Suche:pure pure music

We have opened the vault to bring to you for the first time on a 2CD set Roadrunner United ‘The Concert (Live at the Nokia Theatre, New York, NY, 12/15/2005)’, featuring members of Slipknot, Anthrax, Trivium, Machine Head, Fear Factory, Sepultura & more. Roadrunner United was a project organized by the heavy metal record label Roadrunner Records to celebrate its 25th anniversary. On December 15th, 2005, in New York City, the label produced the Metal Concert to end all Metal Concerts: 39 musicians, representing 25 different Roadrunner bands, performed 25 songs from 19 different bands’ repertoire. This unique and unprecedented aggregation of musicians was no jam session. Each song was studiously rehearsed and arranged, coming together with exuberant perfection, to produce a concert that can only be called “Legend.”

Conceived as a follow-up to the Roadrunner United All-Star recording sessions, the label recruited the core team of musicians (Dino Cazares, Adam Duce, Paul Gray, Joey Jordison, Andreas Kisser and Roy Mayorga) as the backbone of the performance. Sure enough, as they fine-tuned the songs and rehearsed them tirelessly, dozens of other musicians came on board.

This 3LP set represents the gathering of a community of musicians that spans the heavy metal history of the first 25 years of Roadrunner Records: from King Diamond to Slipknot and beyond. Those who were lucky enough to be there experienced a night they will never forget. For the first time as a live concert album, this 3LP set on red, white and black coloured vinyl is a chance to relive that special night again and again.

First time ever on vinyl - limited gatefold edition, 180-gram audiophile
pressing. One of the most highly acclaimed trio albums by New York pianist Bill Charlap,
originally released in 1997 on CD by Criss Cross and now reissued for the very first time on vinyl.

Widely known for his work on the Blue Note and Venus labels, his résumé includes performing with many of the leading artists of our time, ranging from Phil Woods, Gerry Mulligan, Wynton Marsalis, Freddy Cole and Houston Person, to singers Tony Bennett and Barbra Streisand. Charlap's album with Tony Bennett,The Silver Lining, The Songs of Jerome Kernwon them both Best Traditional Pop Vocal Album in the 58th Annual Grammy Awards.

Known also for his interpretations of American popular songs, Charlap he has recorded albums featuring the music of Hoagy Carmichael, Leonard Bernstein and George Gershwin.
Jazz critic Scott Yanow gave All Through The Night 4.5 stars on the online jazz platform AllMusic and described it as a superior modern mainstream set.

Bill Charlap: piano
Peter Washington: bass
Kenny Washington: drums

4x LP and Zine (ft. photos, historical text and track narrations by the artist) set. Nation bring it.
An essential delve in to the retrospective works of SSPS. Limited edition. No repress. HUGE TIP ON THIS!

" You can't fake the funk, as they say and SSPS is pure funk embodied in all he does, the man oozes the funk 24-7!
One of my earliest encounters with SSPS was at one of the infamous Rubulad parties out in Brooklyn....
the man was decked out extravagantly...a cross between Blowfly and some futuristic being zapped
down to earth directly from the P-Funk mothership. Who was this masked man?
The disco vampire, was beating fast disco tracks relentlessly while slamming in his 707 over the records in real time...
not an easy feat, the beauty of the imperfections making it that much more exciting hearing the gallop and wild energy
he was bringing to the crowd, we were eating it up. This is SSPS, fearless in his approach and execution,
a modernist looking to the future but rooted in the past, an artist committed to his art...
all presented with unhinged emotion. It's all or nothing...everything on the table....do or die...the true epitome of style!!!!

Declaring someone a "cult figure" or a "legend" is a huge weight to carry and is often a term that is carelessly thrown around,
but those of us who have dwelled in this "underground" over the last 30 years can say with confidence that SSPS is just that
to many of us, no questions asked, it's not up for debate.

Now, many years later we see the culmination of his electronic works from 2002-2021 committed to record in this 4xlp,
16 track boxed set (plus 45 page booklet) titled SSPS, "The Life and Times of GiGi Black" thus solidifying
Mr. Nicholson's place in the secret world of dance not dance music.

The only way to describe this offering is "full spectrum electronic musical madness" not to be categorized,
never to be pigeonholed, full of surprises and straight from the gut with a direct hit to the heart.
We could go on about the production processes, about his Furr City studio space or his cross country excursions
for work with a truck packed with paintings (but also his music equipment) plugging in and recording during his
pit stops in Motel 6's across the US. But again it doesn't do justice to simply have a small peek inside the man's mind...
the music is beyond the mind. The process is the process and nothing has or can stand in the way of what the SSPS
has done in his long musical life. Punk Rock, Hardcore, House, No-Wave, Industrial, Jakbeat/Slow-Beat and Noise.
it's all there for the taking, it's all intertwined. If you want it, you will find it within SSPS's works.

Nicholson's path is the embodiment of true culture within "dance music" cultivated from years of learning, experimenting,
and pushing the limits with total commitment and immersion. "The Life and Times of GiGi Black" is true life experience,
it is a reflection of someone delving deep into his craft and presenting it with care in opposition to the fast, disposable,
self gratifying click bait culture we see dominating the pages today. The proof is here, drop the needle, enter the world of SSPS.














n G2 1000 Truths Balearic Inaugural Mix

American singer-songwriter, poet, and photographer Thomas Meluch, known musically as Benoît Pioulard, returns with his most structured and vocal release to date. Titled »Eidetic,« a word denoting the ability to recall mental images with extraordinarily rich precision, the album presents unprecedented clarity and vitality for Benoît Pioulard. To access its thematic ground, Meluch looked inward with an affinity towards the people he loves during a period marked by his move from Seattle to Brooklyn in 2019. The resulting work engages with the universe's unflinching mortality and, as he says, »the ways it has modified and improved my relationships, especially with family.« Embodied by the creek, leaves, and ferns of the cover photography — taken in Michigan’s Burchfield Park, where he and his dad used to hike and »muse on existence« — the music glistens and unfurls with the flow of life he’s come to know. »Eidetic« is the culmination of Meluch's craft both as a producer and writer. An evocative sonic vocabulary meets deft lyrical introspection, articulated with the nuance, vulnerability, and confidence of a longtime artist hitting a stride.

Meluch has continually refined, redefined, and adjusted the focus of his gentle pop project over the last 20 years. Recorded primarily with guitar, tapes, and voice — and spanning labels with albums for Kranky, Morr Music, Beacon Sound, and Past Inside the Present — his catalog flows seamlessly between ambient improvisation and pop composition. Much like the analog photos that often accompany his releases, songs can feel dreamily softened and distant, and others beautifully vivid and detailed. 2021 full-length »Bloodless« found Meluch deep in droning decay, expressive yet wordless. With »Eidetic,« he swings back to sharpened forms. Lush banks of treated guitar and synth brush against hushed percussion; there is mist in the distance, but everything up close is intricately constructed and radiant. Meluch's voice is notably forward in the mix — a warm and calming tenor, a harmonic coo more than a whisper — ever-observant and actively processing.

To record much of the album, Meluch filled a cabin in rural Maine with his usual setup of simple percussion, a couple of Fender electrics, and a parlor guitar made by his friend who does bespoke luthier work. The modest utility is what he knows best, and here he pushes the output to its most pristine potential.

»Eidetic« opens in a swirl of familiar haze; »Margaret Murie« eases listeners in, as lush and verdant as the landscapes conserved by its famed namesake. With the setting established, Meluch, the narrator, enters the foreground with »Crux,« a tender piece written about finding new motivations in a new city. »We covet this rare green hue / Here at the farthest point from home,« he sings above a reassuring pattern of strums and percussion. Meluch's prose shines on the swiftly-moving »Nameless,« inspired by the neurological effects that came with the antiquated practice of manufacturing mercury mirrors; »folks would slowly go insane while looking into their own reflections every day,« he adds. The idea informs a series of surreal abstractions before everything drops out in the final minute, and we are left free-floating in eerie nothingness.

Across the album, labyrinthine lyrical ponderings scatter with dazzling imagery, artfully blurring scenes from world history with Meluch's more personal, present-day. The propulsive and earnest »Thursday Night« catches his mind overly active and too stoned, riffing on black holes and songwriting itself. »Halve« references the splitting of the atom, what he considers »the beginning of man's downfall,« and the unrealized initiative proposed by the US government that would have created 'nuclear refuges' in its national parks. Meluch's loved ones weave throughout; »Tet« holds his father's experience in Vietnam and its lasting effects. »Lillian Isola« touches on his maternal grandmother's spinal curvature, and »Pastel Dust« navigates the wake of his cat, who died on New Year's Eve 2020.

At first blush, Meluch's atmospheric and melodic sensibilities resonate purely in their own right. Upon closer meditation, his ability to render stories — many of which surround human tragedy, misfortune, and understanding — through the prism of his poetry makes »Eidetic« even more rewarding.

Dark Green Vinyl

American singer-songwriter, poet, and photographer Thomas Meluch, known musically as Benoît Pioulard, returns with his most structured and vocal release to date. Titled »Eidetic,« a word denoting the ability to recall mental images with extraordinarily rich precision, the album presents unprecedented clarity and vitality for Benoît Pioulard. To access its thematic ground, Meluch looked inward with an affinity towards the people he loves during a period marked by his move from Seattle to Brooklyn in 2019. The resulting work engages with the universe's unflinching mortality and, as he says, »the ways it has modified and improved my relationships, especially with family.« Embodied by the creek, leaves, and ferns of the cover photography — taken in Michigan’s Burchfield Park, where he and his dad used to hike and »muse on existence« — the music glistens and unfurls with the flow of life he’s come to know. »Eidetic« is the culmination of Meluch's craft both as a producer and writer. An evocative sonic vocabulary meets deft lyrical introspection, articulated with the nuance, vulnerability, and confidence of a longtime artist hitting a stride.

Meluch has continually refined, redefined, and adjusted the focus of his gentle pop project over the last 20 years. Recorded primarily with guitar, tapes, and voice — and spanning labels with albums for Kranky, Morr Music, Beacon Sound, and Past Inside the Present — his catalog flows seamlessly between ambient improvisation and pop composition. Much like the analog photos that often accompany his releases, songs can feel dreamily softened and distant, and others beautifully vivid and detailed. 2021 full-length »Bloodless« found Meluch deep in droning decay, expressive yet wordless. With »Eidetic,« he swings back to sharpened forms. Lush banks of treated guitar and synth brush against hushed percussion; there is mist in the distance, but everything up close is intricately constructed and radiant. Meluch's voice is notably forward in the mix — a warm and calming tenor, a harmonic coo more than a whisper — ever-observant and actively processing.

To record much of the album, Meluch filled a cabin in rural Maine with his usual setup of simple percussion, a couple of Fender electrics, and a parlor guitar made by his friend who does bespoke luthier work. The modest utility is what he knows best, and here he pushes the output to its most pristine potential.

