (as Killerwatts with Tristan and Future Frequency with Sonic Species) and a gigging schedule that has placed him at every major festival and music loving country possible.
'RISE' shares with us many solo productions, filled with the classic Avalon trademark elements that first garnered him so much success. Twisting and mixing-up his quintessential sounds with the newest and biggest production techniques, plus four amazing collaborations with friends and Psychedelic alumni; Tristan, Dickster, Ajja and Mad Maxx, ensured this album has become a force to be reckoned with!
'RISE' expresses an artist at full potential, utilising all he has learned from a deep dive into psychedelic music and taking things to the next level.
Get ready to Rise!!
We are very proud to now be able to offer this amazing album as a Special Limited Edition double Vinyl.
X4 INDIVIDUAL PIECES WITH “M1” SETTING THE TONE FOR THIS ALTERNATIVE ELECTRONIC 7” PRODUCED BY THEME.
New Orleans-based African-American producer/composer, IFÉ feeds Afro-Caribbean hand percussion through digital synthesizers and drum machines as he delivers explosive lyrics tackling life, death and the world we live in today to create a 21st century soundsystem experience on 0000+000 - the follow up to IFÉ's acclaimed 2017 debut LP IIII+IIII.
Percussionist Emmanuel Abdul-Rahim recorded this
mix of Latin and spiritual jazz in his adopted home of
Denmark in 1988. Sought after for the African
influenced ‘Kalahari Suite’, ‘Harlem’ is actually eight
tracks of brilliance that sees the veteran performer
lead a local band through their paces. A perfect
example of America meets Europe.
As Juan Amalbert he had led the in-demand Latin Jazz
Quintet who recorded for Prestige and United Artists in
the early 60s, including Caribé, which featured Eric
Dolphy. In 1966 he was asked to appear with John
Coltrane’s group at the performances that produced
the album ‘Live At The Village Vanguard Again’. Soon
after Amalbert recorded another album, which this time
featured Pharoah Sanders in the horn line-up. All that
appeared at the time was a single on Golden Earth
Records, but the album was later released as ‘Oh!
Pharoah Speaks’ in the wake of Sanders’ solo
success.
He then made the soulful 45 ‘When You Lose You
Groove’ / ‘The Knower’ and the spiritual jazz classic
‘Total Submission’ for Cobblestone, which featured the
updated version of ‘The Knower’, called ‘Al-Alim’,
which Acid Jazz included on ‘Jazz On The Corner 2’.
After that, like so many American jazzmen, he packed
his bags and headed to Europe to carry on his career,
which is where, in 1988 he recorded ‘Harlem’.
Acid Jazz are happy to officially reissue this album on
vinyl for the first time since its initial release, with full
co-operation of Rahim’s estate.
ATIC Records proudly presents ‘Electric Union’, the all-new album from Niko.
Produced by Aim. Limited edition vinyl release of 200 units. Gloss laminated, 420g heavy card outer sleeve. Matt black poly-lined inner. Transparent / purple splatter wax. Shrink-wrapped. File under : Electronic, Synth, Dance, Chill
We now have a superb new remix which has a very different feel to the original version thanks to Mac McRaw’s expertise in using his weapon of choice, the Emu SP1200 famed for that authentic much prized 12-bit grit. Plus, the original LP version now available on the recurringly popular 7” format.
Fellow Vinyl Veteran and regular AE designer Mr Krum has beautifully recreated the feel of early 90’s Electra Records sleeve artwork as to a nod to Grand Puba’s debut solo recordings, having already been a member of 2 sterling Hip Hop groups – Brand Nubian and prior to that Masters Of Ceremony.
Soopasoul is a legendary name inthe UK funk scene. Originally known as a producer in electronic music circles, Danny Soopasoul stuck gold one day, putting together a band to record in a session where everything was played in live and loops and plug-ins were dropped in favour of real instruments and talented players. The final piece in the puzzle was realised when he stumbled upon on a local horn section so steeped in tradition and quality that it was immediately obvious they would bring the final magical ingredient to the table. Once they were brought in, the instant classic LP 'Twin Stix' was born.
Pleas for 7"vinyl singles from this revered album have been a constant since it's release. However calls for the album to make it's debut on vinyl too have gone unheard until now. This floor-shuffling, hip-swaying, jazz funk party monster is packed with funky beats and some seriously hefty signature brass action. Add the sassy vocals from ladies like Dionne Charles (Record Kicks /Tru Thoughts) and Sitzka, and you're guaranteed to discover that this gem of an album will be enjoyed for the foreseeable future.
Skyline Recordings is only releasing another long-awaited killer from the musical masters that are The Family Fortune
“ANDY’S CAFE” is a head-nodding, horn-driven, up-tempo, sassy, dancer.
Produced by the geniuses that are The Easy Access Orchestra; Andy’s Café is a great DJ tool with its killer, horn-driven, funk groove on the A side and if that’s not enough, there’s the Hammond and the Clav on the flip.
Zvrra debuts on Avian. The multifaceted artist and video game developer arrives on the label with a brace of glistening ambient Techno and Noise derivatives. The versatile producer, whose auteur approach to recorded output has yielded a wealth of dense and considered material over the years, marries melodic synthesis with glassy, effervescent sound design and considered polyrhythms to arrive at a cohesive but undeniably idiosyncratic nine track offering. Cinematic opener Bizzaroland combines vocal manipulations with phasing, noisy drones that stand in pleasing contrast to a mournful lead that delicately emerges at the midpoint. Follow up Society, offers a meditative take on stepping ambient Techno before Bizzaroland II treats the listener to a heady, stripped back slice of tripping beatless machine music. Tribal cut Figurine closes the A side and sees the material segue into more ominous territory with pulsing low end, percussive flourishes and harsh bursts of white noise. On the flip, B1 Inside sees the artist roll out another stripped back Techno experiment - this time dry and saturated and propelled by a single lead sequence that shifts about the high mids. Oracle returns to a more esoteric, undefined sonic palette - a cacophonous blend of heavily panning drones in line with the artist’s more experimental work. In the same vein Prohibited is a powerful noise cut that finds its contrast in subdued moments towards the end of its run time. As the record approaches its close, Tired Beetle settles the mood somewhat - an introspective, atmospheric ambient recording tethered with admirable low end, before off kilter invocation Untitled draws the collection to its logical end point.
Tracks by Johan Inkinen (Faceless Minds), Franck Kartell, Plant43, Victoria Lukas, Penelope Martin and Depressor. The Time Capsule project, also known as 808 Box, is a project created by Fundamental Records. The six boxes released in recent years include 56 records with over 300 tracks from artists from every corner of the world. Some warehouse copies have surfaced of the 5th 808 Box, and these will be available individually. These are new copies in perfect condition, with the original sleeves printed with the classic Roland TR-808.
Tracks by Metacomplex, Dibu-Z, Vertical Dimension, KAN3DA, Patronen and Johan Inkinen. The Time Capsule project, also known as 808 Box, is a project created by Fundamental Records. The six boxes released in recent years include 56 records with over 300 tracks from artists from every corner of the world. Some warehouse copies have surfaced of the 5th 808 Box, and these will be available individually. These are new copies in perfect condition, with the original sleeves printed with the classic Roland TR-808.
Tracks by The Hacker, Darren J. Horgan, Digitek, Dvsnme, DJ Di'jital, Kind Human Being and Noise&Noise. The Time Capsule project, also known as 808 Box, is a project created by Fundamental Records. The six boxes released in recent years include 56 records with over 300 tracks from artists from every corner of the world. Some warehouse copies have surfaced of the 5th 808 Box, and these will be available individually. These are new copies in perfect condition, with the original sleeves printed with the classic Roland TR-808.
Tracks by Max Durante, Teslasonic, Kerg, Kitbuilders, Bolz Bolz and Negocius Man. The Time Capsule project, also known as 808 Box, is a project created by Fundamental Records. The six boxes released in recent years include 56 records with over 300 tracks from artists from every corner of the world. Some warehouse copies have surfaced of the 5th 808 Box, and these will be available individually. These are new copies in perfect condition, with the original sleeves printed with the classic Roland TR-808.
Tracks by Wisp and Alek Stark. This record was only available previously as a gift to those who pre-ordered the box when Fundamental Records released it. It's a tribute to Ikutaru Kakehashi, founder of Roland Corporation, pioneer in electronic music instruments and creator of the original Roland TR-808. The Time Capsule project, also known as 808 Box, is a project created by Fundamental Records. The six boxes released in recent years include 56 records with over 300 tracks from artists from every corner of the world. Some warehouse copies have surfaced of the 5th 808 Box, and these will be available individually. These are new copies in perfect condition, with the original sleeves printed with the classic Roland TR-808.
Following 12"s from Ricardo Tobar and MANASYt, the third release on Tel Aviv's MUSAR welcomes rising UK star and Super Hexagon label boss, J.Wiltshire. The Laghan Pux EP finds Wiltshire sharing his psychedelic electronic side and brings his versatile skills together, serving up four completely different soundtracks. The gleaming sci-fi gem 'DESklep' opens the EP as a pure melodic IDM track loaded with Cornwall style while the bass-heavy title track 'Laghan Pux' is pumping as a dark & sharp peak-time trippy beast. On the B side, the mysterious Roy of The Ravers, gives you an interpretation of what proper acid sounds like, whereas 'Chained Releases' takes you on a deep and hypnotic adventure into space, full of warm guitar melodies and trancey synths.'Summon Them' closes the EP, an ambient magic piece for a hazy, orange morning where the birds just woke up and the trees singing for the first time to break the day.Early support from: Josh Wink, Danny Daze, Cinnaman, Marcel Dettmann, AME, I:Cube, The Hacker and more...
- A1: Soul Sequencer (5.02)
- A2: Nitrous Cross (2.40)
- A3: Shadow Circuit (2.23)
- A4: Blame Shifter (4.39)
- A5: Spirit Duplicator (2.15)
- A6: Nobody Knows (1.10)
- A7: Sadness In Wires (1.55)
- B1: State Of Clear (2.16)
- B2: Sleep Crime (2.33)
- B3: Knowing (1.35)
- B4: Splendid Sun (0.57)
- B5: Ohms (2.47)
- B6: Out Of View (1.25)
- B7: Psychic Wounds (2.32)
- B8: Silicone Emotions (2.29)
- B9: Octave Cycle (4.35)
- B10: Witch Wound (2.29)
This is a super-limited strictly 1000 copy one-off only edition pressed on white coloured vinyl of this in-demand Trees Speak classic debut album.
When the band Trees Speak, coming out of nowhere, released an exclusive one-off 100-pressing white label 45, described as CAN/NEU! meets LIQUID LIQUID, it sold out so quickly (in less than 30 min) that Soul Jazz Records decided to release their album almost immediately.
Soul Jazz Records rarely release new music but found the music of TREES SPEAK’s album ‘OHMS’ so stunning and to have so many elements of music that they admired that they felt compelled to release it.
The group Trees Speak are from Tucson, Arizona and create new music that sounds like GERMAN KRAUTROCK meets NO WAVE/POST-PUNK and PSYCH ROCK – music for fans of CLUSTER, TANGERINE DREAM, CAN, NEU!, SILVER APPLES and early KRAFTWERK.
The album ‘OHMS’ sounds at times like a tripped out & moody JOHN CARPENTER/GOBLIN/MORRICONE soundtrack that seamlessly segues into propulsive, ‘motorik’ Krautrock instrumentals loaded with fuzzy, hypnotic mellotron, synths and analogue effects, as well as elements of ART ENSEMBLE free jazz, and all at times reaching a kind of post-rave psychedelia. More recent comparisons would include BEAK and GHOST BOX who draw upon similar themes and styles.
Trees Speak are Daniel Martin Diaz and Damian Diaz plus musicians from the Tucson, Arizona scene such as Giant Sand, XIXA and James Hunter. ‘Trees Speak’ relates to the idea of future technologies storing information and data in Trees and plants – using them as hard drives – and the idea that Trees communicate collectively.
This 3 track EP comes out from Limited E's vault called Retro Vol 5. Each of these tracks represents hardcore and merging of jungle breaks in the early developments of Jungle music from the early 90s. These tracks produced by Potential Badboy 1992-93' was the crossover from hardcore elements into the early breakthrough of Jungle.
Orange Vinyl
Casey Spillman returns to LOCUS with his four-track ‘Summer Dreaming’ EP.
A favourite amongst the FUSE family and an artist who embodies the label’s sound and mentality throughout his productions and sets, London’s Casey Spillman continues to grow and evolve as one of the hottest talents within the capital. After his ‘Bit More Raggo’ EP on LOCUS in 2020 provided four heavy slabs of dancefloor ammunition for the likes of Skream, Samuel Deep and Varhat, he returns to close October with a quartet of fresh cuts across his ‘Summer Dreaming’ EP.
‘Get Upper’ sees Spillman opt for a powerful combination of warping bass licks, infectious vocals and sturdy kicks, while ‘I Know’ offers up a restless bass-heavy shuffle beneath dubby textures as moody harmonies contrast against evolving leads. The B-Side houses title track ‘Summer Dreaming’, delivering swinging percussion beneath glitchy electronics and trippy atmospherics, before closing with an ode to FUSE’s original home of 93 Feet East across ‘Good Morning Ninety Free’ – a classy cut weaving dusty deep chords amongst taut drums and sweeping synths.
Tracks by Cygnus, Umwelt, The Exaltics, D'Arcangelo, Vema-Diodes, Hermes 3, Noise&Noise and Andrea Benedetti. The Time Capsule project, also known as 808 Box, is a project created by Fundamental Records. The six boxes released in recent years include 56 records with over 300 tracks from artists from every corner of the world. Some warehouse copies have surfaced of the 5th 808 Box, and these will be available individually. These are new copies in perfect condition, with the original sleeves printed with the classic Roland TR-808.
R.A.N.D. Muzik Recordings presents, The Future Was
Visible... a brief introduction to the music of 90’s San
Franciscan label, Visible Records with a paritcular focus on
the productions of label co-owner, Seofon feautring reissued
material along with material previously unreleased on vinyl
‘SON’ was recorded in London and Freetown between 2019-21. Inspired by the pair’s shared love of choral music, it began as an experiment to explore playing with the voice in more creative ways, using layered vocals as an instrument following piano harmony, arrangement and sampling.
The project started in London with the title track and became a story about a world in which we hide our true ‘colours’ in order to fit in. A mother tells her son that he needs to fit in to survive before realising that she is following the same tropes passed on to her as a child. Following this realisation she encourages her son to protect his dreams and not to listen to anybody telling him he can’t be whatever he chooses.
Rosie joined Duval for a week in Freetown in February 2020 where they wrote the rest of the project, bringing friends Daniel Koroma, Kandeh Bangura, Valentine Coker, Chino Greene and Tom Herbert in for musical contributions;
“We were interested in bringing our surroundings into the recordings; leaving doors open, recording in different spaces and locations, inviting the listener to experience the life that was going on around us whilst capturing the process”.
Full-colour inner sleeve
Illustrations by Duval Timothy
Insert of a specially commission Julianknxx poem
Shrink-wrapped
White Vinyl
While finalizing his next EP , the Italian producer Woxow at the same time delivers a new 7"inches for all the hip hop heads out there.
The A side sees a classic old school funky beat, where underground legend Mc Awon delivers some deep conscious lyrics about the crazy times we're living in.
On the flip Woxow collaborates again with Blacc El who strikes for a more exotic summer tune that will make you dream of a warm sunset on the beach.
Edition of 300 copies
“ When I started working on the piece in March of 2020, I had only decided to record it in the way I wanted to. The coronavirus was spreading globally, and the situation was gradually changing into something very serious. With no gigs scheduled and hardly seeing anyone, I felt as if my spirit was in a slightly deeper place than usual during the production. I sat down in front of my equipment as if I were dropping a fishing line into a quiet lake. I kept feeling that something new was lurking beneath the water surface. I was trying to catch that something that seemed to be just out of reach, that floated in and out of sight like a speck of smoke. “ _Referenced from: Afterword of 7FO「Ran - Bouten」
2021 brings a new album by Osaka electronic musician / producer 7FO. This work is a departure from the recent global ambient / new age approach, and the unique sound aesthetic created using only hardware equipment is a new frontier of 7FO or a return to his origin. "Ran - Bouten" is a new electronic music album with a poetic sensibility using machines.Discovered by overseas labels such as RVNG intl., Bokeh Versions, and Metron-and with the release that followed EM Records in his hometown Osaka, it's like his personal folk craft that was once quietly played at his own pace. Music has reached listeners around the world. In recent years, he has been touring from a famous performance with Tapes at the Belgian "Meakusma Festival 2019" to a Japan-Korea tour. "Ran - Bouten" was born as a result of facing the sound alone without being asked by anyone to cool down the heat when the steaming and intense experience had settled down. Inside the cool electronic sound like a water bath, you can feel the maker's heart sending hot blood.Peep into the condensed universe of a home-recorded miniature world that looks like an independent production of unknown age. He was alone in a dark room, making full use of KAWAI's 1990 digital and FM synthesizers , tracing the shape of nature and resonating the micro and macro sound worlds. The Rhythm and melody that continues to the Paradise Pure Land, which floats in a dreamy atmosphere, is the true value of 7FO even without his guitar play.Mastering by Makoto Oshiro, which supports everything from home listening to club sound systems. Hiroaki Hidaka designed the jacket to make the image of the sound appear cool and friendly everywhere.
- A1: Signal From The Noise
- A2: Unfolding (Momentum 73) (Momentum 73)
- A3: City Of Mirrors (Feat Arthur Verocai)
- A4: Beside April (Feat Karriem Riggins & Arthur Verocai)
- A5: Love Proceeding (Feat Arthur Verocai)
- A6: Open Channels
- A7: Timid, Intimidating
- A8: Beside April (Feat Arthur Verocai - Reprise)
- A9: Talk Meaning (Feat Arthur Verocai, Terrace Martin & Brandee Younger)
Colored[29,03 €]
Das kanadische Ensemble BADBADNOTGOOD machte sich einen Namen als sie kurzerhand Jazz und HipHop miteinander verbanden - nun kehren sie mit ihrem Debüt auf XL Recordings zu ihren instrumentellen Anfängen zurück! Mit dem Talk Memory reflektieren sie die Geschichte und die Innovationen der Musiker und Komponisten, die sie auf dem Weg zum eigenen Sound beeinflussten. Die Band formte sich 2010 im Humber College Jazz Kurs in Toronto, das feste Trio-Line-Up mit Alexander Sowinski (Drums), Chester Hansen (Bass) und Leland Whitty (Gitarre und Holzbläser) existiert seit 2015. Für die drei ist ein Song ein lebender und atmender Organismus, der sich natürlich entwickelt und je nach Umgebung anders klingt. "Talk Memory" ist ein Album, das ganz in diesem Sinne entstanden ist und markiert auch einen Wechsel vom Ego hin zum Kollektiv, zur Balance und zur Harmonie. Es enthält musikalische Beiträge von Arthur Verocai, Karriem Riggins, Terrace Martin, Laraaji und der gefeierten Harfenistin Brandee Younger, die bereits mit Moses Sumney und Thundercat gearbeitet hat. Die Visuals entwarf Virgil Abloh mit seiner Designfirma Alaska-Alaska_äó, der auch das Albumcover gestaltet hat. "Talk Memory" ist ein Album, das betont, wie Musik als Konversation unabdingbar kollektiv und improvisiert sein muss. Es erinnert dabei an die typischen Momente einer Live Jazz- oder Soul-Show, in der der Frontmann jedes einzelne Bandmitglied vorstellt, um ihm/ihr den gebührenden Applaus zukommen zu lassen. Und so ist ein Album voller tiefer Zuneigung zur Musik und zur Community entstanden.
