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- Transparentes Vinyl mit roten und blauen Schlieren - Dritter Teil in LITAs hochgelobter Country Funk Serie! - Mit Dolly Parton, J.J. Cale, Conway Twitty, Larry Jon Wilson und Billy Swan, unter vielen anderen - Inklusive eines bisher unveröffentlichten Tracks von Tony Joe White - Alle Tracks neu gemastert - Neues Original-Artwork des renommierten Künstlers J. William Myers (der für Robert Altmans "Nashville", Waylon Jennings und Willie Nelsons "Waylon & Willie"-Album und die LP-Cover für die Charlie Daniels Band verantwortlich zeichnet) // Im Sommer 2012 wehte ein neuer Sound aus der staubigen Wüste herein. Es war ein Sound, der schwer zu fassen war, schwer zu kodifizieren; ein Sound, der sich wie ein wildes Pferd dem Zugriff entzog. Aber dies war kein Trend, keine Eintagsfliege, keine Vermischung von Stilen. Dieser Sound reichte Jahrzehnte zurück, in die zweite Hälfte der 1960er und frühen 1970er Jahre, als abenteuerlustige Künstler begannen, Country-Harmonien mit dem Hochgefühl des Gospels, dem sexuellen Schub des Blues und einem Hauch von Großstadt-Härte zu vermischen. Dies war ein neuer Sound mit einem einfachen Namen: Country Funk. Country Funk 1969-1975, erstmals 2012 veröffentlicht, brachte eine disparate Gruppe von Künstlern zusammen, die durch das einfache Gefühl ihrer Songs verbunden waren. Country Funk ist abwechselnd verspielt und melancholisch, slow jammin' und booty-shakin'. Es ist ein Sound, der sich sowohl im Studio als auch in der Bar durchsetzt, wie die auf Volume I vertretenen Künstler beweisen: Johnny Adams, Mac Davis, Dale Hawkins, Tony Joe White, Bobbie Gentry, Larry Jon Wilson, und viele andere. Nur zwei Jahre später wurde Volume I mit einer neuen Sammlung von Songs für Country Funk 1967-1974 (LITA 116, 2014) fortgesetzt. Volume II ließ nicht locker und bot alles, was man an Loose Talking und Lap-Steel Twangin' vertragen konnte. Schwergewichte wie Willie Nelson, Townes Van Zandt, Kenny Rogers, Dolly Parton und J.J. Cale teilen sich die Barhocker mit den weniger bekannten Stimmen von Bill Wilson, Donnie Fritts und Thomas Jefferson Kaye. Mit Country Funk Volume III 1975-1982 wird noch mehr Funk aus dem Kofferraum geholt. Diesmal sind die Jeans enger, die Haare größer und die Discokugel dreht sich zu einem Country-Synthie-Beat. Produziert und zusammengestellt von Jason Morgan (DJ/Sammler aus der Bay Area) und Patrick McCarthy (Co-Produzent/Compiler von Volume I & II), enthält die Trackliste neben den Stammgästen Dolly Parton, J.J. Cale, Larry Jon Wilson und Tony Joe White (dessen Track hier zum ersten Mal veröffentlicht wird) auch neue Gesichter wie Steven Soles, Gary & Sandy, Conway Twitty, Travis Wammack, Billy Swan, Rob Galbraith, Brian Hyland und viele mehr. Als die 1970er Jahre abebbten und sich die 1980er Jahre näherten, erweiterte sich die Palette des Country-Funks um Disco-Beats, schwere Moog-Synthesizer-Bässe und Clavinet. Volume III zeigt Künstler, die sich weiterhin gegen traditionelle Country-Tropen und -Produktionen wehren, während sie modernen Soul, Disco und verkorksten 80er-Jahre-Synthie-Pop in sich aufnehmen. Dies ist der wahre Soundtrack des Urban Cowboys. Aufsatteln, Partner.

In 1970, Kevin and David met whilst they were working in the Labour Exchange Office on Aytoun St, Manchester. Both played guitar and had been searching for other musicians who played atmospheric music. Kevin had been playing in small clubs in Manchester and David performed in a few local bands. One evening, they jammed together at Kevin’s family home, and quickly realized that their playing blended together to form the basis of the sound they had been looking for. In the late ‘70s, the music scene in Manchester was bursting with new bands and music.

However, Kevin and David had little in common with the local acts, being disciples of a more meditative approach. They followed a path of their own, reaching for an otherworldly sound that they heard from artists like John Martyn, David Crosby, Erik Satie, Terry Riley, Eberhard Weber, Alice Coltrane, and Ralph Towner. They experimented combining their acoustic guitars and David’s bass with various effects pedals and techniques to try and achieve a warm and expansive sound that rides the line between ambient, jazz, and psychedelic folk Music.

Towards 1981, they had written eleven songs and accompanied a few with Moog synthesizer laid down by Rob Baxter. All were recorded on cassette decks in their simple home studios. They named this collection of music “Light Patterns”, after a poem Kevin had written. With Light Patterns complete, they set out to find a label to represent their music. They started playing a few gigs in Manchester; Band On The Wall, the Gallery, and other venues, such as Rotters which local promoter Alan Wise had organized. They set up with small amps along with their effects and played as though they were back at home. As Kevin remarks, “It was unusual, to say the least, to play such venues in a low volume chilled out way. However, people listened, often in shocked curiosity, and some even asked for tapes.”

Peter Jenner, of Blackhill Enterprises, eventually picked up the album for his new label, “Sheet”. Peter had managed lots of experimental bands and solo artists, including Pink Floyd in their early Syd Barrett days. He always favored outsiders! The tapes were taken to Strawberry Recording Studios in Manchester, who were surprised when Kevin and David walked in with just a couple of home-produced cassette tapes. Fortunately, they liked them and agreed to master the album. It was then sent to Portland Recording Studios in London for final mastering to vinyl. George Peckham, aka “Porky”, did the pressing with a personal message in the deadwax; “Kaftans, Candles and be Cool Man”. The artwork for the album cover was done by the late Barney Bubbles, a truly visionary artist.

After the album’s release, the pair continued to play together regularly until David moved away from the city. Kevin still resides near Manchester in the rolling hills outside of the city. He continues to experiment with dreamy music in his loft, and we are set to share a selection of his ethereal archival and current compositions in the coming months. David lives a quiet life in a small coastal town in the South, he likes to sail and is an avid cricket fan. We’re excited to make Light Patterns accessible again for the first time in nearly 40 years, remastered from the original tapes. As the original press release said, “Put the album on, lie back and enter the land of no floors”.

New Yorker Singer-Songwriter entdeckt den Westcoast-Sound. Das 2019 erschienene Album "The Unseen In Between" etablierte den amerikanischen Musiker Steve Gunn als einen Großmeister des US-Songwritings - mit seinem neuen Album "Other You" unterstreicht er nun diesen Anspruch. Gunn, der ursprünglich aus Pennsylvania stammt und mittlerweile in Brooklyn lebt, ist für die Aufnahmen zu seinem neuen Album an die Westküste gereist. Das passt perfekt, denn seine Musik ist der ideale Soundtrack für Roadtrips von der Ostküste an die Westküste des Landes. Sein fein destillierter Sound lässt sich dabei zwischen Roots Rock, Americana, Folk und Jazz treiben. Steve Gunn ist Traditionalist und Suchender zugleich. Zumeist geht er nur mit losen Ideen ins Studio, bei denen er am Anfang nie so genau weiß, wo sie ihn am Ende hinführen werden. Ähnlich gestaltete sich das auch dieses Mal. Sein sechstes Studioalbum "Other You" nahm Steve Gunn zusammen mit Produzentenlegende Rob Schnapf (Beck, Elliott Smith, Kurt Vile) in dessen Mant Studios in Los Angeles Ende 2020 und Anfang 2021 auf. Schnapf hat großen Anteil an der Entstehung dieses Albums. Er schüttelte nicht nur das Soundbett auf, sondern mischte auch Steve Gunns Stimme in den Vordergrund, um den poetischen Lyrics des Songwriters die richtige Bühne zu bieten. Mit Hilfe von befreundeten Musikern wie Juliana Barwick, Mary Lattimore, Bridget St. John, Jeff Parker, Bill MacKay, Ben Bertrand und dem Schlagzeuger Ryan Sawyer (TV On The Radio, Thurston Moore, Gang Gang Dance) entstand mit "Other You" ein Album, mit dem Steve Gunn nicht nur die Grenzen von Genres auslotet, sondern auch seine eigenen.

