Search:quartet

RED APPLE MARBLE VINYL REPRESS.

Everything changed for The Beths when they released their debut album, Future Me Hates Me, in 2018. The indie rock band had long been nurtured within Auckland, New Zealand’s tight-knit music scene, working full-time during the day and playing music with friends after hours. Full of uptempo pop rock songs with bright, indelible hooks, the LP garnered them critical acclaim from outlets like Pitchfork and Rolling Stone, and they set out for their first string of shows overseas. They quit their jobs, said goodbye to their home town, and devoted themselves entirely to performing across North America and Europe. They found themselves playing to crowds of devoted fans and opening for acts like Pixies and Death Cab for Cutie. Almost instantly, The Beths turned from a passion project into a full-time career in music.

Songwriter and lead vocalist Elizabeth Stokes worked on what would become The Beths’ second LP, Jump Rope Gazers, in between these intense periods of touring. Like the group’s earlier music, the album tackles themes of anxiety and self-doubt with effervescent power pop choruses and rousing backup vocals, zeroing in on the communality and catharsis that can come from sharing stressful situations with some of your best friends. Stokes’s writing on Jump Rope Gazers grapples with the uneasy proposition of leaving everything and everyone you know behind on another continent, chasing your dreams while struggling to stay close with loved ones back home.

"If you're at a certain age, all your friends scatter to the four winds,” Stokes says. “We did the same thing. When you're home, you miss everybody, and when you're away, you miss everybody. We were just missing people all the time.”

With songs like the rambunctious “Dying To Believe” and the tender, shoegazey “Out of Sight,” The Beths reckon with the distance that life necessarily drives between people over time. People who love each other inevitably fail each other. “I’m sorry for the way that I can’t hold conversations/They’re such a fragile thing to try to support the weight of,” Stokes sings on “Dying to Believe.” The best way to repair that failure, in The Beths’ view, is with abundant and unconditional love, no matter how far it has to travel. On “Out of Sight,” she pledges devotion to a dearly missed friend: “If your world collapses/I’ll be down in the rubble/I’d build you another,” she sings.

“It was a rough year in general, and I found myself saying the words, 'wish you were here, wish I was there,’ over and over again,” she says of the time period in which the album was written. Touring far from home, The Beths committed themselves to taking care of each other as they were trying at the same time to take care of friends living thousands of miles away. They encouraged each other to communicate whenever things got hard, and to pay forward acts of kindness whenever they could. That care and attention shines through on Jump Rope Gazers, where the quartet sounds more locked in than ever. Their most emotive and heartfelt work to date, Jump Rope Gazers stares down all the hard parts of living in communion with other people, even at a distance, while celebrating the ferocious joy that makes it all worth it -- a sentiment we need now more than ever.

Emo-Deutschpunk in den Neunzigern, Indierock-Experimente in den 2000ern und mittlerweile im queeren Power-Pop zu Hause: SCHROTTGRENZE Synthesizer, orchestrale Arrangements und klassische Chöre - die musikalische Reise, die hinter der einstigen Punkband aus dem niedersächsischen Peine liegt, ist erstaunlich. "Wir haben uns nie von der Musikindustrie, einer bestimmten Szene oder kommerziellen Erfolgsansprüchen abhängig gemacht und sind stets unseren gemeinsamen thematischen und musikalischen Vorlieben gefolgt", erklärt Sängerin* Saskia Lavaux, die SCHROTTGRENZE 1994 gemeinsam mit Gitarrist Timo Sauer gegründet hat. Bassist Hauke Röh und Schlagzeuger Lars Watermann vervollständigen das Quartett, das seit 20 Jahren in Hamburg ansässig ist. Als die Band 2017 - nach einer mehrjährigen Schaffenspause - mit dem Album "Glitzer auf Beton" ihr Comeback feiert, wird der Anspruch an die eigene musikalische Unabhängigkeit besonders deutlich. "Damals nahm die queere Trilogie ihren Anfang, die wir 2019 mit "Alles Zerpflücken" fortgesetzt haben und nun mit "Das Universum ist nicht binär" abrunden", fasst Saskia zusammen, die mittlerweile auf ihre ganz persönliche queere Transformation zurückblickt. Produziert wurden die besagten drei Platten, die eindeutig eine neue SCHROTTGRENZE-Ära markieren, allesamt gemeinsam mit Kristian Kühl. Neu hingegen ist die Zusammenarbeit mit Oliver Zülch, der in der Vergangenheit bereits Bands wie Die Ärzte, Sportfreunde Stiller und The Notwist tontechnisch supportet hat. Das Ergebnis: Ein neuer, klarer und empowernder Sound, der dem unabhängigen Bandkollektiv sehr gut steht.

Nach fünf Jahren sind sie wieder da und die Zahlenspielerei geht weiter. Das siebte Album ist mittlerweile das dritte seit 2015 als Quartett und was mit "Fünf" begann und mit dem Einstieg des zweiten Gitarristen Martin einen völlig eigenen Sound bekam, wurde immer weiter verfeinert. Die Produktion - wieder von Charlie Paschen (Coogans Bluff) - ist größer, leichter und transparenter geworden, währenddessen sich die Rhythmus-Fraktion schwer groovend und unbeeindruckt von all dem zeigt und ROTOR weiterhin massiv wie alte Bunker im Berliner Stadtbild dastehen lassen.

ROTOR - ein Phänomen in der alternativen Rockszene, das bockig, dickköpfig und eigenbrödlerisch gegen den Strom schwimmt.

Tasteful double album with outstanding female singers. When it comes to vocal art alone, the jazz world is firmly in the hands of women. Just think of Billie Holiday, Ella Fitzgerald or Nina Simone. But singers of younger days, such as Sarah Vaughan or Diana Krall, are no less impressive with their enchanting voices. Reason enough for the French label Wagram to unite the most renowned female singers of the last decades on a double album.

Drawn from three sessions in 1958–59 that featured The Incredible Jimmy Smith in a quartet with tenor saxophonist Percy France, guitarist Kenny Burrell, and drummer Donald Bailey, Home Cookin’ stands as one of the most deeply soulful albums the Hammond B3 organ virtuoso ever made. The band gives a soul jazz symposium that covers tunes by Ma Rainey, Ray Charles, and Jimmy McGriff along with originals by Smith and Burrell. This Blue Note Classic Vinyl Edition is all-analog, mastered by Kevin Gray from the original master tapes, and pressed on 180g vinyl at Optimal.

What Mom Jeans have proved themselves capable of in the past 2 years is nothing short of fantastic. Growing from ordinary college students to national touring artists in a matter of months, the indie rock quartet has been on a trajectory most bands could only dream of. The DIY touring route quickly had to fall by the wayside, as 200, sometimes 300, kids were showing up to house shows in basements across the country. Often, the band wouldn’t make it through more than a few songs before police had to come shut it down. Now, you can find them in venues of increasing size around the states, as one of the most sought after acts in their genre. On a constant stream of buzz, pressing after pressing of their debut hit “Best Buds” (2016) has sold out and the fans cannot get enough of the music they have been putting out. Music that takes influence from predecessors such as Modern Baseball and The Front Bottoms, but adds that new flavor that sets them into a league of their own, The Mom Jeans craze is just beginning.

