quête:sai

On Origin , celebrated pianist, bandleader, and three-time Grammy
nominee Joey Alexander has written the next chapter of his career:
composer
His longstanding trio featuring Larry Grenadier and Kendrick Scott is the
backbone of his creative freedom, with Chris Potter (a previous collaborator) and
Gilad Hekselman joining the fray to bring to life the spectacular vision of
Alexander's first full length release of all original music and debut with Mack
Avenue Records.Over the course of his astonishing career, Steinway Artist
Alexander has performed with Wayne Shorter and Esperanza Spalding at the
Obama White House, for President Bill Clinton at the Arthur Ashe Learning Center
Gala, at the Grand Ole Opry, the Apollo Theater, Carnegie Hall and at major jazz
festivals and night clubs around the world. He has also been the subject of
profiles on 60 Minutes and The New York Times.
Joey Alexander, now 18, is stepping out as a composer and bandleader as well as
a virtuoso pianist. "These past years have been especially trying for everyone,
including those of us who didn't know when we would ever perform for live
audiences again," Alexander said. "Origin represents a turning point for me — the
time when I decided to turn frustration into an opportunity to truly express myself
and to rise above the circumstances."

LIMITED EDITION CLEAR VINYL

HYPNOPAZUZU ist Youth (Killing Joke und 1008 andere Welten) und David Tibet (Current 93 und 93 andere Welten). Die beiden haben 1983 auf dem Debütalbum "Nature Unveiled" von Current 93 zum ersten Mal gemeinsam gearbeitet. "CREATE CHRIST, SAILOR BOY" ist ihr neues Album, und ihr erstes als HYPNOPAZUZU. Diese aufwendig verpackte 3-seitige LP (mit einer Lasergravur eines halluzinatorischen Cartoons von David Tibet auf der vierten Seite) enthält zehn Songs und bringt Sphären und Planeten für ein ultimativen halluzinatorischen PickNick zusammen...

Doppelvinyl reissue des HYPNOPAZUZU Projekts von Youth (KILLING JOKE) und David Tibet (CURRENT 93).

After the blackest night comes the most radiant dawn; the spark of life illuminates all that which was swallowed by shadows. "Fäghring" bears the gift of rebirth - both in nature and for Swedish folk metal band Bhleg. The fourth and closing part of the album tetralogy "Ár" is the most ambitious Bhleg recording to date. Its metal parts are saturated with both primal ferocity and majestic atmosphere. The ambient interludes from their early works are still here, but now conveyed mostly through analogue recordings.

The sweeping, dreamy soundscapes are enhanced by a slew of unorthodox instruments, courtesy of S - who performs not only guitars and bass, but also lyre, hurdy-gurdy, mouth harp, keyboards, bullroarer, birch trumpet, as well as percussion such as frame drums, birch sticks, and stones. Besides the characteristic voice of Bhleg vocalist and lyricist L, "Fäghring" features various guest appearances with a range of singing styles rooted in Scandinavian folk-tradition such as Andreas Pettersson from Saiva, Êlea of Noêta, and Swedish author Lars Magnar Enoksen.

"Fäghring" will be released by Nordvis Produktion on April 1, 2022. Tracked and mixed using the band's own recording setup, Studio Asu. Mastered by Tore Stjerna at Necromorbus Studios. Both the CD and LP booklets have received a lot of attention, consisting entirely of custom photography and illustrations.

Sound Like: Grift, Ulver (early), Burzum, Panphage, Fluisteraars, Djevel, Skogen

After a small nap, Tokyo’s finest Studio Mule is back on the scene, bringing the world some deeply composed guitar music from Japan, crafted by Shin Sasakubo.

Since almost 20 years the guitarist is specialized in classic and contemporary Andean and Peruvian music. a knowledge that he deepened through a three-year stint in Peru between 2004 and 2007.

During his time in Latin America, he played live in Argentina, Chile, or Bolivia and researched in the works of Peruvian novelist, poet, and anthropologist José María Ar-Guedas, as Shin Sasakubo’s take on art is not one-dimensional.

He also loves movies, painting, photography, writing, and theater - artforms that con-stantly influence his music on many different layers. since his return to his hometown Chichibu City in the japanese Saitama Prefecture, he launched the "Chichibu Avant-Garde School”, a college that looks through art and lectures on the Chichibu region, and his en-vironmental and folkloristic history.

