quête:rüfüs

Most of Gen X-ers who grew up in the mid-1980s Indonesia must have seen Soedjarwoto Soemarsono, known with his nom de guerre “Gombloh” performing on a state-run television station, playing some of his biggest hits from that era, pop gems like “Kugadaikan Cintaku (I Pawn Off My Love)”, “Setengah Gila (Half-Crazy).”

But of course, it is not fair to judge Gombloh only from these hits. Dig deeper and you will find buried treasure in his early stuff from Indra Records, and there are many of them.

His album with the band Lemon Tree’s Anno ‘69 (yes, that’s the name of the band) is all remarkable, but what he did for Chandra Records was no less spectacular. How can you go wrong with songs like “Kebyar-Kebyar”, the unofficial national anthem for Indonesia, dan “Berita Cuaca” one of the better epic songs in a catalogue full of epochal songs? These were all long out of print and in our journey to source the original master for these albums we met Bob Djumara of Nirwana Records, the Surabaya, East Java-based label which broke Gombloh into the mainstream in the mid-1980s. Almost all albums Gombloh recorded for his early labels, Indra Records and Chandra Records were critically acclaimed, but commercially they bombed, big time. Nirwana Records came up with an ingenious plan. What if they recorded Gombloh performing live and release it as is. After all, the first song in Gombloh debut record Nadia & Atmospheer is him strumming on his guitar backed by the cheering of a crowd, who could be heard going wild when he hurled that epithet “bastard” at the end of the song

The end result is a brilliant recording which despite being recorded live the sound quality so pristine leading many to doubt the claim of being live. Regardless, Nirwana shipped a decent number of units and Gombloh could buy his first car, a Katana Jeep, with money from the royalty.

One of the best things about Live Gila is its perfect sequencing, beginning with Gombloh’s social commentary on the rich’s debauched lifestyle of preying on young boys and girls, one of the most popular subjects allowed by the censoring machine of the New Order authoritarian government. The second song “Untuk Persada” is a soaring ode to the nation. For this song, Gombloh could be heard drawing his inspiration from The Police, which was undoubtedly popular in the early 1980s, even in a faraway port city like Surabaya.

Listening to this record as a whole (we omitted the last song from the original master tape “Bagimu Negeri” which sounds too jingoistic), we could not help but point to some of similarities it has with Bob Dylan’s Blood on the Tracks. Not a single composition in this record sound indigenous (the Malay-influenced rock of Panbers or Koes Plus come to mind); they all sound modern and effortlessly catchy, and had it not been for the language, this album could be mistaken for a musical output from someone growing up in Laurel Canyon or Southern France.

There are only limited copies of vinyl records in the second-hand market today available for Gombloh music, if at all. For his ardent fans, they have to scavenge for old cassettes to continue to be able to enjoy his music and have to pay top dollar for that. In Indonesia, where he was a superstar in the early 1980s, Gombloh was largely forgotten. With this project, we can only hope that the time is ripe for Gombloh to reemerge and now, more than ever, his music could speak to a bigger audience.

Das neue Album der Outlaw-Alt-Folk-Band Tejon Street Corner Thieves, Juxtaposition, vereint Americana, Bluegrass, Folk und Punk in einem selbstbewussten Werk. 'Das Album handelt von Leben und Tod, Liebe und Verlust, Party und Nüchternheit. Es umfasst die große Bandbreite an Emotionen, die wir im Laufe des Lebens unserer Band erlebt haben“, sagt Sänger/Banjo-Spieler Connor O'Neal. 'Wir haben die Unterschiede in unseren Schreibstilen erkundet und sie auf eine Art und Weise kombiniert, die ein Auf und Ab lustiger Party-Jams und ernsthafter und manchmal herzzerreißender Americana-Hymnen erzeugt. Inspiriert von unseren Freunden und unserer Familie war die ganze Welt unsere Leinwand für Juxtaposition.'

Die Neuauflage des zweiten Albums für Prestige des John Wright Trios!