DINA ÖGON ist wie eine Hummel - groß und flauschig und es sollte unmöglich sein, dass sie fliegt, aber sie tut es trotzdem - und zwar ganz einfach. Anna Ahnlund, Christopher Cantillo, Daniel Ögren und Love Örsan haben mit vierzig Fingern in unzähligen schwedischen Rock-, Jazz-, Soul- und Pop-Projekten, Aufnahmen und Tourneen und allerlei anonymer Projekte mitgewirkt. Untereinander haben sie in verschiedenen Konstellationen gespielt, sich gegenseitig unterstützt und in der einen oder anderen Form mehr als ein Jahrzehnt lang assistiert. Aber jetzt haben sie ein Quartett gebildet, das noch bemerkenswerter ist als all die Spielereien, an denen sie bisher beteiligt waren. Wenn so gestandene Musiker selbst einen Versuch wagen, sollte das nach den üblichen Methoden des Marketings eigentlich keine Sensation sein, aber das hier... nun, zum einen ist es so selbstverständlich großartig, zum anderen klingt das neue Album "Oas" genau wie die Summe dessen, was in den 2020er Jahren in Schweden musikalisch fehlt. Und für zu viele Jahrzehnte davor auch, könnte man hinzufügen, zumindest in dieser natürlichen Form. "Oas" sprudelt wie nur wenige Alben, aber ohne zu platzen. Es wird von ihrer Neugier zusammengehalten, sie durchstöbern so viele musikalische Ecken, ohne sich zu verirren, und das gekonnte Spiel schweißt es zusammen. DINA ÖGON prüfen alle Nährstoffe von schwarzer Musik und Pop, aber es ist keine prätentiöse Show, nur ein verdammt lohnender Hörgenuss.

Once upon a time Mr. Cauliflower made his way to Amsterdam and met his friend Jo Bissa (one half of the electronic duo Umoja).
Mr. Cauliflower dropped an Lp on the turntable and played "Casa da Arvore" from Nomade Orquestra. The sound was deep and went direct to Jo's heart.
It sounded like gipsy music, but had a funky feeling; it had some reggae elements, but with a latin heart. That's the mixture of styles that better represent the Nomade Orquestra's signature sound.
A quartet that has since swollen into a decet from their beginnings in 2012, Brazilian band Nomade Orquestra musicians pride themselves on stretching far and beyond their jazz roots to create a sound that's hard to pinpoint, but inclusive of various cultures across the world.
While listening to the song Jo Bissa knew immediately how to twist it with a remix, and created an electro cumbia dancefloor killer!

The result is a tasty 7" inches called "Veggie Tales Vol. 5"!!
We hope you'll enjoy as much as we did.
Buon appetito!

White Vinyl Only
Once upon a time Mr. Cauliflower made his way to Amsterdam and met his friend Jo Bissa (one half of the electronic duo Umoja).
Mr. Cauliflower dropped an Lp on the turntable and played "Casa da Arvore" from Nomade Orquestra. The sound was deep and went direct to Jo's heart.
It sounded like gipsy music, but had a funky feeling; it had some reggae elements, but with a latin heart. That's the mixture of styles that better represent the Nomade Orquestra's signature sound.
A quartet that has since swollen into a decet from their beginnings in 2012, Brazilian band Nomade Orquestra musicians pride themselves on stretching far and beyond their jazz roots to create a sound that's hard to pinpoint, but inclusive of various cultures across the world.
While listening to the song Jo Bissa knew immediately how to twist it with a remix, and created an electro cumbia dancefloor killer!

The result is a tasty 7" inches called "Veggie Tales Vol. 5"!!
We hope you'll enjoy as much as we did.
Buon appetito!

REISSUE

Als eine der am längsten bestehenden Bands, die immer noch stolz die Flagge von New York Hardcore
schwenken, haben sich Sick Of It All als einer der Eckpfeiler von NYHC einen Namen gemacht und bewiesen,
dass Herz, harte Arbeit und Hingabe an Hardcore mehr als nur die Musik sind und ein Bild, es ist eine
Lebensweise. Das Quartett feiert 2006 sein 20-jähriges Jubiläum und zeitgleich mit diesem monumentalen
Ereignis erscheint die Veröffentlichung des 9. Albums der Band mit dem Titel „Death To Tyrants“.

Hailing from Brussels, Bandler Ching is a creation of musical ideas from composer and saxophonist Ambroos De Schepper (Kosmo Sound, Azmari and Mos Ensemble).

Flawlessly blending contemporary jazz, electronics, trap, hip-hop and global beats, the sound is based around the freedom of expression and improvisation and performed with astounding conviction. With the help of Alan Van Rompuy (Azertyklavierwerke), Federico Pecoraro (ECHT!) and Olivier Penu (Kel Assouf), the four idiosyncratic artists come together to express their musical identity to dazzling effect.

After a period of exploration, the quartet are set to release their debut album 'Coaxial' on the 27th January, via the groove-obsessed Sdban Ultra label. A hypnotic trip through each band members' musical fantasies, the band have their roots in jazz. "We start from Jazz and we give it our own attitude with improvisation and a lot of freedom and eventually mix it with influences such as electronics, beats, hip-hop etc," says De Schepper.

From the free-spirited beauty of 'You Call It' and pulsating, loose beats of 'Awpril' to the luminous 'Dag na Naamdag' inspired by warm winter memories and wild summer dreams, De Schepper gives the sax a new place in its musical sphere. The album title refers to the band members' various musical influences that coalesce around one artistic centre. That centre is 'Coaxial' - a distinct sound with a clear identity, yet versatile and difficult to catergorise.

Elsewhere, the bass-heavy 'RoodGroen' features Vieze Meisje (performer Maya Mertens) while the sonoric mayhem of 'Smooch' mutates without border - mischievous, dynamic and unpredictable at the same time. 'Rave Fever' is rich cataclysm of sound and rhythm while the intriguing 'You Have Got Me' and album closer 'Kitsune' showcase the magnetic soundings of Bandler Ching.

It is of course impossible, but we will risk it anyway, because this "Live In Paris" delivers her at her peak: eight tracks recorded at the Olympia between October 1956 and June 1957, and four others at Bobino, in March 61. The singer, who had just begun a film career (which she had not yet anticipated would be highly ephemeral), was at the height of her career. The time of the lean cows and the Taboo is over.

Now firmly established in the forefront of the great performers of French Song, we find her here singing Desnos, Queneau and Mac Orlan, alongside Brel, Trénet, Ferré and Brassens. And it's almost as if we were there: starting with a rare duet with Eddie Constantine, she is accompanied throughout by the quartet led by the piano of the faithful Henri Patterson, and the accordion of

Freddy Balta. In addition to Ferré's famous "Jolie Môme", she delivers here her famous version of Queneau and Cosma's "Si Tu T'Imagines", as well as Brel's "On N'Oublie Rien", and notoriously, Brassens' "Chanson Pour l'Auvergnat".

The last album of Dead Cat In a Bag on vinyl! 180g + downloadcode.

"Do you know it? Ennio Morricone, Nick Cave, Mark Lanegan, Tom Waits and Zach Condon walk into the bar, and there are all the seats occupied by the Dead Cat In A Bag musicians. Really." - this is how Jarek Szubrycht started the review of the last album of the Italian group Dead Cat In Bag in Gazeta Wyborcza. And he was right. Really.
Yes! Dead Cat In A Bag is back! They are back with a new album "We've Been Through".

After exploring several so called Neo-Folk regions, flirting with Folk Noir, mostly with Traditional Folk in a modern perspective, for example Americana to Tex-Mex and Balkan Music to Alternative Country, on this third record the ensemble drifts to a cinematic landscape, focusing on the theme of overcoming.

We've Been Through puts together World Music elements incorporating an almost soundtrack experience for a journey into both Day and Night, Hope and Disillusionment and telling stories of broken romances and shipwrecks.

