Buscar:sam k

Snorkel Records proudly presents the third release in its 12'' single series: Samme Gamle Ulla by Olefonken. 'Ulla' is the Norwegian word for wool, and this record is woven from studio dust and soft synths. Wrap yourself in it before it unravels!

“Ti Ho Sposato Per Allegria” (1967) is a comedy directed by Luciano Salce, taken from the theatrical play of the same name (1965) by Natalia Ginzburg. The main characters are Pietro and Giuliana, respectively interpreted by Giorgio Albertazzi and Monica Vitti. A lawyer from a good family, serious, accustomed to a calm and regular life who got married to a indolent and dazed girl with a difficult past a month after meeting her at a party. Despite Giuliana's inability to transform herself into a good housewife, his relationship with Pietro continues to flourish, because he seems to find enjoyment in each of his wife's many mistakes. The reason for their union lies not in love but, perhaps, in a genuine sympathy, as strong as it is mutual. The story has become a minor classic with each new representation. On both stage and screen the themes of everyday life, and the more complex and existential ones, are addressed. The subtle irony of the work relies on recounting problematic events in a carefree tone: realities such as abortion, death, separation and the couple's incommunicability are underplayed with naturalness. The funny events of the film are commented on by Piero Piccioni's music, published for the first time on vinyl by Musica Per Immagini, with an harmonious tracklist. For this first orchestra rehearsal with the director, which will be followed by other important soundtracks, the composer makes an effective and elegant synthesis: on the one hand he reworks moods and aesthetic intuitions of some previous and happy experiences, while on the other he identifies and anticipates the first bars of that unmistakable sound between bossa nova, funk and lounge nuances that will characterize almost all the production of the Seventies. In fact, the Turin-native artist simplifies in a positive sense the articulated harmonic structures that have always distinguished his authorial figure – where the so called jazz features are to be considered more than central in the musical texture, as prominent elements of the harmonic syntax – and he tries a melodic reduction that will make the compositions more catchy or memorized, but not easier for this. Lightness of spirit and rarefied elegance are the keys of this new Dionysian world.

"High urgency music with a very personal expression of the artist: in one way or another", this has always been the important or maybe even the core factor of every Cortizona release so far.

So it was just a matter of time until DJ Marcelle/Another Nice Mess, longtime fan of The Fall and Jiskefet, topnotch producer, dj wizard with three turntables (and a lovely person in general) - and myself - would collaborate towards a Cortizona release.

I guess the initial idea of working together with DJ Marcelle/Another Nice Mess dates back to 2019. One day she called me four times in five minutes just to hear Mark E. Smith's voice message on my phone. Since then there has been no going back. I mean: what's not to love about her?

Some time ago, she sent me the digital files of her new LP 'Sorry, No Service'. One of the tracks, 'Sorry, No Silence', features the Nan Goldin sample: 'this is clearly ethnic cleansing', taken from Goldin's impressive speech to which the audience cheered in support at the opening of her exhibition at the Neue Nationalgallerie in Berlin end of 2024.
Two weeks later Marcelle contacted me again: her German label refused to release the track. This was the moment we had both been waiting for: at last Cortizona and Marcelle would work together!

The album is due to be released later this year, but, with things as they are in Gaza, it is important to issue 'Sorry, No Silence' as a stand-alone track as soon as possible.
Talking about urgency!

'Sorry, No Silence' resonates feelings of global despair over the genocide in Gaza and the moraland political bankruptcy of 'western values'. It does so over a repetitive, militant tribal beat, complete with heavy basslines. The spirits of Mark Stewart, On-U Sound and Muslimgauze loom over the track, but as is always the case with Marcelle, both on stage and in the studio: she has an authentic style of her own, where playfulness meets courage and - also in this case - anger meets rhythm.

'Sorry, No Silence' is a track I didn't know I was waiting for. A track reflecting the sign of the times. The 12'' also features an even more heavy (and faster) dub version and the avant garde track 'Never Again Means', featuring more Nan Goldin samples: 'never again means never again for everyone'.
For obvious reasons the proceeds of this 12 inch and the digital Bandcamp release will be donated to PCRF, Palestine Children's Relief Fund.

Support more than welcome.


(written by Philippe Cortens)

A. Noelita - Sambalanca
Quirky, upbeat samba, originally released in 1973 on Copacabana. Organ and horn lines bubble under the drum groove and percussion.

Taken from her only LP 'Quando Me Sinto Só' released in 1975. