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Soul Jazz Records’ new oxblood red coloured vinyl
LP (plus download code) issue of this very rare
deep spiritual jazz album, first released as a
private-press album in 1970 on flautist Lloyd
McNeill’s own Asha Record label in Washington
DC.
Lloyd McNeill is an African-American flautist,
painter, poet and photographer born in Washington
D.C., in 1935. His multi-disciplinary creative life led
to encounters and friendships with Nina Simone,
Picasso, Eric Dolphy, Nana Vasconceles and other
legendary cultural figures. Lloyd McNeill’s hypnotic
‘Washington Suite’ was originally commissioned as
a piece of music for the Capital Ballet Company, in
Washington.
McNeill grew up through the era of the Civil Rights
Movement in the 1960s and his life and work is a
reflection of those ideals. In the mid-1960s he
moved to France where he became friends with
Picasso, working with a number of émigré-jazz
musicians whilst living in Paris. In the late 1960s
he taught jazz and painting workshops at the New
Thing Art and Architecture Center in Washington.
In the 1970s he travelled throughout Brazil and
West Africa studying music and taught music
anthropology in the US.

Red Vinyl

Out of any classification of musical genre, "Confusional Quartet" is a distillation of the creativity and freedom of expression that in 1977 put Bologna at the center of the international cultural scene. This record places the Confusional Quartet in the history of Italian alternative music.

Repress

Big reissue of Woody McBrides ultra-rare Nimbus Quartet double pack from 1995

"Stunning travels through the free-jazz classic extravagaza. An incredible mental approach featuring Franz Beckerlee, Hugh Steinmetz, Steffen Andersen and afro-american drummer Sonny Murray. A must have collectable record."

This new quartet recording by saxophone maestro Evan Parker is the first for many years to be released on vinyl. Parker, one of the great
post-Coltrane saxophonists, has played a monthly gig at the London club The Vortex, for a considerable time.
Evan called these events his ‘jazz’ gigs and it seemed that the trio’s performance came close to seeing Coltrane or Ayler playing at the 5 Spot or one of the legendary New York venues. When Cadillac asked Evan if he would record an album for the label, it was this aspect of his multifaceted talents they had in mind. The quartet you hear on this album (with Paul Lytton, John Edwards and Alexander Hawkins) came together for a gig at the Vortex in Evan’s regular slot on June 20th 2019, and what a fine gig it was!
Then the next day they relocated to the beautiful barn-like studio of Rimshot, deep in the Kent countryside to record the album. The location, close to Evan’s home, had other resonances, which journalist Chris Searle has described in his
sleevenote. The subsequent (and over long) process of mastering and producing the album coincided with the first Covid lockdown and the coincidence of Evan and Mike @ Cadillac both reading Defoe’s “Journal of the Plague Year”, which provided context and some track titles.
This put in mind of Stephen Fowler’s brilliant rubber stamp artwork, and he has created a visual representation that expresses many of the themes of the
album.

Fingerpoppin’ Records The Dave Brubeck Quartet With Paul Desmond / Live In Indiana 1958 Limited Edition Audiophile Pressing
180gr. Premium Vinyl
Following the year-long world tour set up by the State Department, The Dave Brubeck Quartet returned to the United States in 1958 full of new ideas. The group had played in England, Germany, Scotland, Denmark, Belgium, Holland, Turkey, Pakistan, India, Afghanistan, Iran and Iraq, and the music they heard in those places would inspire Brubeck to compose the pieces that would be featured on the album Jazz Impressions of Eurasia.
A few days before taping that studio album, the group performed most of its tunes in Indiana, during the French Lick Jazz Festival, a set heard here in its entirety. A wonderful performance by the same group at the 1960 Newport Jazz Festival and a rare live reading of the classic “Take Five” have been added as a bonus.
PAUL DESMOND, alto sax; DAVE BRUBECK, piano; EUGENE WRIGHT, bass; JOE MORELLO, drums. Recorded live at the French Lick Jazz Festival, Indiana, August 17, 1958.

December 4th, 2020 -- THE LICKERISH QUARTET — Band members of Noel Gallagher's High Flying Birds, Slash’s Snake Pit, Finn Brothers, Alice Cooper, Air Beck – and all formerly of Jellyfish – reunite for 2 nd EP with their first official UK release. Roger Joseph Manning Jr., Tim Smith and Eric Dover are excited to announce their highly anticipated THREESOME VOL.2 EP, to be released 8 th January 2021, will be their first on British indie label Lojinx. The first single, “Snollygoster Goon,” is out now. Of “Snollygoster Goon” Eric Dover says “The music is Adderall-based, in theory, to reflect the absolute breakneck speed at which the corruption flourishes. A frenetic forensic foray into classic old-as-civilization themes involving greed, graft and corruption as applied to any political sphere. The snake oil salesman kissing babies, the saccharine unimaginative public image.” The new release is, naturally, the follow-up to their debut EP, THREESOME VOL.1 - lauded by critics as “a masterpiece” - which was released in May 2020 in the US. With song titles “Snollygoster Goon,” “The Dream That Took Me Over,” “Sovereignty Blues,” and “Do You Feel Better?” Manning, Smith, and Dover’s undeniable chemistry can once again be found throughout THREESOME VOL.2. The songs formed from the same sessions that begun in 2017 offer a slinky and feisty landscape of temptation, freedom of thought, hope and dreams, and a shout out to all who game the systems. An edgy second round of soaring vocals, angular guitars, and pulsing drums, enveloped by timeless keyboard arrangements requires multiple listens to appreciate fully. Manning, Dover and Smith ruminate on the other 3 new songs: “Do You Feel Better?” as told by Tim Smith: A romp along the primrose path of temptations, internal and external, real or imagined, the tiny demons we dance with throughout our lives. A pulsing bass and hypnotic guitar rhythm plays like the backing band to a striptease you’ve sneaked into, and don’t know where to sit, but all are welcome! Some things are more dangerous than others, of course, but this song is sort of a combination of letting your guard down, because of preconceived notions of what’s right or wrong, and justification of actions you think you understand to have under control. Who knows? Experiences do give us perspective, and this song tries to play between the id and superego - a Screwtape letter demon, and an Angel of Mercy. “Sovereignty Blues” as told by Roger Joseph Manning Jr.: “Fears fire’s all they’re fanning, but I won’t light up their fuse.” A tale as old as humanity. Group control over another through the tried and true tactic of fear. And always partnered with a fatal dose of “divide and conquer.” But who’s actually pulling the levers and pushing the buttons of the propaganda machine behind the Wizard of Oz’ curtain of crowd control, so to speak? “THREESOME VOL.2 finds our threesome in fine form, with four new songs to get you through COVID times and beyond!”

In the American midwest, the two weeks or so in mid-Spring that brings the year's most vibrant crop of edible mushrooms coincides with the busiest season for a few of it's most deceptively poisonous fungi: the false morels. Bearing a pale stalk and a halo of cerebral folds, they look like a lot of similar mushrooms, but if you can't identify them for what they are, and treat them the right way, consuming even small quantities can cause vertigo, vomiting, and organ failure.

Lemon Quartet probably weren't thinking about mushrooms when they made their debut album Crestless, but the false morels still provide a window into understanding their music. When you catch their intricately arranged instrumentals at a glance, you can see flashes of other airy artists — they trade in compositional ruffles that may feel familiar to followers of Gigi Masin or any number of releases on Valley of the Sun — but there's this deep, dark something hiding in the record's shadowy corners.

It's not poison though, just a mycelial complexity that begs that you take each piece and study its contours as you take and eat. The work that you put in makes it feel all the more nourishing.

This is Jack Wilson's debut album as a bandleader, originally released in 1963 for Atlantic label, featuring a young Roy Ayers on vibraphone, bassist Al McKibbons and drummer Nick Martinis. Jack Wilson was a fine and often underrated pianist and composer who played with many great names such as Gene Ammons, Jacki Mclean, Esther Phillips, Lou Rawls, Johnny Griffin, Ertha Kitt, Lambert Hendricks & Ross, Antonio Carlos Jobim... This is a lively studio session opening up with a beautiful rendition of Jobim's classic "Corcovado" and followed by WIlson's five originals. A great debut album full of warm, sophisticated and yet highly dynamic Jazz vibes.

Hot on the heels of solo concerts to commemorate the 20th birthday of her debut album Mud Stories, An Pierle returns with a brand new Quartet album that proves that looking back was no retro exercise. Together with life/musical partner Koen Gisen and jazz youngsters Hendrik Lasure & Casper Van De Velde (schntzl, warm bad, Bombataz,...) she now presents Wiga Waga, an adventurous new album that juggles playfulness and experimentalism.

The songs sound familiar and bear the Pierle mark, even though they uncover hereto unexplored territory. Inspired by a newly-found enthusiasm and inquisitive spirit, the musicians came up with a batch of songs that revisit familiar themes and atmospheres, but dress them up with an invigorating eclecticism. Working as a real 'band', the quartet sets out for a new, collective identity. It is not jazz in the classic sense, but it contains the imagination, freedom and constant renewal of the genre, and it works like a charm.

The album was intended as an experiment using musical styles Brubeck discovered abroad while on a United States Department of State sponsored tour of Eurasia, such as when he observed in Turkey a group of street musicians performing a traditional Turkish folk song that was played in 9/8 time, a rare meter for Western music. Columbia president Goddard Lieberson took a chance to underwrite and release Time Out. It received negative reviews by critics upon its release, but despite this, it became one of the best-known and biggest-selling jazz albums, charting highly on the popular albums chart when 50,000 units sold for a jazz album was impressive. It consequently produced a Top 40 hit single in "Take Five", composed by Paul Desmond, and the one track not written by Dave Brubeck. The cover art is just as important as the LP itself featuring specific artwork created by S. Neil Fujita best known for his covers for CBS Records, which introduced abstract art to jazz LP packaging.

Beyond the striking photography of the cover artwork, a cursory glance at this LP may appear misleading. One could be forgiven in thinking that what they had discovered was of a more obvious British provenance, but on closer inspection the truth is revealed… London in fact refers to London, Canada, an artistic hotbed that famously spawned the highly influential insurgent noise ensemble, 'The Nihilist Spam Band'. Less celebrated yet equally remarkable was the improvisational powerhouse 'The London Experimental Jazz Quartet', a short lived group led by the forward thinking saxophonist Eric Stach.

Their debut album, Invisible Roots is an overlooked jewel from the Canadian jazz scene. Inspired by the revolutionary artists from the New York free-jazz movement, (namely Ornette Coleman, Archie Sheep and Cecil Taylor), and fuelled by the exciting possibilities afforded by a completely free approach to music, Invisible Roots is an album of potent spontaneous composition, exhibiting both fiery unharnessed blowing alongside lyrical streams of consciousness. In recent years, the album has achieved notoriety in certain record collecting circles mainly due to the track Destroy The Nihilist Picnic, an infectious piece of vamping avant-funk. Despite the commanding presence of this track, it would be misguided to judge the merits of the album on this piece alone, for Invisible Roots is a much deeper and more complex musical statement. This is confirmed by the Iberian-jazz sketch, Spain Is For Old Ladies, the spiritual introspection of Jazz Widows Waltz or the ferocious yet soulful Eric's Madness, a track which wouldn't be out of place on an ESP-Disk or BYG Actuel album. Behold, a rare piece of fire music from the Canadian Free-Jazz underground.

First LP reissue of rare 1974 Canadian Free Jazz album.
Featuring the Avant-Funk classic 'Destroy The Nihilist Picnic'
Includes liner notes and rare photos.
Tip-on sleeve

Following the 2020 release of RoundAgain, Nonesuch reissues on vinyl Joshua Redman's first album with his own band — pianist Brad Mehldau, bassist Christian McBride, and drummer Brian Blade — originally released in 1994. MoodSwing was Redman’s third recording as a band leader and his first featuring all-original compositions. The young saxophonist sought to change what he believed to be the public perception of jazz — a largely academic and overly intellectualized form of music devoid of the emotional themes that drive many other genres. As he explains in the original liner notes, jazz was seen as, “an elite art form, reserved for a sophisticated intelligentsia who rendezvous in secret.” With MoodSwing, Redman makes the case that jazz can be an accessible musical medium that could evoke basic and visceral emotional reactions.

From the playfully coy ‘Chill’ to the urgent energy of ‘Rejoice’, Redman offers up a communicative and inspired record ofemotional diversity. Joining him in this task was a young band of his peers, all of whom have since become established and esteemed figures in jazz. MoodSwing was one of the first exposures the jazz community had to young pianist Brad Mehldau, then beginning his career in Redman’s quartet. Mehldau anchors these compositions behind Redman’s lyrical playing, occasionally stepping out front to show his talents in ‘The Oneness of Two (In Three)’ and ‘Past in the Present’. The band’s rhythm section has since been recognized as one of jazz’s best, with Christian McBride on bass, and then little-known Brian Blade on the drums.

As the follow-up to his breakout Wish, MoodSwing was universally praised by critics and enjoyed commercial success, selling over 300,000 units worldwide. Entertainment Weekly wrote, ‘saxist Redman finds ingenious ways of creating a modeof acoustic jazz that is both entertaining and enlightening.’ This record continues to provide a cornerstone for Redman’s currentcareer; many of these compositions are still featured in the saxophonist’s live sets today.

Redman’s previously announced European summer 2020 tour dates with Mehldau, McBride and Blade have been rescheduled for 2021, including London’s Barbican, now on July 11.