John Wright und sein Trio mit Wendell Marshall und J.C. Heard verkörpern den gefühlvollen Chicago-Sound der frühen 1960er Jahre. New Land fühlt sich geehrt, diese atemberaubende Platte zum ersten Mal seit ihrer Erstveröffentlichung weltweit präsentieren zu können. Direkt von den Originalbändern von Kevin Gray gemastert und in einer luxuriösen Reverse-Board-Verpackung mit einem Fotodruck mit einem bisher unbekannten Bild von Wright aus den South Side Story-Fotosessions von Esmond Edwards. Dies ist ein Muss für jede Sammlung. Wahrlich einer der am meisten unterschätzten Pianisten der frühen 1960er Jahre, dessen Alben im Laufe der Jahre bei Prestige an Bedeutung gewonnen haben. Diese Aufnahmen, die eine Mischung aus gefühlvollem Hard Bop mit einer swingenden Chicago-Kante vereinen, sind ein echter Schatz. Sein letztes Prestige-Album wurde 1965 veröffentlicht (die Aufnahmen stammen aus dem Jahr 61), bevor Wright in der Versenkung verschwand, in der Chicagoer Clubszene auftrat und von Mitte der 1980er Jahre bis 1999 als Bibliothekar im Cook County Jail in Chicago arbeitete. "Nice 'N' Tasty" war seine zweite Veröffentlichung für Prestige und eine großartige Sammlung von Songs. Das Set, das vier Originale enthält, wurde von dem großartigen Rudy Van Gelder produziert und von Esmond Edwards betreut.

After her album with producer High John on MPM in 2019 and collaborations with agajon, Àbáse, KUOKO, Cap Kendricks and Move 78, soul singer douniah returns with her debut solo project!

douniah imparts her debut solo project "A Lot, Not Too Much" to an unexpecting audience. Thoughtfully, the singer-songwriter invites us to embark on our own saviour. The collection of songs is steeped in artistic and emotional integrity. Production was ledand executed by Dhanya Langer, one half of band project Modha, and producer of JujuRogers' 2019 album "40 Acres N Sum Mula". Written amid the pandemic, this piece is aneffort of immense proportions - experimenting with her sound in time, wading through spirals of arduous personal challenges. 'A first impression of how my journey sounds.'Agadir-born and Hamburg-raised, douniah engages in the practice of interpreting herspirit, impressively, in German, Darija and English. We find here, a body of work that threads together the tenets of free-form poetry and romanticism, backdropped by neo-experimental jazz tendencies. In euphony, a worldly array of instruments act insymbiosis to carry us through "A Lot, Not Too Much". douniah's voice is one to fall into; her message is enunciated with every word, delivered delicately with an inventory ofriffs and ranged tone. The utilisation of choppy, note-like, freestyles bridges the EP's strong singles, into a rhapsodic whole.

Madness ist eine der ikonischsten britischen Bands aller Zeiten. Seit ihren Anfängen in den späten 70er Jahren haben sie die Musikszene geprägt und sind bekannt für ihren einzigartigen Sound, der Ska, Pop und eine gehörige Portion britischen Humor vereint. Mit 10 Top-Ten-Alben, 15 Top-Ten-Singles und zahlreichen Auszeichnungen, darunter der renommierte Ivor Novello Award, haben sie die Herzen von Musikliebhabern weltweit erobert.



Nach einer siebenjährigen Pause kehrt die Band mit ihrem 13. Studioalbum "Theatre Of the Absurd Presents C’Est La Vie" zurück. Das Ergebnis ist ein zeitlos brillantes Album, das die verrückten Jahre seiner Entstehung widerspiegelt. Die 14 Songs repräsentieren die Creme de la Creme der zahlreichen Songs, die die Gruppe ausgeheckt hat, und wurden zu einem schlagkräftigen, konzentrierten Set zusammengestellt.



Das von der Band selbst produzierte Album bietet eine eklektische Mischung aus eingängigem Pop und einzigartigen Kompositionen. Mit Gastbeiträgen von Martin Freeman ist Madness bereit, erneut Geschichte zu schreiben. Das Album ist als Doppel Vinyl, Ltd. Crystal Clear Vinyl & CD erhältlich.