Utilizing banjo and theatrical vocal delivery, together with with classic and odd instruments, the band remap the original charts but still set sail the desired destinations. And if, about the previous records, critics were prone to recall the prowess of Waits, Cave, Lanegan, Cash and Tindersticks, this time it will be harder to name the grandfathers.
Now there is a Morricone (or was it Badalamenti?) guiding spirit and a dreamlike universe full of memories, from the dry electric blues of a stream of consciousness duet in Duet For Nothing to the unexpected crooning vocals provided by Liam McKahey (CousetauX) in Lost Friends (a banjo droven dirge dealing with electronics and a bassoon, with steal percussions and a music saw for a frame), from the rendition of the traditional Wayfaring Stranger, balancing between electric guitars and Bluegrass, to the intimate cover of Leonard Cohen's Hunter's Lullaby, from the rock-(swamp)blues of The Cat Is Dead (enriched by Italian bass hero Gianni Maroccolo, from Litfiba and C.S.I.) to the soft meloncholy of the string quartet in Between Day And Night, from the dark cabaret of Fiddler, The Ship Is Sinking to the soft porch song, between Willard Grant Conspiracy and Kris Kristofferson, of the final title track.
You can hear a shrawn and a blues harp, whispers and choirs, love and dudgeon as the record goes. This is the sound of an orchestra playing on a sinking ship: what else could a fiddler do? And what can we do, in the end?

 Crime & the City Solution’s fifth studio album,
‘Paradise Discotheque’, is reissued on transparent
orange vinyl. This is set to be released alongside
‘Shine’ and ‘The Bride Ship’.
 A band out of time, Crime and the City Solution
were perennial outsiders who could not rest in their
native Australia, and instead found inspiration in
the colder climes of London and Berlin. Their
mesmeric, expressive music evolved through
many incarnations and a great deal of adversity.
 The first incarnation of the band appeared in
1977/78, in the midst of Australia’s nascent punk
scene and re-grouped in London in 1984. The later
line-up of singer Simon Bonney, Einstürzende
Neubauten’s guitarist Alexander Hacke, DAF’s
synth player Chrislo Haas, jazz bassist Thomas
Stern, violinist Bronwyn Adams and Bad Seed’s
Mick Harvey on drums recorded three studio
albums in quick succession.
 Crime and the City Solution’s freedom of
expression and adventurousness reached an apex
on 1990’s ‘Paradise Discotheque’ and its epic ‘Last
Dictator’ saga, which spanned four songs laid out
like chapters at the album’s conclusion. The album
and the variety of styles used on it, from the
metallic sounds of ‘I Have The Gun’ to the magic
realism of ‘The Last Dictator’ quartet, were
influenced by Bonney and Adams’ move to Vienna.
 Unavailable on vinyl since 1994.

15 years after the album’s release, ‘City Of Echoes’ is now
available in a deluxe 2LP edition, newly remastered by
Josh Bonati and featuring a full LP’s-worth of bonus
material, including original album demos, alternate takes,
and pieces originally only available on the rare ‘Pink
Mammoth’ EP.
‘City Of Echoes’, originally released in 2007 by Hydra
Head Records, marked a paradigm shift for Pelican.
Coming off the heels of the glacial ‘Australasia’ and their
even more expansive and acclaimed follow-up, ‘The Fire
In Our Throats Will Beckon The Thaw’, their third album is
a study in precision.
Inspired by their non-stop tour schedule following ‘The Fire
In Our Throats Will Beckon The Thaw’’s release, the
quartet composed ‘City Of Echoes’ to be a lean
powerhouse of non-stop melodic hooks and lurching
rhythms that reflected the energy of live performance.
Guitarists Trevor Shelley de Brauw and Laurent
Schroeder-Lebec trade crisp riffs that twirl in opposition
before thundering together in monoliths. The sheer
amount of potent interplay between the two, often
borrowing from disparate edges of rock and metal at a
whim before completely transforming, is mind-boggling.
Bassist Bryan Herweg and rhythm section compatriot /
drummer / brother Larry Herweg lock into a wider array of
grooves than ever before. Their considered bedrock
guides the band’s dynamics into some of the ensemble’s
most tender moments as well as their most ferocious.
Recorded by Andrew Schneider at Electrical Audio Cover.
Art designed by ISIS and SUMAC founder Aaron Turner,
with photography by Robin Laananen.
Also available to independent retailers on Translucent Blue
vinyl.

15 years after the album’s release, ‘City Of Echoes’ is now
available in a deluxe 2LP edition, newly remastered by
Josh Bonati and featuring a full LP’s-worth of bonus
material, including original album demos, alternate takes,
and pieces originally only available on the rare ‘Pink
Mammoth’ EP.
‘City Of Echoes’, originally released in 2007 by Hydra
Head Records, marked a paradigm shift for Pelican.
Coming off the heels of the glacial ‘Australasia’ and their
even more expansive and acclaimed follow-up, ‘The Fire
In Our Throats Will Beckon The Thaw’, their third album is
a study in precision.
Inspired by their non-stop tour schedule following ‘The Fire
In Our Throats Will Beckon The Thaw’’s release, the
quartet composed ‘City Of Echoes’ to be a lean
powerhouse of non-stop melodic hooks and lurching
rhythms that reflected the energy of live performance.
Guitarists Trevor Shelley de Brauw and Laurent
Schroeder-Lebec trade crisp riffs that twirl in opposition
before thundering together in monoliths. The sheer
amount of potent interplay between the two, often
borrowing from disparate edges of rock and metal at a
whim before completely transforming, is mind-boggling.
Bassist Bryan Herweg and rhythm section compatriot /
drummer / brother Larry Herweg lock into a wider array of
grooves than ever before. Their considered bedrock
guides the band’s dynamics into some of the ensemble’s
most tender moments as well as their most ferocious.
Recorded by Andrew Schneider at Electrical Audio Cover.
Art designed by ISIS and SUMAC founder Aaron Turner,
with photography by Robin Laananen.
Also available to independent retailers on Translucent Blue
vinyl.

Back in stock!

Following in the footsteps of the landmark 1966 double-quartet recording by Joe Harriott and John Mayer, Indian born musician Amancio D'Silva produced some of the most adventurous and sophisticated recordings within the canon of 'indo-jazz', a term used to define a pioneering east meets west synthesis that reflected the shifting musical and cultural landscape of post-war Britain. An experiment which reached a pinnacle in 1972 with D'Silva's seminal recording Dream Sequence by Cosmic Eye (The Roundtable TRZY001), an adventurous fusion of modal jazz and Indian classical music viewed through the psychedelic lens of swinging London. Exotic third-stream jazz conceived by a visionary composer whose virtuosic technique and deeply emotive guitar playing defined his two earlier and now legendary 1969 UK jazz albums Integration and Hum Dono with Joe Harriott, both recorded for the much celebrated Lansdowne label.

Also recorded in 1972 although not released at the time was Konkan Dance, an unofficial sequel to Dream Sequence that further explored the unchartered possibilities of an Indian music-jazz fusion. Featuring many of the same personnel, this session also included support from Don Rendell and Alan Branscombe, two giants of the UK jazz scene who add serious credentials to D'Silva's singular and intimate compositions. For reasons unknown the album was cancelled by Lansdowne at the time and never saw the light of day until being resurrected again in the 2000s. The Roundtable are pleased to once again showcase this important artist and present a new addition of this incredible and almost forgotten piece of the Amancio D'Silva story. Pressed on 180g vinyl and packaged in a custom 1960s-style flip-back sleeve.

Unreleased British Jazz from 1972.
Sequel to Cosmic Eye - Dream Sequence
Includes liner notes and rare photos.
Custom Flipback sleeve.
180g Vinyl

incl. 3 Tracks for download

Better known as one half of the Stavroz quartet, Pieter De Meester and Maxim Helincks turn up on A Tribe Called Kotori with their self-titled third studio effort as Shady, following up to "Your Skin" EP on Beat & Path last year. Grinding a wide set of influences through oddball, genre-bending compositions, the pair has been carving out its own wonky, cross-curricular sound grammar away from normative restrictions and creative-hindering behaviourism - like the weird brainchild to Soulwax, Nicolas Jaar and Connan Mockasin.

