Suche:prolific

Berlin talent Joplyn is next up on Crosstown Rebels making her debut release on the label titled We Will Forgive Ourselves featuring remixes from prolific producer MK and label-head Damian Lazarus. Serving up two remixes in the form of MK’s Dub and Damian Lazarus’ Re-Shape, it acts as another milestone release for the near twenty-year-old imprint.

We Forgive Ourselves is the perfect musical metaphor for Joplyn’s inspiration. The track opens proceedings with elegant drum pads which are paired beautifully with quaint hi-hats. A gentle, healing vocal, followed by a deep heavy bassline creates a profound juxtaposition. Galactic-like sounds fizz in and out, fusing everything together to create a real sense of utopia that truly embodies Joplyn’s vision.

Brimming with a signature MK sound right from the offset, we’re treated to six-and-a-half minutes of perfectly executed contemporary deep house. Warming, subtle and inherently groove-led, soft kicks open into Joplyn’s haunting vocal offerings before rhythmic hats coalesce alongside, forming a modern dance anthem that is sure to light up many a club setting this summer.

Damian Lazarus’ Re-Shape comes next. Shimmering with an ethereal quality, the nine-minute piece undulates between moments of spiritual bliss to pummelling, acid-laden danceability. Whirring synths help create a galactic quality, as we travel between feelings of introspection, euphoria and everything in between.

The Maltese machine funk specialist himself Keith Farrugia is back once more with yet more of his impeccable electro business as Sound Synthesis. This time the prolific producer is shoring up on Burnski's Infiltrate label with four cool and deadly cuts which build on his previous drops for 20:20 Vision, Furthur Electronix, Orbital Mechanics and more besides. From the nervy sci-fi flex of 'Motor Space Maps' to the playful fun n' games of 'Back In Time', Farrugia knows exactly what he's doing within the electro blueprint, and his tracks are reliably punchy warm - a true master at work.

After almost a decade-long hiatus, cult 6-piece MFMB announced their
return with the long-awaited album "Sugar"
The followup to 2012's critically- acclaimed "Colossus", "Sugar" revives the dark
and driven alt- rock the Swedes made their name with - equal parts rigor and
finesse, wracked with nervous tension. This time around, however, a democratic
approach to the writing process was decided on, with each member contributing
equally to the sound and feel of the record. The result is unmistakably the sound
of MFMB, but reinvented for these tempestuous times. The making of the album
is a story in itself. "Sugar" is seven years in the making. It has been a bumpy ride.
They were not always the best of friends. Priorities changed. Members quit, then
joined again. It was never easy. We believe you can hear it on the album, how
every song is a result of differing opinions fighting it out until they landed. In the
end, it's MFMB, but ringing purer than ever before. MFMB have remained prolific
throughout their hiatus, which includes Joakim Lindberg becoming one of the
underground scene's most in- demand producers, working with the likes of Hey
Elbow, Spunsugar, This Is Head, and many more.

Deluxe double 12'' vinyl housed in a 2 pantone sleeve Including insert with liner notes Akuphone is pleased to present the first compilation dedicated to musician John Bolloten, aka The Rootsman. As a precocious punk, he formed his first band, State Oppression, in his teens. Yet he is best known for his dub music, a genre that gave him international recognition. Largely influenced by the rhythms of North Africa and the Middle East, he built his musical identity around samples from these regional repertoires. His encounter with Bryn Jones - better known as Muslimgauze - further defined his artistic path. This selection offers an overview of his work from 1996 to 1998, a prolific period when Into The Light, 52 Days To Timbuktu, Union Of Souls (with Celtarabia) and Distant Voices (with Pachakuti) were released. A visionary production that predicted today's growing international predilection for the musical heritage of the MENA regions. The compilation is enriched with an explanatory preface by Mabrouk Hosni Ibn Aleya and illustrated with rare archival photos- all of which are contained in a superb jacket designed by the artist Ghiya Haydar.