- generic sleeve repress -

It has been a little over a year since the release of 747's debut album, in which the Canadian masterfully drew notes of inspiration from the 90s to create an enchanting hour-long dream. In his first EP since, 747 returns from a temporal leap, bringing with him a blend of sounds and expressions to forge a timeless trip which hinges on the sounds of the 303.

Opening the release, "you,you" unfolds with a gentle and shimmery padded ambiance of anticipation. Gentle and light-footed percussion is soon interrupted by a dramatic siren, a warning beacon. Frenetic energy ensues, a frantic rush to the floor met with a cloudy head. Encompassed in an envelope of disorienting wailing and intermittent buzzing, but finally grounded by the familiarity of a 4/4 bass drum.

"Does Anybody Remember Laughter?" steps in to relinquish the force of gravity. The animated arpeggio and gleaming singing acid line rise up, uncovering the kaleidoscopic nature of the structural surroundings.

"While My 303 Gently Weeps" divulges further, exposing an underlying grid of dark geometry - binary and robotic. The topology of surfaces becomes increasingly fractalized, until the solo overtakes with a somber sadness. The 303 notes guide the mind on a melancholic and meditative walk along the grand staff, met after the break with a sense of hope and serenity.

Mannequin Records is elated to present for the first time on vinyl the reissue of Giovanotti Mondani Meccanici’s first video soundtrack, originally released in 1984 as an audiotape in less than one hundred copies. Giovanotti Mondani Meccanici (literally Mundane Mechanical Youth) or GMM was one of the most unclassifiable audiovisual experiences to emerge from Italy in the 1980s. Maurizio Dami a.k.a. Alexander Robotnick, a pivotal member of GMM, was responsible for the group’s music output.

Founded in 1984 by Antonio Glessi and Andrea Zingoni in Florence, GMM was an art collective whose production represents the quintessential expression of postmodern transmedia hybridity. GMM pioneered the genre of computer comics, created video installations, developed “multiple identity” performances, and was involved in fashion, media, and music productions, and later on produced cyberdelic environments, artificial reality projects, and proto-memes.

Alexander Robotnick’s first contribution to GMM was this soundtrack for the group’s eponymous first video, the animated version of a computer comics they coincidentally published on legendary Frigidaire magazine. Restored by Dami and reissued here for the first time by Mannequin Records, the composition was also split into two “suites” and released as an audiotape distributed by Materiali Sonori, also responsible for other releases by both Robotnick and GMM.

Determining in this work is Dami’s adoption of the alphaSyntauri, also known as the first affordable digital synth (priced less than $2000 when it was released in 1980), which was playable through its own software, “alphaPlus,” on the Apple II computer. The same computer was used by Glessi to “draw” the 3-bit strips scripted by Zingoni recounting the joyrides of the Giovanotti Mondani Meccanici, three merciless cyborgs in black suit and sunglasses dividing their time between nightclubs, rapes and murders.

As Robotnick, Dami developed an innovative formula of Italo disco that was attractive to the dance floor yet at the same time highlighted the expressive properties of the instruments he used, notably Roland drum machines and Korg synthesizers. For the soundtrack of GMM’s videos and installations, he left aside the danceable synth rhythmics in favor of ambient sounds that produced rarefied atmospheres, psychological tensions, and enhanced states of consciousness.

Dami’s scores for GMM’s artworks could be associated with Italian avant-garde music of the 1970s and 1980s, ranging from composers who adopted electronics flirting with pop and songwriting to minimalist musicians exploring seriality and drones, including Franco Battiato, Roberto Cacciapaglia, Francesco Messina, and Riccardo Sinigaglia. Analogies could also be traced with the playful and humanizing approach to personal computers that characterizes the music output of Marcello Giombini and Doris Norton.

The futuristic escapism of minimal synth and ambient music’s psychological nature is infiltrated by drifting harmonics typical of new age, as if in search of a spiritual dimension of technology. Characteristic of the postmodern ethos of GMM Suite, in line with the humanizing approach to technology that is at the base of GMM’s computer comics, is the melancholic take at speculative dystopias in which human beings would find themselves increasingly trapped into identity crises: a true cyborg’s melodrama.