Pilgrimage of the Soul is the 11th studio album in the 22-year career of Japanese experimental rock legends, MONO. Recorded and mixed - cautiously, anxiously, yet optimistically - during the height of the COVID- 19 pandemic in the summer of 2020, Pilgrimage of the Soul is aptly named as it not only represents the peaks and valleys where MONO are now as they enter their thirddecade, but also charts their long, steady journey to this time and place. Continuing the subtle but profound creative progression in the MONO canon that began with Nowhere Now Here (2019), Pilgrimage of the Soul is the most dynamic MONO album to date (and that's saying a lot). But where MONO's foundation was built on the well-established interplay of whisper quiet and devastatingly loud, Pilgrimage of the Soul crafts its magic with mesmerizing new electronic instrumentation and textures, and - perhaps most notably - faster tempos that are clearly influenced by disco and techno. It all galvanizes as the most unexpected MONO album to date - replete with surprises and as awash in splendor as anything this band has ever done. MONO began in Japan at the end of the 20th Century as a young band equally inspired by thepioneers of moody experimental rock (My Bloody Valentine, Mogwai) and iconic Classicalcomposers (Beethoven, Morricone) who came be fore them. They have evolved into one of the most inspiring and influential experimental rock bands in their own right. It is only fitting that their evolution has come at the glacial, methodical pace that their patient music demands. MONO is a band who puts serious value in nuance, and offers signi ficant rewards for the wait. "glacial, metallic, all-consuming post-rock" - Stereogum ,Stunning, eloquent, emotionally gut-busting" - Pop Matters "it's the kind of album that's best played start to finish (and best played loudly), and that can truly suck you in and transport you to another world if you do so." - Brooklyn Vegan
Hier kommt das zweite Album der "Schnöselpunks" Wiener Zucker. Mit Hilfe von Paul Gallister als Produzent wurde ein weiterer Schritt in Richtung Headliner Konzert im Happel Oval gemacht. Üppig gezuckert sind in Österreich nicht nur Mehlspeisen. Auch Menschen und deren Sprache triefen bittersüß aus dem Schmelztiegel glorreich vergangener Tage. Eliten feiern fröhliche Urständ. Den Moment zu leben, heißt für einen Kahlenberger gepflegt auf das morgen zu defäkieren. Ob nun subtile Reichenkritik oder genußvolles Eintauchen in die Leichtigkeit des Seins der Upper-Class. Auch das zweite Kahlenberg Album wird diese Frage nicht erschöpfend beantworten. Zu vielschichtig bricht das Licht der einzelnen Zeilen. Der Wiener Zucker ganz offensichtlich aus purem Kristall.
Doppel-LP im Gatefold-Cover, recyceltes & zufällig gefärbtes Doppel-Vinyl, Müllsack-Innenhüllen und ein Coupon zum kostenlosen digitalen Download. Als Aesop Rock in den späten 90er Jahren mit Music For Earthworms und Appleseed debütierte, war auch Blockhead mit von der Partie, nicht nur als Produzent, sondern auch, um den Verkauf der CDRs an hungrige Hip-Hop-Fans zu koordinieren. Blockhead und Aesop setzten ihre Zusammenarbeit fort und schufen dabei eine beeindruckende Liste von Songs, darunter zwei von Aesops beliebtesten Liedern bis heute: "Daylight" und "None Shall Pass". In den letzten Jahren hatte Blockhead bei vielen von Aesops Solo-Veröffentlichungen und Gruppenprojekten Produktionen und Remixe beigesteuert, und Aesop im Gegenzug eine Handvoll Features bei Blockheads Soloprojekten, aber in all dieser Zeit haben Aesop und Block nie ein komplettes Album zusammen gemacht - bis jetzt! Garbology entstand im Laufe der Pandemie und auch zu der Zeit, in der Aesop den Tod eines engen Freundes im Januar 2020 verarbeitete. Anfangs gab es weder einen Plan für ein Album, aber es dauerte nicht lange, bis aus einem Song ein paar wurden, und dann eine Handvoll, bis schließlich ein Album geboren wurde. Garbology fängt den Soundtrack der heutigen Zeit ein, eine Momentaufnahme von Aes und Block, die sich - inmitten von weniger sozialen Interaktionen als üblich - entertainen wollen, "verankert in einem Gulasch aus Hüttenkoller, Angst, Wut und Langeweile", wie Aesop es beschreibt. Was den Titel des Albums angeht, erklärt Aesop: "Garbologie ist definiert als die Untersuchung des von einer Gesellschaft weggeworfenen Materials, um zu erfahren, was es über soziale oder kulturelle Muster verrät. Ich sehe viele Parallelen zwischen diesem Begriff und der Idee, nach einem Verlust oder einer Zeit intensiver Unruhe die Scherben aufzusammeln und zu sehen, was wirklich da ist. Es sind Informationen, die etwas darüber aussagen, wer ich bin, wer wir sind und wie wir vorankommen. Außerdem: in alter, oft vernachlässigter Musik aus einer anderen Zeit zu wühlen und diese mit einem Ohr zu durchforsten, das darauf eingestellt ist, diese Daten auf eine andere Weise aufzunehmen, als der durchschnittliche Hörer_ das ist genau das, was Tony tut. Geh die Informationen durch und sieh, was du findest."
When Aesop Rock debuted in the late 90s with Music For Earthworms and Appleseed, Blockhead was also a part of the process, not only as a producer, but also helping coordinate sales of the CDRs to hungry Hip Hop fans. Blockhead and Aesop continued to collaborate, creating an impressive list of songs along the way, including two of Aesop's most popular songs to date; "Daylight" and "None Shall Pass". In recent years, Blockhead has contributed production, as well as remixes, to many of Aesop's solo releases and group projects, and Aesop has made a handful of guest features on Blockhead's solo projects, but in all that time, Aesop and Block had never done a full album together, until Garbology!
Garbology came together over the course of the pandemic, and encapsulates the soundtrack of current times. As Aesop explains, "Garbology is defined as the study of the material discarded by a society to learn what it reveals about social or cultural patterns. I find a lot of parallels between that and the idea of picking up the pieces after a loss or period of intense unrest, and seeing what’s really there. Furthermore - the idea of digging through old, often neglected music from another time — with an ear tuned for taking in that data in a different way than your average listener — is exactly what Blockhead does."
Following the success of the full Garbology album, it's only right to offer the instrumentals for further examination and repurposing efforts. Dive into the Garbology Instrumentals and see what you find.
- 01: Scott Brown, Al Storm & Rob Iyf - Ain’t Sayin Nothin’
- 02: Bang!, Rob Iyf & Al Storm - Life & Happiness
- 03: Darren Tyler, Rob Iyf & Al Storm - Runaway (24/7 Mix)
- 04: Rob Iyf & Al Storm Feat. Cinzia - Hamada
- 05: Dj Seduction - Imagination (Eufeion, Rob Iyf & Al Storm Vip)
- 06: Al Storm & Dj Seduction - Wont Forget You (Rob Iyf & Al Storm Mix)
- 07: Alaguan - Atmosphere
- 08: Chris Fear - Expression
- 09: Rob Iyf - Angel Of Mine
- 10: Al Storm & Euphony Feat. Laelia - Battle Cry
- 11: Euphony, Rob Iyf & Al Storm - Event Horizon
- 12: Seduction, Al Storm & Rob Iyf - Graffiti Girl
- 13: Dj Stompy, Al Storm & Rob Iyf - Oblivion
- 14: Rob Iyf, Al Storm, Darren Tyler & Jason Ufo - The Spark
- 15: Freq-Dlt & Rob Iyf - Time & Space
- 16: Al Storm & Rob Iyf - Chip Bit
- 17: Seduction & Eazyvibe - Do You Want Me (Rob Iyf & Al Storm Mix)
- 18: Ak47 - Devotion
- 19: Rob Iyf & Al Storm Feat Vicky Fee - Makin Me Dirty
- 20: Al Storm Feat Lacie - Drop Everything Now
- 21: Rob Iyf & Al Storm - Bass Down Low
- 22: Al Storm & Dj Seduction - Get On The Floor (M-Project Remix)
- 23: Dj Seduction - So In Love (Darwin & Jack In Box Remix)
- 24: Al Storm & Rob Iyf Feat Selina - Fading Like A Flower
- 25: Fracus - Blatant Influence
- 26: Al Storm & Rob Iyf - We Came 2 Rave
- 27: Rob Iyf - Hold On To Me
- 28: Al Storm & Rob Iyf Feat V-Star - Far Away
- 29: Rob Iyf & Al Storm Feat Katherine Wood - Give Me The Sunshine
- 01: The Watchmen - Hghr Lv (Rob Iyf & Al Storm Remix)
- 02: Ezkill - Drop The Bass
- 03: Mkn & Hartshorn - Ygm
- 04: Chris Fear - First Serve (Chris Fear & Bubble Mix)
- 05: The Watchmen - I Will Run
- 06: Rob Iyf & Al Storm - Weak Delete
- 07: Bang! Vs Rob Iyf - Shooting Star 2021
- 08: Al Storm & Rob Iyf Ft. Blue Eyes - I'll Find You
- 09: Rob Iyf Ft. Oli Trickett - Lost 4 Words
- 10: Rob Iyf & Monster - Golden
- 11: Rob Iyf - Realised
- 12: M-Project Feat. Desi - 99 Red Balloons (Panda Mix)
- 13: Rob Iyf & Al Storm - Kick Biatch
- 14: Al Storm & Rob Iyf - Da Nu Sound
- 15: Rob Iyf & Elh Ft. V-Star - Gimme A Light
- 16: Rob Iyf & Blue Eyes - Rocket Ship
- 17: Vinylgroover - Time (Rob Iyf & Al Storm Mix)
- 18: Rob Iyf & Al Storm Vs Whizzkid - Blow The House
- 19: Rik Reaper & Rob Iyf - Chemical
- 20: Al Storm & Rob Iyf - Attentiana!
- 21: Rob Iyf & Al Storm Vs Monster - For Love
- 22: Chris Fear - R.a.v.e
- 23: Rob Iyf & Monster - Mutant Bass
- 24: Al Storm & Rob Iyf - End Of Time
- 25: Rob Iyf & Al Storm - Chaos Baby
- 26: Nathan Devlin - Aye Chica
- 01: Bananaman Feat. Brooklyn - Sunshine (Uproar Mix)
- 02: Dj Stompy & Eazyvibe - Dance Under The Sun (Darren Tyler Remix)
- 03: Darren Tyler Feat. Donna - Summer Body
- 04: Dj Stompy & Eazyvibe - Dream Til The End Of Time
- 05: Darren Tyler & Fitzy-K Feat. Kally - Hold On To Me
- 06: Alchemist & Fade - Keep On Trying (Alaguan Remix)
- 07: Dj Stompy & Eazyvibe - Love Is Eternity
- 08: Eazyvibe - Never Know
- 09: Dj Stompy - This Is The Night (Eazyvibe Remix)
- 10: Al Storm & Euphony Feat Donna-Marie - All I Wanna Do (Klubfiller Remix)
- 11: Darren Tyler & Fitzy-K Feat Lxve - Karma
- 12: Eazyvibe - All My Life
- 13: Alaguan - The Ziggy & Chewy Anthem
- 14: Eufeion & Bananaman - One More Love
- 15: Diakronik Feat Alison Wade - Always Together (Daniel Seven Remix)
- 16: Darren Tyler & Eazyvibe Feat Emily - Escape
- 17: Dj Stompy, Eazyvibe & Zetamale - Dance All Night
- 18: Darren Tyler, Al Storm & Rob Iyf Feat Lacie - I Don’t Care
- 19: Chris Fear - Night & Day
- 20: Storm & Herman - Let It Be The Night (Dj Shimamura Remix)
- 21: Darren Tyler & Yade - Alive
- 22: Eazyvibe & Dj Stompy - Lost Together
- 23: Zetamale, Dj Stompy & Eazyvibe - Higher Place
- 24: Darren Tyler Feat Krve - Sorry
- 25: Al Storm Feat Ali - Rain (Eufeion Remix)
- 26: Dj Stompy Feat V-Star - Love Will Find Away (Dj Stompy & Eazyvibe Remix)
- 27: Dj Stompy, Eazyvibe & Zetamale - Forever Young
- 28: Zetamale, Eazyvibe & Dj Stompy - I’il Wait For You (Uproar Mix)
HARDCORE UPROAR* over 80 of the freshest Hardcore Anthems from 3 of the biggest brands in the hardcore / hard dance scene written especially for this Brand New Compilation series, going back to the original ‘Bonkers’ style mixed CD format, featuring Uproar Creator, and one of the biggest names in Hardcore History DJ Seduction alongside 24/7’s owner / creator Al Storm, Rob IYF (one of the biggest new talents to come through the Hardcore scene) showcasing the latest 24/7 Hard Dance / Hardcore project ‘Voodoo Panda’ and 2 Rave Legends DJ Stompy & Darren Tyler (Bananaman / Silk Cuts / JHAL etc / Fade & Bananaman etc) join forces with Eazyvibe for a 28 track feast of happiness
Featuring Fresh Dubs from artists such as, Scott Brown, Bang!, Al Storm, Rob IYF, DJ Seduction, Darren Tyler, Alaguan, Chris Fear, Euphony, DJ Stompy, UFO, FREQ-DLT, Eazyvibe, AK47, Fracus & Darwin, M-Project, Daniel Seven, MKN, Hartshorn, EZKill, Bananaman and more.
Ellesmere, a symphonic-prog music project founded and led by Italian multi-instrumentalist Roberto Vitelli, author of all the music and lyrics, surprisingly comes back just one year after their second album "Ellesmere II / From sea and beyond" with an amazing work in terms of freshness, energy, impact and meticulous attention towards its sound and arrangements.
First of all, "Wyrd" deserves admiration starting from the cover artwork made by Rodney Matthews, an iconic illustrator at least equal to the legendary Roger Dean. Musically, it evolves on the same path of "Ellesmere II", so the main references are classic prog outfits Yes, King Crimson, Kansas, plus a good amount of jazz-rock, present in every song; but there are also references to contemporary progressive rock and to artists such as Transatlantic, Flower Kings and Spock's Beard. "Wyrd" is therefore a third epic and even more enthralling chapter than the previous one, almost completely instrumental and captivating from the first minute to the very last one.
As per tradition, "Wyrd" also involves a series of prog-related prestigious guests: Mattias Olsson (Änglagård, White Willow / drums), Tomas Bodin (The Flower Kings / keyboards), David Cross (King Crimson / violin), John Hackett (brother of the famous Steve Hackett and a constant presence in his solo records / flute), David Jackson (Van Der Graaf Generator, Osanna / saxophone), Tony Pagliuca (Le Orme / keyboards), Luciano Regoli (Raccomandata Ricevuta Ritorno / voice), Fabio Liberatori (Loy & Altomare, Lucio Dalla, Ron / keyboards), Fabio Bonuglia (keyboards) and Giorgio Pizzala (vocals).
In a path of musical and stylistic evolution that started from the acoustic and pastoral prog of "Les Châteaux De La Loire" (2015), we hope that "Wyrd" does not represent point of arrival, but another passage towards new unexplored lands!
- N1: Paper Blood (Live At The Albert Hall)
- N2: Romeo And Juliet (Live At The Albert Hall)
- N3: Creole Dance (Live At The Albert Hall)
- N4: Still... You Turn Me On (Live At The Albert Hall)
- N5: Lucky Man (Live At The Albert Hall)
- O1: Black Moon (Live At The Albert Hall)
- O2: Pirates (Live At The Albert Hall)
- P1: Finale (Medley)
- Q1: Karn Evil 9 1St Impression (Pt. 2) (Union Hall, Phoenix, Arizona, Usa, 23Rd September, 1997)
- Q2: Hoedown (Union Hall, Phoenix, Arizona, Usa, 23Rd September, 1997)
- A1: The Barbarian (Live At The Isle Of Wight Festival, Newport, Uk, 29Th August 1970)
- A2: Take A Pebble (Live At The Isle Of Wight Festival, Newport, Uk, 29Th August 1970)
- B1: Pictures At An Exhibition: Promenade Pt.1 / The Gnome / Promenade Pt.2 / The Sage / The Old Castle
- C1: Pictures At An Exhibition (Continued): Promenade Pt.3 / The Hut Of Baba Yaga / The Curse Of Baba Ya
- D1: Rondo (Live At The Isle Of Wight Festival, Newport, Uk, 29Th August 1970)
- D2: Nutrocker (Live At The Isle Of Wight Festival, Newport, Uk, 29Th August 1970)
- D3: Interview (Live At The Isle Of Wight Festival, Newport, Uk, 29Th August 1970)
- E1: Toccata (Live At California Jam, Ontario Motor Speedway, California, Usa 6Th April 1974)
- E2: Still... You Turn Me On (Live At California Jam, Ontario Motor Speedway, California, Usa 6Th April
- E3: Lucky Man (Live At California Jam, Ontario Motor Speedway, California, Usa 6Th April 1974)
- F1: Piano Improvisations (Including 'Fugue' And 'Little Rock Getaway) (Live At California Jam, Ontario M
- F2: Take A Pebble (Live At California Jam, Ontario Motor Speedway, California, Usa 6Th April 1974)
- G1: Karn Evil 9 1St Impression (Pt.2) (Live At California Jam, Ontario Motor Speedway, California, Usa 6
- H1: Karn Evil 9 3Rd Impression (Live At California Jam, Ontario Motor Speedway, California, Usa 6Th Apri
- H2: Pictures At An Exhibition: The Great Gates Of Kiev (Live At California Jam, Ontario Motor Speedway
- I1: Introductory Fanfare (Live 1977/78)
- I2: Peter Gunn (Live 1977) - By Keith Emerson
- I3: Tiger In A Spotlight (Live 1977/78)
- I4: C'est La Vie (Live At Olympic Stadium, Montreal, 1977) - By Keith Emerson
- I5: Watching Over You (Live At Olympic Stadium, Montreal, 1977) - By Keith Emerson
- I6: Maple Leaf Rag (Live At Olympic Stadium, Montreal, 1977)
- I7: The Enemy God Dances With The Black Spirits (Live At Olympic Stadium, Montreal, 1977)
- J1: Fanfare For The Common Man (Live At Olympic Stadium, Montreal, 1977)
- J2: Knife-Edge (Live At Olympic Stadium, Montreal, 1977)
- K2: Pictures At An Exhibition (Live At Olympic Stadium, Montreal, 1977)
- L1: Closer To Believing (Live At Olympic Stadium, Montreal, 1977)
- L2: Piano Concerto Third Movement: Toccata Con Fuoco (Live At Olympic Stadium, Montreal, 1977)
- L3: Tank (Live At Olympic Stadium, Montreal, 1977)
- M1: Karn Evil 9 1St Impression, Pt. 2 (Live At The Albert Hall)
- M2: Tarkus (I. Eruption Ii. Stones Of Years Iii. Iconoclast)
- M3: Knife Edge (Live At The Albert Hall)
- Q3: Touch And Go (Union Hall, Phoenix, Arizona, Usa, 23Rd September, 1997)
- Q4: From The Beginning (Union Hall, Phoenix, Arizona, Usa, 23Rd September, 1997)
- Q5: Knife-Edge (Union Hall, Phoenix, Arizona, Usa, 23Rd September, 1997)
- R1: Bitches Crystal (Union Hall, Phoenix, Arizona, Usa, 23Rd September, 1997)
- R2: Creole Dance (Union Hall, Phoenix, Arizona, Usa, 23Rd September, 1997)
- R3: Honky Tonk Train Blues (Union Hall, Phoenix, Arizona, Usa, 23Rd September, 1997)
- R4: Take A Pebble (Union Hall, Phoenix, Arizona, Usa, 23Rd September, 1997)
- R5: Lucky Man (Union Hall, Phoenix, Arizona, Usa, 23Rd September, 1997)
- S1: Tarkus: Eruption / Stone Of Years / Iconoclast / Mass (Union Hall, Phoenix, Arizona, Usa, 23Rd Septe
- J3: Show Me The Way To Go Home (Live At Olympic Stadium, Montreal, 1977)
- S2: Pictures At An Exhibition: The Great Gates Of Kiev (Union Hall, Phoenix, Arizona, Usa, 23Rd Septembe
- T1: Fanfare For The Common Man (Including Drum Solo) / Blue Rondo A La Turk (Union Hall, Phoenix, Arizon
- T2 21: St Century Schizoid Man / America (Union Hall, Phoenix, Arizona, Usa, 23Rd September, 1997)
- K1: Abaddon's Bolero (Live At Olympic Stadium, Montreal, 1977)
xe m1 Karn Evil 9 1st Impression, Pt. 2 (Live at the Albert Hall) [2017 - Remaster]
[xf] m2 Tarkus (I. Eruption II. Stones of Years III. Iconoclast) [Live at the Albert Hall] [2017 - Remaster]
[xg] m3 Knife Edge (Live at the Albert Hall) [2017 - Remaster]
[xh] n1 Paper Blood (Live at the Albert Hall) [2017 - Remaster]
[xi] n2 Romeo and Juliet (Live at the Albert Hall) [2017 - Remaster]
[xj] n3 Creole Dance (Live at the Albert Hall) [2017 - Remaster]
[xk] n4 Still... You Turn Me on (Live at the Albert Hall) [2017 - Remaster]
[xl] n5 Lucky Man (Live at the Albert Hall) [2017 - Remaster]
[xm] o1 Black Moon (Live at the Albert Hall) [2017 - Remaster]
[xn] o2 Pirates (Live at the Albert Hall) [2017 - Remaster]
[xo] p1 Finale (Medley) [I. Fanfare for the Common Man II. America III. Rondo] [Live at the Albert Hall] [20
Diving into the archives of Alter Ego - the Italian experimental ensemble of Manuel Zurria, Paolo Ravaglia, Aldo Campagnari, Francesco Dillon, Oscar Pizzo, and Eugenio Vatta - Die Schachtel is thrilled to present Microwaves, a never before released body of recordings of works composed by Atli Ingólfsson, Giovanni Verrando, Yan Maresz, and Riccardo Nova, made with Pan Sonic (Mika Vainio and Ilpo Vaisanen) in 2005. Resting at the outer reaches of avant-garde chamber and electronic music, the LP’s blistering structures, tones, and textures - plowing forward with frenetic energy - remain radical and ahead of their time, more than 15 years after they were first laid to tape.