This previously unreleased recording features the legendary saxophonist Dexter Gordon with his quartet, George Cables (piano), Rufus Reid (bass) and Eddie Gladden (drums), captured live at the Chateauvallon
Jazz Festival in 1978.
Included in the 2 CD set, is a 16-page booklet containing rare photos, and special essays by famed jazz producer Michael Cuscuna, Penguin Guide to Jazz’s Brian Morton and Gordon’s widow, Maxine.
“The original quartet was at its peak from its first notes to its last gig, as this concert bears out. Dexter is in a joyous and fiery mood, peppering his solos with outrageous quotes from other songs and stretching out. Few recordings by this amazing foursome have surfaced. This concert is a worthy addition to their discography.” Michael Cuscuna

This previously unreleased session from 1988 features the French saxophonist Barney Wilen and the Spanish pianist Tete Montoliu. Recorded live at the Grenoble Jazz Festival they are accompanied by Riccardo Del Fra on bass and Aaron Scott on drums.
The programme of standards includes ‘Round Midnight, Summertime, Someday My Prince Will Come and All The Things You Are.
“To my knowledge, Barney Wilen and Tete Montoliu had never played together before. The uniqueness of the event gives it even more flavour.”
Philippe Vincent

Gondwana Records are delighted to announce parts 3 and 4 of the '7" Series', our first ever 7" vinyl collection series. Featuring bespoke artwork from Gondwana Records designer Daniel Halsall, cut at Calyx in Berlin, and manufactured at Optimal, each 7" is limited to strictly 300 copies and housed in a reverse board printed sleeve with classic 'dinked' centre holes.

The return of Portico Quartet was one of the musical stories of 2017 and Endless was one of the tunes of the year. It's one of the band's biggest tunes and on the flip here is the ethereal groover Undercurrent.

Side A Endless A catchy earworm, with a hypnotic groove that announced the band's return to their signature sound and marked their first new music in five years

Side B Undercurrentcut at the same session, and making it's vinyl debut after previously only being available as a Japanese bonus track.

The legendary Monk's quartet appearance at the world-famous Concertgebouw in Amsterdam in May 1961. The high priest of Bop, one of the most important, if enigmatic figures in modern Jazz together with three of his main disciples, tenor sax specialist Charlie Rouse and the ultra dynamic rhythm section of John Ore - double bass and Frankie Dunlop - drums, in a wonderful performance based on super tight renditions of classic tunes such as Jackie -ing, Straight No Chaser, Crepuscule with Nellie and Rhythm-a-Ning. Surely, both the band and a packed house had a ball that night!!!

One year after its release, Quartet Series proudly presents the remix EP of Nachtbraker's successful debut album When You Find a Stranger in the Alps. A collection of remixes by some serious talent. These three producers were carefully selected by Nachtbraker because of their impeccable reputation and ability to bring something unique to the world of music.

Humble Danish maestro Central (Help, Dekmantel) flips "Flambo" into a Jori Hulkkonen'esque summer anthem with a highly addictive bassline. Preacher of wonkiness Frits Wentink (Wolf, Heist, Bobby Donny) took "LOL" and brought it some serious keys on a solid breakbeat while maintaining its jolly character. Flipping the record, Nachtbraker brings us the evolution of "Just Doing My Thang" turning it into a quirky dance floor tune whilst also showcasing his ear for detail. Up and coming talent Nemo Vachez (Forest Ill, Opia Records, Rakya) dives deep into "Horsepony" as if he's cruising the depths of a rainforest in a submarine. His surreal dub mix is the perfect final track of this fine piece of wax

"Portico Quartet stake claims to territory occupied by Radiohead, Cinematic Orchestra and Efterklang". The Guardian *****

Portico Quartet return with Memory Streams, their fifth studio album and one that continues the journey that first started with 2008's Mercury nominated debut Knee Deep in the North Sea. It's a creative path that has seen the band embrace new technology and explore ambient and electronic influences alongside minimalism, jazz and beyond. It is a process that has encouraged change. Each album has seen the band expand its palate or explore new trajectories. From the gentle charm of their breakthrough's inimitable mix of jazz, world and minimalist influences, to the tight-knit brilliance of Isla, the electronic infused eponymous Portico Quartet to 2016's return Art in the Age of Automation (the band's most electronic statement to date) they have never been a band to look backwards. Each record has been its own world, its own statement and offered its own meaning. It's the mark of a band that has always both stood apart from any scene and been prepared to challenge its self and find new things to say and to push the limits of what they could do.

It is an approach that has encouraged the band to plough their own furrow. Drummer Duncan Bellamy notes that "For better or worse I think we have always been quite an isolated band. Perhaps that comes from never feeling like we really belonged to or fit in to a scene when we first started making music" While for saxophonist Jack Wyllie " I feel more connected to other musicians these days and those relationships influence the sound we have in some way. But I wouldn't say we feel a part of scene, it still feels quite out on its own, which is cool, because it helps the music feel unique".


FILE UNDER: jazz, modal jazz, spiritual jazz
- 2xLP gatefold- 180g pressing- free download card

With 20 years passing since his first foray into recorded jazz, Nat Birchall now ranks as one of the premier saxophonists of his generation. With several highly acclaimed albums in the locker, he now returns with his most ambitious project yet – a tribute to the legend that is Yusef Lateef.

"The Storyteller - A Musical Tribute to Yusef Lateef"

"When Jazzman Gerald first mentioned to me the idea of doing an album as a tribute to the jazz giant Dr Yusef A. Lateef, my first thought was "Where on earth do I start?" Lateef was such a colossus of music, and his scope so broad, that I couldn't hope to begin to cover his musical universe. He was a master of the tenor saxophone, a master of the flute, a master ballad player, a master blues player. Not to mention his skills as a composer and arranger and of course his exploration and use of musical methodology and instruments from all over the world."

"I've always been a great admirer of Lateef, and the challenge was intriguing, so I decided to give it go. We interpreted some of his own compositions (Brother John, Morning & Ching Miau) as well as some compositions by others that he made his own by careful arrangement and interpretation (Love Theme from Spartacus, Ringo Oiwake). I also wrote some original songs that, while certainly not written in his style, might be said to fall into his very broad approach to music making."

"I also wanted to utilise as many different instruments as possible, something I hadn't explored too much until this album. So it was a nice opportunity to finally get around to playing some of the many small instruments I've collected over the years; the Turkish zurna, the mbira from Zimbabwe, the balaphon from Mali and the arghul from Egypt. We have also tried to use varied time signatures in the music, so we have songs in 3/4, 5/4 and 7/4 time, as well as the standard 4/4."

"Ultimately the best music tells a story to the listener and takes them to places they might not have imagined themselves. Yusef Lateef certainly did that, and as such was a master storyteller."

Nat Birchall

With 20 years passing since his first foray into recorded jazz, Nat Birchall now ranks as one of the premier saxophonists of his generation. With several highly acclaimed albums in the locker, he now returns to JAZZ45 for the second time to wrap his chops around the 45rpm 7" format. This is the format that takes no prisoners - there's no time for noodling - and the result is an intense yet sensitive message of deep jazz, modal jazz, esoteric jazz, spiritual jazz; refined and concentrated into 2 whirlwind sides. Watch out for a double long-player to come later in 2019!

Henrik Schwarz & Alma Quartet present CCMYK, a new album on Henrik's own label Between Buttons. Produced in collaboration with the Alma String Quartet, it's a free conversation between classical and electronic music, carefully transformed into a set of astonishing tracks, ready for club or concert hall. Though based on free improvisations between Laptop and String Instruments, CCMYK is not a record of bumbling jams. Rather, it's a record of startling density, control and emotional complexity. This is the sound of open conversation between piercing intellects, taking their individual instruments and musical backgrounds to create a new universe of sound. The vinyl comes in a unique, handmade, limited 4 colour CMYK pressing. Every record is unique! Black is available as well.

The Sokratis Votskos Quartet was formed in Greece in 2017 with a mindset firmly rooted in the sound and aesthetics of European jazz. Add to the mix a strong influence of US legend Wayne Shorter and of course their own personalities and inherent Greek cultural background - here we have the sound of jazz like no other. Look out for a long player later in 2019

After expanding its roster and musical scope into jazzier terrains with Jukka Eskola Soul Trio, Timmion now introduces Sami Linna Quartet. Led by guitarist Linna, this international group of elite players paves way for their full length album with the single release "Mode For Tomorrow" b/w "Umoya".

The single hints to what's to come with a deep modal tune referencing 1970's spiritual jazz on the A-side, and groovy soul jazz on the flip. You can immediately hear that these compositions have been crafted with thorough understanding of the tradition, but with passion and capability to breath them to life in this modern age.

The lineup is truly something to write home to. Linna himself has over 20 years of experience working in the Finnish jazz scene, same as saxophonist Jussi Kannaste. Organist Mikko Helevä plays in Jukka Eskola Soul Trio as well as a host of other top jazz groups. But it is drummer Dana Hall who's is the most seasoned member of this experienced troupe. Namedropping might seen lame, but in this case we'll take it there as Hall has worked side to side with Joe Henderson, Kenny Barron, Bobby Hutcherson, Ray Charles, Horace Silver, and Benny Golson to name a few.

Both tracks get a single edit treatment here and the full length versions will be available on the coming album. This is not jazz for the faint hearted, but the real deal meant for real people.

Fifth part of the Strata-East Dolphy Series, Glass Bead Games is arguably the crown jewel of the Strata East movement, an amorphous genre that treads an unusual path between post-bop, 70's avant-garde and spiritual jazz, with a groove.

Glass Bead Games is full of revelations at many levels. First, the decade of the 1970s did produce genuinely creative, "human" new music flowing from the jazz mainstream; second, Bill Lee was more than Spike's dad: he was a superlative bassist, a team player of the first order, a powerful catalyst who, if anything, deserves to be better known than his son; third, Billy Higgins was, as so many musicians insist, a once-in-a-lifetime drummer—the bellows inspiriting the collective flame.

Most importantly, Clifford Jordan was an artist of the first order, his playing so effortless and unforced, unselfconscious and focused, mature and wise that, at a time when altissimo fury was all the rage, it's small wonder his authentic voice frequently went unheard. His musical rhetoric is so personally expressive, its substance so compelling, the listener couldn't care less about the extraordinary technique required to convey its captivating message. Compared to some of his more acclaimed peers he's a less aggressive yet paradoxically more directive and shaping influence. The climaxes, rather than spelled out, are merely suggested, registering with deep and lasting impact on the listener. It all comes down to learning the language, those precious little beads. Not every player, including Jordan or the listener, can use it like Shakespeare, but all can learn to read Shakespeare and understand its principles of arbitrariness and serendipity, of invariance and transformation.

Jordan, no less than Shakespeare, requires a like-minded cast of players—in this case four musicians of such redoubtable proficiency that each remains committed to keeping the beads in play. He's not a man content with a mere musical "dialogue" with his fellow musicians nor is he about to take the initiative in pulling his troops up to his level. Instead he begins to tell a musical story that's so compelling his three comrades are inspired equally to contribute to a collaborative narrative. This is brilliant music-making by a Coltrane- influenced successor who feels no obligation to mime the predecessor. It may be the most significant saxophone performance on record since Coltrane and, providing the listener stays with it for any length of time, the most deeply satisfying. Jordan's game—so effortless, unforced, and "level"—erases distinctions between composed and improvised, soloist and ensemble, narrator and narrative, the dancer and the dance. It seems incapable of wearing out its welcome.

By Samuel Chell/All About Jazz

FT. RUSS FREEMAN / 180GR. / LTD. 1000 PCS.

Limited Edition. Triple Transparent Vinyl 180g Incl. Poster & Download Code. Box Will Be Opened For Shipping To Avoid Seam-split. Hinweis: Box Ist Verschweißt, Wird Aber Für Den Versand Geöffnet

On October 19th Kompakt presents a new LP and audiovisual venture by Danish producer Kasper Bjørke and close cohorts. Epic and in length but always captivating, 'The Fifty Eleven Project' is an entirely ambient concept album, that interprets and evokes the emotional rollercoaster Kasper experienced, from his cancer diagnosis and throughout the five years of regular check-ups. The week of album release marks his second anniversary of getting the all-clear.

The base of the album was composed on vintage analogue synthesizers, reverbs, echo and sequencers - using the computer solely as a recording device - by Kasper and synth wizard Claus Norreen, in the latter's Copenhagen studio.

The violins, violas and cellos are composed and played by the Italian composer Davide Rossi, who has also worked with Ennio Morricone, Jon Hopkins, Ro¨yksopp, The Verve and Goldfrapp.

The piano parts are composed and played by Danish musician Jakob Littauer (of Kompakt labelmates Jatoma) on an old upright piano in a studio, and on a Steinway Grand Piano in the concert hall at the Royal Danish Music Conservatorium. From Max Richter's 'SLEEP', Hannah Peel's 'Mary Casio: Journey To Cassiopeia', to much of Brian Eno's 'Music For Installations', 'The Fifty Eleven Project' continues in a rich vein of work by contemporary composers which explores a situation/condition, and is made with functionality and healing in mind.

The visual side of 'The Fifty Eleven Project' is made in collaboration with the culture laboratory Prxjects and acclaimed LA based artist/filmmaker/photographer Justin Tyler Close, who has created art films for each of the album's 11 tracks - plus one music video, including clips from all 11 films. The 11 films will be assimilated into a video exhibition at Klub in Copenhagen from 12th - 21st October. The ambition is that the installation will tour Europe and the US in 2019. Furnished in an exquisite fabric box, this 180 gram 3LP clear vinyl box is presented by cover art created by world-renowned artist Landon Metz, further cementing the release's multidisciplinary links to the art world.

Am 19. Oktober präsentiert Kompakt das neue Album und audiovisuelle Abenteuer von Kasper Bjørke und Freunden. - The Fifty Eleven Project' ist ein komplett ambientes Konzeptalbum, das die emotionale Achterbahn, die Kasper nach seiner Krebsdiagnose und während fünf Jahre regelmäßiger Untersuchungen erlebt hat, interpretiert und offenlegt. Die Woche der Veröffentlichung des Albums markiert den zweiten Jahrestag seit der Entwarnung.

Die Basis des Albums wurde von Kasper und synth wizard Claus Norreen in seinem Kopenhagener Studio auf analogen Vintage-Synthesizern, Reverbs, Echos und Sequencern komponiert - der Computer wurde ausschließlich als Aufnahmegerät gebraucht.