"Can I Be Yours" gets the ball rolling on a spectral pop tip, blending together the vaporous spook of ultra-processed riffs with mischievous drum play and hypnotically smooth-tongued vocals dissolving in rippling delays. A further nocturnal affair, "Cruisin" goes a more sensuous, electro-friendly route, beaconed with hints of washed-out folk and cosmo-ambient spaciousness. The Cali vibes meet spoken Brit post-punk motif'd (think Baxter Dury out for a quick surf session with the Beach Boys) "Sun" rounds off the ride on a catchy Mod-like note, merging to perfection the swinging London's debonair charm with that of the west coast's typical carefreeness of being. That's ocean-spray bottled in a tune.

Download

1. Shady - Cruisin
2. Shady - CIBY
3. Shady - Sun

Triple coloured vinyl version (Each disc is a different colour) of the double CD that came out on Cherry Red in 2021 Presented in Tri-fold gatefold sleeve with 16 page 12x12 colour booklet, poster & photograph.
ONLY 350 COPIES WORLDWIDE
Among the first crop of Creation Records bands in the mid-1980s, THE LOFT seemed the most likely to break through. Following the success of The Smiths, guitar-based independent pop was in vogue, Alan McGee’s Creation label was turning heads – its bands blending 60s psychedelia, the melodic end of punk and a new sound which would soon be immortalised on NME’s C86 cassette. And in this London quartet, Creation had their answer to bands like Television, The Only Ones or early Modern Lovers, offering taut, off-kilter songs with an irresistibly deadpan cool.
Sadly, after just two singles, 1984’s downbeat debut ‘Why Does The Rain’ and the punchier sequel, ‘Up The Hill And Down The Slope’ – an indie hit which the band performed live on TV show The Oxford Road Show, The Loft dissolved, with various members founding new bands The Weather Prophets, The Caretaker Race and The Wishing Stones. They left behind seven studio tracks, a BBC Radio 1 session for Janice Long and one track from a Creation LP documenting the scene’s roots in small club The Living Room.
However, The Loft’s legend endured, eventually prompting a reunion in the early 2000s with all four original members – singer/songwriter/guitarist Pete Astor, guitarist Andy Strickland, bassist Bill Prince and drummer Dave Morgan. Alongside various well-received live shows, that led to a new single, ‘Model Village’ (2006) and more recently a session for Gideon Coe on BBC 6 Music (2015). The Loft’s reputation as founding fathers of a new breed of mid-80s indie pop continues to grow to this day, with the band often cited as an influence.
Compiled and coordinated by the band, Ghost Trains & Country Lanes expands on previous retrospectives of The Loft, adding those reunion recordings (including three previously unissued tracks), the Gideon Coe session and several live recordings from that historic performance at The Living Room back in 1984. (including many exclusive songs which were never recorded in the studio).
With new sleeve-notes by Danny Kelly, this is the definite tribute to The Loft

THE ANCHORESS TO RELEASE VINYL ACOUSTIC EP OF TRACKS FROM
THE CRITICALLY ACCLAIMED 'THE ART OF LOSING'
Following the raft of "Best of 2021" plaudits for 'The Art Of Losing', Welsh
songwriter & producer The Anchoress announces the vinyl EP release of acoustic
versions of tracks from her critically- acclaimed record.'The Art Of Losing -
Acoustic EP' is out on January 20th 2023 via Kscope & features a stripped back
piano version of 'Show Your Face', 'Let It Hurt (String Quartet Version)' & acoustic
versions of 'All Farewells Should Be Sudden' & 'The Art Of Losing' plus a solo
piano take on 'The Exchange' & a special French language version of 'Let It Hurt'.
Catherine Anne Davies aka The Anchoress says: "As an album that was designed
to be listened to on headphones as an intimate journey into the physical &
psychological landscape of grief, it's been fascinating to tackle these acoustic
reworkings & explore new textures & arrangements that strip back the songs to
their essential skeletons. I hope fans will find a new connection to the core of the
songs within these acoustic versions & be excited to own them on vinyl for the
first time."
The vinyl acoustic EP release coincides with news of a series of UK tour dates:

The debut album from post-folk travellers Immaterial Possession, a quartet, half of whom came from an artist commune and half who were card-carrying Elephant6 alumni. ‘Immaterial Possession’ is a rich tapestry of a record, a gorgeous, melodious return to a time when influences co-habited freely and whatever was close at hand made the music of the day. All set to Syd Barrett-era Floyd and Nico with haunting lines, it’s perfectly tinged with gamelan harmonies, evocative Spanish guitars and xylophone. Exuding mystical symbolism; they wear luscious threads, they’re part of something/anything; perhaps a neo-modern-folk commune of artists in search of a canvas to stretch out over their juxtaposed influences. Immaterial Possession was conceived by Atlanta natives, Cooper Holmes and Madeline Polites, who met while living together at an Atlanta artist commune that was integrated into the DIY music, theatre, and arts scene. Some years later the duo moved to the neighbouring musical town of Athens, GA. They were soon joined by seasoned drummer, John Spiegel, and eventually fulfilled with multi-instrumentalist Kiran Fernandes (keyboards, clarinets, flutes) - descendant of the Elephant 6 Collective scene. It’s eastern, it’s eerie dream pop, it’s spacious and ethereal… A perfectly wild trip, and where it ends is immaterial.

NO(w) Beauty is a jazz quartet in its most traditional form.
In the perfect continuity of the history of this music, these four young musicians have gathered in Paris, where Hermon Mehari, trumpeter of American origin, has settled, like many of his peers before him. There, in the detours of the jazz clubs, a dialogue was created, then a friendship, thanks to the common language of music. Their personalities and influences mingle and define their sound. Jazz standards, blues, French and European classical music, soul, hip-hop, but also modern jazz and the avant-garde. A traditional quartet, but one that wants to be in tune with the times, and that looks ahead.
The three Frenchmen, in addition to having studied jazz, are largely rooted in French popular and learned music and their influences range from improvised music to Olivier Messiaen via Claude Nougaro... Enzo Carniel and Damien Varaillon both studied at the CNSM in Paris, renowned for its excellence and its very "European" aesthetic. Stéphane Adsuar studied at the Berklee School of Music in Boston, the leading school in the United States. Hermon Mehari, originally from Kansas City, Missouri, brings his unique heritage to the table, while innovating in the tradition of the great American trumpeters.
Together they create a space where all these influences intermingle, without nationality, without borders.

Eclectic Italian quartet Eugenia Post Meridiem are ready to reveal their sophomore full-length record, a rather magnificent musical masterpiece. The gloriously kaleidoscopic, dazzling celebration of sound ‘like i need tension’ is available everywhere now. Demonstrated over eight tracks, the all encompassing, musical odyssey, ‘like i need tension’ features initial single ‘willpower’; which burst across our radar with lashings of personality, and became the introduction to the now familiar Indie outfit. Next up was the punchy and fearless ‘around my neck’ and last but by no means least came the intriguing, alluring ‘whisper’, the calm before the sophomore album storm. Gifted with a further five previously unheard gems, listeners certainly have plenty to sink their teeth into. With focus track ‘crucial spring’ traversing the spectrums of shadow, the progressive and percussive ‘unchained will’, the slow voluminous ballad ‘ocean flows’ and the infectious, chaotic energy of ‘tiny perspectives’ and ‘mazes of gazes’. Oozing with iridescence, flavour and texture, there’s something to suit all manners of music fans. Completed over a span of two years plus a two week post-lockdown writing and recording stint, it was then that like i need tension truly came to life in a small converted barn near the village of Montaldo Bormida, in northern Italy. “It was a totally collaborative process... All the composing was done together, right there in the room.” and thus, like i need tension was born. “Tension is a powerful force. It drives things forwards, its friction producing interesting and unexpected results. Above all, it fuels creativity, inspiring and focusing in equal measure.” Such togetherness and chemistry as a band truly shines through across the eight track project. There’s a bold, fearless tenacity to experiment and to go against the tide as each track is filled with quality, curiosity and ingenuity. With purpose and intention studded throughout, like i need tension is as poetic and reflective as it is meditative and utterly transcendent. Placing its roots somewhere in the mystical universe of Hiatus Kaiyote, Christine and the Queens, PYJÆN and Tame Impala. Eugenia Post Meridiem’s sound holds an intrinsic synergy, refreshingly intangible, allowing space for the listener’s own interpretation and understanding. The depth they venture as a collective rewards those who journey beyond the initial passive listening. With technical structures, composition and developed time signatures just waiting to be unearthed, depicted and understood, Eugenia Post Meridiem offer a treasure trove for the adventurous and devoted musical palate yet still remain accessible and incredibly generous to all those who decide to listen. “And so it is that all eight tracks hang together beautifully, linked not by some overarching concept or narrative, but simply a band exploring their talent and the vast space afforded by an open-minded approach.”