A modular chamber ensemble with a pointedly anti-academic approach to music, over the course of its activities - running roughly between 1990 and 2010 - Alter Ego developed a devoted following among some of the most forward thinking voices in experimental music, all the while collaborating widely with artists spanning a vast range of practices and disciplines, including Robin Rimbaud, Philip Jeck, Matmos, Gavin Bryars, Andrew Hooker, William Basinski, David Moss, Alvin Curran, Terry Riley, and near countless number of others.
Alter Ego’s diverse activities can be understood as interventions with the disposition toward formality within contemporary chamber music, often pairing themselves with artists working well beyond their own context as a means to develop highly original interpretations of a specific composer’s work. In 2004, this process led them to instigate a collaboration Pan Sonic, the Finnish duo of Mika Vainio and Ilpo Vaisanen, pioneers of a remarkably distinct form of rhythmic, experimental electronic music, and regarded by many as one of the most visionary and irreverent projects working in the field during the '90s and 2000s.
Initially conceived with Fausto Romitelli in 2004 before being sidelined by the composer’s untimely passing the following year, Microwaves acts, in part, a remembrance in sound, featuring four works by some of his closest friends, the composers Atli Ingólfsson, Giovanni Verrando, Yan Maresz, and Riccardo Nova. Each composition, Ingólfsson’s Snap, Verrando’s Harmonic Domains #3, Maresz’s Link, and Nova’s Thirteen13x8@Terror Generating Deity, have roots in a pallet of samples and fragments drawn by each composer from existing works by Pan Sonic. Upon completion, these compositions then entered into a collaborative process between Mika Vainio and Ilpo Vaisanen (Pan Sonic) and Alter Ego (Manuel Zurria, Paolo Ravaglia, Aldo Campagnari, Francesco Dillon, Oscar Pizzo, and Eugenio Vatta), and were performed collectively by both groups during an extensive tour that year.
Distinct and free-standing, while operating as a seamless whole, the four works encountered across the album’s two sides - built from the sounds of flute, clarinet, violin, cello, piano, electronics, and further treatments - present an engrossing intersection between electronic and acoustic sound that diverges from most standing conceptions of electroacoustic music. Each composer’s carefully rendered structures rise and fall within the startling, conversant interplay between the two groups, finding perfect balance - between the frenetic and restrained - in what can only be regarded as one of the most striking and singularly unique expressions of contemporary chamber music realized during the 2000s.
Vast in scope, visionary in concept and artistry, and sonically engrossing, Die Schachtel is thrilled to present these never before heard recordings from the archives of Alter Ego. Microwaves is available on black vinyl, in a limited edition of 350 copies.
Diving into the archives of Alter Ego - the experimental ensemble of Manuel Zurria, Paolo Ravaglia, Aldo Campagnari, Francesco Dillon, Oscar Pizzo, Fulvia Ricevuto, and Eugenio Vatta - Die Schachtel is thrilled to present Pranam - A(Round) Giacinto Scelsi, a never before released body of recordings interpreting the works of the legendary Italian composer Giacinto Scelsi, made with Matmos (Martin Schmidt and Drew Daniel) in 2005. Resting at the outer reaches of avant-garde chamber and electronic music - moving at a glacial pace of tightly wound energy - Pranam’s two sides radically rethink the terms electroacoustic music in ways that still feel radically ahead of their time, more than 15 years after they were first laid to tape.
A modular chamber ensemble with a pointedly anti-academic approach to music, over the course of its activities - running roughly between 1990 and 2010 - Alter Ego developed a devoted following among some of the most forward thinking voices in experimental music, all the while collaborating widely with artists spanning a vast range of practices and disciplines, including Robin Rimbaud, Philip Jeck, Pan Sonic, Matmos, Gavin Bryars, Andrew Hooker, William Basinski, David Moss, Alvin Curran, Terry Riley, and near countless number of others.
Alter Ego’s diverse activities can be understood as interventions with the disposition toward formality within contemporary chamber music, often pairing themselves with artists working well beyond their own context as a means to develop highly original interpretations of a specific composer’s work. In 2005, this process led them to invite Matmos, the American duo of Drew Daniel, Martin Schmidt - acclaimed for a body of visionary albums at the vanguard of electronic process and sampling - to collaborate on a series of interpretations of works by the legendary Italian composer Giacinto Scelsi.
Realized in collaboration with The Fondazione Isabella Scelsi, which holds Giacinto Scelsi’s archives, and performed at the Festival Roma Europa and the Festival Aeterforum during May of 2005, the album’s four works - Estratti dal Quartetto per archi n.3 (1963), Ko-Lho (1966), Riti: I Funerali di Carlo Magno A.D. 814 (1976), Aitsi (1974) - shift the boundaries of 20th Century chamber music toward markedly new and contemporary terms, incorporating everything from the sounds of the Revox tape machine that Scelsi used to record his own improvisations and processed electronics, to the plastic trumpets used by fans during football matches.
From intertwining, shifting lone-tones that render startling resonances and dissonances, to passages guided by a vast pallet of electronics and flurries of acoustic sounds, joined as a single ensemble, across the two sides of Pranam, Alter Ego and Matmos infuse these four works by Scelsi with humor and playfulness, while retaining all the urgency and rigour with which they were initially composed.
Delicate and meditative, while tightly wound and brooding, Pranam brings the works of Giacinto Scelsi to life in ways that almost no group ever has. Riveting and immersive from start to finish, Die Schachtel is thrilled to present these never before heard recordings from the archives of Alter Ego. Pranam is available on black vinyl, in a limited edition of 350 copies.
If one always looks at the sky, he will end up with wings, a wise French man once declared. Halifax, Nova Scotia based musician Jeremy Costello had wings, long before he looked up. Wings of imagination. Brandishing in his head, transforming deep-rooted emotions into poetry and sound. Since 2012 the Canadian self-releases music as Special Costello, a moniker under which he records solo or with local friends like Saxophone player Nick Dourado or guitarist Dave Burns. His lyrics are sincerely woven poetic enunciations that balance between introspective emotions and existential philosophical demands. Lyrics from a spirit that is in love without an object, unconditional, mirroring his very own subconscious inner being. The music reflects his tempers in many colours. Glimpses of Synth-Pop, psychedelic rock nuances, traces of new romantic utopia, infantile Casio minimalism, Shoegaze haze, drama wave: Special Costello blends many styles, uniting all in his very own musing grandeur of pop music.
After an array of digital releases, Berlin based label Marmo Music now publishes the Special Costello touch for the first time physically fabricated on vinyl. Seven songs featuring the longing voice of Jeremy Costello, sometimes in correlation with spoken words and dialogues by noted artists, poets, and scientists. All creations have been recorded by himself between Spring 2017 and winter 2020, using the extrasomatic help of instruments and machines like Farfisa Combo Compact transistor organ, Roland JX3P polyphonic analog synthesizer, Roland D50 linear synthesizer, Roland Rhythm Composer TR-08, Arturia Microbrute monophonic analog synthesizer or a Gibson Thunderbird IV bass guitar. In communication with his sensitive inner blues, they created an atmospheric voyage into the heart of Special Costello, that fulfils Arthur Russel’s sapient declaration: being sad is not a crime! Seven musical paintings full of intimate, vibrant feelings and existential thoughts, veiled in an antidepressant neo new romantic glam. An epic tune like “The Next Day”, in which Costello’s singing links with thought-provoking spoken word samples, sounds like Robert Ashley is meeting Hans-Joachim Roedelius in a psychic séance with Brian Ferry. In comparison, a song like “If Not Depression, Then What?” grooves with a pulsating wave bass figure and an overall gently floating electronic majesty, while Costello’s voice takes deep listeners to an unknown higher ground. On the other hand, a composition like “Unsetting” offers a nonchalant graceful funk drift with reverberant hand claps, minimal guitar strains and a chromatic synth pop grace. Above all the music Costello’s voice cries, screams, whispers, and weeps with a compelling introspective elegancy, that invites to associate intensely with the nonpareil Special Costello touch.
Written, composed, and recorded by Jeremy Costello between 2016 to 2020 in Halifax, Scotch Village and Toronto (Canada).
Instruments used by the artist: Farfisa Combo Compact transistor organ, Roland JX3P Programmable Preset Polyphonic Synthesizer, Roland D50 linear synthesizer, Yamaha DX7 Frequency Modulation/Programmable Algorithm Synthesizer and TX7 FM Expander, Roland Computer Controlled Rhythm Composer TR-08, Arturia Microbrute Analog Synthesizer, Gibson Thunderbird IV bass guitar, MicroKorg Synthesizer/Vocoder, Electro Harmonix Small Stone Phaser, Memory Boy Analog Delay, Alesis Quadraverb, and finally, their voice was recorded using Shure Beta57A and AKG D 330 BT dynamic microphones.
25 Sekunden Zeit zum Luftholen gönnen einem LYGO ganz am Anfang ihres neuen Albums, bevor "Schockstarre" losbricht, danach bleibt nicht mehr viel Zeit zum Atmen. Für 42 Minuten reißt "Lygophobie", das dritte Album des Bonner Trios, das inzwischen komplett in Köln lebt, mit. Aber es hätte ganz anders kommen können: Mit ihrer letzten Tour im September 2019 verkünden sie eine Pause auf unbestimmte Zeit - nicht etwa, weil sie sich auflösen wollen, nein, einfach um die letzten Jahre mal wirken zu lassen und Platz zu schaffen für den ganzen Kram, für den man sonst neben der Band kaum Zeit hat. Drummer Daniel nutzt die Auszeit, um sich ausgiebig mit Musikproduktion zu beschäftigen und ermöglicht es LYGO so, selbst Musik im Proberaum aufzunehmen. Neue Songs und Texte entstehen schneller denn je, denn im Jahr 2020 gibt es plötzlich wenig anderes zu tun, als zu schreiben. Die Songs des Albums entstehen letztendlich alle in einem 16qm großen Proberaum und werden auch dort aufgenommen. Wer schonmal einen LYGO-Song gehört hat, wird sich auf "Lygophobie" schnell zurecht finden. Hier muss auch nichts neu erfunden werden. Das Magische an Punkrock ist und bleibt doch, dass man auch mit nur einer Gitarre, Bass, Schlagzeug und klugen Texten diese große, komplexe Welt ein bisschen verständlicher machen kann. Wenn auch nur für drei Minuten am Stück. Doch natürlich haben LYGO seit "Schwerkraft" von 2018 auch Neues ausprobiert. In "Kommentarspalte" vertonen sie YouTube-Comments von Schlafgestörten und wagen Midtempo, in "Ufer" gibts endlich ein Gitarrensolo, "13 Stunden Schlaf" wird von einem Klavier eröffnet. "Lygophobie", das ist nicht etwa ein verunglücktes Wortspiel über die Angst vor sich selbst als Band. Es ist ein Begriff, über den LYGO zufällig stolperten: Es ist die übermäßige Angst vor der Dunkelheit. Und obwohl sich die Dunkelheit in all ihren Facetten durch das ganze Album zieht, ist "Lygophobie" alles andere als eine pessimistische Platte. Sie beschreibt eher den Weg zurück ins Licht, wie ihn auch die Artworks zum Album visualisieren. Das ist Punkrock, der so nonchalant zwischen AZ und Clubbühne reinknallt, dass man sich endlich wieder dran erinnert, warum einem diese Musik die Welt bedeutet. Die LP kommt mit schwarzem180 Gramm Vinyl, Gatefold Klappcover aus schwerem Coverkarton. Außerdem liegt der LP ein Download Code bei.
Dave Chappelle's viral video "8:46". The video was YouTube's top trending video of 2020 with over 30 million views. The video and subsequent album are a searing rumination in the aftermath of the murder of George Floyd that ignited worldwide outrage and led to protests on race inequality, police brutality and the criminal justice system. Filmed in Ohio on June 6, during the COVID-19 lockdown, "8:46" addresses one deadly plague, while in the grips of another. The B-side of the album features poet Amir Sulaiman's performance of "My Insides Out" and "We Must Win," also recorded in Ohio. It also includes "White Noise," 8 minutes and 46 seconds of silence in remembrance of George Floyd and the countless victims of police brutality and systemic racism. The album cover and artwork features performance and backstage photos from Chappelle's performance as well as images from various George Floyd protests in Los Angeles, CA, all taken by Grammy-nominated artists and photographer Mathieu Britton.
- A1: Soul Machine
- A2: Distant Memories
- A3: Black Butterfly
- A4: Atomic Heart
- A5: Eternal Time Machine
- A6: Quantum Mysticism
- A7: Reflections
- A8: Trees Speak
- B1: Nothing Remains
- B2: Everlasting
- B3: Spirit Oscillator
- B4: Waiting
- B5: Unconscious Though Control
- B6: Ghost We Know
- B7: Silance In The Sky
- C1: Shadow Circuit (Part I)
- D1: Shadow Circuit (Part Ii)
Trees Speak is an experimental rock band that transcend mainstream influences by incorporating elements of Avant-garde, Neo-psychedelic, Minimalism, art and electronic - along with violin-bowed guitar, Theremin and a glut of effects pedals, and it's an ear-bending rush of lush soundscapes.
Trees Speak - as much a sound laboratory as a rock and roll band - is the musical venture of acclaimed visual artist and musician Daniel Martin Diaz (formerly of Blind Divine and Crystal Radio). For the debut double-LP Trees Speak is joined by Michael Glidewell (Black Sun Ensemble), Gabriel Sullivan (XIXA, Giant Sand), Connor Gallaher (Myrrors & Cobra Family Picnic), Damian Diaz (Human Error), and Julius Schlosburg (Jeron White Acoustic Trio). The studio itself should also take top billing, because in the tradition of krautrockers Can and Bitches Brew-era Miles Davis, the band takes its winding, incandescent motoric rock and roll improvisations and edits them into coherent compositions using the mixing desk after recording. And that's where the sound lab half of the equation appears. The end result is flowing and droning ambient proto-punk reminiscent of fellow travelers NEU!, Stereolab,
Our intention is to create music with an unrehearsed minimalist approach performing simple beats, riffs, and sequences that take one inward. We attempt to create a sonic environment to set one's mind free and to become aware of the nuances of tone, melody, and structure. We organize our recording equipment with the same approach, in a transparent manner. Our recorded performances are never rehearsed. Our belief is that a brilliant rehearsal is a lost opportunity to capture a magical moment. We are chasing the mystery of music and tone. We let the musical performance sculpt its own destiny and create imperfect perfection. Our tool of creation is the anxiety one feels when they are unrehearsed or prepared for a performance. We believe this approach brings us closer to the authentic self. The result is genuine music without an agenda that captures the unfiltered spirit.
- Trees Speak
The music was recorded live in one room with no overdubs or repairs, only using edits to create arrangements. All tracks were written over a 5 day period at Sacred Machine Studio and Dust & Stone Studio.
Teenage Fanclub have announced details of the vinyl reissues of two more of their classic albums - Man Made and Shadows.
Released on Friday 14th December 2018 through Republic of Music, they will be packaged in faithful re-productions of the original vinyl artwork and available on heavyweight 180g single vinyl.
The band have also selected rarities, favourites and tracks previously unavailable on vinyl to include on a 7' with each album. These 7' singles will each feature two tracks and will only be available with the initial pressing of each album.
Additionally, the band are about to embark on a series of very special three night runs of shows in Glasgow, Manchester, Birmingham and London where they will be playing songs from different eras on each night, these will include songs never previously performed live by the band. Very limited tickets remain for two shows only in Glasgow and Birmingham.
Teenage Fanclub have announced details of the vinyl reissues of two more of their classic albums - Man Made and Shadows.
Released on Friday 14th December 2018 through Republic of Music, they will be packaged in faithful re-productions of the original vinyl artwork and available on heavyweight 180g single vinyl.
The band have also selected rarities, favourites and tracks previously unavailable on vinyl to include on a 7' with each album. These 7' singles will each feature two tracks and will only be available with the initial pressing of each album.
Additionally, the band are about to embark on a series of very special three-night runs of shows in Glasgow, Manchester, Birmingham and London where they will be playing songs from different eras on each night, these will include songs never previously performed live by the band. Very limited tickets remain for two shows only in Glasgow and Birmingham.
Mystery Jets announce that their sixth studio album ‘A Billion Heartbeats’ will be released on 27th September on Caroline International. The band also release ‘Screwdriver’, the first single to be taken from the album.