Die Geigen, Bratschen und Celli wurden vom italienischen Komponisten Davide Rossi komponiert und eingespielt, der auch mit Ennio Morricone, Jon Hopkins, Röyksopp, The Verve und Goldfrapp zusammengearbeitet hat.

Die Klavierparts wurden von dem dänischen Musiker Jakob Littauer (bekannt vom Kompakt-Projekt Jatoma) auf einem alten Klavier im Studio und auf einem Steinway-Flügel im Konzertsaal des Royal Danish Music Conservatorium komponiert und eingespielt.

Von Max Richters - SLEEP', Hannah Peels - Mary Casio: Journey To Cassiopeia' bis hin zu Brian Enos - Music For Installations' - - The Fifty Eleven Project' setzt die Arbeit zeitgenössischer Komponisten fort, die sich mit einer Situation/einem Zustand auseinandersetzten und die auf Funktionalität und Heilung ausgerichtet ist.

Die visuelle Seite von - The Fifty Eleven Project' entstand in Zusammenarbeit mit dem Kulturlabor Prxjects und dem renommierten Künstler/Filmemacher/Fotografen Justin Tyler Close aus LA, der für jeden der elf Tracks des Albums Kunstfilme erstellt hat - plus ein Musikvideo mit Clips von allen elf Filmen. Die elf Filme werden vom 12. bis 21. Oktober in einer Video-Ausstellung im Klub in Kopenhagen gezeigt. Ziel ist es, dass die Installation 2019 durch Europa und die USA tourt.

Verpackt in einer exquisiten Stoffbox, die vom weltberühmten Künstler Landon Metz entworfen ist, zementiert diese 180-Gramm schwere 3xLP-Klarsicht-Vinylbox seine multidisziplinäre Verbindung zur Kunstwelt.

After a string of acclaimed EPs on Heist, Dirt Crew and Quartet Series, Amsterdam's Nachtbraker presents 'When You Find a Stranger in the Alps', his first longplayer on his own Quartet Series imprint. The good-humoured Dutchman - tongue always firmly in cheek - has always refused to stick to the 'sound du jour' and the industry's conventions, following his own path instead, continually willing to step out of his comfort zone. 'When You Find a Stranger in the Alps', a nod to his favourite Coen Brothers' movie, is testament to Nachtbraker's studio prowess and drive to explore new sonic pastures and styles. The album consists of thirteen tracks, made over the course of 2,5 years in his studio at Volkshotel Amsterdam. Constantly shifting through different settings and moods, the album feels like a deep dream, with vivid details, blurry edges and a warped sense of time. The word 'stranger' in the title references to this dream state in which you sometimes can be a stranger to yourself. Album opener 'The Dream Sequence' sets the mood with a lo-slung hip-house groove that relies heavily on field recordings, like the sound of one of the capital's trams. 'Flambo', a delectable slice of up-tempo French filtered house, is aimed straight at the dance floor. Nachtbraker dims the lights on 'NSFW', cleverly manipulating samples from adult oriented flicks, and turns in a hilarious skit with 'LOL'. Flip over for 'Randy', a quintessential Nac

After three major releases by Tell, Nachtbraker and S3A, its time for debuting Italian artist Verner to close our beloved Trophy Quartet. This Milanese key virtuoso is ready to blow your mind with this eccentric yet humble ep, taking you on an emotional journey. Long stretched pads, playful chord progressions, organic percussion all produced with analogue 70's and 80's vintage synthesizers and drum computers in Verner's studio reminding us a bit of Harvey Sutherland and Nu Guinea's style. We're talking groove, funk, jazz but also house and soundtrack style compositions which together form a very complete record carefully A&R'd by Nachtbraker.

Drop the needle on the A side and you'll start off with L'inizio, a majestic piece of synthwork. Hurdling through different emotions and vibes, this could easily be the intro of one of your favourite 80's tv series. Upset takes you on a happy groovy tour whilst Crash of the Web Era and The Motion Pictures take us on a trippy and ambient voyage that is hard to wake up from. When flipping the record to the B side, Verner is stepping back into the groove and funk with Tecladista, arguably the dance floor hit of this debut EP. Starting of with again a majestic synth intro Area drops into a festive funk and jazz bomb with some intricate synth work treating us with some lovely solos. Closing this versatile EP is Late Night Job, a deep, deep tune with a thriving baseline and mesmerizing synths.

We suggest to don't sleep on this one and have a listen to this piece of art by the very talented Verner.

Superrare spiritual jazz 2-sider which gets a proper re-issue treatmen from Tramp Records. Black Bandit is a fabulous composition backed with the equally great California Dreaming. This "45" is cut at 33rpm due to the long playing time of the A-side which ensures the best sound quality possible. Limited to 250 copies.

S3A, a fundamental player in the French house scene and resident at Paris' famous Concrete between 2012 and 2016 has been making serious waves with releases on labels such as Gerd's 4lux, Local Talk, Hold Youth, Lazare Hoche, Quintessentials, his very own Sampling As An Art records and in 2016 he debuted with his track "Antois Benime (Austral Parc)" on the second release of Quartet Series. This cut became a major summer hit, played by nearly every house music DJ, including Byron the Aquarius during his wicked set on the Boiler Room stage at Dekmantel in 2017. We decided this greatly deserved a follow up and we're proud to finally present Climax EP with S3A's signature sound written all over it....

Opening on the A side is "Presentiment", a collaboration with Mika Blaster. Starting off with majestic strings then suddenly dropping into a massive beat with haunting samples flourishing over the thriving percussion telling you to dance... THOU SHALT DANCE!! The second track "Something More" picks up where Antois Benime left off. A genius mix of uplifting samples and 909 percussion makes this another club ready weapon, bound to leave smiling faces on the dancefloor.

When flipping the record you'll dive into S3A's deepness with "Wu Impact". Soft and sweet Rhodes chords, an insanely groovy bass line with percussion and those mellifluous strings again. Finishing off the release is a deep slammer that goes by the name of "Influences", again a display of S3A's ability to use a wide array of elements within a single tune, molded together to one coherent, lovable and danceable piece. Boy did we wish we had the sampling skills of this master.

A must have record for any House Music lover. On y va!

Label boss Nachtbraker is finally making his solo debut on Quartet Series after a successful EP last year on Heist Recordings. Widely known for exploring different sounds and angles with his productions, this record is the most club-orientated to date. Intricate ghetto house with a slight French touch to straight up 4x4 with a pinch of jacking flavour would be an accurate description of this release. The use of 90's hip hop samples within this auditory concoction successfully highlights Nachtbraker's excellent ear for detail and penchant for exciting, eclectic and downright weird changeovers. The main hitter taking over the full A side is the title track 'Small Towel People". An uplifting bass line accompanied by heated 909 percussion and a hypnotic thriving arp to seal the deal. On the flipside, you'll find 'Kippendijen' on the B1. A heavyweight in the house category, some glimpses of early days jacking house and a little French touch on the filter. Throw in a breakdown even Houdini wouldn't be able to handle and you'll find yourself putting this track on repeat. Then when the needle hits the B2 groove, 'Zomaar' kicks off with an energetic mpc style breakbeat before morphing into a deep jam of lush chords and a thrusting 4x4 beat. The track closes after switching back to the first part of the record and ends in a sublimely deep and dubby breakbeat.

The third instalment of the Bodybuilder Quartet has arrived, and once again label boss Nachtbraker adds an exciting name to the Quartet Series manifesto. Moscow native Kuzma Palkin previously released a double 10' and a double 12' on quality Russian imprint Gost Zvuk, but is also known for his productions under his Audiocad (Between Us) and Kausto (Shanti Records) noms de guerre. Make sure to check those out if you haven't already. Here, Kuzma serves up an EP as deep as they come, with greasy, industrial and glitchy sounds floating on steady beats. Title tune 'Macho Culture' is a peaktime roller for darker club spaces with its deep melodic stabs, slapping snares and a haunting synth. Also on the A is 'Muscle Mass Increase', which is cut from the same haunting cloth but comes with an edgy saw synth that will have the punters reach for the lazers. Flip over for 'Proper Sauna Chill', which comes with a thumping kick, beautifully crafted sound design details and an undeniable groove. Closing Kuzma's Quartet Series debut EP is 'Krepkiye Bitsepsky', another showcase of amazing sound design and warped stabs floating over a steady break beat and groovy bass line to round things off nicely.

Double vinyl edition of the Portico Live/Remix album

Portico Quartet still sound like nothing you ever heard before. The Mercury nominated East London based outfit's unique music has expanded to embrace new sonic territories, drawing on the inspiration of electronica, ambient, classical and dance music as they take their strange, beautiful, cinematic, future music to exciting new vistas.

Their new album 'Live/Remix' is a double album offering a unique insight into two distinct parts of the band's personality.

Quartet Series is back with the Bodybuilder Series after Scott Franka's popped the new offshoot's cherry in the spring. For this sophomore release, Nachtbraker sourced some serious production talent from Eindhoven, The Netherlands. While it's the Portamento Boys' first ever release, they have the chutzpah to go full-frontal Italo and pull it off with great panache with a moody and energetic EP. The record is characterized by catchy melodies, quirky vibes and warm analog grooves. Connoisseurs will instantly recognize the TR-606 and 707, SH-101, Ensoniq Esq1 and a Casio CZ-3000. The Italo express jets off and takes no prisoners with 'Been There Come Back", a banging workout paying homage to the glorious 80's. Shoulder-pad boogie anyone 'Portamento 101 feels like you're playing the 1986 version of Outrun on your Sega. On the flip 'Final Dinner' serves up some fine Asian-Italian fusion Cuisine, and finally the P Boys drop 'Eighty Ain't", acknowledging that even though the tracks are clearly inspired by the 80s, they didn't just emulate, but innovate instead. Now let's introduce the Portamento Boys. Some say it al began when the first episode of 'Jacques, zo is het wel weer genoeg geweest' was aired on the Dutch box back in the second half of 1988. Others say it was the respect he got for robbing the local Albert Heijn with the famous saying, 'Hallo, Jumbo' that made him end up in solitary confinement. His colleagues say he never let go of Piet, his last undercover assignment. But the only one to help him in these times of mental distress, identity crises and general psychosomatic turmoil was Koos. After all these years there is a mantra to find in Piet's life that keeps him going.

You take a trio of the fnest traditonal griot musicians from Mali and put them in a studio with Western music's most revolutonary string quartet - and the resultng album is one of the most richly rewarding musical collaboratons you are likely to encounter.
Together the Kronos Quartet and Trio Da Kali have created an album that is rich in texture, hauntngly melodic and strikingly inventve as violins, viola and cello combine with balafon, ngoni and the powerful female voice of Hawa 'Kassé Mady'
Diabaté in transcendental style. David Harrington, who founded the Kronos Quartet in 1973, describes the album as one of the most beautful Kronos has done in forty years.' All three Da Kali members come from hereditary musical families, Balafon
player and musical director Lassana Diabaté was a long-tme member of Toumani Diabaté's Symmetric Orchestra and has recorded with Salif Keita, Taj Mahal and many others. A musician of great subtlety and inventon he has honed a virtuoso
two-balafon technique to perfecton. Bass ngoni player Mamadou Kouyaté is the eldest son of the instrument's greatest exponent, Bassekou Kouyaté and he holds down the groove in his father's band 'Ngoni Ba'. Singer Hawa 'Kassé Mady' Diabaté
is the daughter of Mali's greatest traditonal singer, Kassé Mady Diabaté, and the power, range and phrasing of her voice led David Harrington to compare her to the late queen of American gospel, Mahalia Jackson.
Kronos Quartet have earned an enviable reputaton collaboratng with contemporary composers such as Steve Reich, Philip Glass, Terry Riley and Laurie Anderson and with world music icons from Argentnian tango hero Astor Piazzola to Bollywood singer Asha Bhosle.

Mercury Prize-nominated Portico Quartet has always been an impossible band to pin down. Sending out echoes of jazz, electronica, ambient music and minimalism, the group created their own singular, cinematic sound over the course of three studio albums, from their 2007 breakthrough 'Knee-Deep in the North Sea', and 2010 John Leckie produced 'Isla', to the self titled record 'Portico Quartet' in 2012. Now rebooted as Portico Quartet after a brief spell as the three-piece Portico, the group are set to release their fourth studio album Art In The Age Of Automation this August on Manchester's forward thinking indy jazz and electronica label Gondwana Records. It's an eagerly anticipated return, with the band teasing both a return to their mesmeric signature sound and fresh new sonic departures in their new music. So much so that their four-night run at Archspace E8 (June 22-25) sold out in less than an hour as fans from around the world scrambled for tickets to hear the return of Portico Quartet. Support from Gilles Peterson, Jamie Cullum and similar minded DJs around the world. Airplay from TSF France. Features in Jazzism, Jazzthing, Jazzwise and beyond. Reviews in the Guardian, Mojo, Uncut and more. Full servcing to the Gondwana Records international DJ and radio mailing list.