»Eidetic« opens in a swirl of familiar haze; »Margaret Murie« eases listeners in, as lush and verdant as the landscapes conserved by its famed namesake. With the setting established, Meluch, the narrator, enters the foreground with »Crux,« a tender piece written about finding new motivations in a new city. »We covet this rare green hue / Here at the farthest point from home,« he sings above a reassuring pattern of strums and percussion. Meluch's prose shines on the swiftly-moving »Nameless,« inspired by the neurological effects that came with the antiquated practice of manufacturing mercury mirrors; »folks would slowly go insane while looking into their own reflections every day,« he adds. The idea informs a series of surreal abstractions before everything drops out in the final minute, and we are left free-floating in eerie nothingness.

Across the album, labyrinthine lyrical ponderings scatter with dazzling imagery, artfully blurring scenes from world history with Meluch's more personal, present-day. The propulsive and earnest »Thursday Night« catches his mind overly active and too stoned, riffing on black holes and songwriting itself. »Halve« references the splitting of the atom, what he considers »the beginning of man's downfall,« and the unrealized initiative proposed by the US government that would have created 'nuclear refuges' in its national parks. Meluch's loved ones weave throughout; »Tet« holds his father's experience in Vietnam and its lasting effects. »Lillian Isola« touches on his maternal grandmother's spinal curvature, and »Pastel Dust« navigates the wake of his cat, who died on New Year's Eve 2020.

At first blush, Meluch's atmospheric and melodic sensibilities resonate purely in their own right. Upon closer meditation, his ability to render stories — many of which surround human tragedy, misfortune, and understanding — through the prism of his poetry makes »Eidetic« even more rewarding.

Kate NV's WOW offers listeners a prismatic shift in perspective and scale, a parallel dimension in which the mundane becomes funny, unfamiliar, and altogether sensational. Turning the contents of her 2020 album Room for the Moon upside down and spilling them across a floor checkered with intrigue and surprise, Kate places sound, object, and ritual under the microscope to magnify the delight hidden in plain sight of everyday life. WOW is Kate Shilonosova's fourth full-length release as Kate NV in six years, and third for RVNG Intl. Her prolific musical output aligns with a highly attuned aesthetic and a deep commitment to visual world building. WOW is one of many of these worlds in which music is fully saturated with color, deeply tactile and textural. Shiny, sproingy, plastic. Where Room for the Moon embraced structure (abstractly speaking) and veered pop, WOW happily abandons conventional song shapes, parsing the experience of musical time into ecstatic fragments. It's difficult to imagine a more fitting album title: pure exclamation, an organic pitch of delight leaving the mouth, with no clear etymological links. On Room for the Moon, Shilonosova's voice was layered and lyrical, with sweeping and urgent melodies. WOW finds her as a peripheral purveyor of high jinks, peeking out from the corners, commenting on her surroundings in non-verbal, and arguably non-human, utterances. Instead of employing lyricism, Shilonosova steps outside of language, and rewards us with a gum ball machine of textures: soda fizz and wind-up teeth and scraps of bubble wrap become comically huge, as if heard from an insect's perspective. Words are tasty plosives, onomatopoeias, percussive chirps and one-liners, and singing serves as another form of what Shilonosova refers to as "funny tiny sounds." WOW skews and skitters, trips over its own feet and laughs about it, plays out of tune on purpose, tilts and leans like a top-heavy flower. Shilonosova is a longtime user of Found Sound Nation's Broken Orchestra sample pack, a sound catalog of over one thousand dilapidated instruments sourced from Philadelphia public schools. These perfectly imperfect instruments are tightly spliced into WOW's patchwork of synthesizer and reworked snippets of Shilonosova's friends playing clarinet, flute, and marimba. It's central to the record's internal logic: a disregard for what is, and isn't, broken, what is, and isn't, a sentence or a song. A commingling of subject and object, with a firmly new wave sensibility. Shilonosova has long had an unusual relationship with inanimate objects (citing her bicycle as her best friend), as if the joys they evoke for her are personality traits of the objects themselves. On WOW, she evinces a kind of inverted anthropomorphism: she shrinks her voice and becomes an object among multitudes, toylike in size and perspective, cohabitating with sedentary, indifferent roommates. This pursuit of childlike perspectives is a thread that runs through much of her catalog, and places her work on a plane with that of her personal hero Nobukazu Takemura, who for decades has treated his music as a portal to childlike curiosity, both in subject matter and tone. With an invitation to pursue this curiosity, WOW further confirms Kate NV's deeply inventive, fluid and technically dizzying artistry. By refusing constraints and rules, Shilonosova embodies a profound freedom, allowing objects, sounds, and processes to unfold organically; or, as she puts it, a commitment to "accepting randomness." She succeeds terrifically at a breed of auditory defamiliarization that is all her own, and the rewards for listeners are many: through her lens, the small becomes monstrous, the abstract becomes sensorial, and the old becomes new. Kate NV's WOW will be released on February 10, 2023 on vinyl and digital formats. On behalf of Kate NV and RVNG, a portion of the proceeds from this release will benefit War Child, an organization that supports children and their families impacted by conflict, and working to build sustainable peace for generations to come.