Screwdriver is an uncompromising look at the rise of the rebranded alt-right in the UK, built around a powerfully positive message: "Fight them with love / then the world will be ours".
Lead singer Blaine Harrison says of the song, “Screwdriver is about the mechanics of intolerance. Looking back at times of economic instability in history, we see how easily deep chasms grow in society and the population seeks change wherever it is most convincingly promised. Conflict arises as cultures and belief systems clash, unwilling to accept one another’s place in society, because we are fed the rhetoric that our neighbours are those responsible for our problems: then inevitably nationalism once more raises its ugly head above the parapet. But whereas political agendas fuel divisiveness, music unites and reminds us of all that we have in common. The message of Screwdriver is not a pessimistic one - because perhaps faced with confrontation we can find understanding, and even maybe learn how to listen to, and love one another.”
Each room of the house in the video is a metaphor for the different sections of society in the UK. It wraps around the narrative of the song, that in order to overcome adversity, you have to “Fight Them With Love”. The visual showcases the song’s inherent message, clashing aggressiveness with tenderness, and culminates in showing after anger, we can always come together through love.
All great albums start from a unique perspective. But try a window on the Strand, in an abandoned office block, overlooking the kind of political upheaval London hasn’t seen in a generation. Blaine Harrison was living as a property guardian right around the corner from Trafalgar Square when he found himself witness to an entire year of protests. Every weekend from January 2017 on, people were marching for a different cause: "In the space of six months it was Black Lives Matter, the huge ‘Our NHS’ march, Unite for Europe," he recalls. "Then the solidarity sleep-out organised by Help Refugees, where we slept in Whitehall for the night... The protestors would wake me up in the morning. I’d just walk down and join in.”
Over the course of that year, Mystery Jets' sixth long-player, A Billion Heartbeats, was born. "This album wasn’t about making pointed opinions,” says Blaine. “It was about being a mirror for what’s going on, reflecting back the way people are feeling.” By turns tender and fierce, abstract and full of classic rock energy, A Billion Heartbeats achieves a balance of passion, fear and hope. Amid the colourful cavalcade of rich harmonies, heavy guitars and rallying cries, the album’s essential message - about personal responsibility, and the power in becoming engaged. In a sense, it's not just their "state of the nation” record but their “state of a generation” record too.
We increasingly hear from musicians that music should be an escape these days - that there’s enough suffering in the world, enough misery on the news, without writings songs about it too. A Billion Heartbeats makes all that sound like a bit of a cop-out. These are songs of protest that get the heart racing in joy; high on hope, and serious in their message. Proof, basically, that music speaks louder than words.
Transmission incoming…
Alien sound waves have been bouncing off the side of our ship.
We’ve managed to capture some of them on plastic.
They seem to appear suddenly out of the vacuum.
Projected by planets
Beamed through stars
Reflected off debris
Hanging in space like dust motes
Witch egg is a improvised set of songs by John Dwyer, Nick Murray, Brad Caulkins, Greg Coates & Tom Dolas.
Another fired expedition out in the wilds.
Recorded and mixed at Stu-Stu-Studio by John Dwyer
This one is a burner designed optimally for your eco-pod sound system.
When you’ve left the world behind, you will need a soundtrack while you lay in dream stasis
This is it
The Mecánica Clásica project combines modified elements of early electronics, krautrock, ambient, minimalism & fourth world music, generating an interplanetary space where enterprising guitar tones, lush synth sequencing & off-kilter percussion coalesce.
‘Mar Interior’ the new album by Mecánica Clásica is a fusion of kosmische & fourth world music inspired by ancient Mediterranean culture. Loosely translated as ‘Inland Sea’, ‘Mar Interior’ is thematically centred on the history & legacy of the ancient civilizations that proliferated around the Mediterranean Sea.
Augmented by environmental recordings, Mecánica Clásica renew the extensive topographies opened up by early pioneers like Craig Leon, Jon Hassell, Brian Eno & Cluster, in an immense vision of Spanish space ambient. On ‘Mar Interior’ their work expands upon these influences, moving into a shimmering, hypnotic sound world which finds common ground with the likes of O Yuki Conjugate, K. Leimer, Roberto Musci & X.Y.R.
Mastered by Colin Potter (Nurse With Wound)
Repress
Assembler Code - We've Felt This One Coming For A Minute Now. After An Unstoppable Run Of Releases Along Side Jensen Interceptor On Labels Such As Cultivated Electronics, Private Persons & Boysnoize Records, Ac Is Finally Flying Solo With This 4 Track Electro Assault Masterpiece 'mental Escape'.
Plugging Into The Title Track 'mental Escape', It's A Rugged Machine Driven Work Out Through Idm & Industrial Landscapes Formulated To Present His Vision Of Futuristic Electro Whilst Still Providing All The Nostalgic Rother & Drexcyian Nods We All Love.
Now That The Tone Has Been Set, 'simulant' Follows Suit. Entering The Celestial Sphere Via Some Haunting Sci-fi Strings, We're Slapped In The Face With Slamming Percussion Followed By A Relentless Acidic Modulated Baseline That Takes Us From One Planet To The Next At Light Speed.
The Journey Wouldn't Be Complete With Out His Old Partner In Crime Jensen Interceptor Coming On Board For A Ride. 'type 2' Is A Classic Case Of Past Meets Present. Scrapyard Industrial Groove Ready To Split Speakers At Your Next Warehouse Party Married With A Selection Of Classic Alpha Sounds To Keep All The Purists In Check.
The Thunder Continues To The Very End. If You're A Tape Saturation Fiend Begging For Your Next 808 Crack Hit, Prepare To Have Your Back Bent In Half With Euphoria As Soon As 'hal's Machine Tool' Is Injected Into Your Ears. In Short, 4 Minutes & 44 Seconds Of Hard Nasty Robotic Electro Booty Sweat.
- Living Proof
- Harmonia’s Dream
- Change
- I Don’t Wanna Wait
- Victim
- I Don’t Live Here Anymore
- Old Skin
- Wasted
- Rings Around My Father’s Eyes
- Occasional Rain
The War On Drugs first studio album in four years, ‘I Don’t Live Here Anymore’. Over the last 15 years, The War on Drugs have steadily emerged as one of this century’s great rock and roll synthesists, removing the gaps between the underground and the mainstream, between the obtuse and the anthemic, making records that wrestle a fractured past into a unified and engrossing present. The War On Drugs have never done that as well as they do with their fifth studio album, ‘I Don’t Live Here Anymore’, an uncommon rock album about one of our most common but daunting processes—resilience in the face of despair.
Just a month after The War On Drugs’ ‘A Deeper Understanding’ received the 2018 Grammy for Best Rock Album, the core of Granduciel, bassist Dave Hartley, and multi-instrumentalist Anthony LaMarca retreated to upstate New York to jam and cut new demos, working outside of the predetermined roles each member plays in the live setting. These sessions proved highly productive, turning out early versions of some of the most immediate songs on ‘I Don’t Live Here Anymore’. It was the start of a dozen-plus session odyssey that spanned three years and seven studios, including some of rock’s greatest sonic workshops like Electric Lady in New York and Los Angeles’ Sound City. Band leader Adam Granduciel and trusted co-producer/engineer Shawn Everett spent untold hours peeling back every piece of these songs and rebuilding them.
One of the most memorable sessions occurred in May 2019 at Electro-Vox, in which the band’s entire line-up — rounded out by keyboardist Robbie Bennett, drummer Charlie Hall, and saxophonist Jon Natchez — convened to record the affecting album opener “Living Proof.” Typically, Granduciel assembles The War On Drugs records from reams of overdubs, like a kind of rock ‘n’ roll jigsaw puzzle. But for “Living Proof,” the track came together in real time, as the musicians drew on their chemistry as a live unit to summon some extemporaneous magic. The immediacy of the performance was appropriate for one of the most personal songs Granduciel has ever written.
The War On Drugs’ particular combination of intricacy and imagination animates the 10 songs of ‘I Don’t Live Here Anymore’, buttressing the feelings of Granduciel’s personal odyssey. It’s an expression of rock ’n’ roll’s power to translate our own experience into songs we can share and words that direct our gaze toward the possibility of what is to come.
Houndstooth präsentiert das zweite Album der Berliner Produzentin Lotic aka J'Kerian Morgan aus Houston, Texas, die als Mitglied des Berliner Janus-Kollektivs bekannt wurde, zwei Vulnurica-Remixes für Björk produzierte und 2018 ihr Debütwerk 'Power' auf TriAngle Records veröffentlichte. 'Water' ist eine zärtliche Meditation über Verlust und die Lebenskraft der Liebe. Die Stücke drehen sich um einen 808 Subbass, wobei Vibrationen und Brummen anstelle von Klarheit und Trennung treten. Die Drums werden zu einer pudrigen Wärme aufgeweicht, jedes Kapitel entfaltet sich wie ein symphonisches Klanggedicht. Einfühlsame Schilderungen von Liebesbeziehungen zu anderen und zum eigenen Ich, zu Herkunft und Identität, werden durch atemberaubende neue Ausdrucksformen ekstatischer Stimmen geprägt.
- A1: Pilgrimage
- A2: Notches
- A3: The Heart That Never Waits
- B1: Time Clocks
- B2: Questions And Answers
- B3: Mind's Eye
- C1: Curtain Call
- C2: The Loyal Kind
- D1: Hanging On A Loser
- D2: Known Unknowns
Gold vinyl[29,03 €]
Two-time GRAMMY-nominated guitarist and blues-rock titan Joe Bonamassa returns with a brand new studio album, 'Time Clocks', which will be released on October 15, 2021 via Provogue/Mascot Label Group. 'Time Clocks' is his 15th solo studio album and fifth in a row of all original material and sees him at his most ambitious and diverse yet as he continues to redefine and push the barriers of blues-rock. On the ten songs of 'Time Clocks' Joe mixes in a new progressive rock flavor. The artwork of 'Time Clocks' is by legendary graphic designer Hugh Syme (Rush, Aerosmith, Megadeth, Dream Theater, Flying Colors).
Two-time GRAMMY-nominated guitarist and blues-rock titan Joe Bonamassa returns with a brand new studio album, 'Time Clocks', which will be released on October 15, 2021 via Provogue/Mascot Label Group. 'Time Clocks' is his 15th solo studio album and fifth in a row of all original material and sees him at his most ambitious and diverse yet as he continues to redefine and push the barriers of blues-rock. On the ten songs of 'Time Clocks' Joe mixes in a new progressive rock flavor. The artwork of 'Time Clocks' is by legendary graphic designer Hugh Syme (Rush, Aerosmith, Megadeth, Dream Theater, Flying Colors).
- A1: Intro
- A2: Real Name, No Gimmicks
- A3: City Of Grind
- A4: Goerlitzer (Interlude)
- A5: Goerlitzer (Skit)
- B1: Infiltrate
- B2: What's Yours
- B3: Boogie Angst
- C1: The Substance Break (Skit)
- C2: Dangerous Ego
- C3: Introspective (Interlude)
- C4: Disappearing
- C5: Club Situation (Skit)
- D1: Street Dreams (Feat Florian Rietze)
- D2: Let's Hide
- D3: Nice Place, Bad Intentions
- D4: Outro
“Einsteigen Bitte!”
After more than six years of collaboration between label and artist, Feines Tier and Luca Musto bring to you the highly anticipated first full length LP “Nice Place, Bad Intentions”.
Musto’s first LP “Nice Place Bad Intentions” departs from the conventional 4/4 time signature. Instead, the album’s structure and the tracks themselves are reminiscent of a 1990s/2000s Hip Hop long play release. This becomes evident in the fact that the LP not only features 17 tracks, including skits and interludes, but also that they make up the framework of a conceptual album. Here, listeners will be encouraged to follow the track list and listen to “Nice Place, Bad Intentions” in one go.
“Nice Place, Bad Intentions” was produced over a period of 1,5 years. Besides the majority being original samples and vocals from Luca Musto, the LP also features a number of studio musicians, including bass players, trumpeters and guitarists. Cologne-based guitarist Simon Bahr can be found on several tracks, including the three singles “Infiltrate”, “Boogie Angst” and “Real Name, No Gimmicks”. Moreover, the skits and interludes are spoken by professional voice actors from the US and Canada.
The Berlin-themed album follows the characters Mick and Richie, who are all about partying and come to the city for one weekend in hopes to have the time of their lives. When the characters’ expectations meet reality, their naiveté (or bad intentions) lead them to getting screwed, robbed and even arrested. These stories about their journey through Germany’s capital are found in the interludes and skits. Listeners can follow them passing infamous places and metro stations in the city based on sampled BVG announcements, which gives the album a radio play vibe.
Sound-wise, Luca Musto’s unique sounds include scratched hooks that meet original lyrics and melodies, resulting in distinctive genre-bending tunes. As Mick and Richie stumble through some of Berlin’s most in-famous places, their expectations repeatedly clash with the reality of the capital’s nightlife. Similarly the liste-ners’ expectations are twisted and turned. Yet, the soundtrack underlining the characters’ journey never disappoints and brings its listeners on a rhythmic trip of old and new sounds. From rapping on downtempo as in “City of Grind” to merging the classic structure of electronic music with funky guitar licks and unconventional chord transitions as in “Infiltrate”, the LP feels at once like a daring experiment and like the beginning of a developing new genre.
LIMITED RED VINYL.
“I think my music provides space for me to say the things I can’t always say in real life.” says Virginia native songwriter and multi-media artist Corrinne James. “That’s what I love about songwriting—There’s room in music for all of the conversations that can’t exist in reality.”
While studying New Media and Cinematography at the University of Virginia, James created a secret Bandcamp under the alias Naomi Alligator, and began uploading her intimate home recordings online. Inspired by the sparse and confessional qualities of Liz Phair’s early portastudio recordings, James decided to create her own musical journal to share and process personal anecdotes.
Her modern folk production and poetic songwriting links the sounds of classic folk artists like Joan Baez and Steeleye Span to a 21st century context. James wrestles with guilt, purpose, and jealousy through vivid narratives in the songs that make up her vast self-releases. This fall, five years since her first upload and over a dozen releases later, James will share her new four-track EP, Concession Stand Girl, while making her debut on Carpark.
On the title track for Concession Stand Girl that opens the EP, James sings the inner monologue of an unappreciated ticket-taker at a high school football game. James plucks a sparkly banjo and sings details of the concession stand girl’s relationship to each of the spectators who must go through her to enter the game. “Although seemingly insignificant, the concession stand girl must interact with each spectator as they enter the football game. Despite being unable to physically see the game, inside of her head she narrates her relationship to the people at the game.” The track “Anywhere Else” sits in contrast to the rest of the EP, being the only song where James plays guitar instead of banjo.
The last song written for the EP, “Anywhere Else” describes the tense emotions that come from comparing yourself to others in the eyes of your partner. “The protagonist is convincing herself, as well as her partner, that she could leave at any moment. She doesn’t want to be taken for granted anymore.” “Big Blue World” is a touching closer to the EP, where James sings about finding her way back to the place that feels most like home. James examines the fleeting nature of ambition and asks what really creates the feeling of contentment. Describing the song’s lyrics James says, “You can achieve everything you want, but sometimes it doesn’t feel like anything compared to just feeling at home and feeling who you are deep down.”
Following recent appearances on Permanent Vacation, Mute and Correspondant, Terr makes a triumphant return to Phantasy with a deeply dreamy new single, ‘Wings of Time’. Marking Terr's third appearance on the label, and her first since 2019, 'Wings of Time' is complimented by a momentous remix from Tornado
Wallace.
‘Wings Of Time’ serves to underscore Daniela Caldellas’ talents as both a producer and performer, a songwriter and a master of dancefloor atmosphere. Terr’s assured vocal performance once again takes front-and-centre, a warm beckoning light through a journey made of shimmering pads, wistful chords and
defined by a powerful sense of groove. An instrumental edition further highlights the arrangement, which resolves with rare, cosmic catharsis.
Tornado Wallace appears to stretch the time Terr sings of on his elastic, tunnelling remix, grinding out every inch of tension and detail from the blueprint, expanding minds and widening eyes in the process. While Terr’s original will likely send dancers to the heavens, Wallace reverses the energy source for an unexpectedly bass-heavy interpretation that generates a different, earthier pleasure.
- 1: Hands Up
- 1: 2Bow (Feat. Corey King)
- 1: 3Gly (Feat. Mic Holden)
- 1: 4Just Hold On
- 1: 5Take Time, Look Up (Jawwaad Speaks)
- 1: 6Safe Travels (Feat. Fat Tony & Zeroh)
- 1: 7C'est Un Mot
- 1: 8For The Youth (Feat. Corey King)
- 1: 9Pause In His Presence (Feat. Lisa E. Harris & Sam Gende
- 1: 0No One Knows
- 1: When It Gets Dark (Feat. Kenneth Whalum)
- 1: 2And Then The Anointing Fell
Metallic Silver[25,84 €]
But Only After You Have Suffered is a densely layered and deeply personal new work from multidisciplinary artist, composer, percussionist & producer Jamire Williams. Conceived as a spiritual, autobiographical artistic statement, Jamire applies sound collage practice to modern jazz composition, beat production, MC/vocalist features, and his uniquely impressionistic drumming style - making an album as akin to minimalist painting as an art-house film soundtrack or a classic hip-hop mixtape. A "self-reflective, almost testimonial work" that swiftly cycles across a vast spectrum of styles, it's the culmination of his five-year musical journey to the outer reaches of his own sound. It's the album he has always wanted to make.
This career-spanning 3CD & 4LP collection (1970-1998), showcases the immense musical talents of Keith Emerson, Greg Lake and Carl Palmer.
The Anthology was produced in association with all three band members and the booklet contains extensive liner notes with new band interviews by legendary rock journalist Chris Welch.
The audio was mastered by world renowned rock studio engineer Andy Pearce.
Featuring tracks from all of their original albums: Emerson, Lake & Palmer, Pictures At An Exhibition, Tarkus, Trilogy, Brain Salad Surgery, Welcome Back My Friends To The Show That Never Ends, Works Volume 1, Works Volume 2, Works Live, Love Beach, Live At Nassau Coliseum ‘78, Black Moon, In The Hot Seat, Live At The Royal Albert Hall, Then & Now. Includes their global hit singles ‘Fanfare For The Common Man’ and ‘Lucky Man’.
Richard Ashcroft is set to release the new album ‘Acoustic Hymns Vol. 1’ on October 29th via RPA / BMG. The album features twelve newly recorded acoustic versions of classic songs from his back catalogue spanning both his solo career and his time with The Verve.
ABOUT
After lockdown was lifted, Richard decided to start the project as a way to reunite the community around him, bringing a selection of great musicians and old friends back together again. As the project took shape, they discovered just how varied their new approaches could be. Some of the arrangements proved to be timeless and remained similar to the originals, with years of experience and a new found passion that saw Richard’s vocals express a fresh empathy within their lyrics. Meanwhile, other songs took on a new shape in this stripped-back set-up.
The rebirth of the iconic ‘Bittersweet Symphony’ was an emotional moment for Richard. It felt particularly poignant re-recording a song that he had written almost twenty-five years ago, especially as it's now officially his composition after Mick Jagger and Keith Richards relinquished their writing credits to him.
Another big moment comes with the new version of ‘C’Mon People (We’re Making It Now)’, a duet with Richard’s old friend Liam Gallagher. The pair have often talked about recording or performing the song together since it was first released in 2000, and now it’s finally happened - the sheer energy and delight that they shared during the session is palpable as the new recording beams with a joyous feeling of optimism.
‘Velvet Morning’ is another track that has been transformed. The vocals on the original version, as featured on The Verve’s classic ‘Urban Hymns’, were sung via a megaphone that Richard had purchased from a car boot sale the day before the recording session. Now Richard’s vocal really shines as it unleashes the song’s full magnitude.
The biggest surprise on ‘Acoustic Hymns Vol. 1’ is the inclusion of ‘This Thing Called Life’, a song which Ashcroft has rarely played live. It was originally recorded with No I.D. in the USA as a highlight of his soul-tinged RPA & The United Nations Of Sound project. Now taken back to basics, the new arrangement reveals a song that feels perfectly at home alongside Richard’s most highly regarded work.
Produced by Richard with regular collaborator Chris Potter, the album features his regular live band boosted by some special collaborators. Wil Malone provides the string arrangements, which were recorded at Abbey Road Studios. In addition, Chuck Leavell (The Rolling Stones, The Allman Brothers) performs piano, Roddy Bloomfield leads the brass section, and Steve Wyreman (Leon Bridges, Vic Mensa) contributes acoustic guitar and backing vocals.
Richard Ashcroft recently announced details of four special shows, each billed as “An acoustic evening of his classic songs.” After quickly selling out two nights at London’s Palladium, he subsequently added two bigger shows at the Royal Albert Hall and the M&S Bank Arena in Liverpool to fulfill huge public demand for tickets. He will play:
ORDER was founded in 2013 by Anders Odden, Rene Jansen, Kjetil Manheim and Billy Messiah, the group respectively responsible for early-stage Norwegian death metal (Cadaver) and the origin of the Norwegian Black metal (Mayhem). In 2014, Jansen sadly passed away, leaving the project unrealized. The remaining members decided to move forward despite the setback. In 2015 Stu Manx (f. Gluecifer) joined the band and set the band back on its quest to make unpolished raw black metal for the 21st century. To honor Jansen the band released the demo tape ‘Folly Grandeur’ - with rehearsal recordings the following year - and the debut album ‘Lex Amentiae’.
It has been four long years since then, and they are now finally ready to release their long-awaited second studio album, ‘The Gospel’. This time showing the world what strong recipe the current lineup represent. While the band was very satisfied with their debut album, according to the band The Gospel is on a totally different level. “This time we have arrived at a place where the creative flow truly feels unique and to the core of ORDER”, Kjetil Manheim says and continues. “In The Gospel you will meet us on a very personal level. In this record we open ourselves and invite you into our innermost, both musically and through the lyrics. If you ever wondered who we are, and where we come from musically this album is an answer.” Together again they made music that brought to life sounds from the early days, and with ‘The Gospel’ they have arrived in the energy field that fueled the early era where they first met; The Deathcrush era.
Mondo, in conjunction with Konami, are proud to present the premiere US physical release of the soundtrack to 1990's espionage classic METAL GEAR 2: SOLID SNAKE.
Hideo Kojima's direct, chronological sequel to the original MSX2 version of Metal Gear (not to be confused with the NES, ULTRA Games version of Metal Gear, nor is this title to be confused with it's unofficial sequel Snake's Revenge), Solid Snake tells the story of our previously retired hero's infiltration of Zanziberland to rescue a kidnapped Bio-Engineer, and ultimately destroy the latest Metal Gear. Audio-wise it features a step up on audio quality from its predecessor - the soundtrack to Solid Snake is a melodic, and dynamic synth soundtrack album that is heavily inspired by the synth wave soundtracks of 80's action and horror films.
Music by Konami Kukeiha Club
Artwork by Oliver Barrett
Manufactured in the Czech Republic
Flatland/Spaceland is the debut solo release from renowned pedal steel player, visual artist and composer Joe Harvey-Whyte, who has worked with the likes of Tony Visconti, The Hanging Stars and Susanne Sundfor. Flatland/Spaceland blurs the borderlines between ambient and neoclassical to create an engaging and meditative listening experience.
The first side of the 2 track EP, titled Flatland is a glacial ambient creation made using pedal steel guitar processed through multiple effects together with field recordings and occasional revelatory sounds from Himalayan singing bowls. Spaceland, on side B, takes the composition and refracts it through an orchestral lens. A 26-piece ensemble delicately creep in to the calming world echoed by side A. As the piece develops the result is something more akin to a film soundtrack. Occupying the space between ambient and neoclassical, Flatland / Spaceland by Joe Harvey-Whyte invites us to take a step back from the busyness of our lives for 20 minutes and reflect.
Breezy' by Ruby & the Mudflaps features a collection of studio cuts alongside a number of live recordings from the 1970s. These songs are exclusive to Cordial Recordings and have previously never been available on vinyl apart from 'Is That Enough?' which we released in 2018 on 7" single.
The live recordings capture the magical Haight-Ashbury west coast vibes with a crossover of soul and hippy chic. The original full length studio demo version of 'Breezy' starts the proceedings off on Side A and is followed by the uptempo swing of 'Without You.' The steppers of dream of 'Is That Enough?' slows the pace down before the tempo is raised again with the prophetic 'Only Love Spoken Here.' The album closes off with the first live version of 'Mountain Man.'
The B side kicks off with 'Love Song' that conjures up visions of lying on China Beach in the late 1960s without a care in the world. We are then treated to a fine rendition of Tower of Power's 'Don't Change Horses (In The Middle Of The Stream).' The final studio recording in 'You Want Me' comes next before segueing into the jazzy work out of 'Time.' This album version of 'Country Girl' is a different take of the song that we had previously released as a B Side. We close the album off with the second live recording of 'Mountain Man.'
We believe that these songs deserved a wider audience or they risked the danger of being lost forever in time. We take changes here at Cordial Recordings from time to time and hope that you like this collection of golden nuggets.
“Leave your preconceptions at home,” begins one London critic’s assessment of sensual singersongwriter Sarah Jane Morris, who straddles rock, blues, jazz and soul with a goosebump-raising
four octave range that rumbles from the heels of her size eight shoes to the tips of her flame-red mane. Famed for her association with the Communards in the mid-80s and infamous for a banned rendition of the classic Me and Mrs Jones, Sarah Jane Morris has always attracted as much attention for her politics as for her soul-driven, seismic voice. Many solo albums later, pop stardom on the continent, and a diverse set of musical collaborations on record, film and stage, Morris continues to steer her unorthodox career to greater heights. Its popularity in Italy definitely took off in 1991 after winning the San Remo Festival paired with Riccardo Cocciante. Since that moment her
live activity in our country has become more and more accentuated and she has started collaborating with Italian artists and labels including IRMA records with which she has released 6 albums since 1996, and making her become one of the most frequent guests at the Blue Note in Milan. Following some previous collaborations with the Italian producer Papik which had excellent results, Sarah Jane Morris and Papik decided to produce a full album, mostly covers of well
known songs with some original compositions written together. The album is inspired by the great Pop culture of both musicians, combining soul, jazz and bossanova, linked to the particular sound
of the Roman producer's team. After the release of the singles "Missing", (which was a great success in the early 90s of "Everything but the Girl") and "Hold On To Love" written by Sarah Jane and Nerio Poggi, comes the album: " Let The Music play ”a concentration of good musical taste in which the mastery of producer Papik and his team combined with the enchanting but also unique timbre of Sarah Jane Morris's voice, brings together 11 songs of great intensity.
When hearing Anna Gréta at the piano, you become witness to an
astonishingly mature artist, with absolutely profound technique, a
complex understanding of style and harmony and an impressively
wide range of musical expression, who has made an extraordinarily
good name for herself in just a few years on the Scandinavian scene.
Over a period of two years, partly influenced by isolation, the twelve
compositions of ‘Nightjar in the Northern Sky’ emerged, for Anna
Gréta not only as a pianist but also as a singer.
The album title ‘Nightjar in the Northern Sky’ sets the tone for the
world of the album: A metaphor for the Scandinavian expanse,
tranquility and the close connection between people and nature, a
theme that runs through the songs in many pictures. “Nature is just an
enormous force in life. It is so much bigger than most of the other
things that otherwise seem so significant to us. And it is, in its infinite
facets, perhaps the greatest inspiration for my music. A place where
the noise falls silent and you can feel and hear yourself again,” before
adding: “Recently I have been developing a passion for bird-watching
- something that I reflect on in the title track. When you observe
nature carefully you can experience or see something unique. Sort of
like searching for love. The nightjar is a bird that is rarely seen flying
across the sky in Sweden and has been observed in Iceland less than
five times. I feel that everyone is looking for something unique in their
lives. And that nature can offer that to the ones open to see it.”
With each of the tracks on the album she creates little, self-contained
worlds that fit into a bigger picture. Light-footed, relaxed, reduced,
concentrated. An art that required a great deal of work and attention
to detail. Together with pop-experienced producer Albert
Finnbogason, Anna Gréta chose the perfect, hand-picked line-up and
sound for each of her extraordinarily refined - harmoniously and
rhythmically - compositions.
Although always in a coherent framework, Anna took elements from a
very diverse range of musical styles, alternating between jazz
elements and influences from pop music to excerpts from classical
and folk. All these elements create a remarkably multi-layered album,
which at the same time tells a coherent, bigger story.
CD in 4-page digipack with 12-page booklet.
180g vinyl with digital download code
Nilüfer Yanya's new release, ‘Inside Out’, is a
compilation of her previous EPs, ‘Small Crimes’,
‘Plant Feed’ and ‘Do You Like Pain?’.
Nilüfer Yanya is donating her release profits to the
organization Artists in Transit, a non-profit
collaborative artists project bringing creative
workshops to displaced communities and people in
times of hardships.
Transparent pink vinyl.
The Pop Group’s seminal 1979 album ‘Y’ has been
given a new dub mix by British reggae legend
Dennis ‘Blackbeard’ Bovell, who has produced for
a wide variety of artists including Fela Kuti,
Bananarama and Linton Kwesi Johnson.
This new version of the album features reimagined
arrangements of the original album’s tracks with
mind-bending space echoes and a plethora of
other studio effects.
‘Y’ is ranked by The Wire as one of the 100 Most
Important Records Ever Made and by Pitchfork as
one of The Best Albums Of The ‘70s.
CD housed in a brown Kraft Board card sleeve
with vinyl replica CD.
Double vinyl in brown Kraft Board sleeve with
exclusive poster insert and additional packaging
plus digital download code.
Cassette with booklet and digital download code.
The Pop Group’s seminal 1979 album ‘Y’ has been
given a new dub mix by British reggae legend
Dennis ‘Blackbeard’ Bovell, who has produced for
a wide variety of artists including Fela Kuti,
Bananarama and Linton Kwesi Johnson.
This new version of the album features reimagined
arrangements of the original album’s tracks with
mind-bending space echoes and a plethora of
other studio effects.
‘Y’ is ranked by The Wire as one of the 100 Most
Important Records Ever Made and by Pitchfork as
one of The Best Albums Of The ‘70s.
CD housed in a brown Kraft Board card sleeve
with vinyl replica CD.
Double vinyl in brown Kraft Board sleeve with
exclusive poster insert and additional packaging
plus digital download code.
Cassette with booklet and digital download code.
Cassette[12,90 €]
With ‘Harmonizer’, his first album in two years, Ty Segall glides
smoothly into unexpected territory, right where he likes to find
himself. Responding to the challenge his new songs gave him: a
synth-tastic production redesign, Ty kicks back with bottom-heavy
creativity, dialling up a wealth of guitar and keyboard settings to do
the deed.
‘Harmonizer’ is a glossy, barely-precedented sound for him, and
truth, it enraptures the ear - but in Ty’s hands, the sound is also a
tool that allows him to cut through dense undergrowth, making for
some of his cleanest songs and starkest ideas to date.
‘Harmonizer’’s production model couches tightly-controlled beats
in thick keyboard textures, with direct-input guitar signal whining
and buzzing purposefully from left to right.
The Freedom Band appear all over the record, but often one at a
time, their contributions leaving a distinctive footprint on the
proceedings wherever they appear. Operating in this airtight
environment with an eye towards precision, feel, and explosive
mass, Ty’s crafted a formidable listening encounter - and once you
get between the lines, the need to know more grows more
compelling with every song.
The first recording to be released from Ty’s just-completed
Harmonizer Studios, ‘Harmonizer’ benefits from a collaboration
with Cooper Crain, who co-produced the album with Ty. The Venn
diagram of these guys unites them in DIY/punk dyed-in-thewooldom; Ty’s propers you know, but Cooper’s own unique
journey in rhythm, minimalism and DIY (as heard on his
productions with CAVE, Bitchin Bajas and Jackie Lynn) mines the
depths around Ty’s peerless vocal attack and aid in the latest
chapter of his never-ending search for unfathomably corrosive
guitar sounds.
Bursting with transcendent energy, ‘Harmonizer’ is an extension of
the classic style of ‘Emotional Mugger’ and ‘Sleeper’, revisiting the
lonely days and loathsome nights of the alienated, grown-upwrong soul, to make it all right in the end.
Vinyl[29,12 €]
With ‘Harmonizer’, his first album in two years, Ty Segall glides
smoothly into unexpected territory, right where he likes to find
himself. Responding to the challenge his new songs gave him: a
synth-tastic production redesign, Ty kicks back with bottom-heavy
creativity, dialling up a wealth of guitar and keyboard settings to do
the deed.
‘Harmonizer’ is a glossy, barely-precedented sound for him, and
truth, it enraptures the ear - but in Ty’s hands, the sound is also a
tool that allows him to cut through dense undergrowth, making for
some of his cleanest songs and starkest ideas to date.
‘Harmonizer’’s production model couches tightly-controlled beats
in thick keyboard textures, with direct-input guitar signal whining
and buzzing purposefully from left to right.
The Freedom Band appear all over the record, but often one at a
time, their contributions leaving a distinctive footprint on the
proceedings wherever they appear. Operating in this airtight
environment with an eye towards precision, feel, and explosive
mass, Ty’s crafted a formidable listening encounter - and once you
get between the lines, the need to know more grows more
compelling with every song.
The first recording to be released from Ty’s just-completed
Harmonizer Studios, ‘Harmonizer’ benefits from a collaboration
with Cooper Crain, who co-produced the album with Ty. The Venn
diagram of these guys unites them in DIY/punk dyed-in-thewooldom; Ty’s propers you know, but Cooper’s own unique
journey in rhythm, minimalism and DIY (as heard on his
productions with CAVE, Bitchin Bajas and Jackie Lynn) mines the
depths around Ty’s peerless vocal attack and aid in the latest
chapter of his never-ending search for unfathomably corrosive
guitar sounds.
Bursting with transcendent energy, ‘Harmonizer’ is an extension of
the classic style of ‘Emotional Mugger’ and ‘Sleeper’, revisiting the
lonely days and loathsome nights of the alienated, grown-upwrong soul, to make it all right in the end.
To celebrate Billy Preston’s induction into the Rock & Roll Hall of Fame in October 2021 Apple Records and Universal Music Catalogue will be making Billy’s highly regarded 1970 album ‘Encouraging Words’ available on vinyl for a limited period. First released in the UK on 11 September 1970 the album was co-produced by Billy and George Harrison, with two of George’s songs – ‘All Things Must Pass’ and ‘My Sweet Lord’ – issued here for the first time, two months before his own recordings appeared on the triple album ‘All Things Must Pass’.In 2010 Record Collector magazine described ‘Encouraging Words’ as “one of the finest titles in the Apple Records catalogue”, while virtuoso keyboard player Rick Wakeman told BBC Radio 4’s John Wilson he considered Preston’s two Apple albums “absolute gems – a perfect combination of gospel and funk.” The album was last released on vinyl in 1992. The original album credits did not include details of contributing musicians, though the sleeve notes of the 2010 CD reissue included Eric Clapton, Klaus Voormann, Ringo Starr, Bobby Keys and the Edwin Hawkins Singers.
Lily Konigsberg, Mitglied der beliebten Art-Rock-Band Palberta, lässt auf die Zusammenstellung ihrer frühen Solo-Aufnahmen mit dem Titel "The Best of Lily Konigsberg Right Now", die hauptsächlich aus Bandcamp- und Soundcloud-Veröffentlichungen stammen, nun ihr erstes richtiges Album folgen. Der Titel "Lily We Need To Talk Now" stammt aus einem Text, den sie vom Produzenten des Albums, Nate Amos von der Band Water From Your Eyes, erhalten hat. "Lily We Need To Talk Now" ist eine charakteristische, eklektische Sammlung von Popsongs, die in manchen Momenten an die gitarrengetriebene, punkige Atmosphäre ihrer Arbeit mit Palberta, an Dinge wie Sheryl Crow aus der Mitte der Achtziger und sogar an The Cure angelehnten Post-Punk erinnert. Ein Album, an dem Konigsberg seit 2016 langsam gearbeitet hat, indem sie die Songs im Laufe der Jahre überarbeitet und neu aufgenommen hat. Die elf Tracks umfassende Sammlung ist ihr erstes richtiges Album und durchweg eingängig, wie viele ihrer poppigen und klaren Indie-Rock-Songs, die sie in den letzten Jahren zu einer festen Größe im New Yorker Underground gemacht haben. Ihre Stimme dreht und wendet sich und umspielt ihre cleveren Wortspiele auf neue Art und Weise; es gibt Anklänge an Power-Pop, Pop-Punk und Downtempo-Introspektion, alles gespickt mit augenzwinkernden Ostereiern des Humors. Sie wird von vielen ihrer langjährigen Mitarbeiter unterstützt: Andrea Schavelli, mit der sie 2017 die Split-Scheibe "Good Time Now" veröffentlichte; Matt Norman, mit dem sie seit Jahren im Avant-Pop-Duo Lily And Horn Horse zusammenarbeitet; Paco Cathcart von The Cradle, der ihre 2020er EP "It's Just Like All The Clouds" produzierte; und Nina Ryser, mit der sie im gefeierten Art-Punk-Trio Palberta spielt. Aber es ist ihre Zusammenarbeit mit Amos, die die bemerkenswertesten Neuerungen mit sich bringt.
In divided times, the power of music is undeniable. When that music is ferociously original and defiantly uplifting, the impact is even greater. Formed in Paris, December 2014, by Dublin-born singer/guitarist Gary Kelly and Parisian guitarist Steven Andre, MOLYBARON have swiftly become one of the most talked-about bands in the modern metal scene. With a sound that encompasses everything from state-of-the-art tech-grooves and anthemic metal to multi-layered atmospherics and giant, muscular hard rock riffs beyond, the band’s eccentric flair always sets them apart from the rest. From the infectious aggression and giant hooks of opener “Animals”, to the thunderous denouement of crushing closer “Ordinary Madness”, The Mutiny once again affirms MOLYBARON’s idiosyncratic identity and irresistible charms. As Metal Hammer UK put it: “Diverse and satisfying, The Mutiny is a banger!” The album was also declared Album of the Month in Rock Hard magazine. Kelly’s songwriting has hit new heights of ingenuity, and the ensemble performances of comrades Steven Andre (guitar), Sebastien de Saint-Angel (bass) and Camille Greneron (drums) are never less than precise, potent and bursting with personality. Right now, these fearless artisans are in a field of one, evoking the visionary fervour of bands like System Of A Down, Muse, Pain Of Salvation and Rush, while never sounding remotely like any of them. The Mutiny will be re-released by InsideOut Music/ Sony Music Entertainment and is available as 180g black Vinyl + 2page Insert, Ltd. CD Digipak and Digital Album.