Limited to 500 copies with artwork

While unveiling the 'Mutant Tournament' Quartet last year, label boss Nachtbraker was quietly hunting for new music behind the scenes. Being the fine huntsman he is, he came out of the woods with sonic bits and bobs so delectable he had no choice but to spread them out over two brand new quartets. That's right, eight records in total, to be released over the course of the next 18 months. We're delighted to introduce you to Scott Franka, who's at the helm of the first missive. This creative head from Amsterdam has been making music since the tender age of 11, but it wasn't until he adopted his Scott Franka moniker that he really found his groove. His music encompasses influences from dub and dark techno to classic drumpcomputer and synth-heavy house. Franka's style takes cues from Detroit, Chicago and the UK, and yet is also very personal and forward thinking at the same time. 'The Gym' might be his solo debut, but a smattering of releases from the man is on the horizon. The best way to introduce you to Scott Franka's musicality is 'The Gym' on A1. Starting of with sweet, melancholic chords and 808 hats Scott turns your world upside down after the first break. Try to keep your head steady, and get that dirty look of your face.. doesn't work right It's just too good. 'Toenail' is up next, and its undeniable groove and incredible amalgamation of synths and strings make for an absolute early hours melter. Flip over for 'Sorry' to hear Franka knock it out of the ballpark with its heavy breakbeat and UK-style bass. Finally, there's 'Street', a mesmerising groover, rounding things off nicely. The release doesn't only mark its first artist EP, it also marks a new look for the label. Building on the muscular,pheromone-rich theme of the first Quartet, Elsemarijn Bruys developed a fresh concept for both new Quartets with a little help from Scott Franka,

Finally, the battle is about to reach its thrilling finale after three exhausting rounds. Our pugilists are staggering on their feet and the bookies are running around frantically, taking the final bets. Will the Bad Guys suckerpunch the Good Guys into oblivion, or does team Good have an epic deathmove in store for its malevolent adversaries Amsterdam native Nachtbraker steps back into the arena for the fourth chapter in the saga. The Quartet Series label boss and Heist and Dirt Crew mainstay has defected to the bright and sunny Good Guys. Piano chords, chopper effects and toms are the main ingredients of his funk-laden and groovy energy drink. Better than steroids they say. Laurence Guy (Church, Rose Records) joins forces or heads in this particular case with a much-needed supplement that tugs on your heartstrings with its lush keys and deep pads. This London lad has been stirring up the scene with his flawless and addictive chords, not to mention the big support he's getting from maestro Move D. Will this dapper duo be strong enough to floor the misfits featured on the flip Great precaution is imperative with two heavyweights in the other corner. First mr. Tommy Vicari Jnr (Cabinet Records, YAY Recordings, AMMO84) comes barging in. This Sheffield veteran has been making killer cuts for years now and is about to step into the ring with his slamming snares, and wonkly wobbly bassline swinging around a phat kick. To keep both The Bad Guys feet on the ground LK (Shall not Fade, Hokkaido Dance Club) adds some extra meat with a deep, heavy bassgroove, while a sexy vocal and steady chords create that gangsta vibe that will boost the Bad Guys' confidence.

The James Taylor Quartet's second release on Acid Jazz, recorded in one afternoon and released in 1987, The Money Spyder, was, at the same time, the band's first full album release, after their debut mini-album Mission Impossible. It happened to also become the first UK release on the label that secured a gold disc status.

Andreas Tilliander returns to Kontra-Musik in a grand style with his second TM404 album. Titled 'Acidub', this highly anticipated release is much more of an evolution than a repetition of the first superbly self-restricted album, where Tilliander even decided to use only one of the two Roland TB-303 waveforms. Acidub is a more playful and open listening experience, no doubt inspired by his extensive live touring with the TM404 concept. In fact, you can almost hear Tilliander's flock of acid machines breaking free from the restrained modus operandi. Every sound is like a migratory bird with a heart yearning for high altitude and favourable winds. The opening track Alinge paints a lucid picture of these acid birds leaving a cold industrial landscape behind, the flickering black shadows from their wings against the white smoke rising from a forest of chimneys below. The very last seconds of Alinge even echo of the place the silver birds are longing for, but that will remain a secret between Kontra-Musik and the avid listener. Sufficient to say, we can follow these birds of passage as they're heading south towards a warmer climate, fleeing the cold discipline of the North. Mutron Mantra, for instance, brings us to a rainforest full of serpentine lianas, giant leaves dripping with moist and green pools of water bubbling with organic life. Don't Defend Mascot guides us through a steaming savannah at dusk with hundreds of yellow eyes following our every step while Pade vividly describes the perils of the flight and the pace and courage needed to press on. In all, Acidub is a surprisingly exuberant follow-up to the more introspective TM404 album. But while the musical journey of this second album is quite different, the experience of sheer aural eminence remains the same. Andreas Tilliander has done it again, and Kontra-Musik couldn't be prouder.

From 1963 to 2014: "Peace Chant - raw deep and spiritual jazz" exhibits 51 years of music. A well matched anthology with sounds to dive into, hard rhythms to dance to and vocals to meditate on.

The Tramp Records crew has compiled 9 tracks in nice order and dramaturgy. Some tunes you might have never heard before unless you own one of the rare original vintage vinyl records. Peace Chant is released on two separate LPs with own catalogue numbers and on one CD. Some songs I can't get out of my mind:

The previously unreleased "Don't Give Up Your Smile Today" is opening the compilation. It's from Das Goldene Zeitalter, a band that didn't survive - but whose members had a huge influence on German jazz, soul, afrobeat and funk within the last years merging into groups like The Poets of Rhythm, The Whitefiled Bros., and The Malcouns. Boris Geiger aka. Bo Baral sings a Pharoah Sanders like tune, his voice deeply resonating, the rhythm section heavily grooving.

After the first three woolly recorded tracks Walt Bolen's "Peace Chant" with its dry and funky sounds with flute, two guitars and percussion is quite a pleasure to listen to. Organ and voice are Bolen's who used to play the keys in San Fernando Valley church when he was a child. "Peace Chant" was recorded for his own Ar-Que label in 1972 and is one of the few cuts with him as a leader. He has played sessions and clubs for years and today he is sitting at the church organ again.

This publication's oldest recording dates back to 1963: "Mozambique" by Luna Brothers Trio, a Caribbean and hypnotic instrumental. For my jazz trained ears it is rather unusual that the güiro (the gherkin played with a stick) is being played throughout the entire song. Heavily laid back cowbell, concas and timbales and the slightly detuned piano are wonderful! "Mozambique" sounds like from another star but its origin is Los Angeles, where the brothers Fred and Ricardo Luna had their night club band. You could imagine a bast skirt strip and at the same time the great Raumpatrouille (Space Patrol) landing on German B&W TV screens in 1966.

Hozan Yamamoto recorded crime jazz with the Japanese bamboo flute shakuhachi. He belonged to Tony Scotts "Music for Zen Meditation" in 1964, played with Ravi Shankar, avant-garde jazz bassist Gary Peacock and appeared at Donaueschingen Festival for contemporary music. Tokio university's open minded lecturer recorded the funky and modal "Spotlight on Sapporo" in 1972.

Belgium-based Composer Christina Vantzou's Fourth Full-length For Kranky Ventures Further Into The Uniquely Elusive And Evocative Mode Of Ambient Classical Minimalism Which Has Become Her Signature: A Fragile Synthesis Of Contemplative Drift, Heady Silences, And Muted Dissonance. In Regards To The New Album She Speaks Of Focusing Particular Attention On The Effects Of The Recordings On The Body, And Of 'directing Sound Perception Into An Inner Space.'
No. 4 Took Shape Across Roughly Two Years, Incorporating A Diverse Array Of Musical And Conceptual Collaborators, Including Fellow Kranky Artists Steve Hauschildt And John Also Bennett (of Forma) As Well As Angel Deradoorian (ex-dirty Projectors), Clarice Jensen, Beatrijs De Klerck, And Members Of Belgium's Echo Collective. During The Creation Process Vantzou Wanted To 'blur Lines Of Hierarchy,' And Thus Allowed All Ensemble Members And Technical Assistants To Add Or Delete Elements. Despite Such A Spectrum Of Input The Eleven Tracks Feel Distinctly Cohesive, Weaving Elegant Textures And Resonant Open Spaces Within A Twilit Landscape Of Eclectic Instrumentation: Piano, Harp, Vibraphone, Voice, Strings, Marimba, Synthesizers, Gong, And Bells.
Vantzou Describes The Recording Process As One Of Prepared Spontaneity: That Is, 'having Plenty Of Ideas Ready To Explore Going Into The Session, But With Enough Time To Depart From Those Ideas And See What Happens.' This Mindset Of Premeditated Exploration Informs The Album's Emotive Textural Intuition, With Hushed Drones And Delicate Gestures Eliding In The Periphery Of The Mix. She Cites Sleep And 'the Loosening Of Time' As Two Formative Practices In Her Private And Professional Life, Which Manifests In The Quietly Hallucinatory Properties Of Vantzou's Music. No. 4 Feels Both Endless And Ephemeral, Immersive And Immaterial. It's A Music Of Horizon Lines And Half-light, Mapped With Feeling And Foresight.
Recorded In New York City And Brussels. Mixed In Berlin.
A Portion Of This Work Was Funded By A Generous Grant From The Flemish Community In Belgium.

'Oonops Drops' is the eponymous name of DJ Oonops' monthly broadcast on Brooklyn Radio (NYC). It's not your average radio show without talk and comments for which he invites renowned guests with their exclusive mixes from around the globe to create timeless and thematic episodes. In the last sixty shows he got visited by artists like Morcheeba, Guts, Nickodemus, The Herbaliser, Nostalgia 77, Boca 45, Blundetto, Chinese Man and many more.

Born in 1977 he got in contact with music at an early stage and soon discovered his medium of choice: vinyl. Oonops is a dj, selector, digger and is known for his smooth mixing skills to rock parties in his unmistakable wildstyle of jazz, soul, funk, hip hop, beats, edits, reggae, dub and afro. He shared the stages with acts like Nightmares on Wax, The Beatnuts, Jeru The Damaja, Ebo Taylor, Myron & E, Akua Naru and The Artifacts to name just a few.

As a longtime friend of the label and as a resident of its own club night he now gets his own compilation series to showcase his manifold taste in digging, selecting and mixing. His matter was to create a compilation of manifold genres of undiscovered, previously unreleased and for the first time on vinyl delicacies for any avid and discernable listener and dj. Especially for the vinyl lovers he dug many tracks which are treats for every set from warm-up until peak time. This compilation will stay for a long time in the bags.

With FBNM now celebrating their fifth year of operation, Lorenzo has marked the occasion by assembling his biggest project to date - an impeccably curated collection of obscure Italian production music circa 1974 - 1985. The project, nearly a year in the making, has been very close to Lorenzo's heart - beginning unexpectedly in the record fairs of Buenos Aires and leading him on several trips to Rome and Milan, tracking down the original musicians and licensors.

"In this compilation, I have tried to include some of the most interesting cuts I have collected over the years. Tracks like the entirely electronic "Nitrogen" from Alberto Baldan Bembo's "Sound Orchestra" LP on Star Track Records, featuring a wild evolving bassline leading us through frantic rhythmic experimentations. "In the Space", by French born composer Albert Verrecchia and taken from Italian poliziesco drama 'Il Tempo Degli Assasini' (Season for Assasins), tells the tale of wistful longing, played out with serenity on strings and keys, but unexpected interruption from its stop-start arrangement brings an unforeseen tension into the mix... And how could I not include the wonderfully charming "Screw Driver" by Fabio Fabor, from his collaborative album "Superman" with a young Antonio Arena. Featuring an orchestra of beautifully programmed ARP and Oberheim sonorities alongside the Commodore 64 programmed graphical artwork by Antonio Arena himself."

The music itself was partly sourced from Lorenzo's own collection, archived and then restored especially for this release. Where possible, tracks (such as "Vision", "Nitrogen" and "Blue Magnolia") have been lifted directly from the original master tapes kindly lent by the repertoire owners. Every track, however, has been carefully restored, remastered and cut for vinyl by the cautious hands of Andreas (LUPO) Lubich at Calyx Mastering, Berlin.

2LP in gatefold with liner notes. 180gr vinyl. Download code included. A new, twenty-track compilation focussing on a twenty-year period (1950-1970) of modern jazz in the little kingdom, featuring the leading players from that era.

Due to the absence of its main players during the heydays of modern jazz, Belgium will not be remembered for a unique jazz sound or an extensive discography. However, the little country produced a number of highly talented musicians who played lead roles on the international jazz scene.
'Let's Get Swinging: Modern Jazz in Belgium 1950-1970' retraces their steps and presents some of their finest works, including guitarist Philip Catherine, saxophonist Jack Sels, multi-instrumentalist Jacques Pelzer and vibraphone player, percussionist and vocalist 'Fats' Sadi Lallemand.^

One year has passed since the last release in this series and, as always, the Tramp Records crew have been working hard during the last 12 months to come up with an equally fine selection of tunes for this brand new volume. Our aim is to keep up with the quality of each release, a task which certainly does not get any easier as we step forward into the twenty first century.

There is no need to praise this selection of tracks. It is larger-than-life. And those who do not recognize the distinctiveness of it should better seek medical advice. The most astounding fact is certainly that 99% of the record buying public have never heard any of these tunes, most likely not even the artists. And we are not talking of people who solely listen to mainstream music. No. Even music lovers who believe that they have a good portion of knowledge when it comes to jazz and soul music will be left speechless.

You can skip to any song on this album and you won't be disappointed. The only premise is that you are a fan of raw, earthy soul and jazz music. If this is the case then you can't go wrong. Rene Bailey, Matilda Haywood, Lee Mitchell, Nu Art Quartet, to name a few. It is high time to introduce all these names to a broad audience and to prevent that they vanish into thin air. The Movements series was coined to introduce music lovers to so far unheard musical treasures. Tunes which only hardcore record collectors have had the privilege to enjoy it...until now.

The 8th release of 'House Mannequin' includes two new house tracks!