Repress

Second release on Nina Kraviz (pronounced 'trip') label is another double-EP compilation this time entitled 'De Niro Is Concerned'.

'The idea of this compiled album/concept compilation is about one of those moments when you suddenly realise that you can't continue as you did before and there is no way back. I was in a 4am facebook chat with Reynier (Deniro) and we both thought Robert De Niro might have had a moment like that. Most of the tracks in TRP002 are live recordings, which is a key part of the label's concept: to release music that is abstract and very specific in texture, yet very human, unplanned and organic, because I really believe in music that captures the emotional moment of when it was made." Nina Kraviz

Featuring a great introductory track from the Icelandic wunderkind Bjarki, a superb collaboration between Nina and the seminal Exos, the legendary Steve Stoll delivers a brilliant acid groover, two classic techno tracks from Amsterdam based Reiyner Hooft AKA Deniro, the wonderful trance induced 'L'Importance De Doute' by Parrish Smith, a slice of melancholic techno from Nikita Zabelin and a welcome re-release of the legendary, highly sought after secret weapon Barcode Population - Barcode Population (which will be on the vinyl only) . An eight-track no-holes barred barnstormer of a double-pack.. !!

Audiophile 180glp pressing includes eight 12"x12" art print reproductions of analog film stills by renowned experimental filmmaker Daïchi Saïto. The first purely solo record by Jason Sharp - where every sound is created by his saxophone, breath, heartbeat & modular synthesis rig. Sharp's customized electroacoustic biofeedback system utilizes a heart monitor to turn his pulse into signal & tempo responsively synthesized in real time during peformance & recording. Produced by Radwan Ghazi Moumneh (MATANA ROBERTS, SUUNS, BIG | BRAVE, ERIC CHENAUX, JERUSALEM IN MY HEART). For Fans of Fennesz, Christina Vantzou, Tim Hecker, Klaus Schulze, Ben Frost, Gas, Windy & Carl, Colin Stetson. Montréal saxophonist and electroacoustic composer Jason Sharp presents his third album on Constellation. The Turning Centre Of A Still World is Sharp's first purely solo record and his most lucid, poignant, integral work to date. Following two acclaimed albums composed around particular collaborators and guest players, Sharp conceived his third as an interplay strictly bounded by his own body, his acoustic instrument, and his evolving bespoke electronic system. The Turning Centre... is a singular sonic exploration of human machine calibration, interaction, expression and biofeedback. Using saxophones, foot-controlled bass pedals, and his own pulse - patched through a heart monitor routed to variegated signal paths that trigger modular synthesizers and samplers - Sharp paints with organic waves of glistening synthesis, pink noise and digitalia. Melodic strokes and harmonic shapes ripple and crest across ever-shifting seas, through an inclement cycle from dawn to dusk. The album's six main movements navigate a world where placid surfaces are always roiled and disquieted by a deeper inexorable gyre: the gravitational pull and tidal perpetuity of our bodies made of water, buffeted by terrestrial atmospheric pressures, wrung out by emotions, coursing with blood, sustained by breath, inescapably yearning for and returning to ground again and again. Sharp's heartbeat literally courses through these compositions - while only occasionally surfacing as a clearly audible pulse or rhythm, it physically feeds into a spectrum of generative synthetic processes that help constitute and conduct the music.

For over a year one of the most watched ‘YouTubers’ and internet sensations has been Toyah Willcox. Toyah’s ‘Sunday Lunch’ performances with Robert Fripp and weekend broadcasts have been seen by 38 million. Simultaneous to creating consistently unique online videos, Toyah made the album Posh Pop with her long-term songwriting partner Simon Darlow. Posh Pop is a strong collection of infectious and affirmative pop songs that are as joyous as they are
reflective, from the cosmic groove of “Space Dance”, to the sun kissed anthem of unity “Summer Of Love”. The album is crafted with evocative storytelling and musicianship from Toyah, Simon Darlow
(guitars, keyboards, cello), Bobby Willcox (guitar) and Jeremy Stacey (drums). Posh Pop opens with the energy-burst of “Levitate” and leads the listener on a journey that climaxes in the soaring, intergalactic-tinged “Take Me Home”. The album was inspired by the world we find ourselves in today and touches on the ever-present desire to be ‘famous for fifteen minutes’ a la Andy Warhol, escaping the everyday, but above all staying connected to humankind beyond computer screens and geography. Produced by Simon Darlow, Posh Pop is Toyah’s first brand new studio solo album since 2008 and twenty-fifth album since 1979.