Madness ist eine der ikonischsten britischen Bands aller Zeiten. Seit ihren Anfängen in den späten 70er Jahren haben sie die Musikszene geprägt und sind bekannt für ihren einzigartigen Sound, der Ska, Pop und eine gehörige Portion britischen Humor vereint. Mit 10 Top-Ten-Alben, 15 Top-Ten-Singles und zahlreichen Auszeichnungen, darunter der renommierte Ivor Novello Award, haben sie die Herzen von Musikliebhabern weltweit erobert.



Nach einer siebenjährigen Pause kehrt die Band mit ihrem 13. Studioalbum "Theatre Of the Absurd Presents C’Est La Vie" zurück. Das Ergebnis ist ein zeitlos brillantes Album, das die verrückten Jahre seiner Entstehung widerspiegelt. Die 14 Songs repräsentieren die Creme de la Creme der zahlreichen Songs, die die Gruppe ausgeheckt hat, und wurden zu einem schlagkräftigen, konzentrierten Set zusammengestellt.



Das von der Band selbst produzierte Album bietet eine eklektische Mischung aus eingängigem Pop und einzigartigen Kompositionen. Mit Gastbeiträgen von Martin Freeman ist Madness bereit, erneut Geschichte zu schreiben. Das Album ist als Doppel Vinyl, Ltd. Crystal Clear Vinyl & CD erhältlich.

RuPaul "Ho Ho Ho" is the 1997 third studio album, but the first Christmas album by legendary drag queen RuPaul.
The album contains ten Christmas standards and three originals, including "You're a Mean One Mr. Grinch", "Santa Baby" and "I Saw Daddy Kissing Santa Claus". It's a yuletide classic, camp at its finest as RuPaul really puts the "Ho" in Holiday.

tom Ravenscroft at 6music amongst others. And now, in true AMO1 creative fashion they are presenting an off-shoot release of that album, one completely reimagined by the man, the myth: Ricardo Villalobos.
Much has been written and talked about when it comes to producer/DJ Ricardo Villalobos over the years.
The mercurial Chilean-German artist has consistently redefined the boundaries of techno and electronica over the past 30-years as a producer, whilst also traversing the world and expanding minds as a DJ who can equally delight as he does challenge.Like a great jazz drummer (he was a percussionist before discovering mixing records), Villalobos has not so much as broken “the rules” of structure as just created his own unique approach. One that is often surprising, ever open-minded, and clearly lead by whatever happens to be inspiring him at any given moment. Watching him work or hearing him play music always feels live and free. He’s an artist. And that is exactly how this (perhaps unlikely) collaborative album has come to light – but then this is Ricardo, so maybe we should all know by now that anything is possible.
Villalobos explains, “In my scientific search for some electroacoustic musical landscapes, the offer of remixing ‘Black Apple Pink Apple’ was just perfect for me… In general, the song writing is so very good and particular, with all the instruments played into a sequencer, so it was very inspiring to strip down these pop songs into my dubby extensions, taking only the drums, bass, and vocals of the song.” Expanding further, “After delivering the first remix, Mo and myself came up with the idea of reimagining the whole album in a new way, mixed simple with other ears and my inspirations, with a new and different point of view of what instruments are important to hold the song to bare itself.”
It says a lot, and somehow captures the essence of Ricardo’s approach to music (and life), that one remix soon evolved into a whole plethora of reimagined works, driven by a creative slipstream and a clear connection to the songs created by A Mountain of One.
Mo Morris provides more insight into his own connection with Villalobos, “I lived in Berlin back in 2002-04 and used to religiously go to dance to Rici at the after (after) hours parties: little, tiny events. And he just used to blow my mind, I hadn’t heard anything like it before (or since). Ultra-modern and forward thinking.”
Mo continues, “A good friend connected to Ibiza happenings introduced me to Ricardo as it transpired that he was a fan of our early material, so I sent him some demo’s when we were in the studio creating ‘Stars Planets Dust Me’ and he loved ‘Black Apple Pink Apple’. The relationship and collaboration grew from there really, and I hope that this release is still at the start of what we can all create together.”
Focussing in on the album at hand – ‘Ricardo Villalobos reimagines: Stars Planets Dust Me’ – we are treated to a concept listen that guides us from dreamy daytime Balearic pop – staying very true to the original songs – all the way through to completely original deep dubby techno excursions. And to Villalobos fans, it will perhaps surprise (and hopefully delight) how light a touch he has provided to the opening tracks, focussing more on enhancing the sonics, and allowing the originals to shine brighter through remastering and mixing down. It’s in these moments that we see Ricardo as a pure music fan, needing not overly change or alter what’s already been created, but simply doing what he can to maximise what’s already there.
What will certainly delight Ricardo fans are the four full ‘klub’ remixes provided of ‘Black Apple Pink Apple’, ‘Make My Love Grow’, ‘Softlanding’ and ‘Dealer’ that each boldly explore the outer regions of the dancefloor in a way that only Villalobos can.
Mo rounds off, “From an electronic and sonics standpoint he’s kind of out there on his own. It’s such a unique sound. Weatherall also had this, and Harvey has that unique flavour, and also people like Nils Frahm and Max Richter have this gift. It’s not an easy thing to produce. Ricardo has his own personal cosmic trademark.”
Indeed he does. Take a trip with him around the stars and planets and see for yourself.