Repress due in soon, this one on red vinyl, note new price. For fans of Jesus Lizard, Melvins, Korn, Nick Cave, and, The Flenser. Must anticipated debut full-length from Oklahoma-based noise rock band. Multiple vinyl pressing of the band’s EPs on cult noise rock label Reptilian Records have quickly sold out. There’s a sick irony to how a country that extols rhetoric of individual freedom, in the same gasp, has no problem commodifying human life as if it were meat to feed the insatiable hunger of capitalism. If this is American nihilism taken to its absolute zenith, then God’s Country, the first full length record from Oklahoma City noise rock quartet Chat Pile is the aural embodiment of such a concept. Having lived alongside the heaps of toxic refuse that the band derives its name from, the fatalism of daily life in the American Midwest permeates throughout the works of Chat Pile, and especially so on its debut album. Exasperated by the pandemic, the hopelessness of climate change, the cattle shoot of global capitalism, and fueled by “...lots and lots and lots and lots and lots and lots of THC,” God’s Country is as much of an acknowledgement of the Earth’s most assured demise as it is a snarling violent act of defiance against it. Within its over forty minute runtime, the album displays both Chat Pile’s most aggressively unhinged and contemplatively nuanced moments to date, drawing from its preceding two EPs and its score for the 2021 film, Tenkiller. In the band’s own words, the album is, at its heart, “Oklahoma’s specific brand of misery.” A misery intent on taking all down with it and its cacophonous chaos on its own terms as opposed to idly accepting its otherwise assured fall. This is what the end of the world sounds like.

LIMITED-EDITION METALLIC FALCON COLOR VINYL VERSION - INDIES ONLY

There is a moment near the top of jaimie branch's FLY or DIE LIVE, the new album recorded by the trumpeter's quartet at in Zurich, Switzerland on January 23rd, 2020, which feels like it bears the weight of both that specific pocket of time, and a prophecy for all that was soon to come. branch and her Fly or Die crew - cellist Lester St. Louis, bassist Jason Ajemian, and drummer Chad Taylor - had just kicked off the concert at Moods, with the opening tracks off their then-new studio album FLY or DIE II: Bird Dogs of Paradise, the second of which, "Prayer for Amerikkka" is among the best political songs written during the Tr*mp Era, and when the moment in question pops off.

Scratch The Super Ape is the 1976 studio album by Lee Perry’s studio band The Upsetters. The lineup consisted of Boris Gardener on bass, Mikey Benbow on drums, Earl Smith on guitar, Keith Sterling on keys and the horn quartet Bobby Ellis, Dirty Harry, Herman Marquis, and Vin Gordon. The album is recorded at Lee Perry’s studio and is both composed and produced by him.

This edition of Scratch The Super Ape features the original Jamaican album cover and is available as a limited edition of 2000 individually numbered copies on orange coloured vinyl.

Bongos, bouzouki and Farfisa organ galore ! The explosive cocktail of rock'n'roll and traditional Tsifteteli hailing from 1960's Greece is still alive thanks to Deli Teli : the Marseille-based quartet performs a string of forgotten hits that once set Athens on fire, with a contagious energy and a subtle dose of Mediterranean drama.

Half a century ago, while French seasiders would dance to « Yéyé » sounds and dig the Beatles or Pink Floyd, a whole other scene was happening further along the coastline. Notably, Greek artists were a huge influence beyond the Mediterranean cradle ; Aris San's version of « Boum Pam » (a.k.a. « Bros Gremos Kai Piso Rema »), brilliantly interpreted by Deli Teli on this record, was a n°1 hit from Southern Europe to the tip of India ! Far from being an exclusive Greek sound, Tsifteteli music has travelled through borders for centuries and means « double string » in Turkish. In the 1960's, it mixed with rock'n'roll, surf and Latin-american influences, and gave birth to the typical « Laïko » sound.

With their powerful electric bouzouki (Greek lute) and the distinctive sound of the Farfisa organ, Deli Teli have carved their style while digging through the incredible goldmine of the late 60's and early 70's Tsifteteli/Laïko singles. The 4 musicians met in 2019 with a burning desire to dive into electric sensations – bassist Christos Karypidis used to play oud and keyboardist Arthur Bacon played accordion in most of his former projects – and made the most of 2020's « lockdowns » by building their repertoire and thinking up Deli Teli.

On this mini-album, they also interpret Koko's « Chily Chily », a groovy belly-dance mover ; « Ekso Dertia Kai Kaïmi », an intoxicating and frenetic floor shaker ; « Tsiftetelli 1969 », a cool organ-lead surfing instrumental ; and 2 slightly freer and more psychedelic numbers, « Taksim Deli » (improvisation) and « Bournelis », a creative re-arrangement of 2 tracks by Leonardos Bournelis.

Deli Teli preach a collective, sensual and solar hip-wiggling across the continents and beyond ; they are ready to shake our minds and bodies until we all gel together... Join the « Tsifteteli Club » now !

Pianist, drummer, composer and producer Hamish Balfour presents jazz funk, soul and electronic music, bridging the gap from classic Blue Note to Warp via Sonar Kollektiv on Running Colours, his electrifying debut album for London's Shapes of Rhythm Records.

Praised by Jazzwise for hissolo flourishes and sidestepping harmonies, Hamish Balfour should be a recognisable face to jazz addicts. The go-to keys player has performed and recorded alongside American jazz drumming legend Harvey Mason, Tenderlonious, The Temptations, Odyssey, Faze Action, Yolanda Charles' Project PH, Bassically, Nim Quartet and Yam Who. Popping up not only in the credits of many sought-after albums, but also Channel 4, ITV and BBCprogrammes for his compositions on various shows.

Over the course of eleven tracks, Balfour folds in and explores his influences, with a wide yet highly cohesive and strong palette of sounds, whilst interacting with high caliber guest vocalists such as spoken word artist and broken beat icon, Lyric L(Seiji,Nathan Haines), London Elektricity and Hospital Records' star vocalist Elsa Esmeralda, award-winning and chart-storming singer-songwriter Belle Humble (Freestylers, Paloma Faith) and soul and house mainstay Andre Espeut (Afriquoi,Simbad,Faze Action).

Responsible for all piano, synths, percussion and production on the album, Balfour's musicality shines through, a reminder of how overdue this debut album as leader is. However, in addition to the incredible vocalists, he's joined by some of the UK's finest jazz musicians: James Copus (trumpet), Pete Matin (bass), Laurie Lowe and Saleem Raman (drums) and Rob Updegraff (guitar).

Elsa Esmeralda implores us 'not to be afraid' on lead single and title track Running Colours. A perfect invitation to get stuck into this many layered album. Balfour compliments Esmeralda's soothing vocals with delicate piano intro before Lowe's bruk-easque drums and lead an irresistible groove bedded in warm synths and guitar licks.