The exemplary and well-travelled cornetist Kirk Knuffke presents a bold
new trio, with bassist Michael Bisio and pianist Matthew Shipp, on an
intimate and expansive double album
'Gravity Without Airs features' the three world- class musicians on Knuffke
compositions and in open form, creating a tour-de-force of poetry and verve. It's
available as a 2CD in deluxe 8-panel digipak and a 2LP in deluxe gatefold sleeve
with download card, the liner notes are by Francis Davis.
This is Knuffke's debut as a leader for TAO Forms. Accolades for the cornetist's
recent work as leader include NPR's Jazz Album of the Year laurel for 2017's
Cherryco, his homage to Don Cherry, a prime influence. DownBeat praised the
way that album showcased Knuffke's "nonchalant versatility and ebullient
melodic gifts," while esteemed critic Francis Davis called it "nothing short of
spectacular." Davis also wrote the liner notes for Gravity...noting the allure of
Knuffke's instrumental aplomb: "Kirk plays as if his cornet is a part of him - he
plays with it, not just on it."
On his guiding artistic impulse, Kirk Knuffke says: "I'm concerned with making
beautiful music. Beauty is always first, though not in a precious way. It can be in a
rough way, too." A prolific, lauded record- maker, 'Gravity Without Airs' fulfils his
poetic aims as well as any recording he has made. This work finds Knuffke in the
rare, even unique, trio format of cornet, piano and double-bass. His partners are
two ever- estimable pillars of creative music, and the work they've created
together here brims with melody and mystery, intimacy and dynamism.
"Rhythmically precise, New Orleans funky and full of grace, Kirk Knuffke's music is
a reflection of his multifaceted personality: part musical sage, part jazz
philosopher, a self-taught musician with wide interests, endless curiosity and an
abundance of good humour." - DownBeat

High Focus Records are excited to share a new full length offering from prolific Brighton based producer Mr Slipz, this time with a fresh label signing, Australian rapper Nelson Dialect. A landmark release and signing for High Focus with Nelson being the first international signing on the label. UK listeners might have first heard Nelson collaborating with Verbz & Mr Slipz on the song ‘Hope’ from their acclaimed LP ‘Radio Waves’ released on High Focus in 2020. Nelson has a cult following in his own right in Australia, and previously released music on the legendary U.S label Fat Beats to great acclaim. Now teaming up with one of the most exciting and respected UK producers, Nelson & Mr Slipz deliver ‘Ever Since’. A statement piece by two artists with well over a decade spent on their craft which sounds as urgent and refreshing as if it were their first time releasing music. The album’s title is a reference to the endless quest for a timeless sound, reflecting the creative partnerships which spark from a seemingly forever existing thread of music. The two artists crossed paths whilst Nelson was on tour in Brighton, and a chance introduction to Slipz made this album a reality. As fate would have it, due to a cancellation of plans and changing of schedules during Nelson’s tour, the pair ended up in the studio for 8 days straight together which is when the bulk of the album was created. They each saw this as a cosmic alignment and thus played into the albums astrological artwork themes and overarching concept. Striving to capture the lightning in a bottle moment, what resulted musically on this album was an inspired surge of energy and intense creative output that is felt across the entire LP. Equal parts personal and lyrically dextrous, Nelson explores a multitude of concepts over the hard hitting drums and jazzy samples producer Mr Slipz is renowned for through his previous work with artists including Verbz, Kofi Stone, Vitamin G & Datkid among many more. The album features a slew of impressive guest verses including label mates Vitamin G & Verbz on the emphatic ‘Oxford Scholars’. Two legends Jehst & Confucius MC combine on ‘Smooth Ride’. Bronx pioneer & D.I.T.C legend A.G delivers a show stopping verse on ‘Trembling the Marrow’. There are hypnotic singing performances by Indira May on ‘First Date’ & ‘Open Book’ as well as Hiatus Kaiyote back up vocalist Jace XL on the soul stirring anthem “Figure Out What’s Right”. U.S rappers SickInTheHead & Cazeaux O.S.L.O round out the impressive guest list on the album with their inspired verses. Listeners caught their first glimpse of the duo with their debut single ‘Only Just Begun’. A whirlwind 3 verse tune showcasing the relentless wordplay and imagery Nelson is regarded for over a moody, hard hitting Slipz production. With a buzz already around what Nelson Dialect & Mr Slipz are brewing, the duo have just released their second single ‘Oxford Scholars’ featuring label mates Vitamin G & Verbz

The prolific Greg Foat returns with a new Synthesiser soundscape double album. Recorded during the 2020 Lockdown. This is the follow up to 'Photosynthesis' this time featuring drummer Morgan Simpson (Black Midi)

For a prolific artist as Gerardo Frisina, almost two years without a new release from him seems like an eternity: this brand new 12" EP entitled 'Soul Drum' breaks the silence, giving us three new works composed by Gerardo, made up of four recordings if we consider the two versions of the title track.