Named for the Grateful Dead song that concludes this inspired double
album, Uncle John's Band features masterful guitarist John Scofield at
his most freewheeling
Wide ranging repertoire finds his trio with Vicente Archer and Bill Stewart tackling
material from Dylan's "Mr Tambourine Man" to Neil Young's "Old Man", from
Leonard Bernstein's "Somewhere" to the Miles Davis Birth of the Cool classic
"Budo". And jazz standards including "Stairway to the Stars" and "Ray's Idea" rub
shoulders with seven Scofield originals that are variously swing, funk and folkinflected. The red thread through the programme is the trio's tremendous
improvisational verve.
"I feel like we can go anywhere," says John Scofield of the group's multidirectional versatility.
Uncle John's Band was recorded at Clubhouse Studio in Rhinebeck, New York, in
August 2022.

Zum ersten Mal auf "normalem" Vinyl (die Picture-LP ist seit Jahren aus) auf Black /White Colored Vinyl. Die Emscherkurve77 stellte 2011 die (rhetorische) Frage "Dat soll Punkrock sein?!" und die Antwort in Form von 15 neuen Gassenhauern ließ nicht lange auf sich warten: Das erste Album bei dem Gitarrist Daniel jetzt mit Szene-Urgestein "Secret Agent" Spiller zusammen das Mikro übernahm, läutete für die Ruhrpott-Punks eine neue Ära in ihrer langen Bandvita ein.Songs wie "Wir ham den Punk verstanden", ""Hier bei uns", "Nicht wie sie" bis hin zum Dritte Wahl Cover "Zeit bleib stehen" oder dem pogo-lastigen Titellied wurden bei den Konzerten schnell Höhepunkte der Setlist und gelten zurecht auch heute noch als deutsche Punk-Klassiker.Dabei kommt weder der bissige Humor oder kleinere Seitenhiebe zu kurz, noch braucht sich die Band irgendwelchem aufgesetztem Pathos zu bedienen: Man ist lieber "der "Einfachheit (verschrieben)", was zwar sympathisch untertrieben ist, aber Punkrock und sein Revier hat man halt im Herzen oder nicht...