Yes or No showcases Loose Lips legend Lyric L contemplating the uncertainty of love over a swinging mid-tempo jazz funk boogie groove propelled by tight drums and Hammond chords, closing with a flying trumpet solo from Copus, weaving around Balfour's nimble keys.

Wealth, featuring singer/songwriter Belle Humble, displays incredible depth and restraint. Humble delivers the enticing vocal with ease, as it slides over the intricate webs of jazz fusion and electronics.

Mogul is arguably Running Colours' curveball. An eastern-inspired whirlwind of all manner of synths and twisting drums which constantly morph throughout. Guitars and trumpets take turns to solo on a track that feels like a series of questions that we never quite get answers to.

Balfour's ability to merge free wheeling jazz and fusion with timeless electronic production and soulful compositions is also apparent on instrumental pieces such as Reflector 28. Here, we find the musicians upbeat, uplifting, progressive and playful, showcasing the keys whilst the bass underpins the groove.

South Of The Sun is Running Colours' laid-back moment with Roy Ayers-type vibrations as bass and drums sit in the pocket (at least to begin with), whilst a Rhodes weaves its magic. Like many of the album's tracks we take a few twists and turns before returning to our main feel-good motif.

Hamish's long awaited debut is sure to exceed the expectations of those who know him already, whilst introducing a whole new audience to his wealth of talent and originality.

At the time of this recording, Mingus had been working regularly with the piano-less quartet of Eric Dolphy, Ted Curson and Dannie Richmond. The same group featured on the 1960 Candid release, Charles Mingus Presents Charles Mingus. The Mingus album, also recorded that year, features one track, "Stormy Weather," recorded with that same quartet, and two tracks recorded with a larger group featuring piano and additional horns. Of note, "MDM (Monk Duke & Me)" consumes the majority of this album. The piece consists of three intertwining themes - Duke Ellington"s "Main Stem", Thelonious Monk"s "Straight, No Chaser", and Mingus" "Fifty First Street Blues." Released in 1961, and recorded in the fall of 1960 by Candid A&R and Producer Nate Hentoff at the Nola Penthouse Sound Studios. The LP includes extraordinary liner notes written by Hentoff, giving a context and insight that adds to the experience of hearing these magnificent performances.

Es ist soweit: Nach dem großen Erfolg der ersten Staffel und langem, ungeduldigen Warten auf die zweite Staffel der
Netflix-Serie, konnten Fans jetzt bereits mehrere Monate lang die zweite Season Bridgerton genießen. Neben der
für diese Zeit typischen klassischen Musik begleiten die Coverversionen aktueller Hits die mitreißende Handlung.
Wie schon in den ersten acht Folgen sind die Quartett-Versionen und -Interpretationen vom Vitamin String
Quartet, Kris Bowers und Duomo und die neu hinzugekommenen Künstler, Hannah V & Joe Rodwell, Midnite
String Quartet und Krisis Houston dabei und unterstützen den Soundtrack.
Erhältlich ist der Soundtrack ab dem 09.12.2022 als 2LPerhältlich.

On their third album, »Rideau«, Swedish trio Tape made their great leap forward. Released in 2005 on Häpna, following two albums of pastoral folk meets electronica, »Rideau« saw the trio of Andreas and Johan Berthling, and Tomas Hallonsten, working with an outside producer, Marcus Schmickler (best known for his post-rock outfit Pluramon). On »Rideau«, Tape’s music opened out considerably, embracing traditional minimalism, and luscious melodicism. Now, seventeen years later, »Rideau« has a new home with Morr Music, who are reissuing the album on vinyl, marking its first appearance on the format, including an extra track.

It’s only logical that »Rideau« should reappear via Morr Music. Like Tape themselves, Morr Music was a significant part of the worldwide gang busy reconciling electronica, pop, and acoustic, group- oriented sound across the 2000s, and »Rideau« sits neatly alongside other releases of similar heritage. And yet, »Rideau« feels contemporary, suggesting the creative discoveries made by the trio have ongoing resonance; their elliptical poetry echoes through recent music from the likes of Tara Clerkin Trio, and Tape’s sometime collaborators, Tenniscoats.

Asked about the album, Johan Berthling recalls, “»Rideau« was a special album for us to make”. While they had previously recorded their albums in rural Sweden, for »Rideau«, the trio decamped to Schmickler’s Piethopraxis Studio in Cologne. The creative space that Schmickler carved out for the group allowed them to explore this new material to its fullest. For his part, Schmickler found himself drawn to Tape’s music –“Their focus was a combination of seemingly timeless folk influences with noisy electronics and field recordings,” he explains. You can hear Schmickler’s influence at an almost molecular level – Tape had never sounded quite so graceful and assured with their compositions. “Marcus really shaped the music, working architecturally to build the form of the pieces,” Berthling recalls.

»Rideau« represents a collective exhalation for Tape, with the trio exploring more involved, longer pieces, which situates them in yet broader musical contexts. There are clear connections with the history of minimalism, for example, via the repeating organ phrase of »Sunrefrain«, and the insistent piano arpeggio of »A Spire«, which builds into a Reich-ian dream song, with sensuous electronics and glinting vibraphone dappling abstract shapes across the song’s stretched canvas.

Reflecting on Tape’s essence, Schmickler isolates their “uncompromised ethos, caring about small details.” This echoes most radically through the twilight environment of »Long Lost Engine«, which sets the listener adrift on impossibly radiant drones, while a gentle, almost Feldman-esque melody plays out over the song’s surface. It’s followed by the reissue’s extra track, Japanese electronica quartet Minamo’s remix of »Roulette«, a connection that would lead to a Minamo/Tape collaborative album, »Birds Of A Feather« (2007).

For now, though, here is the gorgeous, penumbral abstraction of »Rideau«, an album of whispers and clues, quiet moments and grand gestures, reintroduced to a welcoming world.

Terapia Records is thrilled to introduce you the very first release of its catalogue, a stunning LP by the two founders Luca and Michele (aka Complementary Minds) called Butch Haynes introduces Complementary Minds Vol. 1. The newborn label launches its ambitious, yet very much considered project, after the debut of one of the two head-honchos Luca Ferrara aka Butch Haynes on Apparel Music and Sistrum Recordings. He metaphorically introduces the first LP by the Milan born and bred duo, who share a deep love for music and a great productive connection. They deliver a brilliant eleven-track album, full of diversified sonic influences and quite representative of their bright talent. The record, which will be presented to you both on vinyl and digital, starts with a couple of masterly produced beats (Fantastic/Teacher Carey), both with an analogous mellow, warm energy, some brilliantly crafted bass-lines and a substantial harmonic presence. The album keeps rolling with the Deep feeling of Flower Diva: its soulful, skilfully arranged vocals and the dreamy synthetic chords help the pair to perpetuate this passionate, balmy vibe. Insomnia ends the first quartet of sexy tunes with some seductive improvised spacey key stabs and its delicate pensive chords while Q Orchestra (the lost tape mix) speeds up the heartbeat and leads to the closing track of the A side, Bebi: a gorgeous groovy interlude. B side kicks off in style with the slightly darker feel of Myers Boogie Man where the pitched sampled vocals, the solid rhythm section, a profound array of sonic details and a marvellous warm synth melody towards the end of the track make it a true ghetto hit! Right On, with its broken-beat and a radiant harmonic progression, Contact 911 with its tight kick-snare connection and some far-out, whimsical chord evolution and G Buster with its irresistible slightly acid driving force, pave the way for the grand finale where Maam, a proper club banger, ends this amazing LP in epic fashion. Butch Haynes introduces Complementary Minds Vol. 1. is such a cohesive, yet incredibly diversified album and their authors, Luca Ferrara and Michele Fallabrino, achieve the challenging task of telling their sonic story with a flawless work. What a way to start Terapia Records’ experience.