Bell Gardens combines the musical visions of Kenneth James Gibson (formerly of Furry Things, now recording as
*Bell Gardens' origins began arguably as more of an experiment than the duo's current 'experimental' projects - McBride's drone- and string-laden ambient symphonies, and Gibson's ventures in dub and minimalist techno - as they sought to manifest their mutual reverence for folk, psychedelia and chamber pop in a traditional band structure without cannibalising any particular past genre. Bell Gardens' sound is less reliant on effects and studio trickery than the pairs' independent guises, laying bare as it does vocals and live instruments with emotional sincerity, and presenting songs imbued with an almost pastoral or gospel simplicity and timelessness.
Slow Dawns for Lost Conclusions was again recorded mostly at home studios, but additionally the band made use of a friend's desert cabin in Wonder Valley, California, and it seems this willingness to retreat from the city has lent an expansiveness to the tracks, in particular the spacious, ceremonial 'Silent Prayer' (written in a snowbound mountain cabin in Idyllwild, C.A.) and the crepuscular 'She's Stuck in an Endless Loop of Her Decline' (mapped out under the stars in the desert).
While the addition of strings (contributed by Lauren Chipman of The Rentals and The Section Quartet) and trumpet (Stewart Cole of Edward Sharpe and The Magnetic Zeros) provides a double rainbow of tonal textures throughout, the nine tracks of Slow Dawns for Lost Conclusions are united by an understated elegance belying the newly expanded, communal effort in the studio: each instrument earns its place, nothing is overwrought or conspicuous. Moreover, it is McBride and Gibson's artistry in building stirring soundscapes from the barest of materials in their other guises that lends such assurance and sophistication to these arrangements.
The band is a result of the complimentary cross-pollination of Gibson and McBride's musical tastes - borne from a late-night conversation between the two that grew wings - and it is the universality of the sentiments and their restrained, reflective approach to writing and recording that allows the music to simultaneously straddle the past and the present. The music avoids pastiche, its pedal steel, sleigh bells and harmonies giving a nod to the ghosts of musical genres past, but never overriding or distracting from the emotional content of the sum of its parts.
The album ends with the glorious 'Take Us Away' - one of the first demos Gibson gave McBride when he was on tour with Stars of the Lid - neatly bringing their work to date full circle and exemplifying the band's mindfulness of their own serendipitous beginnings: the dawning of an auspicious, unique musical force.

Bell Gardens - Take Us Away -
Harmonies alert!! Actually, this is rather lovely. Slow-tempo, just the right side of 'twee' and packed full of strings, as if Air and Midlake had been taking balloon trips over the mid-West and sprinkling good-vibes dust across the land. From L.A. and subconsciously plugged into the '60s dream-pop scene, taking in a little bit of Mercury Rev and Brendan Perry en route, stopping off at Pearls Before Swine and Big Star's house for inspiration, before getting stoned with '70s era Brian Eno and Harold Budd.

REPRESS ON SILVER VINYL . COMES WITH 24”x24” POSTER + DOWNLOAD CARD + GATEFOLD JACKET.


On The Beths’ album Expert In A Dying Field, Elizabeth Stokes’ songwriting positions her somewhere between being a novelist and a documentarian. The songs collected here are autobiographical, but they’re also character sketches of relationships – platonic, familial, romantic – and more importantly, their aftermaths. The shapes and ghosts left in absences. The question that hangs in the air: what do you do with how intimately versed you’ve become in a person, once they’re gone from your life?

The third LP from the New Zealand quartet houses 12 jewels of tight, guitar-heavy songs that worm their way into your head, an incandescent collision of power-pop and skuzz. With Expert, The Beths wanted to make an album meant to be experienced live, for both the listeners and themselves. They wanted it to be fun -- to hear, to play -- in spite of the prickling anxiety throughout the lyrics, the fear of change and struggle to cope.

Most of Expert was recorded at guitarist Jonathan Pearce’s studio on Karangahape Road in Tāmaki Makaurau, Aotearoa (Auckland, New Zealand) -- and sometimes in the building's cavernous stairwell at 1am -- toward the end of 2021, until they were interrupted by a four-month national lockdown. They traded notes remotely for months, songwriting from afar and fleshing out the arrangements alone, the first time they’d written together in such a way. The following February, The Beths left the country for the first time in more than two years to tour across the US, and simultaneously finish mixing the album on the road. That latter half felt more collaborative, with everyone on-hand to trade notes in real time, until it all culminated in a chaotic three-day studio mad-dash in Los Angeles. There, Expert finally became the record they were hearing in their heads.

Expert is an extension of the same skuzzy palette the band has built across their catalog, pop hooks embedded in incisive indie rock. The album’s title track “Expert In A Dying Field” introduces the thesis for the record: “How does it feel to be an expert in a dying field? How do you know it’s over when you can’t let go?” Stokes asks. “Love is learned over time ‘til you’re an expert in a dying field.”

The rest is a capsule of The Beths’ most electrifying and exciting output, a sonic spectrum: “Your Side” is a forlorn and sincere love song, emotive; while “Silence is Golden,” with its propulsive drum line and stop-start staccato of a guitar line winding up and down, is one of the band’s sharpest and most driving. “When You Know You Know” skews a bit groovier, pure pop and a natural addition to the band’s live set. “Knees Deep” was written last minute, but yields one of the best guitar lines on Expert. There’s a certain chaos across the 12 tracks, the palpable joy of playing music with long-time friends colliding with the raw nerves of pain.

Stokes strings it all together through her singular songwriting lens, earnest and self-effacing, zeroing in on the granules of doubt and how they snowball. Did I do the wrong thing? Or did you? And are we still good people at the end of it? She isn’t interested in villains, but instead interested in just telling the story. That insecurity and thoughtfulness, translated into universality and understanding, has been the guiding light of The Beths’ output since 2016. In the face of pain, there’s no dwelling on internal anguish - instead, through The Beths’ music, our shortcomings are met with acceptance. And Expert In A Dying Field is the most tactile that tenderness has been.

Der Altsaxophonist und Flötist Alan Braufman trat erstmals in den 1970er Jahren in der New Yorker Loft-Jazz-Szene als einzigartige Persönlichkeit in Erscheinung. Sein Debütalbum ,Valley of Search" aus dem Jahr 1975 wurde später als Meilenstein des Spiritual Jazz und Free Jazz anerkannt. Nach Jahrzehnten außerhalb des Rampenlichts kehrte Braufman mit einer neuen Welle der Anerkennung zurück und veröffentlichte 2020 und 2024 zwei hochgelobte Alben, die ihn sowohl als unverzichtbaren Veteranen als auch als wichtige zeitgenössische Präsenz neu etablierten. Anthem for Peace wurde an einem einzigen Tag im Herbst 2025 aufgenommen und ist ein völlig neues Studioalbum, das Braufman in der Gegenwart einfängt. An der Spitze eines Quartetts mit der Vibraphonistin Patricia Brennan, dem Bassisten Luke Stewart und dem Schlagzeuger Chad Taylor präsentiert er prägnante, eingängige Kompositionen, die fließend zwischen spirituellen Hymnen, beschwingtem Post-Bop und Free Jazz wechseln. Brennans Vibraphon - akustisch schimmernd und gelegentlich elektronisch bearbeitet - verleiht dem Ganzen Tiefe und Farbe, während Stewart und Taylor eine eng verzahnte, reaktionsschnelle Rhythmusgruppe bilden. Das Ergebnis ist Musik, die ,verspielt und leicht, aber dennoch texturreich" (NPR) ist: optimistisch, fokussiert und von einem klaren Gefühl der Vorwärtsbewegung getragen.

Elations Recordings presents "Terra Ignota", the long-awaited new full length album from elusive Melbourne-based fusion ensemble Krakatau. "Terra Ignota" marks a return and an epochal shift for the group, a deep exploration of possible sonic spaces and a portent of things to come.

In the years since 2016's cosmic jazz funk-prog-spiritual 12" "Tharsis Montes/Apogean Tide" Krakatau have worked on refining their craft as instrumentalists and writers, expanding further into the world of jazz and fusing influences from world folk musics, contemporary jazz and the European post-minimalist music of the 1980s and early 90s. "Terra Ignota", literally translated as "Unknown Land", takes its name from the cartographer's notation for uncharted territory, the blank spaces on maps where knowledge gives way to imagination and speculation, gesturing towards the group's studio explorations and search for new sonic worlds in the years spent developing the record.

The results are a diverse yet unified combination of sounds and influences across five tracks that see Krakatau drawing closer to the independent underground "world" jazz scene of the 1980s than anything contemporary. The album opens with the digi-minimalism and fourth world atmospherics of title track "Terra ignota", a percussion heavy latin fusion sound in "Birds of Passage", and melancholic ambient saxophone and synthesiser duo "In Memory". Three-part epic "Cosmetic Surgery" journeys through a long, complex post-minimalist arrangement into latin fusion and contemporary jazz, followed by the contemplative ECM-styled acoustic quartet closer "Trial in Absentia".

The album features significant contributions from saxophonist Rob Vincs, former Victorian College of the Arts head of Jazz and Improvisation and a collaborator with Australian musician Brian Brown; layered percussion and wordless vocals from Brazilian percussionist and esteemed songwriter Alcides Neto; and a guest performance from trumpet player Reuben Lewis on the title track.

Equal Vision Records, Dine Alone Records, and The Flatliners are thrilled to announce the release of Cold World, the Juno-nominated Canadian punk quartet’s brand new studio album, arriving Friday, May 8. The album is available now for pre-order / pre-save / pre-add. Where 2022’s New Ruin wrestled with the inherited damage left behind by the previous generation, Cold World confronts that legacy as something more distant — a ghost, a fading memory. If New Ruin captured the rage of realization, Cold World lives in the aftermath of clarity. Welcome to the future. Leading the charge is first single “Good, You?”, a snotty, tongue-in-cheek anthem that takes aim at toxic masculinity and the all-too-familiar fear of opening up about our feelings. Fans can watch the Jeff Powers-directed music video on YouTube and stream the track now on all platforms. Light Grey Marble available limited to 250 Rude Records Exclusive.

LP aus der ”Luminessence” Serie.
Ein wesentlicher Meilenstein des europäischen Jazz der 1970er Jahre und zugleich eine Aufnahme, die
auch heute noch großartig klingt: Balladyna übte einen nachhaltigen Einfluss auf nachfolgende Generationen improvisierender Musiker aus – vor allem in Polen und Finnland, aber auch darüber hinaus. Wie
Tomasz Stańko selbst einmal sagte: „Mein internationaler Name wurde durch Balladyna geprägt.“ Auf der
Aufnahme wird der polnische Trompeter von seinem engen Weggefährten Edward Vesala am Schlagzeug
begleitet („Wir waren wie Brüder“, sagte Stanko später), sowie von Saxophonist Tomasz Szukalski und
Basslegende Dave Holland, den Produzent Manfred Eicher zu der Session eingeladen hatte. Obwohl es das
Debüt des Trompeters für das Label war, präsentiert die Aufnahme Stankos unverwechselbare melodische
Stimme bereits in einem ausgereiften Rahmen, während seine früheren, freieren Einflüsse noch im explosiven
Unterstrom der Band mitschwingen. Das Quartett erkundet die sieben Eigenkompositionen des Albums
mit großer rhythmischer Dynamik und melodischer Neugier. Balladyna wurde 1975 im Tonstudio Bauer
aufgenommen und von Manfred Eicher produziert.
Neu aufgelegt im Rahmen von ECM’s Luminessence-Reihe, erscheint Balladyna in einer Tip-on-GatefoldHülle mit neuen Linernotes und Fotos aus dem Archiv

OXXON, drittes Album nun auf Vinyl! 1995 von Sänger und Gitarrist Ralf Lisson gegründet und stehen OXXON seit jeher für kompromisslosen Punkrock und Rock'n'Roll. Gemeinsam mit Sascha Riegger (Leadgitarre), Brösel (Bass) und Guido (Drums) vereint die Band eingängige Melodien mit kraftvollem Drive unddirekter Attitüde. OXXON transportieren Wut, Energie und Leidenschaft in Songs, die zwischen schnellen Punkhymnen, treibenden Midtempo-Nummern und rauen Straßenballaden pendeln. Zahlreiche Konzerte führten die Band quer durch Europa, wo sie sich die Bühne mit Szenegrößen wie Donots, Spermbirds, Sonny Vincent oder den Lurkers teilte. Aus dem einstigen Punkrock-Trio ist längst ein eingespieltes Quartett in klassischer Rock'n'Roll-Besetzung geworden - seit 15 Jahren konstant, laut und unabhängig. OXXON funktionieren auf jeder Bühne: nahbar, intensiv und mit der Fähigkeit, ihr Publikum nachhaltig zu begeistern. Nach der CD-Veröffentlichung 2024 erscheint das Album im April nun LP - konsequent, laut und wie gemacht für die Rille: 180g red/ black marbled vinyl, 500 Stück handnummeriert mit Einleger

The second volume in a survey of the modern jazz & hard-bop scenes that emerged in the new cultural melting pot of post war London, with recordings from the end of the 1940s through to the early 1960s.

Featuring representations from players whose roots lay in the East-End's jewish community alongside a wealth of talent of Caribbean and African descent playing and recording in post war London during this period.

Made in partnership with the Barbican to coincide with the exhibition Postwar Modern: New Art in Britain 1945-1965.

New single by Romperayo on 7-inch vinyl spinning at 45 rpm, released by the Austrian label discos
elgozo.
This record is a tribute to the sound of Cumbia Sabanera de Acordeón from Colombia, in dialogue with
Mexico’s Cumbia Sonidera. It also pays homage to the melodic line of the first generation of
Colombian accordion masters of Cumbia Sabanera such as Joaquín Betín, Emiro Caicedo, and
Policarpo Calle.

The two tracks are built on a solid rhythmic foundation of bass and percussion, accompanying a
melodic interplay between accordion and analog synthesizer.Mixed and produced by Pedro Ojeda Acosta at Romperayo Studios, both songs were recorded live, in
quartet format, at Mambo Negro Studios in Bogotá, Colombia, by Daniel Michel, featuring Iván
Medellín on accordion, Nicolás Eckardt on electric bass, Juan Manuel Toro on analog synth, and Pedro
Ojeda on percussion.
This single offers a first taste of Romperayo’s upcoming LP, set for release in early 2026 — once again
on discos elgozo.

'We Fell In Turn' is the solo debut from Brooklyn-based trombonist, composer, and quartet leader Kalia Vandever. Vandever, who plays with Harry Styles and Japanese Breakfast, “sculpts her trombone’s golden tones into dazzling compositions” (Pitchfork), writing music that tends to “dip you into a feeling or a pattern or a breathing speed, and keep you there” (The New York Times). In 2022, Vandever released Regrowth, an album that “features the ecstatic, brilliant melodies that have become Vandever’s signature sound” (Bandcamp). This spring, Vandever brings contemplative reflection to We Fell in Turn, a brave and understated work from an ascending voice in American jazz.