Yellow Vinyl

Kate NV's WOW offers listeners a prismatic shift in perspective and scale, a parallel dimension in which the mundane becomes funny, unfamiliar, and altogether sensational. Turning the contents of her 2020 album Room for the Moon upside down and spilling them across a floor checkered with intrigue and surprise, Kate places sound, object, and ritual under the microscope to magnify the delight hidden in plain sight of everyday life. WOW is Kate Shilonosova's fourth full-length release as Kate NV in six years, and third for RVNG Intl. Her prolific musical output aligns with a highly attuned aesthetic and a deep commitment to visual world building. WOW is one of many of these worlds in which music is fully saturated with color, deeply tactile and textural. Shiny, sproingy, plastic. Where Room for the Moon embraced structure (abstractly speaking) and veered pop, WOW happily abandons conventional song shapes, parsing the experience of musical time into ecstatic fragments. It's difficult to imagine a more fitting album title: pure exclamation, an organic pitch of delight leaving the mouth, with no clear etymological links. On Room for the Moon, Shilonosova's voice was layered and lyrical, with sweeping and urgent melodies. WOW finds her as a peripheral purveyor of high jinks, peeking out from the corners, commenting on her surroundings in non-verbal, and arguably non-human, utterances. Instead of employing lyricism, Shilonosova steps outside of language, and rewards us with a gum ball machine of textures: soda fizz and wind-up teeth and scraps of bubble wrap become comically huge, as if heard from an insect's perspective. Words are tasty plosives, onomatopoeias, percussive chirps and one-liners, and singing serves as another form of what Shilonosova refers to as "funny tiny sounds." WOW skews and skitters, trips over its own feet and laughs about it, plays out of tune on purpose, tilts and leans like a top-heavy flower. Shilonosova is a longtime user of Found Sound Nation's Broken Orchestra sample pack, a sound catalog of over one thousand dilapidated instruments sourced from Philadelphia public schools. These perfectly imperfect instruments are tightly spliced into WOW's patchwork of synthesizer and reworked snippets of Shilonosova's friends playing clarinet, flute, and marimba. It's central to the record's internal logic: a disregard for what is, and isn't, broken, what is, and isn't, a sentence or a song. A commingling of subject and object, with a firmly new wave sensibility. Shilonosova has long had an unusual relationship with inanimate objects (citing her bicycle as her best friend), as if the joys they evoke for her are personality traits of the objects themselves. On WOW, she evinces a kind of inverted anthropomorphism: she shrinks her voice and becomes an object among multitudes, toylike in size and perspective, cohabitating with sedentary, indifferent roommates. This pursuit of childlike perspectives is a thread that runs through much of her catalog, and places her work on a plane with that of her personal hero Nobukazu Takemura, who for decades has treated his music as a portal to childlike curiosity, both in subject matter and tone. With an invitation to pursue this curiosity, WOW further confirms Kate NV's deeply inventive, fluid and technically dizzying artistry. By refusing constraints and rules, Shilonosova embodies a profound freedom, allowing objects, sounds, and processes to unfold organically; or, as she puts it, a commitment to "accepting randomness." She succeeds terrifically at a breed of auditory defamiliarization that is all her own, and the rewards for listeners are many: through her lens, the small becomes monstrous, the abstract becomes sensorial, and the old becomes new. Kate NV's WOW will be released on February 10, 2023 on vinyl and digital formats. On behalf of Kate NV and RVNG, a portion of the proceeds from this release will benefit War Child, an organization that supports children and their families impacted by conflict, and working to build sustainable peace for generations to come.

“Mt. Hadamard National Park” is the Hallow Ground debut by composer, programmer, and instrument designer Matthias Puech. Informed by mathematical and artistic approaches that aim to both contemplate on and control complexity, the eponymous five-part composition explores natural and mystical forces through what he calls “audio-naturalist noise”. The composition is complemented by two further pieces that follow similar concepts: “Suspension” emulates the chemical phenomenon of the same name, while “Imperceptible Life” hinges on the musical possibilities of stridulation. Over the course of the entire album, Puech’s singular take on electro-acoustic and electronic music creates unique sonic spaces as much as it pays its dues to the unpredictability of the world that we inhabit. Jacques Hadamard was a pioneer among physicists and mathematicians who, in the early 20th century, were puzzled by processes that are deterministic but hard to predict. The sounds, arranged in sweeping and tense dynamics, serve as multiple agents within a complex system. The synthetic flora and fauna created through the use of the composer-performer’s instruments feels uncannily familiar or even disturbingly hostile at times... This process is mirrored in aquatic yet tangible sounds as well as dynamics that slowly converge towards density before the composition ends on a quiet note. The 14-minute-long “Imperceptible Life” is based on a 2019 live performance first conceived as a full-scale test drive of some new electronic equipment Puech was designing at that time. It explores the musical potential of stridulation, the act of creating sounds by rubbing together certain body parts—in the insect world, a common means of communication. Again, Puech’s approach is neither purely naturalistic nor only mimetic. Rather, “Imperceptible Life” offers yet another artistic reflection on the theme of chaos and order, and how human perception and emotion relate to it.As a whole, “Mt. Hadamard National Park” thus not merely mirrors natural phenomena but transforms them in ways that are emotionally evocative: the complexity and apparent arbitrariness of Puech’s compositions reveal an underlying beauty that is equal parts haunting and comforting.

Following well-received collaborative outings for us as 1/2 of the SF dynamo duo Moniker whose classic “Billy D” anthem and respective Patrice Scott remix graced the early catalog, followed by the galactic
flex Straylight EP with Cali brethren Dave Aju on velvet vocoder vox b/w a stellar Kai Alcé remix on the Another offshoot imprint, and of course his indelible contributions to the arrangements/derangement of the wondrous KAMM LP Cookie Policies, Kenneth Scott is essentially an extended family household name for our camp and so we’re beyond proud to present his initial solo release for the Circus Company label proper. Schooled as always in the deepest of electronic music roots and classiest of track traditions, the three pieces that form the Light Blooming EP puzzle display all the prized synth wizardry and production ingenuity we’ve come to expect from the Berlin-based veteran.
“Firesound” kicks us off in fine form, with a glistening array of pads and tight arpeggios that give way to a soulful funk strut that any fan of Detroit-style electro flavors will enjoy to the fullest. We then move to
the stylized 4/4 pulse of the aptly-titled “Lost Sonar”, an extended live set for Lost Sonar Collective skillfully condensed and finessed into a smooth-as-silk true deep house cut, where warm synth tones set the sound bed while shards of sharper percussion and angular textures flash and fizz throughout, creating an ultra-fresh contrasting feel while a rock-solid groove grinds us along faithfully. Scott then finally closes out the set with the powerful and titular “Light Blooming” which begins with a similar rising pad intro before unleashing fierce and raw overdriven drum programming, teasing us out to the two minute mark when the mighty sub bass line and multi-layered arps drop in to devastating effect, bubbling and building to a bold harmonic apex, before eventually bringing us down softly and somehow with ease
after such a glorious rise.
Filled with early-Warp feels and futurist sci-fi hopes in equal measure, the Light Blooming EP is three tracks of pure funk precision and expressive musical class from the man Kenneth Scott