Bram Weijters' Crazy Men is a thrilling take on Belgian jazz-rock and fusion from the 1970s.Consisting of musicians from a wide array of contemporary jazz bands including Lucid Lucia (ex BRZZVLL), Dans Dans, STUFF. and Cargo Mas, the ensemble is led by Antwerp based piano and keyboard player, Bram Weijters.

Maisie Peters treated fans to their first taste of ‘You Signed Up For This’ earlier this year with ‘John Hughes Movie’. The track soared to No. 1 on iTunes the weekend of release, was playlisted across BBC Radio 1 and 2, and has been streamed over 11.5 million times globally to date.

Revered for her songwriting, Maisie has spent the past three years honing her craft in sessions across London, LA and Nashville, creating songs for ‘You Signed Up For This’ alongside the likes of Ed Sheeran, Steve Mac, Fred again.., Johnny McDaid, Miranda Cooper, and producers Joe Rubel (Tom Grennan, Benjamin Francis Leftwich), Afterhrs (Niall Horan, GRACEY), Rob Milton (Easy Life, Holly Humberstone) and Brad Ellis (Jorja Smith, Little Mix).

Impressively, ‘You Signed Up For This’ is Maisie’s second full length release in the space of three months, as she recently became one of the youngest musicians in history to write and curate a soundtrack for the second season of Apple TV+ Original Series, ‘Trying’, at only 20 years old. Written in just two months last winter, the stunning body of work includes duets with her friends and favourites, including Griff, James Bay and Bear’s Den.

With her knack for transforming everyday experiences in to vividly written diary-style songs, ‘You Signed Up For This’ is both Maisie’s coming of age story and a love letter to girlhood; penned with the wit, charm and quiet confidence that has seen her ascend from busking on the streets of Brighton, to recently making her US TV debut on The Late Late Show with James Corden. Transporting us directly in to her world as she navigates from small town teenager to adulthood, there’s a universal sense of familiarity and nostalgia as she shares memories of blossoming relationships (‘Outdoor Pool’, ‘My Elvis Song’), being played (‘Boys’, ‘Volcano’), heartbreak (‘Tough Act’, ‘Villain’), and first holidays with her twin sister (‘Brooklyn’).

New Yorker Singer-Songwriter entdeckt den Westcoast-Sound. Das 2019 erschienene Album "The Unseen In Between" etablierte den amerikanischen Musiker Steve Gunn als einen Großmeister des US-Songwritings - mit seinem neuen Album "Other You" unterstreicht er nun diesen Anspruch. Gunn, der ursprünglich aus Pennsylvania stammt und mittlerweile in Brooklyn lebt, ist für die Aufnahmen zu seinem neuen Album an die Westküste gereist. Das passt perfekt, denn seine Musik ist der ideale Soundtrack für Roadtrips von der Ostküste an die Westküste des Landes. Sein fein destillierter Sound lässt sich dabei zwischen Roots Rock, Americana, Folk und Jazz treiben. Steve Gunn ist Traditionalist und Suchender zugleich. Zumeist geht er nur mit losen Ideen ins Studio, bei denen er am Anfang nie so genau weiß, wo sie ihn am Ende hinführen werden. Ähnlich gestaltete sich das auch dieses Mal. Sein sechstes Studioalbum "Other You" nahm Steve Gunn zusammen mit Produzentenlegende Rob Schnapf (Beck, Elliott Smith, Kurt Vile) in dessen Mant Studios in Los Angeles Ende 2020 und Anfang 2021 auf. Schnapf hat großen Anteil an der Entstehung dieses Albums. Er schüttelte nicht nur das Soundbett auf, sondern mischte auch Steve Gunns Stimme in den Vordergrund, um den poetischen Lyrics des Songwriters die richtige Bühne zu bieten. Mit Hilfe von befreundeten Musikern wie Juliana Barwick, Mary Lattimore, Bridget St. John, Jeff Parker, Bill MacKay, Ben Bertrand und dem Schlagzeuger Ryan Sawyer (TV On The Radio, Thurston Moore, Gang Gang Dance) entstand mit "Other You" ein Album, mit dem Steve Gunn nicht nur die Grenzen von Genres auslotet, sondern auch seine eigenen.