Es wird Blut geben! Im Jahr 2018 kamen Overdrivers mit ihrem zweiten Album wieder in die Wehen und brachten das schlicht betitelte She's On Her Period zur Welt! Sich treu bleiben und von vorne anfangen: Das Quartett bietet wieder das, was es am besten kann, australischen Rock in der puren Tradition von AC/DC, Airbourne und Rose Tattoo. Aufgenommen unter der Aufsicht von Bertrand Charlet, haben Overdrivers es sich zur Aufgabe gemacht, ihre Eierstöcke zur Explosion zu bringen. Feingeister, verschwindet! Mit Titeln wie dem gleichnamigen She's On Her Period oder The Best Blowjob In History ist die Band nicht besonders subtil. Keine Sorge, Overdrivers interessieren sich nicht nur dafür, was unter der Gürtellinie passiert, sondern auch dafür, was oben passiert. Mit diesem zweiten Opus von wütendem Rock'N'Roll wird die Nanny ihre Menopause vergessen.

Compilation of our favorite Arvo Pärt pieces. All sparse and beautiful arrangements. Some solo piano pieces, some duets with piano, violin cello and viola and one string quartet. The pieces on this record are all unique to the style of Arvo Pärt - deceptively simple compositions that force you to live in the moment you are listening to them. A Pärt quote from the back of the record - "You can kill people with sound. And if you can kill, then maybe there is also the sound that is opposite of killing. And the distance between these two points is very big. And you are free -- you can choose. In art everything is possible, but everything is not necessary."

This record comes in a beautiful "tip on" old school cover with metallic gold foil and features an incredible painting from the 16th century manuscript Kometenbuch.

‘Runner is a calmly luminous orchestral piece with the pulsating, propulsive
rhythms that animate much of Mr. Reich’s music.’ – New York Times

‘Reich interweaves the two groups to create a dense textural tapestry that sounds like his most native orchestral thinking to date. A beautiful and dramatically charged masterpiece.' – San Francisco Chronicle

Nonesuch Records releases the first recordings of Steve Reich’s Runner (2016) and Music for Ensemble and Orchestra (2018), performed by the Los Angeles Philharmonic and conducted by Susanna Mälkki.

Reich says Runner is written “for a large ensemble of winds, percussion, pianos, and strings. While the tempo remains more or less constant, there are five movements, played without pause, that are based on different note durations. First, even sixteenths, then irregularly accented eighths, then a very slowed-down version of the standard bell pattern from Ghana in quarters, fourth a return to the irregularly accented eighths, and finally a return to the sixteenths but now played as pulses by the winds for as long as a breath will comfortably sustain them. The title was suggested by the rapid opening and my awareness that, like a runner, I would have to pace the piece to reach a successful conclusion.”

“Music for Ensemble and Orchestra is an extension of the Baroque concerto grosso where there is more than one soloist,” the composer continues. “Here there are twenty soloists – all regular members of the orchestra, including the first stand strings and winds, as well as two vibraphones and two pianos. The piece is in five movements, though the tempo never changes, only the note value of the constant pulse in the pianos. Thus, an arch form: sixteenths, eighths, quarters, eighths, sixteenths. Music for Ensemble and Orchestra is modeled on my Runner, which has the same five movement form.”

Nonesuch has recorded every new piece of music by Steve Reich since 1985, beginning with The Desert Music and continuing through 2018’s Pulse/Quartet, resulting in 22 albums and the two box sets Phases in 2006 and Works: 1965-1995 in 1997. Most recently, the label released his Reich/Richter, performed by Ensemble intercontemporain and conducted by George Jackson, in June 2022. The Times said, ‘What a delight to be able to focus on the music, delivered here with a clever mix of pinprick precision and reverberant haze by 14 members of Ensemble Intercontemporain. The more intently you listen, the more subtleties emerge among the shifting, criss-crossing textures and phrases, sometimes coloured with gentle melancholy but decisively upbeat by the end. Reich/Richter is an ear-tickling tonic and a happy companion to Reich’s newly published book, Conversations.’ Nonesuch will put out a collection of Reich’s complete works in 2023.

Reich released a book earlier this year, Conversations, that includes dialogues with past collaborators, fellow composers, musicians, and visual artists who have been influenced by his work, including: David Lang, Brian Eno, Richard Serra, Michael Gordon, Michael Tilson Thomas, Russell Hartenberger, Robert Hurwitz, Stephen Sondheim, Jonny Greenwood, David Harrington, Elizabeth Lim-Dutton, David Robertson, Micaela Haslam, Anne Teresa de Keersmaeker, Julia Wolfe, Nico Muhly, Beryl Korot, Colin Currie, and Brad Lubman. The Wall Street Journal called the book ‘a testament to the influence of an idea – one that triggered a cultural turning point,’ and the New York Times said, ‘The joy of the book is to hear artists from a variety of disciplines and backgrounds rhapsodizing about their relationship to Reich’s music and how it influenced their own creative processes.’

Steve Reich has been called ‘America’s greatest living composer’ (Village Voice), ‘the most original musical thinker of our time’ (New Yorker), and ‘among the great composers of the century’ (New York Times). His music has influenced composers and mainstream musicians all over the world. Music for 18 Musicians and Different Trains have earned him two Grammy Awards, and in 2009, his Double Sextet won the Pulitzer Prize. Reich’s documentary video opera works – The Cave and Three Tales, done in collaboration with video artist Beryl Korot – have been performed on four continents. His recent work Quartet, for percussionist Colin Currie, sold out two consecutive concerts at Queen Elizabeth Hall in London shortly after tens of thousands at the Glastonbury Festival heard Jonny Greenwood (of Radiohead) perform Electric Counterpoint followed by the London Sinfonietta performing his Music for 18 Musicians.

In 2012, Reich was awarded the Gold Medal in Music by the American Academy of Arts and Letters. He has additionally received the Praemium Imperiale in Tokyo, the Polar Music Prize in Stockholm, the BBVA Award in Madrid, and the Golden Lion at the Venice Biennale. He has been named Commandeur de l’Ordre des Arts et des Lettres and has been awarded honorary doctorates by the Royal College of Music in London, The Juilliard School, and the Liszt Academy in Budapest, among others. ‘There’s just a handful of living composers who can legitimately claim to have altered the direction of musical history and Steve Reich is one of them,’ states the Guardian.

Redefining what an orchestra can be, the Los Angeles Philharmonic (LA Phil) is as vibrant as Los Angeles, one of the world's most open and dynamic cities. Led by Music & Artistic Director Gustavo Dudamel, this internationally renowned orchestra harnesses the transformative power of live music to build community, foster intellectual and artistic growth, and nurture the creative spirit. This is the third recent recording by the orchestra on the label; the others were the Louis Andriessen pieces The only one and Theatre of the World. Additionally, the Los Angeles Philharmonic’s recordings of The Gospel According to the Other Mary and Must the Devil Have All the Good Tunes?, with Yuja Wang, released on Deutsche Grammophon, are included in this year’s John Adams Collected Works boxed set. Nonesuch also released an LA Phil recording of Adams‘ Naïve and Sentimental Music in 2002.