Metropolis Metropolis three vinyl set is an abbreviated version of the most recent Electronic Music soundtrack for Fritz Lang's Metropolis (1927) by the Techno music producer and cultural icon Jeff Mills. Unlike his first soundtrack where tracks addressed specific segments of the film in a track listing form, which was created and released in 2001, this version is more a symbiotic mix of compositions that proposes a nuanced representation of the plot and storyline.

As an electronic symphonic music creation, Mills proposes a few interesting points in the schematics of this album. 1- the positioning and role of the listener as the soundtrack is based on the environment of the scenes, rather than pure transcription, 2 - as a storyline that takes place in the year 2000, the choice of sound elements refer to some future commonality and foresight between the genres of Classical and Electronic music - between man and machine.

And 3, in many parts of the soundtrack where sounds are played in unison. This is symbolic of the hopefulness the storyline works towards.

"Creating music for Fritz Lang's masterpiece film "Metropolis" over the many years has been and continues to be a great experience. The film is a story about "man vs man" with the help of a machine. It's dramatic theme is as relevant now as it was when the filmed debuted in 1927. A film to enjoyed, but also noted and examined." - Jeff Mills

»Holo« by the US-American three-piece Kiln, first released in 1998, is one of those rare records that managed to carve out a niche of its own while also building bridges to variety of genres like Chicago-style post-rock, the ambient mysticism of projects like Rapoon or the music made at the intersection of shoegaze, and electronic music in the late 1990s. Lush textures, subtle rhythms, jazzy inflections and electronic experimentation seamlessly blend into each other over the course of the eleven tracks. This reissue through the German label Keplar makes the fully revised version, self-released by the group in 2007 under the name »Holo re/lux,« available on vinyl for the very first time. »Twenty-five years later this newly mastered vinyl edition is evidence that the sound of ›Holo‹ continues to attract like-minded listeners,« says member Clark Rehberg III. »Which on many levels means that our mission was successful.«

Rehberg had embarked on this mission together with Kevin Hayes and Kirk Marrison in 1993. They had first worked together under the name Fibreforms as a live trio that used treated guitars, kit drums, and tapes of found sound to explore the balance between band composition and recording experiments, while Marrison made heavy use of the Akai S612 sampler as a fabricating strategy with the project Waterwheel. »Kiln seemed to encapsulate the evolution and melding of those previous approaches to one that insisted on the continual opening up of the compositional process, allowing more of the mystery that can be discovered through studio experiments—and accidents—to become important elements of creating our music,« says Rehberg of the trio that is still going strong after three decades. »The word Kiln implies heat and transformation, an attitude that we apply to every sound we use—we begin with notes and performance and then mosaic with shape and colour.«

»Holo« followed up on the trio’s debut self-titled EP that had been recorded in the summer of 1996. »That same year, during a lull in our collabs, Kirk began building pieces on a low-memory Mac using an early 8-channel DAW,« explains Rehberg. Enchanted by the unprecedented fidelity and energy of those recordings, the three reconvened to build upon them and make more music in that manner. »I’d say our intention was no different than any other time: create something immersive and compelling: dense melodic blasts of uniquely constructed but ultimately accessible audio moments.« The group worked individually and in pairs for about 18 months while being spread across the United States. »We poured everything into it that we had at the time, working dead-end jobs by day and on audio in every other open moment. I remember the struggle of that process, but also the pure joy as we pulled down countless moments of magic while the pieces took shape.«

Rehberg says that he still hears »a time-stamp of those efforts and the belief that we were creating a special audio experience« when listening back to »Holo,« a record the band itself chose to revise almost a decade after its initial release. »Ultimately we just felt those pieces needed more impact and we had the tools and ability to make that happen,« he explains. 16 years after that and a quarter of a century after it first introduced Kiln as a force to be reckoned with, the remastered version feels indeed timeless. It is both a snapshot of the first extensive album project by a group whose bond is still »diamond strong,« as Rehberg puts it, and a record that continues to sound fresh, if not visionary also today.

All tracks composed and recorded by Kevin Hayes, Kirk Marrison, Clark Rehberg III.
Originally released on Thalassa in 1998.
Remaster by Stephan Mathieu. Vinyl cut by LUPO.
Cover art by Kirk Marrison & Clark Rehberg III.
Text by Kristoffer Cornils.

Russell Small and DNO P jump on remix duties delivering an upbeat house music interpretation that will put your feet firmly on the dance floor and a smile across your face.

Russell Small has had a string of chart topping tunes with Phatts and Small and the Freemasons so this remix has a pedigree that is second to none.

LazerGirl is a Brighton based European Electronic Dance Music singer and songwriter. She is bright and full of sass, just like her music. Her pulse racing dance music with a euro twist allows her to stand out from the crowd as her style is fresh and catchy and each song is packed full of energy.

Brighton producer and DJ Steve Mac delivers a full on acid house excursion with his stylish remix of LazerGirl's "Tocarme".