This EP anticipates the full album already in the works, scheduled for release at the end of 2022.

Without losing his Latin trademark, Gerardo continues his research into hypnotic and pulsating rhythmic patterns in both acoustic and electronic form, which are now a fundamental stylistic element of his. As on his previous album 'Moving Ahead', the rhythmic style blends naturally with echoes of tribal voices, piano keys and wind instruments (trumpet, saxophone, flute), creating the 'Joyful Sound' (title of the forthcoming album) that reverberates on the surface. With an artist as meticulous as Gerardo Frisina, it is to be expected that even the simplest beat has been deeply thought out and chosen from a potentially infinite sound palette, and this can be heard perfectly in the depth of sound of the four tracks of this release.

"Soul Drum" is dedicated to the loving memory of bassist Enzo Frassi, who contributed to this EP - along with 'usual guests' Fabrizio Bernasconi, Gendrickson Mena, Alfonso Deidda and Ernesto Lopez.

restock!

Written and recorded during 2020, a year marked by forced quarantine with in turn proved to be a prolific time for musical composition. It is an album about change, aging and the fading memories one has, often more of a product of the current state of a person than an accurate description of those remembered moments. With age we tend to forget or lose contact with particular moments and parts of our own story and context become erased forever, as though they never happened. With this album, peter bjärgö takes the first steps into something new, bringing along his signature sound from past projects into a slowly evolving transition to a sonic world beyond his previous achievements. Leaning towards a more ethnic, rhythmic sound, integrated with his now trademark melancholic guitar work and deep solemn vocals, these are the first steps to a new horizon he’s ceaselessly crafting for our listening pleasure.

This is the peak of George Benson's courtship of the mass market -- a superbly crafted and performed pop album with a large supporting cast -- and wouldn't you know that Quincy Jones, the master catalyst, is the producer. Q's regular team, including the prolific songwriter Rod Temperton and the brilliant engineer Bruce Swedien, is in control, and Benson's voice, caught beautifully in the rich, floating sound, had never before been put to such versatile use.

On "Moody's Mood," Benson really exercises his vocalese chops and proves that he is technically as fluid as just about any jazz vocalist, and he become a credible rival to Al Jarreau on the joyous title track. Benson's guitar now plays a subsidiary role -- only two of the ten tracks are instrumentals -- but Q has him play terrific fills behind the vocals and in the gaps, and the engineering gives his tone a variety of striking, new, full-sounding timbres. The instrumentals themselves are marvelous: "Off Broadway" is driving and danceable, andIvan Lins' "Dinorah, Dinorah" grows increasingly seductive with each play. Benson should have worked with Jones from this point on, but this would be their only album together.

Hailing from Adelaide, Australia's CHARNEL ALTAR formed in late 2018. Not long after, the band's self-titled debut demo followed in January 2019. Originally self-released digitally, a cassette version was soon released by Desert Wastelands Productions and a 12" vinyl version by Seed of Doom Records and Impure Sounds; a tape re-release then came in mid-2020 via Blood Moon Productions. With this underground momentum building, CHARNEL ALTAR released a split EP with fellow Aussies CARCINOID, which was released on tape by Headsplit Records and on 10" vinyl once again by Seed of Doom. During all this, CHARNEL ALTAR became a prolific force on the live front. Their first show was supporting Uada, and they went on to play with the likes of Incantation, Krisiun, Integrity, Primitive Man, Faceless Burial, Gutless, Ignivomous, and Vile Apparition. A tour with CARCINOID was planned for 2020, but was unfortunately cancelled due to the Coronavirus pandemic. Nevertheless, CHARNEL ALTAR make their full-length debut with the slimy 'n' stultifying Abatement of the Sun. Horrific and harrowing, churning and gestating with utter dread and doom, CHARNEL ALTAR's death metal is like a slo-mo melting of mind and matter. One could arguably qualify it as death-doom, but the band's version of such evades easy categorization and aims more for hovering tension and paradoxically spacious density - indeed, like old(er)-school death metal dragged through tar but trudging forward like a tank. That all three members previously played together in the cult Tombsealer - who toured nationally in support of Mournful Congregation and played with such acts as Dead Congregation, Portal, Fetid, Windhand, Cough, Inverloch, and Nocturnal Graves to name a few - shows in their seemingly effortless execution, that these dreadful 'n' doomed-out ruminations have been simmering in their hearts for time eternal. Or, put another way, Abatement of the Sun is all-too-perfectly titled: the end is not just nigh; it's NULL.