Recorded over three days in upstate New York, 'We Fell In Turn' is improvisational — a stark palate of solo trombone, voice, effects, and little more. “My solo process has always been heavily rooted in improvisation,” says Vandever. “I wanted the process to feel similar to the way I perform. Lee Meadvin, who engineered and produced the album, had a heavy hand in the creative process as well. He would dictate prompts before I started improvising and those pieces ended up shaping a lot of the imagery that comes up throughout the record.”

Connecting the dots between Jeff Parker’s 'Forfolks', and early releases from Grouper, 'We Fell In Turn' is a study of space and patience, embracing vulnerability in its sparse adornment. At times, the album is reminiscent of Patrick Shiroishi’s 'Hidemi', both in its familial inspiration and solo instrument study, while sharing the ineffable feel of William Basinski’s 'The Disintegration Loops' — the traces of her trombone folding in on themselves in an organic loop. Emotionally generous throughout, Vandever acts as a torchbearer for jazz’s historical yearning for connection.

On 'We Fell in Turn' Vandever draws inspiration from childhood memories — events that shaped her approach to love, community, and partnership, and her maternal homeland of Hawaii. “We were exploring childhood memories, earliest experiences with disappointment and pain, and my Hawaiian roots,” says Vandever. “We Fell In Turn came after I titled the track "We Wept In Turn". Both come from the intangible feeling of waking up from vivid dreams, particularly the experience of falling right before waking up or waking up in tears.”

Through this exploration into her heritage, Vandever also found guidance. “In Hawaiian mythology, ‘aumākua are known as ancestral spiritual guides that manifest in different forms, whether physical or intangible,” says Vandever. “My ‘aumākua visits me in my dreams, usually with a reassuring hug or a reminder of my past. Memories and early experiences seem to escape me, but find their way back in dreams.” And now they’ve found their way into 'We Fell in Turn', Kalia Vandever’s stunning solo debut.

Sie machen keine großen Worte, hampeln nicht 24/7 auf allen Social-Media-Kanälen herum, verzichten auf Werbung und große Worte jeglicher Art und spielen nicht wahllos an jeder Steckdose. Eigentlich ein Unding in der heutigen Zeit. Geschäftsschädigung in eigener Sache, quasi. Und dennoch ist die im Jahr 2009 gegründete Formation aus Tübingen mit jedem ihrer immer stoisch und schlicht mit dem Bandnamen betitelten Alben stets aufs Neue in vieler Munde, genießt mindestens Respekt, bei etlichen Fans gar unantastbaren Kultstatus - und das nicht nur innerhalb der Punk(Rock)-Basis, sondern auch bis tief in die Alterna- und Metalszene hinein. Große Riffs - mal episch, mal punkruppig, mal schmissig, und so gut wie immer nackenbrechend - und der zuweilen zweistimmige Gesang sind die Kerntrademarks des Vierers, dazu spartanische, aufs Bitternötigste reduzierte englische Lyrics sowie ein magnetisierender Groove, für den unzählige andere Musiker töten würden: HYSTERESE at it's very best. Auch mit Album Nummer fünf pflügen HYSTERESE durch eure Herzen. Wie nicht anders zu erwarten, walzt das Quartett seinen schwermütigen Punk-Rock in die nächste Metamorphose. Die riesigen Melodien sind getragen von krachigen Breitwand-Gitarren, mal Shoegaze, mal 80s Rockismus, zeitlos und integer. Und hat da jemand tatsächlich Manilla Road gesagt?

It happens very rarely that you can praise a records without any reservations, this is the case here!!!



A lot of ink has flowed across the page since the Vogue/Swing release (1955) of that founding solo record. The repertoire was made up of pieces that Thelonious was playing in New York over that period, but in trio or with a quartet, here his music shows nakedness, i should say crudeness, whisch is completely overwhelming. It is a balck and white photograph of what is happening inside Monk's head; its sharpness is enthralling, as everyone has known for more than sixty years.



We enter the world of one of the most original artists. Monk, at 37, is at the peak of his art.

Seit fast zwei Jahrzehnten verbreiten der King und seine Cumberland Three ihren Rhythm & Punk-Spaß in der ganzen Welt und bringen jede Menge ausgelassene Energie, Albernheiten, gute Laune und Schweiß mit! Mit diesem Quartett ist jede Show eine Party! Anlässlich ihres 20-jährigen Jubiläums, in dem sie unermüdlich weltweit auftraten und Dutzende von Platten veröffentlichten, haben King Salami & The Cumberland Three tief in ihrem umfangreichen Katalog gegraben, um 16 ihrer besten Tracks auszuwählen. Das Ergebnis ist diese energiegeladene Zusammenstellung, ein Album voller Spaß, das verrückte Klassiker wie ,The Pulpo Dance", ,Pineapple Mama", ,Shake it Wild" und ,Do the Wurst" enthält, neben ihrem weniger bekannten Instrumentalstück ,Itch!", das kürzlich in der Dreamies-Katzenfutter-Fernsehwerbung zu hören war. ENG For nearly two decades, the King and his Cumberland Three have been spreading the Rhythm & Punk grease all around this big old world, bringing along with them buckets of fun, raucous energy, silliness, smiles and sweat! With this quartet, every show is a party!! To mark their 20 years anniversary of relentlessly playing shows around the globe and releasing dozens of records, King Salami & the Cumberland Three have dug deep into their extensive catalogue to select 16 of their most killer tracks. It makes for a fun-packed album which contains wacky classics such as `The Pulpo Dance', `Pineapple Mama', `Shake it Wild' and `Do the Wurst, alongside their lesser-known instrumental `Itch!' that recently featured on the Dreamies cat food TV ad.

VERVE ACOUSTIC SOUNDS SERIE: komplett analog von Ryan K. Smith bei Sterling Sound von den
Originalbändern gemastert, QPR-Pressung (180 g), stabiles Tip-On-Gatefold (Stoughton Printing), wattierte Innenhülle.
McCoy Tyner - Inception
Als Pianist McCoy Tyner im November 1962 sein Debütalbum für Impulse! Records aufnahm, wollte er ein
eigenes musikalisches Statement setzen und sich damit von der modalen Musik abgrenzen, die er damals
mit John Coltrane spielte. Bei den Aufnahmesessions mit Bassist Art Davis und Schlagzeuger Elvin Jones
- beide Kollegen aus dem Coltrane-Ensemble - setzte er deshalb vor allem auf eigene Kompositionen, in
denen er seine unverwechselbaren Voicings und seinen rhythmischen Drive in den Vordergrund stellte. In
der AllMusic-Rezension von Alexander Gelfand heißt es: “Dieses Album gibt Hörern die Möglichkeit zu erfahren, wie ein sehr junger Tyner außerhalb der Grenzen des klassischen John Coltrane Quartet der frühen
60er Jahre klang; es offenbart einen lyrischen Ansatz für das Jazzpiano, der weit entfernt von Tyners reifem
Stil zu sein scheint.”

Das Indie-Pop-Quartett Veps aus Oslo ist zurück mit seinem dritten Album ,ChurchyardStreet 8B", dem ersten beim schwedischen Indie-Label PNKSLM Recordings (ShitKid, Clutter, Vegas Water Taxi etc.). Die Band hat sich als eine der interessantesten Indie-Bands Nordeuropas etabliert. Helena, Laura, June und Maja kennen sich schon seit der Grundschule und gründeten die Band im Alter von 14 Jahren. Ihre brillante Debüt-EP ,Open The Door" (veröffentlicht 2021 bei Kanine Records) ebnete den Weg für ihr ebenso großartiges Debütalbum ,Oslo Park" und den Nachfolger ,Dedicated To". Mit gerade einmal 22 Jahren auf diesem Planeten stehen Veps erst am Anfang ihrer Karriere, haben aber schon eine Fülle von Erfahrungen gesammelt, während sie weitermachen, mit ihrem neuen Album "ChurchyardStreet 8B", ihrem bisher besten Werk.

Baby T is a space away from her work as B.Traits in which Brianna Price can lean more into the junglist, drum ‘n’ bass and hardcore sounds which she loves so dearly. With BSHEE02, the second drop on Price’s own Banshee label, Baby T delivers a darkside masterclass of an EP. This record is a quartet of system blowers which doesn’t let up for a single second from start to finish.

Opener ‘Times Up’ is urgent from the off - the initial strains of this joint find sirens wailing in the monitors over a twitchy kick/drum/hats combo. From here on it’s distilled raver perfection, the drums taking us on a wild Wipeout-style ride as the subbiest of bass skulks at the bottom of the mix. Imagine a more technoid take on the classic breakbeat freerides of Skanna and you’re not far off the ‘Times Up’ sound.

A remix of ‘Times Up’ from man like Aloka leans with devilish glee into the murky underworld that lurks beneath Baby T’s original. Aloka’s version is extremely eerie in a manner which makes you think of the darkest corners of a DMZ party. When things really kick into gear, driven by an irresistible kick dembow, the effect is hypnotic - think the dubwise junglism of the UVB-76 cohort.

BSHEE02’s B-side kicks off with ‘Coercive Control’. This is a cut which delivers on its title in spades, putting the listener in a trance with an interplay of low-slung bass, whirligig synth tones and more of those perfectly executed broken beats. The acid starts to kick in around the minute mark, and it turns out to herald a total earworm of a lead melody.

There’s plenty of dimly-lit malevolence to BHSEE02 closer ‘Dense Dickwood’s grinding atmospherics and gurgling bass throbs. However, Baby T opting for a half-time drum break here gives the cut a vibe not dissimilar to the weightiest jams of classic Massive Attack - that is, until an absolutely remorseless switch-up occurs halfway through, delivering volley after volley of intense drum hits.

Baby T is a space away from her work as B.Traits in which Brianna Price can lean more into the junglist, drum ‘n’ bass and hardcore sounds which she loves so dearly. With BSHEE02, the second drop on Price’s own Banshee label, Baby T delivers a darkside masterclass of an EP. This record is a quartet of system blowers which doesn’t let up for a single second from start to finish.

Opener ‘Times Up’ is urgent from the off - the initial strains of this joint find sirens wailing in the monitors over a twitchy kick/drum/hats combo. From here on it’s distilled raver perfection, the drums taking us on a wild Wipeout-style ride as the subbiest of bass skulks at the bottom of the mix. Imagine a more technoid take on the classic breakbeat freerides of Skanna and you’re not far off the ‘Times Up’ sound.

A remix of ‘Times Up’ from man like Aloka leans with devilish glee into the murky underworld that lurks beneath Baby T’s original. Aloka’s version is extremely eerie in a manner which makes you think of the darkest corners of a DMZ party. When things really kick into gear, driven by an irresistible kick dembow, the effect is hypnotic - think the dubwise junglism of the UVB-76 cohort.

BSHEE02’s B-side kicks off with ‘Coercive Control’. This is a cut which delivers on its title in spades, putting the listener in a trance with an interplay of low-slung bass, whirligig synth tones and more of those perfectly executed broken beats. The acid starts to kick in around the minute mark, and it turns out to herald a total earworm of a lead melody.

There’s plenty of dimly-lit malevolence to BHSEE02 closer ‘Dense Dickwood’s grinding atmospherics and gurgling bass throbs. However, Baby T opting for a half-time drum break here gives the cut a vibe not dissimilar to the weightiest jams of classic Massive Attack - that is, until an absolutely remorseless switch-up occurs halfway through, delivering volley after volley of intense drum hits.

Toronto’s Ducks Ltd. (formerly Ducks Unlimited), the bright jangle-pop duo of Tom McGreevy (lead vocal, guitar, bass, keyboards) and Evan Lewis (guitar, bass, drum programming), accomplish the impossible. The pair craft songs that play to very specific inspirations without drowning underneath them—immediately evidenced on their critically acclaimed EP, Get Bleak, and sharpened on Modern Fiction, their debut LP. “The Servants, The Clean, The Chills, The Bats, Television Personalities, Felt,” Evan rattles off. “Look Blue Go Purple is one I reference a lot with our production.” Echoes of ‘80s indiepop abound, but they never overwhelm. This is not a nostalgic record, after all, nor is it a derivative one. Instead, across 10 cheery-sounding songs, Ducks Ltd. explore contemporary society in decline, examining large scale human disaster through personal turmoil (hence the title, taken from a university course called Gnosticism and Nihilism in Modern Fiction, influenced by Graham Greene novels. Bookish indie fans, look no further.)

Writing the album was intimate. Tom drafted the nucleus of a song on an unplugged electric guitar and brought it over to Evan’s apartment, where the pair sat in his bedroom, placing percussive beats from a drum machine under nascent melodies, passing a bass back and forth, adding organs and bridges where necessary. “It’s computer music trying extremely hard not to sound like computer music,” Tom jokes. Fearful that limited and expensive studio time would kneecap the project creatively, eroding their charming naivete, the pair re-recorded the album in a storage space owned by Evan’s boss. Ornamentation through collaboration followed: there’s Aaron Goldstein on Pedal Steel in the Go-Betweens’ “Cattle and Cane”-channeling interlude “Patience Wearing Thin,” Eliza Niemi on cello (“18 Cigarettes,” a song loosely inspired by a 1997 Oasis performance of “Don’t Go Away”), and backing harmonies from Carpark labelmates The Beths (on an ode to friendship at a distance, “How Lonely Are You?,” “Always There,” and on the sped-up Syd Barrett stylings of “Under The Rolling Moon.”) While in his native Australia due to covid-19, Evan worked closely with producer James Cecil (The Goon Sax, Architecture in Helsinki) on Modern Fiction’s finishing touches—at one point, in the mountains of the Macedon Ranges in Victoria, recorded a string quartet (featured on “Fit to Burst,” “Always There,” “Sullen Leering Hope,” “Twere Ever Thus,” “Grand Final Day.”)