- 1: Locus
- 2: The Dispersion
- 3: Foothold
- 4: Valence
- 5: Sweep Of Days
- 6: Hidden Window
- 7: Indelible
- 8: Much More Was Lost
Grey Vinyl[32,35 €]
Since their debut, The Frail Tide in 2007, Australian Progressive Death Metal powerhouse BE‘LAKOR has made a huge impact on the international metal scene, turning heads with their technical-driven yet melodic songwriting. Now, almost 15 years later, the legendary five-piece returns with their new album Coherence (out October 29 via Napalm Records), proving themselves to be on top of their game with their most ambitious project yet! Eight tracks on Coherence display BE’LAKOR’s impressive spectrum of musical abilities, ranging from 12-minute-long journeys on “Much More Was Lost” to the atmospheric, fully instrumental “Sweep of Days”. Coherence is full of details that reveal more and more with every listen of the album: BE’LAKOR are not afraid to focus on extensive, cohesive songwriting while still managing to keep the listener on their toes.!
THULCANDRA worship the golden age of Swedish death metal with A Dying Wish! Swedish death metal veterans THULCANDRA are back! Since its foundation in 2003 by Steffen Kummerer (mastermind of Obscura), THULCANDRA has established themselves in the European extreme metal scene. Now, the black death metal outfit is about to release their fourth studio album after six years of silence. A Dying Wish was produced, mixed and mastered at Unisound Studio by the renowned Dan Swanö (Dissection, Opeth, Bloodbath, Katatonia and more) and will be released on October 29, 2021 via Napalm Records. It’s again a journey back in time to the origins of the genre, as it was musically and visually shaped by bands like Dissection, Entombed, Sacramentum and Unanimated. On their new album, A Dying Wish, the four-piece around Steffen Kummerer once again draws the listener into dark and cold soundscapes.
- 1: Lavender Haze
- 2: Brännmärkt
- 3: När De Du Älskar Kommer Tillbaka Från De Döda
- 4: Den Helige Anden
- 5: Passage Noir
- 6: Kaos 2
- 7: Toxin
- 8: Måsstadens Nationalsång (Under Vatten)
- 9: Heartsmear
- 1: Vagabond
- 2: Sunset Sunrise
- 3: Sunset Sunrise Sunset Sunrise
- 4: Mitt Trötta Hjarta
- 5: Penny Royal Poison
- 6: Detta Drömmars Sköte En Slöja Till Ormars Näste
- 7: Phantom Assassin
- 8: Paaradiso
With a decade between releases, VILDHJARTA remain as inscrutable and as close to anonymity as a band can be. VILDHJARTA's down-tuned, staccato riffs and pulverizing grooves are the sound of music stripped to its essence. Yet, the Swedish collective’s long-awaited album, måsstaden under vatten, is far more than a recitation of djent values. Clocking in at 80 minutes, it thematically picks up where the dark Swedish fable of 2011’s Måsstaden left off and delivers on the promise that record hinted at. Tracks like the recently released “när de du älskar kommer tillbaka från de döda” (“When the Ones You Love Return From the Dead.”) suggest a newfound subtlety and sophistication amidst the bombast and beauty in the breakdown.
Since dropping a minute of new live music in 2016, the band's focus has almost entirely been on the new album with drummer and now noted producer, Buster Odeholm (Born of Osiris, Shadow of Intent, Humanity’s Last Breath) heavily involved in the production, mixing and mastering of the music. Visual artist Rickard Westman, who did art for VILDHJARTA's debut as well as their Thousands of Evils EP in 2013, has also returned to the equation to reprise his disturbing visual iconography. Says the band: “Art happens when art happens.”
The sound of music is rarely this challenging, unforgettable and worth the wait.
- 1: Cold As A Tombstone
- 2: Archangel Of Death
- 3: Wild Hearses
- 4: Louise
- 5: Nightmare
- 6: Crucifix (I Burn For You)
- 7: Orion
- 8: Bring Me His Head
- 9: Phobos
- 10: Mausoleum
- 11: The Funeral Pyre
- 1: Archangel Of Death
- 2: Wild Hearses
- 3: Crucifix (I Burn For You)
- 4: Bring Me His Head
- 5: Mausoleum
- 6: The Funeral Pyre
- 7: Cold As A Tombstone
- 8: Louise
- 9: Nightmare
- 10: Orion
- 11: Phobos
Founded in 2014 in Berlin by The Oath front woman Johanna Sadonis, the group first consisted of Cathedral, Angel Witch and Ladytron members. The debut album “Lucifer I”, penned by Johanna and Cathedra’s Garry Jennings and released by British label Rise Above Records, brought LUCIFER international recognition. With a shift of constellation within the band in 2016 and Johanna Sadonis’ move from Berlin to Stockholm, LUCIFER were ready for chapter two. In Nicke Andersson, notable for his groups The Hellacopters, Entombed, Imperial State Electric, Death Breath among others, Johanna found a new renowned writing partner. Relentless touring and recording have turned LUCIFER into an explosive live beast and a reliable source of timeless rock and roll.
LUCIFER wasted no time and used the pandemic to record yet another long player that rings in a new chapter and dives even further into the grande realms of colossal old fashioned rock, with a severe morbid twist. For this opus they entered guitarist Linus Björklund’s Studio Ryssviken for an even more heart pounding drum sound while continuing their work at The Honk Palace. They expanded their song writing partnership within the band and Johanna has not only penned the new material with Nicke but also with guitarist Linus, as well as guitarist Martin Nordin contributing. With “Lucifer IV” the group is proving furthermore to be steadily building their very own pillar of rock history, brick by brick. The first single to give you a glimpse of what’s to come is “Wild Hearses” - buckle up for a deliciously morbid sweet and heavy ride past tombs and churches!
“Lucifer IV” is available as Ltd. 180g Gatefold LP + CD (in deluxe hardcover gatefold sleeve), Ltd. CD Digipak and Digital Album
Domination Campaign was started in Hobart Tasmania in late 2019 by Psycroptic vocalist Jason Peppiatt as a solo studio project. Jason began work in Crawlspace studios in December 2019 with fellow Psycroptic band mate and studio engineer Joe Haley. Once recording began Joe was recruited to also play drums on the album and the duo had their sights set on recording an over the top, heavy, straight down the line, crushing old school death metal album. Nothing fancy or technical just big simple heavy riffs and massive mid paced drum beats. Lyrical topics are loosely based on events of various wars in history. Their debut album ‘Onward to glory’ was completed in July 2020 with all recording, mixing and mastering done by Joe Haley and album art done by Jason Peppiatt
- 1: Advertensia
- 2: Regresando Odio
- 3: Maldito
- 4: Rituales Salvajes
- 5: Yo No Fui
- 6: Padre Pedofilo
- 7: Enterrado Vivo
- 8: Puta Con Pito?
- 9: Adelitas
- 10: Twiquiado
- 11: Perro Primero
- 12: Sadistico
- 13: Batalla Final
- 14: Cristo Satanico
- 15: Y Tu Mama Tambien
- 16: Misas Negras
- 17: Matando Gueros
- 18: Regresando Odio (Live)
- 19: Padre Pedofilo (Live)
- 20: Enterrado Vivo (Live)
- 21: Adelitas (Live)
- 22: Y Tu Mama Tambien (Live)
- 23: Puta Con Pito (Live)
- 24: Angel Of Death (Live)
ASESINO (Spanish for "assassin" or "murderer") is an American deathgrind supergroup and a side project of Fear Factory guitarist Dino Cazares. The band has featured members of Brujeria, Fear Factory, Sepultura, Sadistic Intent, Possessed, Ministry, and Static-X. ASESINO sometimes play Slayer covers live, most notably "Angel of Death" and "Raining Blood". As with Brujeria, the lyrics are sung entirely in Spanish and with the same subject matter of death, violence and perversion. Guitarist Asesino describes the band as "the new Brujeria." Asesino also has the tendency of making satirical comments during the show, and when playing Brujeria songs, change the original lyrics to something more fitting. ASESINO made a guest appearance as a group of Mexican doctors in episode 57 of ‘Metalocalypse' on 'Adult Swim'. ASESINO : ‘Cristo Satanico’ is the band most incisive, uncompromisingly horrific piece of work, now available with plenty of Exclusive studio and live bonus tracks. The band has been working on a new album for a 2022 release date.
A Svart Mondo release. The original vinyl of “Harvest Time”, the debut album by the Finnish band Elonkorjuu (which means ‘Harvest’ in Finnish), has been the among the most valuable collector’s items in Finnish rock: its average prize in 2021 is over 1200 euros, and even over 2000 euros have been paid for a mint copy. Recorded almost entirely live and originally released in 1972, Elonkorjuu’s “Harvest Time” is a best kept secret for many Scandinavian Prog aficionados. With music inspired by groups like Cream and Free with more progressive and free-jam style, Elonkorjuu is one of the few bands that successfully progressed the whole heavy Blues/Psych Rock style in a way that made them a little unique and ahead of their time. Drawing initially from the schools of bands like Sabbath and Colosseum but expanding on those influences with soulful church organ and cutting guitar from leader Jukka Syrenius, “Harvest Time” is entirely worth it’s reputation as a sought after treasure. A killer album from beginning to end. Heavy guitar work all over and great vocals sung in English,which is rare for a Finnish band of this era.
Finally receiving a worthy reissue from the vinyl obsessives at Svart Records, “Harvest Time” sees the light of day again on gatefold vinyl, including new liner notes. If you have an ear and place in your heart for the shadowy and mysterious world of early heavy progressive rock, then it’s probably “Harvest Time” for you!
Since their debut, Whitehorse has traveled from magnetic folk duo to full-blown rock band and beyond. In truth Whitehorse is never fully either one or the other, but an ever-evolving creative partnership that challenges both artists, Melissa McClelland and Luke Doucet, to explore new instrumental and lyrical terrain with each record. Steamy, swampy and squalling in equal measure, Whitehorse’s signature sound is guitar-heavy, harmony-abundant and lyrically deft. Now, the JUNO Award winners return with Strike Me Down, a collection of disco-twirling, hard riffing tales from the brink. Strike Me Down showcases Whitehorse’s masterful, fantastical storytelling and melodic pop sensibilities, with plenty of space made for guitar shredding, epic basslines and spaced-out vocal layering. High-impact production and prismatic visuals contribute to Strike Me Down’s high-stakes, epic vibe.
In 2012, Snarky Puppy booked their first European tour through Facebook posts, begging people to help find a bar they could play in. Years later, on November 14th, 2019, Snarky Puppy recorded their sold-out show from the iconic Royal Albert Hall in London, which will be their first official live release in almost 4 years. Featuring an extended line-up of 15 out of their 18 regular members, the record includes many tracks from their recent studio album, "Immigrance." "Live at the Royal Albert Hall" captures an interesting mix of new and old songs, illustrating their musical and artistic progression over the years. This record will be released digitally, along with a double CD and triple colored vinyl (band webstore only).
Colorado songwriter Emily Scott Robinson beckons to those who are lost, lonely, or learning the hard way with American Siren, her first album for John Prine's Oh Boy Records. With hints of bluegrass, country, and folk, the eloquent collection shares her gift for storytelling through her pristine soprano and the perspective of her unconventional path into music. Though not fully autobiographical, American Siren gracefully blends imagined characters with meaningful people she’s encountered on her journey. Robinson grew up in Greensboro, North Carolina, and turned toward guitar at age 13, after a summer camp counselor closed out the nights by playing songs by Joni Mitchell, Cat Stevens, and Dar Williams every night. She taught herself to play in the early 2000s by printing guitar tabs from the internet and singing to CDs by Indigo Girls and James Taylor. But she didn’t pursue songwriting until after seeing Nanci Griffith perform in Greensboro in 2007. Robinson received significant acclaim for her 2019 album, Traveling Mercies.
Her long-held dream came true later that year when she sang on the Telluride Bluegrass Festival stage as the winner of the Telluride Troubadour Contest. A poignant standalone single in 2020, titled “The Time for Flowers,” prompted a private Instagram message from Oh Boy Records’ Jody Whelan, letting her know how meaningful the song was to his family. They struck up a fast friendship, then decided to partner for a release of American Siren. For her fans and for herself, this revealing collection proves that heeding the call to make music was the right decision.
The forthcoming latest edition of the popular compilation series featuring long-lost vintage 60s-70s proto-metal and stoner rock singles, Brown Acid: The Thirteenth Trip will be available on Halloween 2021. Check out the first single "Run Run", released in 1970 by Montreal hard rockers Max is available to hear & share via Metal Injection HERE. (And, direct YouTube and Bandcamp)
The Brown Acid series is curated by L.A. label RidingEasy Records and retailer/label Permanent Records. Read interviews with the series curators via Paste Magazine HERE and LA Weekly HERE.
About The Thirteenth Trip:
Max, from Montreal, QC — originally known as Dawn, before Tony Orlando & Dawn forced a name change — kick things off with “Run Run” from their lone 1970 single. It’s a hard-hitting rocker with scale climbing crunching guitars and powerful Bonham-esque drumming. Sadly, the band didn’t last long due to poor management and various other factors, so this is the only surviving document according to guitarist Gerry Markman. And what a document it is, paired with the A-side “The Flying Dutchman.”
You might remember Ralph Williams and the Wright Brothers from their track “Never Again” on Brown Acid: The Tenth Trip. Here they make their return to the series with the A-side of their 1972 Hour Glass Records 45, which sounds like Blue Cheer mangling Roy Orbison’s “Pretty Woman” (that’s right, several years before Van Halen actually did so.) Alas, Ralph and these Wright Brothers soon disappeared from terrestrial airspace.
“Feelin’ Dead” is extremely heavy blues from this also extremely rare 1974 single by Detroit, MI’s Master Danse, which was only released as a promo 45. Think Led Zeppelin’s “Since I’ve Been Loving You” and you’re on the right track. A little dose of Hendrix acid blues and a heartfelt groove, and you’ll wonder why this single never even made it to official release. The unavoidable tell in the lyric, “help me get this damn thing out of my arm” hints at the post-Vietnam heroin epidemic as a potential clue why we never heard more from Master Danse.
Folks, Gary Del Vecchio is “Buzzin’” hard on this one, and from what sounds like an in-studio party of yelps and chatter at the start of the song, it seems that the whole band was in on the festivities. The funky blues riff, reminiscent of Led Zeppelin’s “Heartbreaker” and rollicking rhythmic changes certainly keep the buzz a rollin’.The recording is technically credited as Gary Del Vecchio with Max, though not the same band as the one that kicks off this Trip.
John Kitko’s 1973 heavy psychedelic rager “Indecision” is the only recording known to exist by the mysterious artist. The Twin Record Productions release features a different artist, Tom Poff on the B-side, which is truly a shame, considering the smoldering ashes Kitko leaves of the turntable by song’s end. It starts out more like a late 60s Acid Rock jam before leaping into a blazing double-time gallop, whipped into a frenzy by wailing, neck-pickup guitar squeals and Kitko’s barely audible howls.
Tampa, FL’s Bacchus made their Brown Acid debut way back on the very first Trip with “Carry My Load.” This 1972 B-side, “Hope” is a huge sounding swinging rocker replete with roadhouse piano bolstering the chunky riffs and confident vocals. After relocating to Southern California a few years later, the band morphed into Fortress, an 80s melodic metal act whose Hands In The Till album of Pomp Rock on Atlantic Records still draws chatter today.
Orchid’s “Go Big Red” is perhaps the most garage-y sounding offering here, with loose rhythms and straightforward stop-and-start riffing. Nonetheless, the stomping energy and fried-amp guitar tone make this one a charming skull thwack. The band’s 1973 single on American records, backed with a cover of Johnny Russell and Voni Morrison’s “Act Naturally” (popularized by Buck Owens and the Buckaroos) is their only release, so the world never did see this Orchid fully blossom.
By the title alone of Dry Ice’s “Don’t Munkey with the Funky Skunky” you know you’re in for a good time. The 1974 barnstormer seems aimed to the novelty tunes crowd, with its kooky lyrics and silly-voiced spoken catchphrase break, “peeyew, you’ll be sorry if you do.” But, the Ohio band’s maniacal drumming, crunching guitars and, of course, drug euphemistic lyrics make it a shoo-in for the Brown Acid series of erudite rock’n’roll.
Good Humore’s swaggering 1976 rocker “Detroit” is a slick and smooth paen to the Motor City. It most likely doesn’t predate “Detroit Rock City” by Kiss, also released in 1976, and it has more rock’n’roll swing, but it could fit comfortably alongside the era’s arena anthems. Not much else is known about the one-off release on P.V. Records, but songwriter Mike Moats is noted to also have been a recording engineer in later years and this well produced track sounds like a labor of love.
The forthcoming latest edition of the popular compilation series featuring long-lost vintage 60s-70s proto-metal and stoner rock singles, Brown Acid: The Thirteenth Trip will be available on Halloween 2021. Check out the first single "Run Run", released in 1970 by Montreal hard rockers Max is available to hear & share via Metal Injection HERE. (And, direct YouTube and Bandcamp)
The Brown Acid series is curated by L.A. label RidingEasy Records and retailer/label Permanent Records. Read interviews with the series curators via Paste Magazine HERE and LA Weekly HERE.
About The Thirteenth Trip:
Max, from Montreal, QC — originally known as Dawn, before Tony Orlando & Dawn forced a name change — kick things off with “Run Run” from their lone 1970 single. It’s a hard-hitting rocker with scale climbing crunching guitars and powerful Bonham-esque drumming. Sadly, the band didn’t last long due to poor management and various other factors, so this is the only surviving document according to guitarist Gerry Markman. And what a document it is, paired with the A-side “The Flying Dutchman.”
You might remember Ralph Williams and the Wright Brothers from their track “Never Again” on Brown Acid: The Tenth Trip. Here they make their return to the series with the A-side of their 1972 Hour Glass Records 45, which sounds like Blue Cheer mangling Roy Orbison’s “Pretty Woman” (that’s right, several years before Van Halen actually did so.) Alas, Ralph and these Wright Brothers soon disappeared from terrestrial airspace.
“Feelin’ Dead” is extremely heavy blues from this also extremely rare 1974 single by Detroit, MI’s Master Danse, which was only released as a promo 45. Think Led Zeppelin’s “Since I’ve Been Loving You” and you’re on the right track. A little dose of Hendrix acid blues and a heartfelt groove, and you’ll wonder why this single never even made it to official release. The unavoidable tell in the lyric, “help me get this damn thing out of my arm” hints at the post-Vietnam heroin epidemic as a potential clue why we never heard more from Master Danse.
Folks, Gary Del Vecchio is “Buzzin’” hard on this one, and from what sounds like an in-studio party of yelps and chatter at the start of the song, it seems that the whole band was in on the festivities. The funky blues riff, reminiscent of Led Zeppelin’s “Heartbreaker” and rollicking rhythmic changes certainly keep the buzz a rollin’.The recording is technically credited as Gary Del Vecchio with Max, though not the same band as the one that kicks off this Trip.
John Kitko’s 1973 heavy psychedelic rager “Indecision” is the only recording known to exist by the mysterious artist. The Twin Record Productions release features a different artist, Tom Poff on the B-side, which is truly a shame, considering the smoldering ashes Kitko leaves of the turntable by song’s end. It starts out more like a late 60s Acid Rock jam before leaping into a blazing double-time gallop, whipped into a frenzy by wailing, neck-pickup guitar squeals and Kitko’s barely audible howls.