Unknown Mortal Orchestra came to life in basements and bedrooms, the musical vision of Portlander-via-New Zealand Ruban Nielson that fused guitar-god riffs, choppy percussion, soul and funk. II, the sophomore album from UMO, emerged in an era rampant hedonism and isolationism and became the blueprint for everything Nielson has become renowned for. It was, and is, the solidification of Unknown Mortal Orchestra as an endlessly intriguing, brave and addictive band. Ten years on, it's back with an expanded edition. Written during a punishing, debauched touring schedule during which Nielson feared for both his sanity and health, II illustrates the emotional turmoil of life on the road, painting surrealist, cartoonish portraits of loneliness, love and despair. These conflicting themes are evident immediately; on the album's sleeve is an unnerving image of Janet Farrar, the famous British witch, Wiccan, author and teacher of witchcraft. The chilling refrain of opener "Into The Sun" sees Nielson deliver the line "Isolation can put a gun in your hand," softly, his words starkly intelligible above a warm, slow-burning melody that quickly brands itself onto your brain. His playful imagery ("I'm so lonely I've gotta eat my popcorn all alone") mirrors the melody, before a solo that borders on psychotropic ends II`s introduction. UMO is unafraid to dig deeper than the rest, their intoxicating, opiate groove bringing rock'n'roll's exaggerated myths to life. And as it unfolds, II does find Nielson reenergized. "One At A Time" and "Faded In The Morning" boast dizzying choruses and instrumentals; these crusty hunks could have been excavated from a lost 1960s treasure trove. "Monki" unravels over seven minutes like the yarn from a stoner's cardigan with an eye-frying pattern. "Dawn" is a minute of disconcerting noise that stands out between the nooks and crannies of the choruses, guitar solos, groove-heavy bass and drums that were recorded live by newly-recruited drummer Greg Rogove and Kody Nielson in a move away from the electronic percussion employed on album one. II closes with "Secret Xtians," a tender observational puzzle that fizzes to a satisfied end. In celebration of the album's 10th anniversary Nielson's complete collection from the II era is finally available in one compilation, and features the five acoustic tracks from the Blue EP as well as two additional B-sides. Unknown Mortal Orchestra was once Nielson's closeted concern. With an album that uses his singular musical imagination and extraordinary talent to parade his emotions with unyielding honesty, it is now a fully realized band operating at the peak of its powers ten years on.

New release for 'To Pikap Records' by Raj Pannu, British producer, DJ and long-time collaborator of electronic music pioneers Coldcut (Ninja Tune). This fiery 5-track EP will make your brain blush and your body sweat with its sexy, futuristic blend of everything considered danceable. Coming straight from the underground, these sick compositions of hypnotic new born grooves are here to heal our cosmic souls with fluid dynamics, rumbling bass and bubbling repetition which some would consider illegal. It's a must have.

Salvation - ursprünglich 1997 veröffentlicht - ist das 5. Alphaville-Album und markiert eine turbulente Zeit für die Band: Ricky Echolette hatte Alphaville während der Produktion verlassen und Marian Gold und Bernhard Lloyd mussten das Album alleine fertigstellen.

Drei Titel des Albums wurden als Singles veröffentlicht: "Wishful Thinking", "Flame", und "Soul Messiah". Das Album wurde trotz der problematischen Produktion ein Erfolg. Es wurde der Rückkehr der Band zu ihren Synthpop-Wurzeln zugeschrieben. Die Rückbesinnung auf ihre eingängigeren, einfacheren und poppigeren Wurzeln zeigt
stilistische Ähnlichkeiten zu Forever Young. Das Album wird zum ersten Mal auf Vinyl veröffentlicht. Die 3-CD-Extended-Version enthält mehrere Mixe und alternative Versionen.

- 2LP - remastered, Trifold-Hülle plus 24-seitiges Booklet

- 3CD - enthält die Original-CD plus zwei zusätzliche Discs mit Tracks, die nur auf Vinyl erhältlich waren die nur auf 12"-Vinyl erhältlich waren, und eine 5"-Maxi-CD mit Mixen, alternativen Versionen usw.

Electric, their third album, came out in 1987 and really caused the band to explode to new levels of fame. It contains the massive hits "Love Removal Machine", Wild Flower" and "Lil" Devil" and was produced by Rick Rubin. Electric is a seminal work, featuring some of the band"s most iconic songs. It is a departure from the band"s previous work, with a raw, agressive and stripped-down sound. The album"s opening track, "Wild Flower," sets the tone with its pounding drums, blistering guitar riffs, and Ian Astbury"s wailing vocals. Electric was a commercial and critical success, propelling The Cult to the forefront of the hard rock scene and cementing their status as one of the most influential bands of the era. The album remains a touchstone for hard rock and heavy metal fans, a classic work that captures the spirit of rebellion and the power of rock and roll. The Cult has remained an important and enduring force in the rock music world. The band has sold millions of records worldwide and has earned critical acclaim for its powerful live performances. The Cult continues to tour and record new music, and their influence on rock music shows no sign of diminishing.