It’s danceable, depressive fun, with some relief: in “Always There” and “Sullen Leering Hope,” Modern Fiction’s faithful heart. “There’s a tendency in my writing, because of my world view, to be very bleak.” Tom explains. “A quality I don’t always see in myself and really appreciate in others is the courage to go on.” And yet, the record manages resiliency—enough for pop fans to fall in love with.

DYING VICTIMS PRODUCTIONS is proud to present MEGATON SWORD’s highly anticipated debut album, Blood Hails Steel – Steel Hails Fire, on CD, cassette and vinyl LP formats. It was but November of last year when MEGATON SWORD unleashed their glorious debut EP, Niralet, via DYING VICTIMS. Arriving fully formed, virtually without warning – no prior demo recordings existed, at least not publicly – this Swiss quartet evinced an ages-old sound that was wise (and wizened) well beyond their young years. Already, MEGATON SWORD knew the mystery of steel…and wielded it with a startling confidence. And no one knew just how high they could fly, only that they were just getting started. Now, with the arrival of their imminent debut album, Blood Hails Steel – Steel Hails Fire, MEGATON SWORD are marching into the halls of greatness, with no one to stop them. Retaining the same, well-named lineup – vocalist Uzzy Unchained, guitarist Chris the Axe, bassist Simon the Sorcerer, and drummer Dan Thundersteel – MEGATON SWORD maximize the strengths of the EP and then some, revealing new twists to that mystery of steel whilst retaining the charisma and crunch that endeared them to the true-metal underground the first time around. Indeed, Blood Hails Steel – Steel Hails Fire is aptly titled, almost ridiculously so: this is true-as-steel HEAVY METAL drunk on high fantasy and the enduring themes of conquest and valor, triumph and tragedy, but rendered in a form even bloodier and possessing more bravado. It’s also more dynamic, maximizing drama between notes and from one passage to the next, each movement a narrative crucial to their conquest.

,Ruin Everything" ist das fünfte Studioalbum der Stockholmer Psychedelic-Rock-Pioniere Les Big Byrd. Seit ihrer Gründung im Jahr 2011 hat das Quartett seine Mischung aus Space Rock, hypnotisierender Psychedelia und diszipliniertem Krautrock perfektioniert. Angeführt von Songwriter und Produzent Jocke Åhlund Byrd um die ganze Welt getourt und sich dabei eine begeisterte Fangemeinde aufgebaut, wobei sie abwechselnd zu Hause als eine der größten Rockbands Schwedens und im Ausland als Underground-Psych-Act auftraten. Nach dem experimentellen und stark instrumentalen ,Diamonds, Rhinestones and Hard Rain" (2024) kehren Les Big Byrd auf ,Ruin Everything" zu einem stärker songorientierten Ansatz zurück, der an ihren Klassiker ,Iran Iraq IKEA" aus dem Jahr 2018 erinnert. Da die abenteuerlichsten Tendenzen der Band zugunsten eines strafferen, fokussierteren Sounds zurückgenommen wurden - der von dem dystopischen Epos ,Big Flood" bis zum Vollgas-Space-Rock von ,Hökvind" reicht -, ist ,Ruin Everything" Les Big Byrd in ihrer bisher besten Form.

,Ruin Everything" ist das fünfte Studioalbum der Stockholmer Psychedelic-Rock-Pioniere Les Big Byrd. Seit ihrer Gründung im Jahr 2011 hat das Quartett seine Mischung aus Space Rock, hypnotisierender Psychedelia und diszipliniertem Krautrock perfektioniert. Angeführt von Songwriter und Produzent Jocke Åhlund Byrd um die ganze Welt getourt und sich dabei eine begeisterte Fangemeinde aufgebaut, wobei sie abwechselnd zu Hause als eine der größten Rockbands Schwedens und im Ausland als Underground-Psych-Act auftraten. Nach dem experimentellen und stark instrumentalen ,Diamonds, Rhinestones and Hard Rain" (2024) kehren Les Big Byrd auf ,Ruin Everything" zu einem stärker songorientierten Ansatz zurück, der an ihren Klassiker ,Iran Iraq IKEA" aus dem Jahr 2018 erinnert. Da die abenteuerlichsten Tendenzen der Band zugunsten eines strafferen, fokussierteren Sounds zurückgenommen wurden - der von dem dystopischen Epos ,Big Flood" bis zum Vollgas-Space-Rock von ,Hökvind" reicht -, ist ,Ruin Everything" Les Big Byrd in ihrer bisher besten Form.

Kronstad 23 returns with Dodehavet, the Norwegian quartet"s third album and first release on Batov Records. Continuing their instinctive, analogue-led approach, the record sits between cinematic jazz and psychedelic rock, threaded with Scandinavian folk and wider global influences. Recorded live to tape with minimal preparation and no modern studio intervention, Dodehavet captures a band working on feel, interaction and momentum rather than polish or precision.

With Dispersion, Loom & Thread return to the volatile architecture of the expanded piano trio - and quietly fracture it from within.

Daniel Klein (drums), Tobias Fröhlich (double bass) and Tom Schneider (keys, sampler) remain the sole agents on stage and in the final recording. The triangle holds. And yet, the field has expanded. For their second studio album, the trio fed their improvisations with the timbral signatures of guest saxophone and vibraphone players - not just as additional voices to be featured, but also as material to be absorbed, atomized and redistributed. The result is not augmentation but thorough refraction.

Where the debut album explored the recursive labyrinth of Schneider's live sampling of his own piano, Dispersion introduces an external grain into the feedback system. Breath and metal. Reed turbulence and struck resonance. The trio sampled extended improvisations by saxophone and vibes players: Victor Fox, Asger Nissen, Volker Heuken, and L&T's own Daniel Klein; dissected their attacks, overtones and decay curves, and integrated these fragments into the trio's internal circuitry. What emerges is a play of presences without bodies - instrumental ghosts circulating through the dense weave of rhythm and keys.

At first, one might hear the familiar relational tension: Klein's polyrhythmic elasticity interlocking with Fröhlich's tensile double bass figurations, Schneider poised at the hinge between tonal field and percussive impulse. But soon, the surface splinters - again. A vibraphone shimmer appears, yet no mallets are visible. A reed multiphonic surges through the texture, bending space between bass and drums. These events are neither quotations nor overlays; they are redistributed energies, dispersed across the trio's grammar. A digital multidimensional interplay ensues.

If the first album unfolded as a two-tiered game - live phrase and sampled reflection - Dispersion adds a further axis. The sampled materials from other improvisers are stripped of their erstwhile two-way interaction and reconstituted as malleable particles. Signifier detached from origin, resonance detached from gesture. The trio navigates a constantly shifting topology in which acoustic memory and electronic manipulation are indistinguishable.

Crucially, the album never abandons the physical urgency of three musicians reacting in real time. The additional timbral layers do not thicken the texture into opacity; rather, they introduce stark points and arrows of diffraction. Density opens into prismatic clarity. Lines splinter and regroup. What seems like a quartet or quintet collapses back into three bodies negotiating an expanded field.

Dispersion is not about addition but about distribution - of agency, of timbre, of temporal perspective. It is an album in which the trio setting becomes a site of multiplicity without surrendering its immediacy. A dissolution not only of the divide between present experience and memory, but between inside and outside, self and other.

Three musicians. Countless vectors. A music that fractures in order to cohere.

CREDITS:
Tom Schneider: piano & sampler
Tobi Fröhlich: double bass
Daniel Klein: drums & percussion

sample sources:
Victor Fox: tenor saxophone
Asger Nissen: alto saxophone
Volker Heuken: vibes
Daniel Klein: vibes

Recorded by Martin Dressler at Bauer Studios, Ludwigsburg.
Mixed & mastered by Martin Ruch.
Artwork by Viet Hoa Le.

Fresh from fine outings on Legofunk Records and Scruniversal Records, Frank Virgilio pops up on historycal Hollywood Records with a quartet of warm and seductive workouts. He kicks things off via the sun down beauty and latin mood of "Is This The Spirit Of The Party ?", before joining the dots between beatdown, disco 80' and dancefloor on the bubbly and hypnotic "That's The Groove!" The other side is dedicated to a double version of a classic killer dancefloor of 80' " DJ's Talk" by the american singer Vivien Reed . Frank Virgilio and L.D.F. aka Lello Di Franco give 2 different ways to read the track . A slightly bolder than the original (but no less deep) mixture of drifting melodies, head-nodding house beats, groovy bass, select vocal snippets and enveloping chords.

Die Musik auf Horse Lords' "Demand to Be Taken to Heaven Alive!" wirkt zugleich unglaublich detailliert und zutiefst menschlich. Die zwölf versammelten Stücke sind vielschichtig, verflochten, tonal und rhythmisch komplex - moiré-artige Muster aus Interaktion und Verzahnung, die sich sowohl körperlich als auch geistig entfalten, voller klanglicher Gänge mit einem unausweichlichen Groove. Künstler sind nicht notwendigerweise Wissenschaftler, Logiker oder spirituelle Führer, doch durch ihr persönliches Verständnis von Ordnung und Erfahrung eröffnen sie einen unmittelbaren Zugang zu gesteigerten Zuständen von Materialität und Immaterialität. Horse Lords wurden 2010 in Baltimore gegründet; sie gingen aus einer anderen Gruppe namens Teeth Mountain hervor und starteten als Trio mit Gitarrist Owen Gardner, Bassist Max Eilbacher und Schlagzeuger Sam Haberman, bevor der Altsaxofonist Andrew Bernstein zum Kernensemble hinzustieß. Obwohl das Quartett aus einer fruchtbaren Noise- und Experimental-Rock-Szene hervorgegangen ist - einem legendären Umfeld für Künstler und Außenseiter, das viele einflussreiche Bands hervorgebracht hat (Lungfish, Matmos) - war ihr Ansatz über sechs Alben, zahlreiche Kollaborationen und als gefeierte Liveband weit vielseitiger, als es die punktierten Rhythmen instrumentaler elektrischer Rockmusik vermuten lassen. Für dieses Projekt wird die Band durch Bassklarinettistin Madison Greenstone, Posaunist Weston Olencki und - erstmals bei Horse Lords - durch Gesang von Nina Guo und Evelyn Saylor ergänzt. Der Entstehungsprozess von "D2BT2HA!" brachte geografische Hürden mit sich, da die vier Mitglieder seit 2021 in unterschiedlichen Städten leben. Nach sechzehn Jahren als funktionierende Band übersteigt ihre gemeinsame Sprache jedoch jeden Ort. Die aus Deutschland stammenden Gardner, Eilbacher und Bernstein trafen sich in Berlin für die Aufnahmen, während Haberman die Schlagzeugparts in Baltimore erarbeitete. Beim Hören würde man dies nicht unbedingt erkennen, und gemeinsames, räumlich getrenntes Arbeiten ist heutzutage ohnehin keine Seltenheit mehr. Die Band merkt an, dass "es wichtiger war, den Konzepten und Visionen der jeweils anderen zu vertrauen, als Abschnitte immer wieder zu spielen, um zu überprüfen, ob die Musik funktioniert - obwohl dieses Vertrauen nur durch sehr enges gemeinsames Arbeiten möglich wurde". Obwohl "D2BT2HA!" nicht im engeren Sinne eine Suite ist, beeinflusst und durchdringt sich die Musik in komplexen Verknüpfungen selbst. Horse Lords erklären: "Uns gefällt die Vorstellung von Kunst als Werkzeug zur Perspektivveränderung - dass man Ideen rotieren kann und sie aus einem anderen Blickpunkt sehen/hören/fühlen kann." Oder, wie es der Swami Satchidananda Saraswati zugeschriebene Satz ausdrückt: "Understanding is standing under where you are already standing." Das Eröffnungsstück ,Eureka 378-B" ist ein Arrangement von sakraler Harfenmusik aus dem 19. Jahrhundert, getragen vom Gesang von Guo und Saylor; seine Melodie entfaltet sich weit und setzt einen tonalen Startpunkt für vieles, was folgt. Dazu kommen die kurzen "Rotations", die Fragmente aus anderen Stücken isolieren. Offensichtlich tragen die Titel der Stücke einiges an Bedeutung, und "D2BT2HA!" bildet da keine Ausnahme - Transzendenz und Erhebung sind der Musik inhärent, und wenn jede Kunst politisch ist, so sind die Tendenzen von Horse Lords optimistisch und gemeinschaftsorientiert. Transformation und Neubetrachtung sind nicht nur kompositorische Strategien, sondern eine philosophische Haltung, was sich in Titeln wie ,A City Yet To Come", dem Titeltrack oder utopischen Bezügen zeigt. Wie sie selbst sagen: "Wir versuchen Musik zu machen, die den Status quo herausfordert und dem Hörer einen Weg zur Befreiung eröffnet. Das Studium und die Erforschung von Klang und Musik hat eine spirituelle und ekstatische Dimension, und wir haben große Ehrfurcht vor ihrer Wirkung auf den Einzelnen und die Welt." "D2BT2HA!" enthält unzählige klangliche und konzeptuelle Schichten, doch angesichts der unverkennbaren Kraft und Menschlichkeit der Musik ist der Prozess, sie zu entschlüsseln, begeisternd und zutiefst lohnend. Selten ist eine Platte, die einen so unmittelbar packt und zugleich bei jedem Hören vollkommen neu erscheint.

Die Musik auf Horse Lords' "Demand to Be Taken to Heaven Alive!" wirkt zugleich unglaublich detailliert und zutiefst menschlich. Die zwölf versammelten Stücke sind vielschichtig, verflochten, tonal und rhythmisch komplex - moiré-artige Muster aus Interaktion und Verzahnung, die sich sowohl körperlich als auch geistig entfalten, voller klanglicher Gänge mit einem unausweichlichen Groove. Künstler sind nicht notwendigerweise Wissenschaftler, Logiker oder spirituelle Führer, doch durch ihr persönliches Verständnis von Ordnung und Erfahrung eröffnen sie einen unmittelbaren Zugang zu gesteigerten Zuständen von Materialität und Immaterialität. Horse Lords wurden 2010 in Baltimore gegründet; sie gingen aus einer anderen Gruppe namens Teeth Mountain hervor und starteten als Trio mit Gitarrist Owen Gardner, Bassist Max Eilbacher und Schlagzeuger Sam Haberman, bevor der Altsaxofonist Andrew Bernstein zum Kernensemble hinzustieß. Obwohl das Quartett aus einer fruchtbaren Noise- und Experimental-Rock-Szene hervorgegangen ist - einem legendären Umfeld für Künstler und Außenseiter, das viele einflussreiche Bands hervorgebracht hat (Lungfish, Matmos) - war ihr Ansatz über sechs Alben, zahlreiche Kollaborationen und als gefeierte Liveband weit vielseitiger, als es die punktierten Rhythmen instrumentaler elektrischer Rockmusik vermuten lassen. Für dieses Projekt wird die Band durch Bassklarinettistin Madison Greenstone, Posaunist Weston Olencki und - erstmals bei Horse Lords - durch Gesang von Nina Guo und Evelyn Saylor ergänzt. Der Entstehungsprozess von "D2BT2HA!" brachte geografische Hürden mit sich, da die vier Mitglieder seit 2021 in unterschiedlichen Städten leben. Nach sechzehn Jahren als funktionierende Band übersteigt ihre gemeinsame Sprache jedoch jeden Ort. Die aus Deutschland stammenden Gardner, Eilbacher und Bernstein trafen sich in Berlin für die Aufnahmen, während Haberman die Schlagzeugparts in Baltimore erarbeitete. Beim Hören würde man dies nicht unbedingt erkennen, und gemeinsames, räumlich getrenntes Arbeiten ist heutzutage ohnehin keine Seltenheit mehr. Die Band merkt an, dass "es wichtiger war, den Konzepten und Visionen der jeweils anderen zu vertrauen, als Abschnitte immer wieder zu spielen, um zu überprüfen, ob die Musik funktioniert - obwohl dieses Vertrauen nur durch sehr enges gemeinsames Arbeiten möglich wurde". Obwohl "D2BT2HA!" nicht im engeren Sinne eine Suite ist, beeinflusst und durchdringt sich die Musik in komplexen Verknüpfungen selbst. Horse Lords erklären: "Uns gefällt die Vorstellung von Kunst als Werkzeug zur Perspektivveränderung - dass man Ideen rotieren kann und sie aus einem anderen Blickpunkt sehen/hören/fühlen kann." Oder, wie es der Swami Satchidananda Saraswati zugeschriebene Satz ausdrückt: "Understanding is standing under where you are already standing." Das Eröffnungsstück ,Eureka 378-B" ist ein Arrangement von sakraler Harfenmusik aus dem 19. Jahrhundert, getragen vom Gesang von Guo und Saylor; seine Melodie entfaltet sich weit und setzt einen tonalen Startpunkt für vieles, was folgt. Dazu kommen die kurzen "Rotations", die Fragmente aus anderen Stücken isolieren. Offensichtlich tragen die Titel der Stücke einiges an Bedeutung, und "D2BT2HA!" bildet da keine Ausnahme - Transzendenz und Erhebung sind der Musik inhärent, und wenn jede Kunst politisch ist, so sind die Tendenzen von Horse Lords optimistisch und gemeinschaftsorientiert. Transformation und Neubetrachtung sind nicht nur kompositorische Strategien, sondern eine philosophische Haltung, was sich in Titeln wie ,A City Yet To Come", dem Titeltrack oder utopischen Bezügen zeigt. Wie sie selbst sagen: "Wir versuchen Musik zu machen, die den Status quo herausfordert und dem Hörer einen Weg zur Befreiung eröffnet. Das Studium und die Erforschung von Klang und Musik hat eine spirituelle und ekstatische Dimension, und wir haben große Ehrfurcht vor ihrer Wirkung auf den Einzelnen und die Welt." "D2BT2HA!" enthält unzählige klangliche und konzeptuelle Schichten, doch angesichts der unverkennbaren Kraft und Menschlichkeit der Musik ist der Prozess, sie zu entschlüsseln, begeisternd und zutiefst lohnend. Selten ist eine Platte, die einen so unmittelbar packt und zugleich bei jedem Hören vollkommen neu erscheint.

Mana is the International Anthem debut by trombonist and composer Kalia Vandever. The collection carries the spirit of their first solo album, We Fell In Turn, while entering a new landscape of spacious songwriting. Mana, which in Hawaiian means "foundational, supernatural, or divine power and strength", reveals more of their voice and words, drawing from yearning, loss, and bewilderment. Vandever"s music has quickly and widely gained traction in the last few years despite the fact that their style has been consistently difficult to pin down, boasting a compositional scope ranging from the palatial modern jazz of their quartet work to the synthetic, gauze-like droning ambience of their solo material. Mana leans into the expansion of the latter: solo trombone filtered through a well-dialed pedalboard, manipulated live; spare piano à la the late-career work of Ryuichi Sakamoto; electroacoustic interplay simultaneously echoing and transforming the long-note melodicism of Vandever"s melancholic brass work; head-on, unambiguous, and deeply personal lyricism - a particularly fresh move for the composer... Appropriate for the early riser"s first step into the day or the night owl"s weary and quiet walk home.

Earth hat die moderne Musik maßgeblich geprägt - von Experimental Metal über Electronic/Ambient bis hin zu Stoner Rock - und Künstler von SUNN O))) über The Bug bis hin zu Godflesh beeinflusst. Die Geschichte von Earth wurde in der gefeierten Dokumentation "Even Hell Has Its Heroes" aus dem Jahr 2023 festgehalten. Das dritte Album von Earth, "Pentastar: In the Style of Demons" aus dem Jahr 1996, ist ein Klassiker der trägen Riff-Verehrung, der vor einer dicken, verzerrten Schmiere nur so strotzt, in der Black Sabbath, Hawkwind, Hendrix, Drone und Ambient-Musik miteinander verschmelzen. Das Ergebnis fühlt sich an wie eine lange, einsame Fahrt durch die Wüste, mit dem inneren und/oder äußeren Weltraum als einzigem Ziel. Als wohl rockorientiertestes Album der Band enthält "Pentastar: In the Style of Demons" die zeitlose ,Hit"-Single "Tallahassee". Diese 30-jährige Jubiläumsausgabe erscheint auf grünem Vinyl und enthält einen limitierten "Wraparound"-Kunstdruck mit einer Neuinterpretation des Albumcovers durch den zeitgenössischen Künstler Matt McCormick.

Although he's released on numerous labels since debuting almost a decade ago, Eduardo Barbi aka Gledd returns to his own reliable imprint Saint Wax. On his fourth vinyl missive for the imprint, My Church Is On Fire, the Italian producer delivers a quartet of cuts that happily boast samples from vintage gospel cuts. It's a simple idea, brilliantly executed, as proved by the righteous, spiritual, organ-rich stomp of opener 'Let It Shine', featuring guest lead vocals from Steve Salmaso. Elsewhere, 'Mama Don't Preach' is a whirlwind of sampled gospel soul vocals, expansive piano solos and chunky deep house beats, 'Be Real' is a heavily electronic slab of gospel-house deepness, and 'Back on My Stay' is a locked-in, late-night delight with an effortlessly soulful finish.

In the last two years, Barry Can’t Swim has released two albums – When Will We Land? and Loner. The debut was nominated for a Mercury Music Prize, winning 2024’s Best Dance Act on BBC Radio 1 and being nominated for Best Dance Act at the BRIT Awards in the same year. The latest album, 2025’s Loner, hit the top ten in the UK charts and was number one in the dance charts. This summer, Barry Can’t Swim cemented his position as one of the most singular new voices in electronic music with a gangbusting performance as a headliner at All Points East in London’s Victoria Park, building on his back-to-back performance with Bonobo at Coachella in 2024. Barry’s Late Night Tales mix brings together disparate styles and forms them into a coherent narrative. The powerful house tracks, like Lance DeSardi’s ‘Power of Suggestion’ and Daniel Avery’s remix of Factory Floor, intertwine with the abstract grooves of Freddie Da Stupid or Ronald Langestraat’s leftfield reading of Boz Scaggs’ ’70s smash ‘Lowdown’. There are exclusive tracks from Barry Can’t Swim himself (in the form of new single ‘Chala’ and an exclusive edit of Superpitcher’s ‘Yves’) and from friends and contemporaries, like Ninja Tune labelmate O’Flynn. Leaving aside the obvious quality of the mix, with its serpentine twists and dramatic turns, you can tell Josh is a fan of this series by bringing in his own personal poet, the brilliant Seamus, for the spoken word section right at the end. He’s a one-man Late Night Tales programmer.

Mit Tether veröffentlicht die preisgekrönte Saxophonistin, Improvisatorin und Komponistin Alden Hellmuth ihr neues Album - der kraftvolle Nachfolger zu Good Intentions, das als Debut Album of the Year International beim Deutschen Jazzpreis ausgezeichnet wurde. Hellmuth, Absolventin des renommierten Herbie Hancock Institute, verbindet hier kompositorische Präzision mit einem markanten, modernen Bandsound. Das Herzstück von Tether ist ein seltenes Zwei-Bass-Quartett, getragen von zwei der radikalsten Musiker der LA-Szene: Logan Kane, ein genreübergreifender Bassist zwischen Jazz, Avantgarde und Punk-Funk, und Miller Wrenn, einer der furchtlosesten Improvisatoren der Westküste. An den Drums sorgt Justin Brown für energetische Dynamik - ein herausragender Musiker, der u. a. mit Ambrose Akinmusire, Christian McBride und Vijay Iyer gearbeitet hat. Besondere Gäste wie Paul Cornish, Finalist großer internationaler Klavierwettbewerbe und auf Blue Note veröffentlicht, sowie Yakiv Tsvietinskyi, eine prägende Stimme des modernen ukrainischen Jazz, erweitern den Klang zusätzlich. Tether ist ein energiegeladenes, modernes Jazzalbum, das Avantgarde-Mut, kompositorische Tiefe und unmittelbare Spielfreude vereint. Hellmuths Quartett erschafft eine kraftvolle, eigenständige Klangwelt zwischen Modern Jazz, zeitgenössischer Improvisation und experimentellen Low-End-Texturen.

The Golden Gate Quartett VA5 marks the fifth vinyl Various Artists release on Golden Gate Club Records, continuing the label’s tradition of carefully curated club music with character and depth.

This new chapter brings together a sharp selection of artists - SaPu, Tripmastaz, Cesare vs Disorder, and the trio Alex New, Gruman & Zlene - each contributing one track and guiding listeners through hypnotic rhythms, subtle textures, and a distinct raw energy.

While each contribution carries a clear individual signature, the tracks share a cohesive spirit, balancing low-end weight, atmosphere, groove, and punch, all while maintaining a refined sense of swing.

Golden Gate Quartett VA5 stands as both a statement and a celebration, showcasing diversity within a unified sound and reaffirming Golden Gate Club’s commitment to quality, timeless club music crafted with dedication for the dancefloor.

Bound to break the new year in with all our might, we are excited to unveil our new baby, RYCX. Expanding the scope of our main catalogue to bottle what we consider pure techno quality with its idiosyncrasies and inherent untamedness, RYCX will serve as our platform of choice to embrace the more minimalist, dubby vibe of techno, focussing on tracks that sound more like a rabbit hole, trippier, psychedelic, and immersive, yet still powerful enough to fill a dance floor. Kicking off the journey is 'RYCX01' by Ruben Ganev, up with his debut solo release after contributing a track to our 2023-issued 'Heimat' VA. The music here featured packs the very defining qualities RYCX aims to engage its audience with: a raw, inspired, quality-driven combination of force and thoughtfulness, ruggedly honest yet built to meet the expectations of the most picky dance floors and home listeners out there. Ganev's quartet of stormy churners, cut from the most hypnotic cloth and eerily vibrant machine funk, has us diving deep into a throbbing furnace of charred dubs, steely industrial reliefs and post-apocalyptic atmospheres. A most fitting manifesto in sound, telling the beads of the sonic revolution in march.

This all French affairs finds the eponymous Politics Of Dancing label head hook up with deep house head Djebali for a quartet of kicking minimal tech sounds. The swirling, circular bass of 'The Moment' soon gets your fists pumping, then 'Question' is a little more loose and wobbly - the fleshy bass and snappy snares contrasting one another nicely. On the flip, 'Ball Lightning' starts off with ascending synth lines and urgency in the grooves that will ensure plenty of locked-in dancers with withering sci-fi motifs adding a little cosmic escapism. The closer 'Whip' is the most fun sound - characterful synths and drums that duck and dive make for fresh house with a relentless groove.

We Release JAZZ is very happy to announce the limited vinyl edition of Obad’s powerful new album Suspended, a vivid document of the Tehran ensemble’s endlessly evolving sonic universe — now available as a limited LP housed in a heavyweight sleeve with an Obi strip and featuring original artwork by Iranian painter Sadra Baniasadi.
Suspended is a superbly spontaneous, improvisational blend of exploratory jazz fusion, progressive funk-rock, and transcendental groove. Built from lived experience and shaped by Tehran’s pulse, Obad’s music is kinetic and intuitive — an ever-morphing dialogue between rhythm and texture, emotion and message.
With Farid Farzian Pour on drums, Siavash Karimi on electric guitar, Kiarash Radmehr on bass guitar, and Hamidreza Keshavrpajuh (aka Pajuh) on tenor saxophone, Obad creates a soundworld where hypnotic basslines meet thunderous, free-flowing percussion; where searing guitar motifs coil around saxophone phrases that move from whispered invocation to explosive catharsis. Suspended captures the quartet at full creative stretch: alive, unguarded, and deeply attuned to one another.
Sadra Baniasadi’s striking cover painting mirrors the album’s energy — bold, dreamlike, charged with movement, and extending Obad’s world into the visual realm.
Suspended stands as a major statement from one of Iran’s most compelling contemporary ensembles, marking Obad’s first release on We Release JAZZ and continuing the label’s commitment to boundary-pushing music born from profound listening, place, and collective intuition.