Steve Mac has a prestigious bio and discography that most producers can only dream about and this remix exudes all the class you would expect from an artist of this calibre.

With its feet planted firmly in 2020, the remix effortlessly transports you back to the second summer of love combining the old school with the new decade.

Pure Class!

Pure Adult are a Brooklyn-based experimental rock duo formed
by Jeremy Snyder and Bianca Abarca. At the centre of their
music is the far-left political ethos and DIY attitude the pair
share.
Having grown up in the unusually sheltered environment of a
church-turned-cult, Snyder has always found himself drawn to
the harsh, dissonant music that was off-limits during his
formative years. In 2017, he and contemporary dancer and
visual artist Bianca Abarca formed Pure Adult, who released
their debut EP, ‘Pure Adult I’, in 2019. Now they are set to
release their debut album, ‘II’, on FatCat Records.
After leaving the church in 2007, Jeremy began studying
religion, philosophy and politics whilst working as a sound
engineer. “I ended up touring with some small pop rock bands,
while my studies brought me through an array of beliefs and a
far-left political worldview. While I’ve identified as a communist
for almost 20 years now, I didn’t fully give up on religious belief
until around 2010. A fundamental element to our belief system
was this sort of unverifiable feeling that must be something and,
because I’ve experienced that feeling, virtually nothing can
make me deny it. And it’s comforting, in a world of quantifiable
uncertainty, a guise of certainty,” he says.
In more recent years, Jeremy has become the engineer of
choice to internationally acclaimed acts such as Mdou Moctar
and IDLES, both of whom are big fans of Pure Adult. IDLES
lead singer Joe Talbot says of the band’s forthcoming album:
“Pungent chaos that serves no pomp, instead it throws around
dark innuendo like a rag doll to the cadence of fury and fucking.
The best album I’ve heard in ages. The best band you haven’t
seen. Go dig, it’s beautiful at its worst.”
As well as the release of their debut album at the start of 2023,
Pure Adult are also preparing to release a collaborative EP with
Gustaf, Thank and Heavy Lungs in the Spring. They will support
Gilla Band on tour in the US early next year.
“Blown-out, hyperactive, aggressive, and danceable rock
informed by punk and post-punk.” - Brooklyn Vegan
“A furious piece of work” - Steve Lamacq, 6 Music

Parisian quintet En Attendant Ana have dazzled since day one. From the muted strains of their 2016 EP "Songs From The Cave", to the assured 2018 TiM debut "Lost & Found", to the sparkling refrains of "Juillet"; released just before the world collapsed around us, and which stood as the band's rebirth and purest statement of their music ambitions - until now. "Principia" is the band's third album and is without a doubt their best yet. Bandleader & principal songwriter Margaux Bouchaudon's voice anchors many of the songs on "Principia", her crystalline delivery ringing out like a bell as the band swoons & sways beneath her. The songs on "Principia" were composed from a place of confusion about the state of the world and her place in it, looking outward and inward for answers. They question our perception of others, the one they have of us and finally the one we have of ourselves in a society where the individual is king and the group is forgotten. Guitarist Max Tomasso - newly joined just before the recording of "Juillet"- feels more "moved-in" on these tunes, his sly guitar-work gliding effortlessly through. No showboating - only prickling at the precise moment necessary in suit of the song itself. New member Vincent Hivert (their touring sound man, Hivert joined the group just as touring was underway for "Juillet", replacing founding member Antoine Vaugelade)'s bass-work is rubbery & flexible, bouncing around and thru the melodies on a rhythmic sugar-high, practically urging on drummer Adrien Pollin's metronomic swing. The band's secret weapon, multi-instrumentalist Camille Frechou's trumpet & saxophone are more present & considered in the arrangements, adding a new layer of sophistication to the group's already debonair indie pop. Her beatific harmonies add a yearning to Bouchaudon's lilting phrases; sometimes uplifting, other times melancholic. Bouchaudon says "One of the most important points we tried to focus on was the place given to each instrument. For the first time, we withdrew parts, we were careful not to play everyone at once and I think that the result is a much lighter album in which every musician has a specific place and moment". But this album is also the first one to have been shaped entirely by the band, from the conception to the production. The meeting of Vincent Hivert and Margaux Bouchaudon gave birth to a duet in which the technical and artistic aspects were intertwined from the very beginning of the conception of "Principia". Apart from reshaping En Attendant Ana's dynamic, Vincent Hivert was able to think as a musician and producer as soon as they started working on Margaux Bouchaudon's demos which brought a new dimension to their music. The two of them recorded and mixed the album together reuniting their references and artistic goals. "Principia" is a great step forward without sacrificing the things that make the band unique. The nods to French pop (both current & classic) still permeate the proceedings, and the group's penchant for Anglo-Saxon indie pop from The Nineties (think Electrelane, Stereolab, American Analog Set) still rings out, but there's an air of - dare we say - maturity in "Principia"s twelve songs. The group always felt a little 'out-of' and 'ahead-of' its time, but tunes like "Wonder" "The Cutoff" and "Same Old Story" are cinematic and romantic, and absolutely feel like the next great phase of an already great band.