Tampa, FL’s Bacchus made their Brown Acid debut way back on the very first Trip with “Carry My Load.” This 1972 B-side, “Hope” is a huge sounding swinging rocker replete with roadhouse piano bolstering the chunky riffs and confident vocals. After relocating to Southern California a few years later, the band morphed into Fortress, an 80s melodic metal act whose Hands In The Till album of Pomp Rock on Atlantic Records still draws chatter today.
Orchid’s “Go Big Red” is perhaps the most garage-y sounding offering here, with loose rhythms and straightforward stop-and-start riffing. Nonetheless, the stomping energy and fried-amp guitar tone make this one a charming skull thwack. The band’s 1973 single on American records, backed with a cover of Johnny Russell and Voni Morrison’s “Act Naturally” (popularized by Buck Owens and the Buckaroos) is their only release, so the world never did see this Orchid fully blossom.
By the title alone of Dry Ice’s “Don’t Munkey with the Funky Skunky” you know you’re in for a good time. The 1974 barnstormer seems aimed to the novelty tunes crowd, with its kooky lyrics and silly-voiced spoken catchphrase break, “peeyew, you’ll be sorry if you do.” But, the Ohio band’s maniacal drumming, crunching guitars and, of course, drug euphemistic lyrics make it a shoo-in for the Brown Acid series of erudite rock’n’roll.
Good Humore’s swaggering 1976 rocker “Detroit” is a slick and smooth paen to the Motor City. It most likely doesn’t predate “Detroit Rock City” by Kiss, also released in 1976, and it has more rock’n’roll swing, but it could fit comfortably alongside the era’s arena anthems. Not much else is known about the one-off release on P.V. Records, but songwriter Mike Moats is noted to also have been a recording engineer in later years and this well produced track sounds like a labor of love.
Dieses Jahr kommt die 25-jährige Jubiläumsausgabe des zehnten Studioalbums von R.E.M., New Adventures in Hi-Fi. Das 1996 erschienene Album war die letzte Studioaufnahme von R.E.M. mit Gründungsmitglied Bill Berry, der die Band im folgenden Jahr einvernehmlich verließ. Als fünfte Zusammenarbeit der
Band mit dem langjährigen Produzenten Scott Litt (Green, Out of Time, Automatic for the People und
Monster) experimentiert das Album mit neuen Klangtexturen, die von filmischen Bildern, dissonanten
Noten und eindringlichen Effekten geprägt sind. Der Platin-Seller enthält die Singles ”Electrolite”, ”E-Bow
the Letter” (mit Patti Smith) und ”Bittersweet Me” und ist mit einer Gesamtlaufzeit von 65 Minuten die
längste Studioveröffentlichung von R.E.M.. New Adventures in Hi-Fi erlangte Jahre nach seiner Veröffentlichung Kultstatus und wurde in mehreren Presserückblicken - und von den Bandmitgliedern selbst -
als eines der besten Alben im R.E.M.-Katalog eingestuft.
LP[24,24 €]
Heavy Psych Sounds Records is really proud to present the Psychedelic-Space split of the century! "The Intergalactic Connection - Exploring The Sideral Remote Hyperspace" it's a split album that came from deep deep space! Here Giöbia meets The Cosmic Dead, two of the best modern space-rock bands you can find. The Italian quartet come with 3 incredible songs, while the Scottish guys deliver a 19 minute long suite. This piece of psychedelic journey is a travel inside the universe, 4 tracks full of heavy psych and space rock riffs that will bring you into a psychedlic vortex with no way out! A must-have for all the space travelers. Fans of Hawkwind, Pink Floyd, UFO and Gong will be more than enthusiastic ...It's a Space Ritual journey!
LP[19,87 €]
Half red/half blue Vinyl. Limited to 350 copies. Heavy Psych Sounds Records is really proud to present the Psychedelic-Space split of the century! "The Intergalactic Connection - Exploring The Sideral Remote Hyperspace" it's a split album that came from deep deep space! Here Giöbia meets The Cosmic Dead, two of the best modern space-rock bands you can find. The Italian quartet come with 3 incredible songs, while the Scottish guys deliver a 19 minute long suite. This piece of psychedelic journey is a travel inside the universe, 4 tracks full of heavy psych and space rock riffs that will bring you into a psychedlic vortex with no way out! A must-have for all the space travelers. Fans of Hawkwind, Pink Floyd, UFO and Gong will be more than enthusiastic ...It's a Space Ritual journey!
12” gatefold jacket w/ full color matte UV print, 1x translucent purple cloudy effect vinyl, black dust sleeve, printed LP labels, marketing sticker and free digital download card
Gregory Keltgen (aka DJ Abilities) gravitated toward the turntables at a young age, becoming a DJ at only 17, before going on to compete in the legendary DMC DJ competitions only 2 years later in 1999. He won the regional title and advanced to the U.S. finals that year, before doing it again in 2001. Soon after, Abilities was also garnering attention for performing all the scratches on indie classic, Fantastic Damage, the debut album by El-P of Run The Jewels’ fame, as well as contributing his turntable talents and production skills to other Hip-Hop cult favorites like The Anti-Album by Semi.Official, and The Taste of Rain... Why Kneel? by Deep Puddle Dynamics. But above all, his name would become most celebrated throughout the 2000’s as one-half of the dynamic Hip-Hop duo Eyedea & Abilities.
DJ Abilities had first met Micheal “Eyedea” Larsen in the mid-90’s, and the two soon began a working relationship that would eventually play a prominent role in the burgeoning Indie-Rap movement of the time. Together, the pair developed a near symbiotic
creative union that produced three albums—First Born; E&A; and By The Throat—a catalog animated by the burning fusion of Eyedea’s introspective and technically adept rhymes with Abilities’ precise scratches and versatile production. Tragically, his partner Eyedea passed away in 2010 leaving Abilities to soldier on by himself, but the influence of their partnership continues to shape DJ Abilities’ music to this day.
His latest project, Phonograph Phoenix, finds the DJ/Producer returning to the forefront and embracing an entirely new approach to making music. A departure from previous work that was primarily sample-based, Phonograph Phoenix finds Abilities opting to build the album’s compositions from the ground up, creating his own sound through Ableton Live and various soft synths, with razor sharp cuts and select vocal chops providing a voice where his fallen partner may have once stood.
Kulk are a Norfolk two-piece wielding a barrage of sonic density across sludge, noise metal and psych. Jade Squires (drums and synth) and Thom Longdin (vocals and guitar) are distinctive and stark in their execution; a hungry new face of UK heavy music, cultivating acclaim from Metal Hammer, Echoes and Dust, Outline, Anti-Despair Machine, Down The Front Media, with radio plays from IORadio, BBC Introducing Suffolk and Future Radio as well as Steve Lamacq (BBC 6 Music).
Kulk’s sophomore monolith ‘We Spare Nothing’ is a demonstration of their importance within the UK underground and their progression into sharper, harder hitting noise rock. Glacial, pummeling riffs and drum passages give the spine to their stifling atmosphere, a refreshing take on the psych-tinged doom of entities like Sleep, The Melvins and Pigsx7. With their blistering live performances in tow,
‘We Spare Nothing’ will sear it’s mark into the UK scene in 2021.
- A1: Zeder (Tema - Titoli Di Testa)
- A2: Zeder (Seq.1)
- A3: Zeder (Seq.2)
- A4: Reggae Thrilling
- A5: Zeder (Seq.3)
- A6: Reggae Thrilling (Alt.)
- A7: Zeder (Seq.4)
- A8: Zeder (Seq.5)
- A9: Zeder (Seq.6)
- B1: Zeder (Seq.7)
- B2: Zeder (Seq.8)
- B3: Zeder (Seq.9)
- B4: Zeder (Seq.10)
- B5: Zeder (Seq.11)
- B6: Zeder (Seq.12)
- B7: Zeder (Tema - Ripresa)
- B8: Zeder (Tema - Ripresa Ila)
- B9: Zeder (Tema - Finale)
First ever vinyl edition of "Zeder" soundtrack, one of the best Italian thriller/horror movies ever!
The music composer is Riz Ortolani ("Mondo Cane" and "Cannibal Holocaust" stand out among his many works), here collaborating with director Pupi Avati for the second time: this soundtrack expertly blends electronic and symphonic music, the latter here consisting mainly of an orchestral string section often repetitive, hypnotic and insistent, that reflects the arrogance of the protagonist in continuing his research, no matter what the consequences could be. There is no shortage of funk-filled brighter themes and requiems, suspended songs full of tension and sudden vibe changes, melancholic melodies and eerie soundscapes.
"Zeder" is today a cult movie, released in theaters in 1983, at a time when hardly anyone dared to shoot anything that had to do with zombies. Pupi Avati went against the tide then, giving life to an atmospheric horror film set in a sunny Italian Romagna Riviera - a typical destination for cheerful summer holidays - which tells the discovery of ancient experiments by researcher Paolo Zeder on a special 'K terrain' that allow those buried there to return from beyond. Avati's stylistic approach, in which tension and fear arise from simply narrated situations instead of full-blooded scenes with a strong visual impact, finds here a perfect match with Maestro Riz Ortolani's score.
SAGA’s tenth studio album ‘Steel Umbrellas’, released in May 1994, was one of the most unusual releases in their career. Only 24 months earlier, the band had come together again in their original line-up after a break of more than six years. Back together, they approached a more radical way in terms of composition and production than the public was used to. The band came up with an album featuring a number of outstanding titles like “Why Not?’, ‘Shake That Tree’, ‘I Walk With You’ and ‘Steamroller’, which made it onto the setlists of their live shows. ‘Steel Umbrellas’ will become available on vinyl for the first time ever, featuring the live version of „I Walk With You“ as a bonus track as well as personal liner notes by Jim Gilmour.
- 1: Chances Are #
- 2: Generation 13 (Theme #1)
- 3: All Wil Change (Goodbye And Good Luck)
- 4: The Cross (Home #3)
- 5: Danger Whistle
- 6: Leave Her Alone
- 7: I'll Never Be Like You
- 8: My Name Is Sam (Finding A Friend)
- 9: The 13Th Generation
- 10: The Cross
- 11: The Learning Tree
- 12: I'll Never Be Like You (Once Again)
- 13: Snake Oil
- 14: We Hope Youre Feeling Better (The Test)
- 1: My Name Is Sam (Your Time Is Up)
- 2: Generation 13 (Theme #)
- 3: Where Are You Now?
- 4: Screw' Em
- 5: No Strings Attached
- 6: All Will Change (It's Happening To Me)
- 7: The Victim
- 8: One Small Step
- 9: Sams New Friend
- 10: We Hope Youre Feeling Better
- 11: Chances Are #2
- 12: Gotta Love It (1991 Single)
Their eleventh studio recording “Generation 13“ saw SAGA release a concept album for the first time in their career. Inspired by the book ‘13 Gen Abort Retry Ignore Fail’ by Neill Howe and Bill Strauss, keyboardist Jim Crichton developed the (fictitious) story of young Jeremy, a member of what is known as the 13th Gen – the generation born between 1961 and 1981, identified as the 13th generation in the US since the founding fathers – whose future prospects, according to Strauss/Howe, were full of uncertainties despite the nation’s huge wealth, and whose daily life would be marked by violence and chaos. The result was a versatile album featuring haunting rock songs and an ambitioned story full of social criticism. Reissued as a Double Heavyweight Black Vinyl Gatefold Edition, “Generation 13” will be available for the first time ever on vinyl and features the acclaimed 1991 single „Gotta Love It“ as an exclusive bonus track as well as personal liner notes by Jim Crichton.
What happens when you put four of the most creative musicians from the Norwegian jazz scene in lockdown? They create. In march 2020, when the corona pandemic forced Norway into lockdown, Flukten found their oasis. Flukten springs out of one thing - the will to create music. Flukten consists of musicians from some of the most critically acclaimed jazz groups in Norway: Hanna Paulsberg Concept, Atomic, Moskus, GURLS, Wako, Espen Berg Trio, Hullyboo, Skadedyr and Trondheim Jazz Orchestra.After Flukten's debut concert last year one music critic wrote: "if there is one band debut that really has left their mark in soul and heart, it is this".With a musical reference library filled with the likes of John Scofield, Joe Lovano, Per "Texas" Johansson, Salif Keita and Paul Motian, they take detours through hip hop, soul and folk music from all over the world. Here, all spontaneous whims can be cultivated and explored. Flukten gives you dirty jazz that makes you move, and soft, fine tuned jazz that makes you think. This is music that celebrates life and embraces the unbelievable. In February 2021, the four musicians entered the recording studio with the same open attitude as when they first jammed together. On Flukten`s debut album you hear saxophonist Hanna Paulsberg's eternal vocabulary and multifaceted tone unfold completely without compromises. You hear guitarist Marius Klovning somewhere in the middle of John Scofield, sharp soul, western and Norwegian folk music. Hans Hulbækmo's drumming is tempting to compare with the playing of a solo pianist in his melodic repertoire. Bassist Bárdur Reinert Poulsen drives everything with his punchy, hard swinging hand, but also provides us with emotional solos.Together, Flukten are an explosion of joyful playing from some of Norways most talented musicians. The songs of Flukten's debut album span from playful melodies to dissonant harmonies. Sometimes it's a composition based on a voice memo of someone humming. Other times we hear snapshots from improvisations in the vivid studio atmosphere. The music dances, other times it is like a soft caress. Suddenly they fly into ecstasy. This album is the sonic equivalent to jumping from a hot sauna and into cold water. The music wakes you up. This is music that could only appear this exact moment from these exact musicians. Maybe you spend hours lying on the floor, lost in a book. Maybe you get drunk, or you run into the woods? We all need to escape now and then.
"One turntable, one microphone, a mek we skank it til a morning!" Taking you back to the roots of sound-system culture: when entertainers rocked the dance until morning, with the most basic equipment. The skill and the vibe were all that mattered. "One turntable, One microphone" captures that essence. Sweet, lilting saxophone licks from Jazz futurist Marcus Joseph (Jazz re:freshed) set the scene for the gathering. Ranking Joe bawls out, "forward rub-a-dub style!" as clean, crisp piano chops out the backbeat. A rock-hard rhythm section drops in to put the bassline in your waistline. As the crowd swells, so too does the energy of the performers, with spaced out echoes creating a lush soundscape for the deejay to ride over joyfully. Ranking Joe is a foundation reggae artist from Kingston Jamaica. His first recording was on Coxsone Dodd's legendary Studio One label in 1974. He has cut hits with Sly and Robbie and Easy Star All Stars, enlivening any production with his fast, intricate and sometimes humorous lyrical flows. This latest release shows the endurance of his musical gift and reactivates the essence of golden-era Jamaican dancehall for modern ears.
- A1: I Feel Free
- A2: Nobody Owns Me
- A3: You're Nothing Without Me
- A4: Emotional Highway
- A5: Get Together
- B1: Live Your Life Be Free
- B2: Little Black Book
- B3: Wrap My Arms
- B4: Goodbye Day
Black Vinyl[13,24 €]
Belinda Carlisle has chosen a selection of her recordings for this special limited edition release.
• The songs are all taken from her albums “Heaven On Earth”, “Live Your Life Be Free” and “Real”.
• Also featured is a brand new 2021 recording, Belinda’s fabulous version of The Youngbloods’ 1966 appeal for
unity, “Get Together”, recorded in Los Angeles in July 2021 with producer Gabe Lopez.
t’s September 1981 and it’s matter of weeks away from the release of ‘I’M A RAINBOW’, the second album
Donna Summer had recorded for Geffen Records, which had also been produced by Giorgio Moroder and
Pete Bellotte.
• At the time that the album was being recorded, the musical landscape had changed and production
techniques were developing further. Geffen also wanted a more R&B-influenced album, despite the album
having a more R&B feel than ‘The Wanderer’ had done. The songs and their lyrical content were very strong
and Donna’s voice had never sounded better, which was always a tough comparison against previous
albums.
• A decision was taken by the label to withdraw ‘I’M A RAINBOW’ just prior to its release. David Geffen then
brought-in Quincy Jones to produce the next new album; 1982’s ‘Donna Summer’.
a a1. I'm A Rainbow Junior’s Shiny Rainbow Edit
[b] a2. I Believe (In You) (duet with Joe “Bean” Esposito) [Figo Sound Version]
[c] a3. Back Where You Belong [Jean Tonique Remix]
[d] a4. You To Me [Oliver Nelson Remix]
[e] a5. Don't Cry For Me Argentina [Ladies On Mars ‘Buenos Aires’ Remix]
[f] b1. Sweet Emotion [Le Flex Remix]
[g] b2. Brooklyn [Ladies On Mars ‘Child Of Rhythm’ Remix]
[h] b3. Romeo [Ladies On Mars ‘Luv-NRG’ Remix]
[i] b4. Highway Runner [Ladies On Mars ‘Street Race’ Remix]
[Ladies On Mars ‘Independence’ Remix]
The brains behind People's Pleasure's soul classic, "Do You Hear Me Talking To You?", Bill Brown produced a slew of soul and funk hits in the 70s under a number of guises. For this release, P-VINE is releasing a rare singles collection of some of his most prized funk hits under his Bill Brown and the Soul Injection moniker. His rich multi-layered vocals are at the forefront of "Time after Time", the previously unissued opener to this collection, and the following tracks go from strength to strength with the pulsating modern soul track "Love Under The Apple Tree" and the cross-over title-track "Dreamworld Fantasies". Don't miss out on this opportunity to pick up a wonderful collection of rarities previously lost to the world from a master of funk and soul.
Over the past decade or so, Chris Forsyth has produced a series of perennially year-end list haunting studio albums of expansive art-rock, from 2013’s Solar Motel to 2019’s All TimePresent , in the process becoming one of the leading lights of the so-called “indie jam” scene, musicians combining omnivorous influences with post-Dead sprawl.
These critically lauded albums have established Forsyth as one of today’s most unique and acclaimed guitar player/composers - a forward thinking classicist synthesizing cinematic expansiveness with a pithy lyricism and rhythmic directness that makes even his 20-minute workouts feel as clear, direct, and memorable as a 4-minute song.
Pitchfork has called his music “a near-perfect balance between 70s rock tradition and present day experimentation,” NPR Music named Forsyth “one of rock’s most lyrical guitar improvisors,” and the New York Times calls him “a scrappy and mystical historian… His music humanizes the element of control in rock classicism (and) turns it into a woolly but disciplined ritual.”
But the studio records are just the tip of the iceberg.
You see, in a live setting Forsyth’s music is never really finished.
He hasn’t had a fixed band in years and plays with a rotating cast of characters. Regulars in Forsyth’s bands have included bassists Doug McCombs (Tortoise) and Peter Kerlin (Sunwatchers), and drummer Ryan Jewell (Ryley Walker, too many others to mention), among others - basically, whoever is available for the given gig or tour.
These are not groups that rehearse, exactly. Operating more like a jazz band, Forsyth and his players treat the songs as frameworks that remain identifieable but morph based on who’s playing them, like weather to a landscape.
Embracing this flux has become a cornerstone of Forsyth’s live sets, rendering every performance special and thereby catching the attention of tapers from his home base in Philly to New York City, Chicago, and Minneapolis. In fact, most of his live performances over the last few years are recorded and posted on the Live Music Archive site.
But the taper recordings, though many are high quality and full of character, are not professionally recorded and mixed multi-tracks.