As sincerely driven composer, he released three guitar leaning albums in the past ten years. his latest sensation “Chichibu”, originally only released in Japan, now travels the globe via Studio Mule, making his fantastique listening voyage available for all those souls that seek joy through the sound of guitar strings.

Blossom Dearie was part of the NYC beboppers scene that often gathered at Gil Evans’ apartment, was in the social circle that began developing “Birth of the Cool” and at the same time was a fixture in the Jazz clubs of the 1940’s.

The legendary jazz producer and founder of Verve, Norman Granz, heard Blossom singing in Paris and offered her a contract.
She returned to New York to record her debut album produced by Norman Granz in 1956. The LP spotlights Blossom as a chanteuse and pianist.

Miles Davis once said, “she was the only white woman who had soul”, while Bill Evans noted her playing really “knocked him out”.


PLAYERS:

Blossom Dearie, piano, vocals
Ray Brown, bass
Jo Jones, drums
Herb Ellis, guitar

The O'Reillys and the Paddyhats are a unique formation finally making their mark on the Irish folk punk scene - something new and refreshing to talk about. Here comes the Ltd. Edition vinyl edition of the successful album from 2016 in red transparent color!

Mit ,Happy Hour" reift HOLLIE COOK endgültig zur Königin des modernen ,Lovers Rock", dem opulenten wie harmoniebetonten Reggae-Stil, der in Großbritannien seit den 1970er Jahren beliebt ist. Als Teenagerin tourte sie mit den Punk-Legenden THE SLITS (auf deren EP ,Revenge Of The Killer Slits" sie 2006 mitsang) und entfachte so die wilde Seite ihrer liebenswürdigen Persönlichkeit. HOLLIEs Mentorin war Ari Up, die inzwischen verstorbene Leadsängerin der legendären Punk-Formation und eine lebenslange Freundin von COOKs prominenten Eltern. Sie ist die Tochter des Sex Pistols-Schlagzeugers Paul Cook und der Culture Club-Sängerin Jeni Cook (ihr Patenonkel ist Boy George!). ,My father always said I would be a singer. But I discovered lovers rock on my own. I heard it on pirate radio and with friends, and I was bewildered, enchanted," erinnert sich COOK. "The Slits are the reason I have pursued this career. I was surrounded by powerful women at a young age, and when my time came, I was never fazed by male dominance. They were my wall of courage." Auf diesen kämpferischen Fundament ist HOLLIEs Liebe zur Musik entstanden. Ihre gefühlvolle Direktheit auf ,Happy Hour" ist so nachvollziehbar wie authentisch. ,I can't get away from it" sagt sie. ,Making this music that I love, I do turn deep inside myself. It makes me explore a lot of human truths and feelings that we should not shy away from, and it feels like a release to turn them into songs."

The ninth installment in Numero's Cabinet of Curiosities is 100% chart smashes. Culled from the depths of the private press, Super Hits gathers 12 magical adaptations from the Me Decade's introspective songbook. Pop this oversized 8-Track into your Fleetwood Weltron and enjoy a motley crew of lounge singers, wedding bands, synth enthusiasts, trailer park dreamers, accountants, gym teachers, and more as they bring their own unique energy to classics by Steely Dan, War, Boz Scaggs, Neil Diamond, John Denver, Smokey Robinson, The Carpenters, Redbone, The Box Tops, Fleetwood Mac, and more. Tape warble not included.

Dreamy ambient drifters by The Vision Reels

"A personal journey into one's self, this music was written over a really unpredictable part of my life it's to remind myself to always be true to my own colours and a reminder of how beautiful the world can be when you look at it through a different lens, it helps me see the beauty in everyday life. The album is a very personal thing that I will leave open to the interpretation of others, a welcome invitation into my vision and sound." - Adam O'Hara (The Vision Reels)

All tracks written, produced and mastered by Adam O'Hara aka The Vision Reels.
Original Artwork by Dima Rabik
Design by OFF T

“Lovage” is defined as “an herb that is said to be a benefit for relieving abdominal pains due to gastrointestinal gas…also touted to reduce flatulence when consumed as a tea.” But when placed in the able hands of sonic mastermind Dan “The Automator” Nakamura, recording under the guise of musical lothario Nathaniel Merriweather, the result is a concept album of “music to make love to your old lady by.” With the help of collaborators such as Mike Patton (vocals), Jennifer Charles (vocals) and Kid Koala (turntables), Merriweather serves as your personal guide to the sensual side of life, painting a satirical, darkly funny portrait of love and sex with left-field hip-hop and instrumentals as only he can do.