A modern and powerful interpretation of traditional Italian Pizzica.
The Pugliese group Canzoniere Grecanico Salentino is known for its powerful
rhythms, vocal harmonies and constant groove. Canzoniere has a knack for
bringing together all their references, ancient and contemporary, into a coherent narrative, both hybrid and fluid.
Their new album Meridiana (Italian for “sundial”) contains twelve tracks like
the twelve hours of the sundial and tells the story of each of the seven band
members’ relationship with time. It is co-produced by guitarist Justin Adams,
long-time collaborator of Robert Plant, and producer of some of Tinariwen and
Rachid Taha’s cult albums.
The production and instrumentation, combining synth, electric bass and loops
with traditional folk instruments, give a modern and powerful reading to this
age-old music.

Norway’s inventive Rock mavericks LEPROUS return with their seventh studio album, “Aphelion”. Although unmistakably the work of the same band that made “Pitfalls” in 2019, “Aphelion” immediately stands out as a radical statement: Veering from some of the most intense material of their career to some of the most delicate music in the LEPROUS career, “Aphelion” is an album of beautifully crafted and meticulously arranged mini-masterworks. Recorded at three different studios (Ghost Ward / Sweden, Ocean Sound Recordings / Norway and and Cederberg Studios / Norway), mixed by Adam Noble (Placebo, Biffy Clyro, Nothing But Thieves) and mastered by Robin Schmidt (The 1975, Placebo, The Gaslight Anthem, etc.), “Aphelion” is available from InsideOutMusic as limited Mediabook CD with two bonus tracks, as Standard Jewelcase CD and as Gatefold 2LP on 180gr. vinyl with two bonus tracks and the entire album on CD as bonus.

Mondo, in collaboration with Walt Disney Records, is proud to present Alan Silvestri’s soundtrack to the film WHO FRAMED ROGER RABBIT, available on vinyl for the first time in 30 years.

To this day WHO FRAMED ROGER RABBIT is still considered a landmark achievement in filmmaking, seamlessly combining 2D animation and live action, with a clever take on the interior lives of the world’s most beloved cartoon characters.

Following their previous successful collaboration with Robert Zemeckis on BACK TO THE FUTURE, Alan Silvestri’s score is one of his most ambitious. An inspired genre blend, bouncing from pot-boiling noir, to the madcap zaniness of a cartoon serial, to the songs and standards of the 1940's.

Featuring all new artwork by Stan & Vince and pressed on 180 Gram black vinyl

Birgit Minichmayr captures the imagination and holds centre-stage on
‘As An Unperfect Actor: Nine Sonnets by William Shakespeare’. This
won’t come as a surprise to people in the German-speaking world,
where the Austrian actor is well-known from countless appearances on
TV and a substantial filmography. Perhaps equally unsurprising is the
deep experience she can bring to Shakespeare: as an ensemble
member of the Burgtheater company in Vienna, she has repeatedly lived
out the searingly dramatic lives of the Bard’s characters, notably the
daemonic anger of Lady Macbeth, the sadness of Ophelia and even the
uncomfortable truths of the Fool in King Lear.
What might be more of a surprise, however, is the exhilarating musicality
she shows on this, her first complete album as a vocalist. One could
have predicted the crystal clarity, meaning and intent in her words - the
desolation in her voice in “the very birds are mute... the leaves look pale”
in Sonnet 97, for example. And yet there is more, much more, not least
Minichmayr’s uncannily instinct to find artful and felicitous ways to shape
musical phrases.
Composer/ pianist Bernd Lhotzky has provided a wonderful array of
musical contexts. As Minichmayr says: “He got so deep into the meaning
of each sonnet, his music made it different every time. And we talked a
lot about the colour, the meaning of each poem.” The opening track, ‘My
Mistress’ Eyes (Sonnet 130)’ is a masterfully deft piece of gender-fluid
irony. In the poem, a man is describing possibly the ugliest woman he
has ever seen - while also declaring that she is the one he loves.
Lhotzky gives us an acerbic version in that most male-led of dances, the
tango, complete with bandoneon, in which the words are sung by... a
woman. Minichmayr then gives a masterclass in how to end a song as
she hits, holds and nails the words “false compare” with triumphant
fearlessness.
Throughout the course of the album, we are magically transported to
new musical and emotional places. As Minichmayr says: “Through
singing, through just doing it, I was able to find deep love, or deep
sadness. I was really touched by it.”
One of the secrets to this album’s success is Lhotzky’s wish to find
melodies which have a certain ease and straightforwardness about
them. He says that he approaches all music - whether he is listening to it
or writing it - with one simple and direct question: “What story is this
telling me?” Lhotzky is known for his work in the field of early jazz, but
the range here is far broader, with allusions to such examples of fine
songwriting as Brassens, Robert Plant and James Taylor.
LP pressed on 140g black vinyl.