Susanna Mälkki is sought-after at the highest level by symphony orchestras and opera houses worldwide. About to embark on her final season as Chief Conductor of the Helsinki Philharmonic Orchestra, she concludes a seven-year tenure with a distinctive dynamism and imaginative flair to her programming. In addition to a full season in Finland, she will lead the Helsinki orchestra on tour to the prestigious Lucerne and Edinburgh festivals, New York’s Carnegie Hall, and Washington’s Kennedy Centre this season.

re-release Typische Weihnachtslieder wie "Stille Nacht" haben die Meisten wahrscheinlich schon so oft gehört, dass sie zu beiden Ohren raushängen. Deswegen muss man in der Adventszeit trotzdem nicht auf die bewährten Weihnachtsklassiker verzichten. Denn mit "Noël Gospel" bringt das französische Label Wagram eine Kompilation heraus, die 15 ergreifende Gospelversionen bekannter, und auch einiger weniger bekannter Weihnachtstitel versammelt, zum Beispiel "Oh Happy Day", "Silent Night" oder "White Christmas". So ist für besinnliche Stimmung und ein aufregend neues Hörerlebnis gesorgt. Mit auf der LP vertreten sind die Superstars des Gospels wie Aretha Franklin, Mahalia Jackson, The Edwin Hawkins Singers, Elvis Presley, The Staple Singers, Johnny Cash und The Golden Gate Quartet. Hinzu kommen mit Louis Armstrong, Nat "King" Cole und Little Richard stimmgewaltige Sänger, die man auch unterm Tannenbaum immer wieder gerne hören mag.

For fans of - Booker T & The MGs, James Taylor Quartet, Georgie Fame, Big Boss Man. Groovy Hammond garage rock instrumentals from Billy Childish (Thee Headcoats/CTMF etc) and featuring James Taylor (Prisoners/JTQ) We’re loving this new album by The Guy Hamper Trio! Who’s in the band sunshine? Mainly myself on guitar, Julie on bass, Wolf on drums, and of course Jamie on Hammond. A great bonus is Thee Headcoats with Bruce and Tub guest as rhythm section on a track or two. You and James Taylor go back a long way. Do you remember how you first met? The Prisoners were a young group who played with us (the Milkshakes) in the early 1980s. One day they turned up with an organ player, Jamie. Jamie used to then borrow my Selmer guitar amp to play through. You’ve revisited a few old classics on this album, and given them a true makeover. How would you describe The Guy Hamper Trio’s sound? I guess there must be a derogatory term for it but I might need some help finding it. In the very early days of The James Taylor Quartet (Wolf was their drummer back then), I was in the Natural Born Lovers (A blues group with Big Russ and Sexton Ming). We used to be the support for them. I really liked their sound and I guess The Guy Hamper Trio is not a million miles from that blues-influenced, film soundtrack vibe, man. There you made me say “man”. Next thing you know I will be saying “cool!” Let’s just say it's a wizard sound, Jamie is such a great player. Prior to this album The Guy Hamper Trio’s sole release was the ‘Polygraph Test’ 7” from 2009. Why such a big gap? It takes time for all of us to get all our solders in line. “Get on with it mush! And trifle not, your time is but short!” What inspired the album’s title track All The Poisons In the Mud? It’s actually the title of a novel I’ve been writing, and rewriting, over the past 12 years, and is taken from a quote from I Claudius by Robert Graves - a formative influence on me as a 15 year old. The sleeve art is pretty different to your other recent records, could you tell us a about that? Who designed it? I nominally designed it but the truth is that it's essentially a rip off of a Saul Bass sleeve he did for Duke Ellington. We started mining that seam back in the Milkshakes when Bruce (Brand) did the sleeve for Thee Knights of Trashe. The album closes with a storming cover of Jimi Hendrix’s “Fire”. What do you think Jimi would make of your version? I've been a fan of Jimi since my elder brother brought his records home in the '60s. Jimi was well known to “dig” others work and interpretations and would no doubt smile, narrow his smoky eyes and say “cool man!” and I would no doubt reply "wizard Jimi!" TRACKLISTING 1. All The Poisons in the Mud 2. Come Into My Life 3. Moon of the Popping Trees 4. Girl From '62 5. Full Eclipse of the Sun 6. Sally Sensation 7. 7% Solution 8. Step Out 9. Polygraph Test 10. The Kids are all Square 11. Skinwalker 12. Fire

Bristolian power-improv duo Run Logan Run continue their link-up with Worm Discs and producer Riaan Vosloo on Nature Will Take Care Of You – a monumental slab of contemporary energy music that draws on the heavy soul of David Axelrod and the fiery commitment of Archie Shepp. Working with an expanded line-up that includes singer Annie Gardiner (daughter of the late guitarist Ricky Gardiner, who played and collaborated with Iggy Pop and David Bowie) plus a string quartet and a brass section, saxophonist Andrew Neil Hayes and drummer Matt Brown have once again steered Run Logan Run in a dramatic new direction. Churning, future-forwards and emotionally tuned in, Nature Will Take Care Of You reaches out towards propulsive rock and psychedelic soul, while keeping one foot in the radical jazz-not-jazz of Bristol’s ever fertile improv scene.

The core of Run Logan Run’s sound is the dynamic conjunction of Matt Brown’s agile and powerful drums with Andrew Hayes’ looping, pedal-treated sax motifs. No matter how the duo augment and enhance their music, the kernel of their art has always been the spiralling energies generated by this essential musical relationship. Explorations of repetition, dissolution and dervish-like disorientation remain a central part of their project, with Brown weaving a tight rhythmic armature for Hayes’ unshackled journeys into sound. But though they began within Bristol’s improvised music scene, their vision has been increasingly structured and expansive, and the arrival of producer and bassist Riaan Vosloo (Nostalgia 77) for 2021’s For a Brief Moment We Could Smell The Flowers allowed to them move outwards to explore pulsing, cinematic synth-scapes. Vosloo is behind the boards again on Nature Will Take Care of You – and the duo’s vision has broadened a step further.

Das neue Album ‚Untamed‘ der französischen Sleaze Rock-Formation BlackRain ist ein ebensolcher Fall. Obwohl mit ihren sechs bisherigen Ver-
öffentlichungen bereits etabliert und auch auf Tourneen (unter anderem mit Europe, Alice Cooper, Scorpions oder Steel Panther) sehr erfolgreich,
legt das Quartett um Sänger Swan jetzt ein Werk vor, das in jeder Hinsicht neue Qualitätsstandards setzt. „Wir lieben den kraftvollen Sound, die
knalligen Drums, diese tolle Mischung aus catchy Melodien und Aggressivität, die ‚Untamed‘ von Beginn an durchzieht“, freut sich Bassist Matthieu de la Roche und benennt auch gleich den Produzenten der neuen Wertarbeit: Hannes Braun, Frontmann der deutschen Hardrocker Kissin`
Dynamite und auch als Tonmeister eine feste Größe. De la Roche: „Hannes sagte zu uns: ´Ich liebe eure Songs, mich begeistert eure Show, ich
weiß genau, wie eure nächste Scheibe klingen sollte!` Dank seiner Hilfe haben wir exakt den Sound gefunden, den wir seit zehn Jahre suchen.“
Veröffentlicht wird ‚Untamed‘ am 25. November 2022 über Steamhammer/SPV. Man sollte sich den Termin im Kalender rot anstreichen!

On his second release for ECM New York-based saxophonist Oded Tzur
introduces a heightened sense of urgency and a conceptually augmented
approach to his distinctive voice, weaving one underlying musical idea
through a series of elaborate and impassioned designs
The quartet's lineup is unchanged from 2020's Here Be Dragons and the group's
interplay has grown even more expressive in the meantime. Throughout Isabela
the saxophonist and his collaborators - pianist Nitai Hershkovits, Petros
Klampanis on bass and rhythm conjurer Johnathan Blake - apply their subtle
dialect in a more intense space, exploring the nuances and colors of Oded's selffashioned raga in a suite- like sequence of quiet meditations and powerful
exclamations.
The remarkable session was captured in Lugano's Auditorio Stelio Molo in
September 2021 and produced by Manfred Eicher.
Oded Tzur: tenor saxophone
Nitai Hershkovits: piano
Petros Klampanis: double bass
Johnathan Blake: drums