First color pressing. This debut ACL performance on August 9, 2003, captures songs from Neko Case’s three seminal solo releases at the time, combining elements of country, gospel and punk for a very unique sound. That’s why pundits often find the music hard to classify. Which is a good thing. Her voice has been described as lush, torchy, melancholic - even scary (someone once wrote that “she sings like Patsy Cline’s ghost”). She certainly doesn’t sound like anything else on today’s hit parade. Neko began her career as a drummer in a punk band, but it wasn’t long before she started experimenting with songwriting and singing. She also continues to perform as a member of The New Pornographers, but her solo work is where her songwriting skills shine most. As she herself says, “I want to write songs that are timeless...maybe just something more like a novel than a short story.” After the show, Neko took the time to write the ACL staff to thank everybody for making her, her band and friends feel so welcome. “I feel very proud of how the show turned out...It’s so great to find out that something you admire so much is run by good people. Be proud! You kick ass!” You, too, Neko… – Terry Lickona (producer Austin City Limits)

The debut album from accomplished guitarist and songwriter Jason Isbell, formerly of Drive By Truckers (DBT), is reissued with 4 unreleased tracks from the original recording sessions. The addition of those 4 extra songs finds Sirens Of The Ditch clocking in at 15 total tracks. Sirens Of The Ditch's mystical quality can be partially attributed to the FAME recording studio (Aretha Franklin, Duane Allman, Otis Redding) in Isbell’s hometown of Muscle Shoals, AL where the album was recorded. Co-produced by Isbell and Patterson Hood (DBT), Sirens Of The Ditch features Isbell singing lead vocals and playing guitar throughout, joined by Shonna Tucker (Formerly of DBT) on Bass and Brad Morgan (DBT) on drums. Several musicians pop in for cameos including Spooner Oldham and David Hood (Patterson's father) on "Down In A Hole", John Neff (Formerly of DBT) on "Dress Blues" and Patterson himself guests on "Shotgun Wedding". "a strong debut, full of the kind of confident, charismatic songwriting that just can't be taught." - Pitckfork “Isbell could be roots rock’s Flannery O’Connor.” - Spin

In the corner of your vision, there’s a daydream on a mission” says Russell Edling in the beginning of “Park (Rye)”. Humming vibrations crescendo around the words floating inthe air and a listener may visualize a flower growing in fast motion, or a dog running backwards, lava flowing, children jumping rope in the evening sun. Suddenly these visions plumet and new frenetic images appear as drums, percussion, and full accompaniment burst into space. The band has arrived, a theme recurrent in Golden Apples’ new record, Bananasugarfire.

A listener might hear echoes of the Velvet Underground, Stereolab, Stone Roses, Yo La Tengo, but there is more going on than just a studied homage to indie rock’s progenitors. The themes of doubt and bewilderment found on previous albums are still present, but they are thrown into a kaleidoscope with beams of positivity, hope, and optimism.

Bathed in a green haze, the crowd oozed to the mutant rock and roll roaring from the basement's dusty depths — everything and everyone was sweaty and sticky. But as Speedy Ortiz crammed into the back corner, their grins just inches away from ours, D.C.’s Dougout became a moshed-and-sloshed sauna of 20-somethings delirious on rock euphoria.

After spending much of the new millennium bored out of my skull by network soap indie, Speedy Ortiz — not to mention its pals in Pile, Ovlov, Grass is Green and the rest of New England’s burgeoning basement scene — was rock's wild howl. The songs were unpredictable, yet weirdly memorable, swaggering with a winky and wry sense of self. Riffs would twist with a topsy tenderness, then slam a ruptured discord. Sadie Dupuis' sphinxian-yet-sensitive lyrics were not only matched but accentuated by her coil-sprung vibrato. How could Speedy Ortiz not immediately become my new favorite band?

What began as a short-lived solo project recorded in Dupuis' off-hours as a rock camp counselor became a four-piece band in Northampton, Mass., by the end of 2011: Dupuis on guitar and vocals with drummer Mike Falcone, bassist Darl Ferm and guitarist Matt Robidoux. They made cool mixtapes, cracked inside jokes and gushed about teenagers that opened for them on tour. They freaked out (via LiveJournal) when they met the bassist from Polvo or Helium's Mary Timony, but also rolled their eyes at '90s indie-rock comparisons. The band's first single — the gender-bending got-laid grunge yowler "Taylor Swift'' — elicited that rare response of the simultaneous giggle and headbang. The Sports EP amped up the taut yet rubbery riffery.