Kevin Martins erstes Solo-Album unter dem Namen The Bug seit sieben Jahren könnte zeitlich nicht besser passen: „Fire“ - der dritte, berauschende Teil eines urbanen Triptychons, das mit dem explosiven „London Zoo“ von 2008 begann und mit dem bewusstseinsverändernden „Angels & Devils“ von 2014 fortgesetzt wurde - besteht aus vierzehn Tracks, die die Synapsen zum Schmelzen bringen, die den Körper durcheinanderwirbeln und die Hörerinnen und Hörer auf cineastische Weise von der Beschwörung einer düsteren, abgeriegelten Stadtlandschaft bis hin zu schwindelerregenden, tiefenscharfen Nahaufnahmen der Psyche von Martin, die ihn und seine Kollaborateur*innen an die Belastungsgrenze führen.

Die Aggression, die Attitüde, der beeindruckende Umfang und die destabilisierende, beunruhigende Raserei des Bug-Sounds ist durchweg perfekt umgesetzt, aber „Fire“ ist keine bloße Wiederbelebung der Vergangenheit - für Martin ist das Album sowohl eine Antwort auf die einzigartigen Umstände des vergangenen Jahres als auch eine Chance, seine eigene Reise vom zurückgezogenen Sound-Besessenen zum Familienvater zu reflektieren, und seinen Durst zu stillen - in einer Zeit erzwungener hermetischer Isolation - nach Kontakt, nach dem Chaos, das nur zwischen Menschen, Lärm und Bässen stattfinden kann, die Irritation der Sinne, die stets Bugs Methode und Weg waren, seit er in den späten 90ern aus den tiefsten Ecken Londons herauskroch.

Es ist das bisher beste Album von The Bug, möglicherweise die wildeste und bewegendste Musik, die Martin je gemacht hat, und es berührt immer noch die anfänglichen Sehnsüchte und Impulse, die „London Zoo“ wie eine Rohrbombe durch den Briefkasten in Ihre Welt katapultiert haben. Es ist eine hungrige Platte, in jeder Hinsicht.

Die MCs, die auf dem Album zu hören sind - einerseits langjährige Weggefährt*innen wie Flowdan, Roger Robinson, Moor Mother, Manga Saint Hilare, Irah & Daddy Freddy, andererseits relativ neue Namen im Bug-Stall wie Logan, Nazamba und FFSYTHO - reflektieren unweigerlich den äußeren Wahnsinn einer auf den Kopf gestellten Welt, graben aber auch tief in sich selbst, um nachdenkliche, erbarmungslos ehrliche Darstellungen der Wut, des Widerstands und der Resignation zu schaffen, die das letzte Jahr in uns allen hervorgerufen hat.

A new project by Dicky Trisco and JKriv, Sentimental Animals is a celebration of dancing, late night antics, and musical togetherness.

This offering of all-original disco features lead singer of Brooklyn disco outfit Escort belting her heart out, and Robin Lee of Faze Action showing his muso side on guitar, bass and keys duties. Art of Tones gets down and dirty on the flip side with a rolling and raucous funk remix.

Robert Fleck makes his return after a lengthy spell on the side-lines, delivering a stellar EP packed with genre-bending purlers. Limited pressing!

Das musikalische Opfer, Bach's textbook example of counterpoint, inspired Robin Verheyen in 2017 to get to dive into Bach's baroque world. It became a search for the essence of music.The result is a double album 'Bach Riddles'. An adventurous cross-fertilization between baroque, free improvisation and contemporary jazz.

2021 repress / comes in original sleeve -