Mit ,Happy Hour" reift HOLLIE COOK endgültig zur Königin des modernen ,Lovers Rock", dem opulenten wie harmoniebetonten Reggae-Stil, der in Großbritannien seit den 1970er Jahren beliebt ist. Als Teenagerin tourte sie mit den Punk-Legenden THE SLITS (auf deren EP ,Revenge Of The Killer Slits" sie 2006 mitsang) und entfachte so die wilde Seite ihrer liebenswürdigen Persönlichkeit. HOLLIEs Mentorin war Ari Up, die inzwischen verstorbene Leadsängerin der legendären Punk-Formation und eine lebenslange Freundin von COOKs prominenten Eltern. Sie ist die Tochter des Sex Pistols-Schlagzeugers Paul Cook und der Culture Club-Sängerin Jeni Cook (ihr Patenonkel ist Boy George!). ,My father always said I would be a singer. But I discovered lovers rock on my own. I heard it on pirate radio and with friends, and I was bewildered, enchanted," erinnert sich COOK. "The Slits are the reason I have pursued this career. I was surrounded by powerful women at a young age, and when my time came, I was never fazed by male dominance. They were my wall of courage." Auf diesen kämpferischen Fundament ist HOLLIEs Liebe zur Musik entstanden. Ihre gefühlvolle Direktheit auf ,Happy Hour" ist so nachvollziehbar wie authentisch. ,I can't get away from it" sagt sie. ,Making this music that I love, I do turn deep inside myself. It makes me explore a lot of human truths and feelings that we should not shy away from, and it feels like a release to turn them into songs."

White Vinyl

This is the third all-solo outing from Nat Birchall, following on from last year’s very well received Ancient Africa.

Once again Nat plays all the instruments in this homage to the patron saint of the tenor saxophone, John Coltrane.

Afro Trane presents a balanced programme of Coltrane songs and original compositions which focus on the more Afro-centric aspects of the music,

included are the classic Coltrane compositions Acknowledgement from A Love Supreme, India from the Impressions album and Dahomey Dance from Ole.

3 x 140 Grs Black Vinyl.

Triple Gatefold Sleeve (Trifold) with deluxe reflective silver board with new linear notes by Tim Barr

SHORT INFORMATION/ SHORT BIOG
The 25th Year Anniversary of Goldie’s cult album “Timeless” is back on Vinyl.

Limted deluxe 3 x Black LP edition.

Without a brutal evaluation of their own becoming, TV Priest might have never made their second album. Heralded as the next big thing in post-punk, they were established as a bolshy, sharp-witted outfit, the kind that starts movements with their political ire. There was of course truth in that, but it was a suit that quickly felt heavy on its wearer's shoulders, leaving little room for true vulnerability. "A lot of it did feel like I was being really careful and a bit at arm's length," says vocalist Charlie Drinkwater. "I think maybe I was not fully aware of the role I was taking. I had to take a step back and realize that what we were presenting was quite far away from the opinion of myself that I had. Now, I just want to be honest." Having made music together since their teenage years, the London four-piece piqued press attention in late 2019 with their first gig as a newly solidified group, a raucous outing in the warehouse district of Hackney Wick. Debut single "House of York" followed with a blistering critique of monarchist patriotism, and they were signed to Sub Pop for their debut album. When Uppers arrived in the height of a global pandemic, it reaped praise from critics and fans alike for its "dystopian doublespeak," but the band - Drinkwater, guitarist Alex Sprogis, producer, bass and keys player Nic Bueth and drummer Ed Kelland - were at home like the rest of us, drinking cups of tea and marking time via government-sanctioned daily exercise. As such, the personal and professional landmark of its release felt "both colossal and minuscule" dampened by the inability to share it live. "It was a real gratification and really cathartic, but on the other hand, it was really strange, and not great for my mental health" admits Drinkwater. "I wasn't prepared, and I hadn't necessarily expected it to reach as many people as it did." As such, My Other People maintains a strong sense of earth-rooted emotion, taking advantage of the opportunity to physically connect. Using "Saintless" (the closing song from Uppers) as something of a starting point, Drinkwater set about crafting lyrics that allowed him to articulate a deeper sense of personal truth, using music as a vessel to communicate with his bandmates about his depleting mental health. "Speaking very candidly, it was written at a time and a place where I was not, I would say, particularly well," he says. "There was a lot of things that had happened to myself and my family that were quite troubling moments.Despite that I do think the record has our most hopeful moments too; a lot of me trying to set myself reminders for living, just everyday sentiments to try and get myself out of the space I was in." "It was a bit of a moment for all of us where we realised that we can make something that, to us at least, feels truly beautiful," agrees Bueth. "Brutality and frustration are only a part of that puzzle, and despite a lot of us feeling quite disconnected at the time, overwhelmingly beautiful things were also still happening." This tension between existential fear born from the constant uncertainties of life, and an affirmative, cathartic urge to seize the moment, is central to My Other People, a record that heals by providing space for recognition, a ground zero in which you're welcome to stay awhile but which ultimately only leads up and out. For TV Priest, it is a follow-up that feels truly, properly them; free of bravado, unnecessary bluster or any audience pressure to commit solely to their original sound.