Reggae Film Star is Damien Jurado's 18th full length studio album and
the second on his own record label Maraqopa Records
25 years since his debut album Waters Ave S. came out, Jurado is more prolific,
driven and creative than ever. The twelve mystical songs on Reggae Film Star are
gorgeously cinematic and feature a rich production and diverse sonic textures.
Reggae Film Star was produced by Damien Jurado at Sonikwire in Irvine, CA, with
invaluable help from the dream team of multi instrumentalist Josh Gordon and
recording engineer Alex Bush. The album was mastered by Greg Calbi at Sterling
Sound.

‘Raise Hell’, the third album from London DIY punks Fresh out 1st July on Specialist Subject Records. Fresh have been an unwavering fixture within the UK punk scene since their first record in 2017. A joy to behold live, Woods honed her craft not only fronting Fresh but as a member of several heralded indie and punk bands, including cheerbleederz and ME REX alongside Fresh bandmate Myles McCabe. Their new album radiates with their signature mischievous British charm and flourishes of brilliant pop punk flair – though underestimate Fresh at your peril. ‘Raise Hell’ dares to dive deeper than most, delivering Woods’ darker moments and contemplative thought processes through the sharply focussed lens of upbeat indie punk. Since their inception the band have been working tirelessly recording and touring. They released their last EP 'The Summer I Got Good at Guitar' in Spring 2021, to praise from Upset, Stereogum, Brooklyn Vegan, BBC6 Music, Radio X and have toured with the likes of Jeff Rosenstock, The Beths, PUP, Adult Mom. For a band that have existed for a relatively short period of time, the four-piece have already released a hefty catalogue of work – prolific, ever evolving and always fresh (in every sense of the word).

‘Raise Hell’, the third album from London DIY punks Fresh out 1st July on Specialist Subject Records. Fresh have been an unwavering fixture within the UK punk scene since their first record in 2017. A joy to behold live, Woods honed her craft not only fronting Fresh but as a member of several heralded indie and punk bands, including cheerbleederz and ME REX alongside Fresh bandmate Myles McCabe. Their new album radiates with their signature mischievous British charm and flourishes of brilliant pop punk flair – though underestimate Fresh at your peril. ‘Raise Hell’ dares to dive deeper than most, delivering Woods’ darker moments and contemplative thought processes through the sharply focussed lens of upbeat indie punk. Since their inception the band have been working tirelessly recording and touring. They released their last EP 'The Summer I Got Good at Guitar' in Spring 2021, to praise from Upset, Stereogum, Brooklyn Vegan, BBC6 Music, Radio X and have toured with the likes of Jeff Rosenstock, The Beths, PUP, Adult Mom. For a band that have existed for a relatively short period of time, the four-piece have already released a hefty catalogue of work – prolific, ever evolving and always fresh (in every sense of the word).