Peach Vinyl

Parisian quintet En Attendant Ana have dazzled since day one. From the muted strains of their 2016 EP "Songs From The Cave", to the assured 2018 TiM debut "Lost & Found", to the sparkling refrains of "Juillet"; released just before the world collapsed around us, and which stood as the band's rebirth and purest statement of their music ambitions - until now. "Principia" is the band's third album and is without a doubt their best yet. Bandleader & principal songwriter Margaux Bouchaudon's voice anchors many of the songs on "Principia", her crystalline delivery ringing out like a bell as the band swoons & sways beneath her. The songs on "Principia" were composed from a place of confusion about the state of the world and her place in it, looking outward and inward for answers. They question our perception of others, the one they have of us and finally the one we have of ourselves in a society where the individual is king and the group is forgotten. Guitarist Max Tomasso - newly joined just before the recording of "Juillet"- feels more "moved-in" on these tunes, his sly guitar-work gliding effortlessly through. No showboating - only prickling at the precise moment necessary in suit of the song itself. New member Vincent Hivert (their touring sound man, Hivert joined the group just as touring was underway for "Juillet", replacing founding member Antoine Vaugelade)'s bass-work is rubbery & flexible, bouncing around and thru the melodies on a rhythmic sugar-high, practically urging on drummer Adrien Pollin's metronomic swing. The band's secret weapon, multi-instrumentalist Camille Frechou's trumpet & saxophone are more present & considered in the arrangements, adding a new layer of sophistication to the group's already debonair indie pop. Her beatific harmonies add a yearning to Bouchaudon's lilting phrases; sometimes uplifting, other times melancholic. Bouchaudon says "One of the most important points we tried to focus on was the place given to each instrument. For the first time, we withdrew parts, we were careful not to play everyone at once and I think that the result is a much lighter album in which every musician has a specific place and moment". But this album is also the first one to have been shaped entirely by the band, from the conception to the production. The meeting of Vincent Hivert and Margaux Bouchaudon gave birth to a duet in which the technical and artistic aspects were intertwined from the very beginning of the conception of "Principia". Apart from reshaping En Attendant Ana's dynamic, Vincent Hivert was able to think as a musician and producer as soon as they started working on Margaux Bouchaudon's demos which brought a new dimension to their music. The two of them recorded and mixed the album together reuniting their references and artistic goals. "Principia" is a great step forward without sacrificing the things that make the band unique. The nods to French pop (both current & classic) still permeate the proceedings, and the group's penchant for Anglo-Saxon indie pop from The Nineties (think Electrelane, Stereolab, American Analog Set) still rings out, but there's an air of - dare we say - maturity in "Principia"s twelve songs. The group always felt a little 'out-of' and 'ahead-of' its time, but tunes like "Wonder" "The Cutoff" and "Same Old Story" are cinematic and romantic, and absolutely feel like the next great phase of an already great band.

Tape
Parisian quintet En Attendant Ana have dazzled since day one. From the muted strains of their 2016 EP "Songs From The Cave", to the assured 2018 TiM debut "Lost & Found", to the sparkling refrains of "Juillet"; released just before the world collapsed around us, and which stood as the band's rebirth and purest statement of their music ambitions - until now. "Principia" is the band's third album and is without a doubt their best yet. Bandleader & principal songwriter Margaux Bouchaudon's voice anchors many of the songs on "Principia", her crystalline delivery ringing out like a bell as the band swoons & sways beneath her. The songs on "Principia" were composed from a place of confusion about the state of the world and her place in it, looking outward and inward for answers. They question our perception of others, the one they have of us and finally the one we have of ourselves in a society where the individual is king and the group is forgotten. Guitarist Max Tomasso - newly joined just before the recording of "Juillet"- feels more "moved-in" on these tunes, his sly guitar-work gliding effortlessly through. No showboating - only prickling at the precise moment necessary in suit of the song itself. New member Vincent Hivert (their touring sound man, Hivert joined the group just as touring was underway for "Juillet", replacing founding member Antoine Vaugelade)'s bass-work is rubbery & flexible, bouncing around and thru the melodies on a rhythmic sugar-high, practically urging on drummer Adrien Pollin's metronomic swing. The band's secret weapon, multi-instrumentalist Camille Frechou's trumpet & saxophone are more present & considered in the arrangements, adding a new layer of sophistication to the group's already debonair indie pop. Her beatific harmonies add a yearning to Bouchaudon's lilting phrases; sometimes uplifting, other times melancholic. Bouchaudon says "One of the most important points we tried to focus on was the place given to each instrument. For the first time, we withdrew parts, we were careful not to play everyone at once and I think that the result is a much lighter album in which every musician has a specific place and moment". But this album is also the first one to have been shaped entirely by the band, from the conception to the production. The meeting of Vincent Hivert and Margaux Bouchaudon gave birth to a duet in which the technical and artistic aspects were intertwined from the very beginning of the conception of "Principia". Apart from reshaping En Attendant Ana's dynamic, Vincent Hivert was able to think as a musician and producer as soon as they started working on Margaux Bouchaudon's demos which brought a new dimension to their music. The two of them recorded and mixed the album together reuniting their references and artistic goals. "Principia" is a great step forward without sacrificing the things that make the band unique. The nods to French pop (both current & classic) still permeate the proceedings, and the group's penchant for Anglo-Saxon indie pop from The Nineties (think Electrelane, Stereolab, American Analog Set) still rings out, but there's an air of - dare we say - maturity in "Principia"s twelve songs. The group always felt a little 'out-of' and 'ahead-of' its time, but tunes like "Wonder" "The Cutoff" and "Same Old Story" are cinematic and romantic, and absolutely feel like the next great phase of an already great band.