Which brings us to Peoples Motel Band , the new live LP culled from a set that Forsyth played with NY-based group Garcia Peoples as his band, and is self-releasing on his own Algorithm Free label in a limited pressing of 500 copies.
Recorded September 14, 2019 before a packed and enthusiastic hometown crowd at Johnny Brenda’s in Philadelphia, Peoples Motel Band catches Forsyth and Garcia Peoples (plus ubiquitous drummer Ryan Jewell) re-imagining songs from Forsyth’s last couple studio albums with improvisatory flair.
Forsyth and Garcia Peoples played a number of 2019 shows together, beginning with a semi-legendary jam set at Nublu in NYC in March, through a couple dates on Forsyth’s month-long weekly residency at Nublu in September and concluding with a five-date tour of the Northeast in December. The chemistry between the players is tangible.
As is often the case with Forsyth shows, the gloves come off quickly and the players attack the material - much of it so well-manicured and cleanly produced in the studio - like a bunch of racoons let loose in a Philadelphia pretzel factory.
Recorded and mixed with clarity by Forsyth’s longtime studio collaborator, engineer/producer Jeff Zeigler, the record puts the listener right in the sweaty club, highlighted by an incredible side-long take of the chooglin’ title track from 2017’s Dreaming in The Non-Dream LP (note multiple climaxes eliciting wild shouts and ecstatic screams from the assembled).
This is not the new Chris Forsyth album, exactly, but then again, it kinda is because whenever he sits down to play, something new comes out.
“I want total freedom, total possibility, total acceptance. I want to fall in love with the rock.” That’s how Lillie West describes the theme of “DIVER,” the song she calls the thesis of Lala Lala’s third record, I Want The Door To Open. The rock in question is a reference to Sisyphus, the mythical figure doomed by the gods to forever push a boulder up from the depths of hell. To West, it is the perfect metaphor for, in her words, “the labor of living, of figuring out who you are, what's wrong with you, what's right with you.”
Coming off of 2018’s acclaimed The Lamb, an introspective indie rock album recorded live with a three-piece band, West knew she was ready to make something sonically bigger and thematically more outward-looking than anything she’d done before; a record that would be less a straightforward documentation of her own personal struggles and more like a poem or a puzzle box, with sonic and lyrical clues that would allow the listener to, as the title says, open the door to the greater meaning of those struggles.
The result is I Want The Door To Open, a bold exploration of persona and presence from an artist questioning how to be herself fully in a world where the self is in constant negotiation. From the moment West declares “I want to look right into the camera” over a cascade of dreamy vocal loops on opening track “Lava,” I Want The Door To Open distinguishes itself from anything she’s done before in scope and intensity. The ultra-magnified iteration of Lala Lala is fully encapsulated in the monumental “DIVER.” Inspired by a character from a Jennifer Egan novel, it’s a pop song of Kate Bush-esque proportions replete with layered synths and booming, wide open drumming by fellow Chicago musician Nnamdi Ogbonnaya, and West pushing her vocals to the ragged edge. I Want The Door To Open is a musical quest undertaken with the knowledge that the titular door may never open; but it is through falling in love with the quest itself that one may find the closest thing to total freedom, total possibility, and total acceptance available to us on this plane of existence.
Long before John Brannon of Negative Approach cemented himself as a USHC icon, you
would hear rumblings about his pre-NA glam group, STATIC. Only a handful of people were
lucky/brave enough to see them live. Scenesters spoke of a tape but never seemed to have
one. Their most well-remembered song, Toothpaste and Pills, allegedly featured smashing
beer bottles against John’s mom’s basement wall as a percussion instrument. Could this be
real?
Fast forward to 2020 and a few months into the covid-19 lockdown, Brannon came across a
bunch of tapes he dug out of a box in his Mom’s closet - STATIC “DEMOS ‘78”, STATIC
“LIVE AT GROSSE POINTE SOUTH H.S.”, STATIC “LIVE AT PLEWA HALL”. Holy shit! The
legend is true! And best of all, STATIC rule!
John Brannon grew up in Grosse Pointe Park just a few blocks from the Detroit border. John
was always into music, but as soon as he heard T-Rex, The Stooges and Alice Cooper, he
was obsessed (and still is) and had to start a band to channel his obsessions. With the help
of neighborhood kid and collaborator Billy Daniels and a local drummer simply known as
“Red”, STATIC was born.
Before Negative Approach changed the face of punk and hardcore, before Laughing Hyenas
scared the world silly and blew everyone else off the stage and before Easy Action started
melting minds all over the world, there was STATIC. STATIC was real. STATIC was real as
shit.
Third Man Records is beyond ecstatic to be providing this long-missing piece of the
American Underground Music puzzle. We worked closely with John Brannon and Warren
Defever, one of Third Man Mastering’s resident wizards, to put together this essential
collection of demos and live recordings.
“I want total freedom, total possibility, total acceptance. I want to fall in love with the rock.” That’s how Lillie West describes the theme of “DIVER,” the song she calls the thesis of Lala Lala’s third record, I Want The Door To Open. The rock in question is a reference to Sisyphus, the mythical figure doomed by the gods to forever push a boulder up from the depths of hell. To West, it is the perfect metaphor for, in her words, “the labor of living, of figuring out who you are, what's wrong with you, what's right with you.”
Coming off of 2018’s acclaimed The Lamb, an introspective indie rock album recorded live with a three-piece band, West knew she was ready to make something sonically bigger and thematically more outward-looking than anything she’d done before; a record that would be less a straightforward documentation of her own personal struggles and more like a poem or a puzzle box, with sonic and lyrical clues that would allow the listener to, as the title says, open the door to the greater meaning of those struggles.
The result is I Want The Door To Open, a bold exploration of persona and presence from an artist questioning how to be herself fully in a world where the self is in constant negotiation. From the moment West declares “I want to look right into the camera” over a cascade of dreamy vocal loops on opening track “Lava,” I Want The Door To Open distinguishes itself from anything she’s done before in scope and intensity. The ultra-magnified iteration of Lala Lala is fully encapsulated in the monumental “DIVER.” Inspired by a character from a Jennifer Egan novel, it’s a pop song of Kate Bush-esque proportions replete with layered synths and booming, wide open drumming by fellow Chicago musician Nnamdi Ogbonnaya, and West pushing her vocals to the ragged edge. I Want The Door To Open is a musical quest undertaken with the knowledge that the titular door may never open; but it is through falling in love with the quest itself that one may find the closest thing to total freedom, total possibility, and total acceptance available to us on this plane of existence.
- 1: Mohammed Rafi – Jaan Pehechaan Ho
- 2: Vanilla, Jade And Ebony – Graduation Rap
- 3: Skip James – Devil Got My Woman
- 4: Vince Giordano And The Nighthawks – I Must Have It
- 5: Lionel Belasco – Miranda
- 6: Blueshammer – Pickin' Cotton Blues
- 7: Mr. Freddie – Let's Go Riding
- 8: Vince Giordano And The Nighthawks – Georgia On My Mind
- 9: Lionel Belasco – Las Palmas De Maracaibo
- 10: Vince Giordano And The Nighthawks – Clarice
- 11: Craig Ventresco – Scalding Hot Coffee Rag
- 12: Vince Giordano And The Nighthawks – You're Just My Type
- 13: Lionel Belasco – Venezuela
- 14: Joe Calicott – Fare Thee Well Blues
- 15: Pink Anderson & Simmie Dooley – C. C. & O. Blues
- 16: Mcgee Bros – C-H-I-C-K-E-N Spells Chicken
- 17: Robert Wilkins – That's No Way To Get Along
- 18: Dallas String Band – So Tired
- 19: Little Hat Jones – Bye Bye Baby Blues
- 20: David Kitay – Theme From Ghost World
Cinema Paradiso is proud to present the Ghost World soundtrack, released on vinyl for the very first time, as a double gatefold LP.
A film adaptation of the popular Daniel Clowes comic of the same name, Ghost World starred Scarlett Johannson, Thora Birch and Steve Buscemi, becoming a critically acclaimed cult favourite immediately upon its release in 2001. As he did with Crumb, director Terry Zwigoff has created a soundtrack as eclectic and riveting as his movie subjects. The sounds of early jazz and blues play a crucial role in the events of Ghost World - the music heard here is some of the best ever recorded.
Skip James's classic "Devil Got My Woman" from 1931 may be the best-known work on this soundtrack, but it hardly steals the show. Three tracks from weird but riveting jazz-meets-calypso bandleader Lionel Belasco are included; the 70-year-old recordings are so original, they sound timeless. The same praise can be stated of film opener "Jaan Pehechaan Ho" a Bollywood rarity that has elements of surf music, funk, and garage rock. Of course, we also have to hear "Graduation Rap" and Blueshammer's "Pickin' Cotton Blues" two intentionally bad contemporary tracks that make the characters in the movie (and anyone listening to this soundtrack) feel out of place in today's pop culture.
Zwigoff wisely fills out the LP with tracks from his personal 78 record collection, a mix of '20s and '30s string band and blues tunes that are seldom found in compilations (including great cuts by the Dallas String Band, Joe Calicott, and McGee Bros).
The haunting "Theme from Ghost World" composed by David Kitay, finishes off the second LP, perfectly capturing all the bittersweet moods found in the film.
- A1: The Anatomy Of Clouds
- A2: Breaking The Horizon
- A3: Reflected In The Waves
- A4: In Spite Of The Weather (Bill Ryder-Jones Re-Imagining)
- A5: Breaking The Horizon (Eluvium Broken Mix)
- B1: The Warmth Of The Sun (Peter Gregson Duet)
- B2: The Anatomy Of Clouds (Yann Tiersen Remix)
- B3: The Anatomy Of Clouds (Malibu Sweet Hereafter Remix)
FEATURING REWORKINGS BY YANN TIERSEN, BILL RYDER-JONES, MALIBU, ELUVIUM and
PETER GREGSON.
140g black vinyl with lacquers cut by Alchemy, printed inner sleeve, limited to 500 copies.
Michael Price has announced a new album, The Hope of Better Weather - part reissue, part reworks - due out onThe Control Room on 15 October 2021.
The new album takes his 2012 EP, The Hope of Better Weather, originally recorded by Price alone in a room with a
piano improvising, and brings it fully to life with the addition of a series of reworkings by Yann Tiersen, Bill
Ryder-Jones, Malibu, Peter Gregson and Eluvium.
He explains, “I wasn't trying to control what anybody else was doing. Everybody that joined in with the project gives
their own little piece of freedom. I was really interested in what freedom we all give ourselves, as well as being
fascinated to see what a little germ of an idea can mean to somebody else.”
Listen to Yann Tiersen’s rework of ‘The Anatomy of Clouds’: LINK
Listen to the original version of ‘The Anatomy of Clouds’: LINK
The five pieces, alongside these new reworkings capture a stark beauty, tenderness and delicacy in their tone. But
they are also wind-like in their shifting, expansive and elemental essence - capturing an exploration of the natural
world. “Nearly 10 years ago when I recorded these improvisations, I felt like I was missing the natural world - things
like the weather, the beach at Scarborough and all those kinds of visceral things.”
When Price revisited the work in recent months - at a time when many of us found ourselves more aware of the
natural world - he reconnected with it in a way that looks to connect with his next artistic steps. “You start off with
listening to 10 year old piano recordings and then you go through the reinterpretations of people looking at that
material now through their own lens. The fixation with weather, coastlines and with people connected with nature, is
really strong all the way through this project. Coming out the other side of it, it's kind of like a Northern weather feeling
- coming out with your collar turned up with a hat on, a bit drizzly and shit outside, but with a kind of determination
that is the route forward.”
Most musicians, if they are lucky, will master one craft or field within their career. For Michael Price, he’s managed
three, with his music spanning across piano, orchestral and soundtrack work. The soundtrack work - for TV shows
such as Sherlock, Dracula, and Unforgotten, and films such as Eternal Beauty, Cheerful Weather and Just Jim - has
seen Price win an Emmy, as well as receive countless nominations (including a BAFTA nomination). His work as a
solo artist takes the form of beautiful improvised piano works, such as Diary (2017), or via lush, grand, hyper-detailed
orchestral work, as heard on critically acclaimed releases via Erased Tapes such as Entanglement (2015) and Tender
Symmetry (2018). His latest release, The Hope of Better Weather, is rooted in the piano world but also exists as a
bridge crossing into new terrain..
The process of putting together the release has been an emboldening and liberating one for Price, and he finds
himself feeling buoyant about the possibilities of what lies ahead – which includes a new solo orchestral album. “It is
super freeing and liberating,” he says. “There's these little green shoots of a freedom emerging.”
In 2020 Sunnyboys will celebrate 40 years since their inception (though a mere 12 years of actual existence) via a new release SUNNYBOYS 40 that brings together the first ever re-release of the band’s much loved 1980 eponymous debut 7” - featuring the original version of the classic Alone With You - alongside four new recordings culled from the archives of chief songwriter Jeremy Oxley.
Recorded over two days in October 1980 and released via independent Sydney label Phantom Records on December 31st the same year, the four songs featured on the EP were essentially the first songs Jeremy Oxley had presented to the band on his arrival in Sydney from Kingscliff just a few months earlier. Alongside Alone With You they included Love to Rule, What You Need & The Seeker.
The debut ‘yellow’ ep was an instant underground smash selling out its initial pressing of 1000 copies in just 2.5 weeks. A further pressing of 1000 would follow but then all further attempts of a repress were quashed when the ep master mysteriously disappeared after band signed to Mushroom Records in February 1981. The tapes having never been recovered these masters have been taken from the cleanest vinyl available and appear here for the first time ever outside the 7” ep format and that limited run of 2000.
Fast forward 40 years (as you do) and Sunnyboys are enjoying a renaissance rarely seen for any band from any era. In truth their popularity now eclipses what it did in 1980-1984 with each successive tour selling more tickets and faster than the tour previous. Why not then give the people new music?
Part 2 of Sunnyboys 40 was recorded between touring commitments in 2018 at Airlock Studios, Brisbane. Overdubs were added over the following twelve months at locations in Sydney & Brisbane and the mixing completed in the summer of 2019 by current in-demand producer Konstantine Kerstin. The idea being to tackle some material Jeremy had written for other projects post-1984 and to complete some unfinished business from back in the band’s original lifespan.
Can’t You Stop is a reworking of a song Jeremy recorded as The Fisherman in 1986. The short-lived trio were Jeremy’s immediate post-Sunnyboys band and the original version was released on the Waterfront label the same year. In this guise Can’t You Stop features an all new arrangement plus those trademark Sunnyboys harmonies.
Lovers (On Another Planet’s Hell) meantime, is a reworking of a track from the Sunnyboys third album Get Some Fun. The original version featuring a 4/4 beat often referred to as the “AC/DC beat” which never sat well with the band. The opportunity to readdress that all these years later proving irresistible. The added keyboards of Alister Spence and brass playing of Eamon Dilworth and young Nico Oxley (Peter’s son) also adding a new dimension to the original.
Strange Cohesion was actually written post-Get Some Fun in 1984 and was performed by the band regularly during their final tour. It would feature on the band’s swansong release, 1984’s Real Live but was never recorded in the studio. 40 gives the track its recorded debut and gives some small hint as to what Sunnyboys album no.4 may have sounded like.
Originally released as a solo recording back in 1991 under the banner Jeremy ‘Ponytail’ Oxley Way After Five shares perhaps the strongest relationship to the ‘40’ concept. Jeremy’s voice at times just a croak - a by-product of the life he has lead for much of last 40 years - adding further poignancy to the songs lyric; and it’s another Oxley classic.
And what better way to celebrate both the new release and the milestone anniversary than by doing what Sunnyboys do best - play live! And so Sunnyboys hit the east coast this February including first time ever shows in Torquay and for Sydney’s Twilights @ Taronga. Special guests Painters & Dockers will join Sunnyboys for the shows in Victoria while garage rockers Rocket Science will join the birthday boys in Sydney.
“We really didn’t think we would ever play again as a band. But wow, we have and we sure are having a bloody great time doing it.” - Peter Oxley
Wasted Cathedral is the solo project of Saskatoon-based musician Christopher Laramee (Shooting Guns, The Switching Yard, and The Radiation Flowers). This new album is the latest in an impressive line of releases that have explored a variety of sounds, from ambient drone and electronic disco to experimental chaos and downtempo electronica. I'm Gonna Love You 'Til The End Of Time is made up of seven songs and is undoubtedly influenced by the starkness of the Canadian Prairie and long Saskatchewanian nights. It serves well as a soundtrack to the setting of any number of listening experiences, particularly when experienced with headphones. No matter the direction Laramee has chosen to guide Wasted Cathedral, the result has always been intriguing and captivating. I'm Gonna Love You 'Til The End Of Time is certainly no exception.
Laramee describes Wasted Cathedral as incidental music, improvised soundscapes created in passing moments, like musical snapshots. This makes perfect sense, considering the likes of Sarah Davachi, Peter Kember, Terry Riley, and Augustus Pablo inform Laramee's approach to composition, as well as tone-setting and mood. According to Laramee, this collection of songs is a continuation of his previous work, albeit in a more stripped down fashion.
Wasted Cathedral is recommended for listeners of Flying Saucer Attack, DJ Shadow, Spectrum/Sonic Boom, Spiritualized, and Portishead.
Domino are immensely proud to announce the signing of my bloody
valentine, with new physical editions of the band’s seminal catalogue
being made available. ‘Isn’t Anything’ and ‘loveless’ have been
mastered fully analogue for deluxe LPs and also mastered from new
hi-res uncompressed digital sources for standard LPs, with each
being made available widely for the first time ever. Fully analogue
cuts of ‘m b v’ will also be available on deluxe and standard LPs
globally for the first time.
my bloody valentine, the quartet of Bilinda Butcher, Kevin Shields,
Deb Googe and Colm Ó Cíosóig, are widely revered as one of the
most ground-breaking and influential groups of the past forty years.
During an era in which guitar bands denoted, at best, a retroclassicism, not only did my bloody valentine sound unlike any of their
contemporaries, the band achieved the rare feat of sounding like the
future.
The second my bloody valentine album, ‘loveless’, was released in
1991. Musically, it took an unexpected leap forwards, standing ahead
of anything released at the time. Shields and the band moved further
towards a music of pure sensation, creating textures and tones that
could be felt as much as heard; with ‘loveless’ the band created an
album that overwhelmed the senses. ‘loveless’ is widely considered a
flawless whole and rightly regarded as a masterpiece; a 1990s
equivalent to ‘Pet Sounds’, ‘In A Silent Way’ or ‘Innervisions’, a record
constructed by exploring the edges of what a recording studio is
capable of. It is a record best experienced as a whole, in one sitting -
a listening experience like no other and unmatchable in its sonic
brevity.
Belinda Carlisle has chosen a selection of her recordings for this special limited edition release.
• The songs are all taken from her albums “Heaven On Earth”, “Live Your Life Be Free” and “Real”.
• Also featured is a brand new 2021 recording, Belinda’s fabulous version of The Youngbloods’ 1966 appeal for
unity, “Get Together”, recorded in Los Angeles in July 2021 with producer Gabe Lopez.
































































































































