It's hard to believe it's taken this long for a proper retrospective of legendary Los Angeles collective CVE. "We Represent Billions" is a crucial portrait of one of the West Coast's most low-key influential crews - a hydra-like collective of rappers, producers, designers and engineers who were key members of the Good Life Cafe's open mic scene, going on to inspire artists like Jurassic 5, Kendrick Lamar amongst many other. Initially called Chillin Villain Posse before morphing into Chillin Villain Empire in the late 1980s, they eventually centered around the core trio of Riddlore, NgaFsh and Tray-Loc. The crew were years ahead of their time, self-producing music without samples and pioneering a stream of consciousness lyrics that still sound fresh and innovative. CVE were self-sufficient and motivated from the beginning, named "Chillin Villains" because that's how they were perceived by white America. This social motivation was channeled into their groundbreaking performances at Good Life Cafe, the South Central session that evolved into Project Blowed and later on came to influence LA club night 'Low End Theory'. It was chronicled by Ava Duvernay, herself an MC in short-lived duo Figures of Speech, in her "This is the Life" documentary, where she interviewed CVE alongside Jurassic 5, Freestyle Fellowship, Abstract Rude and Busdriver. On "We Represent Billions", we're treated to a snapshot of the CVE sound from 1993-2003, their most prolific era. The retrospective collects music from the handful of albums the crew released on their own Afterlife Recordz label (mostly as limited edition CD-R's) plus many previously unreleased tracks and highlights their untethered eccentric creativity and sheer breadth of influence. Whether twisting twitchy West Coast electro on 'All Over Da Globe' or free associating over horror synths and foley sounds on 'Made in Chillz Ville' there's a sense that their music was just too future for its time. Assembled from heaving industrial samples and graced by back-and-forth tongue twisting flows, 'Thugs and Clips' is as eerie and hard-hitting as anything 2Pac's "The Don Killuminati: The 7 Day Theory" full-length. Fuzzed-out and unsettling, 'Calistylics' welds an ambient synth loop and bone-rattling percussion to Tricky-esque percussion, while the flickering closer 'Unicycle' is a cross between Dr. Dre's icy G-gunk pressure and Three 6 Mafia's pitch black lo-fi funk. In many ways, 2022 is the perfect time to rediscover this music: an urgent, creative fusion of spine-tingling pre-grime electronic minimalism and mind bending wordplay that still sounds completely idiosyncratic and utterly alien. Tracks: 1 All Over Da Globe 2 Thugs and Clips 3 C.V. Vault 4 Made in Chillz Ville 5 Bring It On 6 Calistylics 7 No Feelins 8 Let's Get It On 9 Today Was A Fucked Up Day 10 Untitled (Freestyle) 11 Unicycle

It's hard to believe it's taken this long for a proper retrospective of legendary Los Angeles collective CVE. "We Represent Billions" is a crucial portrait of one of the West Coast's most low-key influential crews - a hydra-like collective of rappers, producers, designers and engineers who were key members of the Good Life Cafe's open mic scene, going on to inspire artists like Jurassic 5, Kendrick Lamar amongst many other. Initially called Chillin Villain Posse before morphing into Chillin Villain Empire in the late 1980s, they eventually centered around the core trio of Riddlore, NgaFsh and Tray-Loc. The crew were years ahead of their time, self-producing music without samples and pioneering a stream of consciousness lyrics that still sound fresh and innovative. CVE were self-sufficient and motivated from the beginning, named "Chillin Villains" because that's how they were perceived by white America. This social motivation was channeled into their groundbreaking performances at Good Life Cafe, the South Central session that evolved into Project Blowed and later on came to influence LA club night 'Low End Theory'. It was chronicled by Ava Duvernay, herself an MC in short-lived duo Figures of Speech, in her "This is the Life" documentary, where she interviewed CVE alongside Jurassic 5, Freestyle Fellowship, Abstract Rude and Busdriver. On "We Represent Billions", we're treated to a snapshot of the CVE sound from 1993-2003, their most prolific era. The retrospective collects music from the handful of albums the crew released on their own Afterlife Recordz label (mostly as limited edition CD-R's) plus many previously unreleased tracks and highlights their untethered eccentric creativity and sheer breadth of influence. Whether twisting twitchy West Coast electro on 'All Over Da Globe' or free associating over horror synths and foley sounds on 'Made in Chillz Ville' there's a sense that their music was just too future for its time. Assembled from heaving industrial samples and graced by back-and-forth tongue twisting flows, 'Thugs and Clips' is as eerie and hard-hitting as anything 2Pac's "The Don Killuminati: The 7 Day Theory" full-length. Fuzzed-out and unsettling, 'Calistylics' welds an ambient synth loop and bone-rattling percussion to Tricky-esque percussion, while the flickering closer 'Unicycle' is a cross between Dr. Dre's icy G-gunk pressure and Three 6 Mafia's pitch black lo-fi funk. In many ways, 2022 is the perfect time to rediscover this music: an urgent, creative fusion of spine-tingling pre-grime electronic minimalism and mind bending wordplay that still sounds completely idiosyncratic and utterly alien. Tracks: 1 All Over Da Globe 2 Thugs and Clips 3 C.V. Vault 4 Made in Chillz Ville 5 Bring It On 6 Calistylics 7 No Feelins 8 Let's Get It On 9 Today Was A Fucked Up Day 10 Untitled (Freestyle) 11 Unicycle

LIMITED TO 500 COPIES // HIGH-QUALITY TIP-ON COVER // INCL. DOWNLOAD CODE

OFFICIAL RE-ISSUE OF GÖTZ TANGERDING'S BHAKTI JAZZ DEBUT ALBUM !!!