"During the recording of TOTALLY, we were having a blast and the music just kept rollin' out so we decided to also put together a tasty EP. Guests Mario Lalli on STÖNER Theme and Greg Hetson of Circle Jerks and Bad Religion on our version of the Motorhead/Pink Fairies classic City Kids makes this EP extra sweet. Jump in and let's BOOGIE TO BAJA! If the name Stöner seems a little on the nose, well_ it is. Brant Bjork and Nick Oliveri, founding members of the stoner rock legend Kyuss, are joined again by drummer Ryan Güt (of Bjork's solo band) and they've got dibs on the thick and dusty swinging grooves, returning as Stöner with their sophomore release "totally_" Stöner's love for their early inspirations (bands like Blue Oyster Cult, Kiss, Ramones, Blue Cheer, Misfits, Black Flag, The Stooges, MC5) result in big, groovy, sunbaked riffs that can cruise low and slow but then floor it and run all the red lights. Live, this is a band about the magnetism between the players, the groove, the loose vibe and straight up badass rock and roll_ Stöner are masters of their trade. With "totally..." Stöner is in its true form, getting together and having fun. Stöner's world is a colorful joyride, heavy of rock but not of head. The record cranks with vibes of classic hard rock, heavy blues, desert rock and psych rock jams - things that come organically to this trio Stöner can't help but express an abundance of punk rock rawness and passion for real rock and roll swagger. With two records, "Live at Mojave" and "Stoners Rule" (available on Heavy Psych Sounds), the latest release "totally..." sees the band realizing the chemistry of these old friends developing a statement of pure rock and roll fun.

LTD Violet Vinyl

"During the recording of TOTALLY, we were having a blast and the music just kept rollin' out so we decided to also put together a tasty EP. Guests Mario Lalli on STÖNER Theme and Greg Hetson of Circle Jerks and Bad Religion on our version of the Motorhead/Pink Fairies classic City Kids makes this EP extra sweet. Jump in and let's BOOGIE TO BAJA! If the name Stöner seems a little on the nose, well_ it is. Brant Bjork and Nick Oliveri, founding members of the stoner rock legend Kyuss, are joined again by drummer Ryan Güt (of Bjork's solo band) and they've got dibs on the thick and dusty swinging grooves, returning as Stöner with their sophomore release "totally_" Stöner's love for their early inspirations (bands like Blue Oyster Cult, Kiss, Ramones, Blue Cheer, Misfits, Black Flag, The Stooges, MC5) result in big, groovy, sunbaked riffs that can cruise low and slow but then floor it and run all the red lights. Live, this is a band about the magnetism between the players, the groove, the loose vibe and straight up badass rock and roll_ Stöner are masters of their trade. With "totally..." Stöner is in its true form, getting together and having fun. Stöner's world is a colorful joyride, heavy of rock but not of head. The record cranks with vibes of classic hard rock, heavy blues, desert rock and psych rock jams - things that come organically to this trio Stöner can't help but express an abundance of punk rock rawness and passion for real rock and roll swagger. With two records, "Live at Mojave" and "Stoners Rule" (available on Heavy Psych Sounds), the latest release "totally..." sees the band realizing the chemistry of these old friends developing a statement of pure rock and roll fun.

Violet Vinyl

"During the recording of TOTALLY, we were having a blast and the music just kept rollin' out so we decided to also put together a tasty EP. Guests Mario Lalli on STÖNER Theme and Greg Hetson of Circle Jerks and Bad Religion on our version of the Motorhead/Pink Fairies classic City Kids makes this EP extra sweet. Jump in and let's BOOGIE TO BAJA! If the name Stöner seems a little on the nose, well_ it is. Brant Bjork and Nick Oliveri, founding members of the stoner rock legend Kyuss, are joined again by drummer Ryan Güt (of Bjork's solo band) and they've got dibs on the thick and dusty swinging grooves, returning as Stöner with their sophomore release "totally_" Stöner's love for their early inspirations (bands like Blue Oyster Cult, Kiss, Ramones, Blue Cheer, Misfits, Black Flag, The Stooges, MC5) result in big, groovy, sunbaked riffs that can cruise low and slow but then floor it and run all the red lights. Live, this is a band about the magnetism between the players, the groove, the loose vibe and straight up badass rock and roll_ Stöner are masters of their trade. With "totally..." Stöner is in its true form, getting together and having fun. Stöner's world is a colorful joyride, heavy of rock but not of head. The record cranks with vibes of classic hard rock, heavy blues, desert rock and psych rock jams - things that come organically to this trio Stöner can't help but express an abundance of punk rock rawness and passion for real rock and roll swagger. With two records, "Live at Mojave" and "Stoners Rule" (available on Heavy Psych Sounds), the latest release "totally..." sees the band realizing the chemistry of these old friends developing a statement of pure rock and roll fun.

Daddies of riff, shuffle, southern swing, with backbeat and chicken funk spiel, all very much "Sons of Memphis", these six established performers, in the pure Stax/Atlantic style, produce a profound Deep Soul, held together by a hot and groovy bass, a V8 drumbeat, a possessed trombone, a charismatic and powerful lead vocal, and a roaring Hammond Leslie united with the spring reverb guitar and its 60"s tremolo. Zoot suit, black and white Derbys, dark glasses, this Take 6 knows the song, the story and all the strings of the Soulman with that little added extra, the irresistible French touch embellished by their roots in the Bearn, in the Pyrenees. This energetic combo creates fireworks on stage and through them Deep Soul remains what it has always been, a music of hope! Of sharing! Music of the soul! The soul revelation of 2021/2022!! The SuperSoul Brothers began in 2016 as a quartet (bass, drums,guitar, vocals) working relentlessly through the year, with rehearsal after rehearsal. In 2017 came their first concert. The keyboards arrived in 2018. The final balance came in 2019 with the arrival of the trombone. Take 6 was the magical formula. In 2020 their first album, "Shadows and Lights" was written and recorded old-school style. That summer, they fronted the NEG "MARRONS at the Pau Summer Festival. In 2021 they signed with Dixiefrog Records and released their first global album, "Shadows and Lights". The newly created stage show, "Soul Revue" is ready to roll.