Without a brutal evaluation of their own becoming, TV Priest might have never made their second album. Heralded as the next big thing in post-punk, they were established as a bolshy, sharp-witted outfit, the kind that starts movements with their political ire. There was of course truth in that, but it was a suit that quickly felt heavy on its wearer's shoulders, leaving little room for true vulnerability. "A lot of it did feel like I was being really careful and a bit at arm's length," says vocalist Charlie Drinkwater. "I think maybe I was not fully aware of the role I was taking. I had to take a step back and realize that what we were presenting was quite far away from the opinion of myself that I had. Now, I just want to be honest." Having made music together since their teenage years, the London four-piece piqued press attention in late 2019 with their first gig as a newly solidified group, a raucous outing in the warehouse district of Hackney Wick. Debut single "House of York" followed with a blistering critique of monarchist patriotism, and they were signed to Sub Pop for their debut album. When Uppers arrived in the height of a global pandemic, it reaped praise from critics and fans alike for its "dystopian doublespeak," but the band - Drinkwater, guitarist Alex Sprogis, producer, bass and keys player Nic Bueth and drummer Ed Kelland - were at home like the rest of us, drinking cups of tea and marking time via government-sanctioned daily exercise. As such, the personal and professional landmark of its release felt "both colossal and minuscule" dampened by the inability to share it live. "It was a real gratification and really cathartic, but on the other hand, it was really strange, and not great for my mental health" admits Drinkwater. "I wasn't prepared, and I hadn't necessarily expected it to reach as many people as it did." As such, My Other People maintains a strong sense of earth-rooted emotion, taking advantage of the opportunity to physically connect. Using "Saintless" (the closing song from Uppers) as something of a starting point, Drinkwater set about crafting lyrics that allowed him to articulate a deeper sense of personal truth, using music as a vessel to communicate with his bandmates about his depleting mental health. "Speaking very candidly, it was written at a time and a place where I was not, I would say, particularly well," he says. "There was a lot of things that had happened to myself and my family that were quite troubling moments.Despite that I do think the record has our most hopeful moments too; a lot of me trying to set myself reminders for living, just everyday sentiments to try and get myself out of the space I was in." "It was a bit of a moment for all of us where we realised that we can make something that, to us at least, feels truly beautiful," agrees Bueth. "Brutality and frustration are only a part of that puzzle, and despite a lot of us feeling quite disconnected at the time, overwhelmingly beautiful things were also still happening." This tension between existential fear born from the constant uncertainties of life, and an affirmative, cathartic urge to seize the moment, is central to My Other People, a record that heals by providing space for recognition, a ground zero in which you're welcome to stay awhile but which ultimately only leads up and out. For TV Priest, it is a follow-up that feels truly, properly them; free of bravado, unnecessary bluster or any audience pressure to commit solely to their original sound.

Mind Eclipse completes Deetron’s triptych for Running Back. After Body Electric and Ego Rave, it’s the missing part in a tale of youthful exuberance told by a seasoned raver and transported into the here and now. Taking the essence of the carefree energy of those days, its warehouses and fields minus the (sometimes!) aural clumsiness, Deetron delivers four studies in the transformation of said emotional states.
Mind Eclipse aka Trancehouzztool does exactly what it says on the tin: big synths, swirl and twirl during an extra long break down for an uproar – serotonin shower included. HG acts like an umbrella to that. Almost melancholic in its presence and meandering between highs and lows, it’s the perfect counterpoint and offset.
On the other side, Phoenix sounds like a lost Border Community hymn that found its way near a Roland 909 for peak time purposes, before The Shore closes the book in a hybrid state between electro and disco or the soundtrack to IDM supporters in a gym workout (also available in an alternative version digitally for those who like their beats straight).
It won’t eclipse your mind though that Deetron knows what he does in the studio, so expect finest artistry, crafty tricks and technical expertise. „’Til the sweatshirts are falling down of us…“