Born in Donauwörth, a small town in Bavaria in 1951, Götz Tangerding studied piano to concert level at the Leopold Mozart Conservatory in Augsburg. In the 1970s he started to make a name for himself on the local Munich jazz scene and traveled through East Europe with drummer Rudi Roth. In 1976 he came to New England Conservatory of Music in Boston to study compositions with George Russell and Jaki Byard with whom he played in the New York Big Band in 1978.

In 1980 he returned to Munich, Germany and founded his formation Bhakti Jazz as well his own record label Bhakti Records. "First Step", recorded at the Loft in Munich on May 1st and 2nd that same year, was the debut album and showcases the huge talent of the young and gifted band leader.

The two best known tracks are probably "Glimpses of Truth" and "Eastern Moods" which have been re-released back to back on 45RPM single by another german reissue label in the late 2000s. However, these are just two out of nine outstanding compositions from the prolific pianist to be found on this album. Tangerding's tasty style of playing, combined with the psychedelic maze created by his fellow band members on flute (Alan Ett), sax (Alan Ett again!), drums (Rudi Roth), and bass (Urs Hämmerli) plus Lisa Dawson's exotic vocal harmonies are sure grab your ear for a mind-blowing experience.

Götz Tangerding, who died much too young early in 1991, left us with dozens of wonderful compositons. "First Step" does not contain a single weak track. It's a true masterpiece and definitely one of the finest independent german jazz albums from the 1980s.

This is the first OFFICIAL RE-ISSUE - limited to 500 (HAND-STAMPED!) COPIES. The record is housed in a HIGH QUALITY TIP-ON record jacket and comes with a FULL ALBUM DOWNLOAD CODE.

Twelve years since Brendon Moeller first appeared on Delsin's Ann Aimee offshoot it's time for a welcome return to Delsin Records. The prolific producer, also active as Echologist and Beat Pharmacy, hereby presents one of his most deep going, spaced out and experimental modular works to date. Crispy noodling electronics diluted with Moeller's trademark minimalist dub scapes, reaching from the mesmerizing the rubbery basslines of 'Route' to the energizing fast paced rhythms of 'Motor'.

The ever-prolific ZOMBI return once again with a brand new classic rock covers album! ZOMBI & Friends, Vol. 1 sees the band faithfully covering tracks ranging from The Doobie Brothers, to The Alan Parsons Project, Dionne Warwick, and Neil Diamond! ZOMBI & Friends, Vol. 1 features guest appearances from members of The Sword, Trans Am, Pinkish Black, Zao and more!

The insanely-prolific (as well as simply, insane) DANGER BOYS are most likely no stranger to your ears. In the past few years, the Neapolitan duo of (Raffaele Arcella) WHODAMANNY and (Enrico Fierro) MILORD has churned out innumerable releases (both as solo artists and with their projects THE NORMALMEN and MYSTIC JUNGLE TRIBE, of which the duo comprises 2/3) that have infected dance floors the world over.

Here, the duo inhabits their latest incarnation/incantation: DANGER BOYS. The result: a postapocalyptic, post-punk, disco-not-disco masterpiece that sounds like a record you dug out of a dusty flea market bin in Mexico City in 1982 - or maybe 2082 - hard to truly say.

The EP starts off with the spaced-out chugger, Monsters From the Future - which drags you into their bizarre universe, before ratcheting up the tempo for the rest of the EP.

Next up is Mind Control Musique, which delivers an insanely catchy chorus sung in a non-existent language.

THEN - the B-side - where Danger Boys opt to sing in Spanish for two versions of Gringo Tropicana, a track which is already becoming a staple of numerous prominent DJ’s summer festival sets (including Bradley Zero, Yu SU, and Artwork, to name a few).

As always, Vinyl only. Picture sleeve with OBI strip.