Released July 9, 2013, Major Arcana is filled with wedding chapel exorcisms, oiled-down attractants and criminally twisted puny little villains — this is Dupuis' haunted lexicon as she scales the toxic Aggro Crag of a breakup. And while Dupuis wrote these songs, the band's convulsing arrangements and diverse influences sprawled the squigglier edges of feedbacked fuzz to mete out matters of the heart. Falcone — who, it's worth noting, has a knack for vocal harmony — swung as much as he smashed the drums. In easily tipoverable songs, Ferm's burly bass and percussive overdubs gave the unruly glee its momentum. Robidoux ripped skronky guitar solos and countered Dupuis' riffs with decorative splatter. Over a four-day marathon session at Sonelab in Easthampton, recording engineer Justin Pizzoferrato sparked the studio imagination of Speedy Ortiz — not only leaning into gritty tones but layer-caking dense dynamics that made these songs pop and pulverize.

For all her sweet-toothed seething, Dupuis was not easy on herself. Everyone's allowed the idiot growing pains of your 20s and the misery that follows, but I can only imagine the emotional exhaustion that playing these songs on the road, night after night, must have wrought. "But you left something on my lips: a mark so sick," she repeats over the doomy destruction that ends the album. Thinking back to the many Speedy Ortiz shows I caught in those early years, including an unofficial after-after party for my own wedding, "MKVI" often served as the noisy down-and-out closer — heads would bang in solidarity as the crowd became co-authors in the chaos, the biting phrase now a hex, Speedy Ortiz forever our coven. —Lars Gotrich

To celebrate the 10th Anniversary of Major Arcana, Speedy Ortiz release a remastered edition on Carpark Records.

With 2 solo albums («Digital Pixel » in 2016 and « Bass Attack » in 2018 ), a dozen of EPs and more than 800 shows performed all over the globe, the most international French beatmaker in the world of Reggae is back on November 2023 with his brand new album « Step Up », in which he pushes further the fusion between Reggae and Bass Music. With « Step Up » Manudigital made his music evolves toward more electronic and hybrid productions. He navigates between musical genres like no one does, inviting guests from all over the world. Armed with his bass, MPC and synthesiser, Manudigital surrounded himself with no less than 17 hand-picked artists to make his productions their own. « (…) I was already working on my upcoming album and I thought I would keep this small Reggae loop to take it to another style, fully electronic which has given my new album’s DNA » - Manudigital about the track « Step Up » The album opens with the eponymous explosive track « Step Up » featuring veteran Jamaican deejay Joseph Cotton and British Drum & Bass MC Bellyman, author of the successful YouTube video series « Carz Barz ». Among the artists of the British underground musical scene, Reggae/Soul genius Liam Bailey has been invited on the Pop-infused Digital Reggae track « Enough » which will delight the lovers of soulful Reggae. Manudigital also reminds us Reggae has always be his first love and, after having produced Alborosie and Protoje’s hit « Strolling » a few years ago, he proposed the Sicilian MC to collaborate with Jamaican artist Yami Bolo on the track « Reggae Music and Love ». A big tune built upon a classic digital riddim in the Jamaican way, a catchy chorus carried by the high voice of Yami Bolo and the legendary flow of Alborosie of the verses. Cult band Asian Dub Foundation’s singer Ghetto Priest takes also part of the project with « Rasta Corner », MC Caporal Negus joins Manudigital on « Dub and Bass » and on tour, and Jolly Joseph sings on « The world is Hell » for the Reggae Dub tracks of the album. In terms of surprises, Manudigital takes pleasure in inviting benchmark artists in each musical genres, walking through Lo Fi Hip-Hop’s path with the Dancehall President aka Skarra Mucci on « Fi Di Youths », Baile Funk with Punjabi-American rapper Alo Wala and their song « Love on Tap » or even Afrobeat with Dynamq for the last song « Piki Piki ». Finally, whereas Manudigital will soon celebrate his career 10th anniversary and as his name resonates in sound systems from all over the world, we appreciate each risk taken and each nod to Reggae Culture, wondering what his next shape will be. First parts of response on November 17, 2023 with the release of