"To kick off the yearlong celebration and provide the perfect summer soundtrack, Capitol Records and UMe will release a newly remastered and expanded edition of The Beach Boys career-spanning greatest hits collection, Sounds Of Summer: The Very Best Of The Beach Boys, on June 17. Originally released in 2003, the album soared to no. 16 in the US and stayed on the chart for 104 weeks. Now certified 4x platinum for sales of nearly four and a half million albums, the collection has been updated in both number of songs and audio quality, expanding the original 30-track best of with 50 more of the band’s most beloved songs for a total of 80 tracks that span their earliest hits to deeper fan-favorite cuts and from their 1962 debut album, Surfin’ Safari through to 1989’s Still Cruisin’.
Assembled by Mark Linett and Alan Boyd, the team behind 2013's GRAMMY® Award-winning SMiLE Sessions and last year’s acclaimed boxed set, Feel Flows – The Sunflower and Surf's Up Sessions 1969-1971, Sounds Of Summer features nearly every US Top 40 hit of The Beach Boys’ incredible career, including “California Girls,” “I Get Around,” “Surfer Girl,” “Surfin’ U.S.A.,” “Fun, Fun, Fun,” “God Only Knows,” “Good Vibrations,” “Be True To Your School,” “Wouldn’t It Be Nice,” “Kokomo,” “Barbara Ann,” “Help Me, Rhonda,” “In My Room,” and many others. Fifty additional tracks showcase a broad mix of songs from across their wide-ranging catalog with some of the many highlights including “All Summer Long,” “Disney Girls,” “Forever,” “Feel Flows,” “Friends,” “Roll Plymouth Rock,” “Sail on Sailor,” “Surf’s Up,” and “Wind Chimes.”
The collection boasts 24 new mixes including two first-time stereo mixes, plus 22 new-and-improved stereo mixes, which in some cases feature the latest in digital stereo extraction technology, allowing for the team to separate the original mono backing tracks for the first time.
The expanded edition of Sounds Of Summer will be available in a variety of formats, including a 3CD softpack, and as a Super Deluxe Edition 6LP vinyl boxed set on 180-gram black vinyl in two options – a standard set or a numbered, limited edition version featuring a rainbow foil slipcase and four collectible lithographs. Both versions will feature color printed sleeves that replicate the original “Capitol Catalog” sleeves that highlight the entire Beach Boys discography, and all formats will include a booklet with new liner notes and updated photos. The original 30-track version will also be available in its newly remastered and upgraded form on single CD or double gatefold LP on standard weight vinyl or as a higher-end limited edition numbered version pressed on 180-gram vinyl with a tip-on jacket and a lithograph. "

Written and recorded during the pandemic, Aaron Watson's 'Unwanted Man' takes the listener on a full circle journey from isolation and despair to loving redemption. Aaron wrote or co-wrote all eleven songs on 'Unwanted Man,' showcasing both his trademark love songs in “When I See You” and “Nothing On You” as well as his popular classic uptempo romps with “Cheap Seats” and “Heck Of A Song”. 'Unwanted Man' is Aaron’s 14th studio album and his 18th album overall. Every album Aaron has released since 2010 has landed firmly in the Top 10 on the Billboard Country Album Chart with three debuting in the Top 5. For the past 20+ years, Watson has achieved success on his own terms, hand-building a lauded career through songwriting, relentless touring and nearly twenty self-released albums. His independent Texas spirit and strong work ethic are emblematic of the western lifestyle; virtues which have taken him from humble honky-tonks of Texas to multiple sold-out tours around the world. Rolling Stone calls him "Texas country's reigning indie underdog" and The Boot remarks that Aaron is "a pure expression of his traditional country ethos.” His 2015 album 'The Underdog' was the first independent album in the history of country music to top the Billboard Country Album Chart. Aaron Watson’s career is perhaps summed up best by Forbes, who says he’s "one of country music’s biggest DIY success stories." A self-made businessman, chart-topper, and road warrior whose authenticity has made him a country music staple, Aaron Watson is here to stay.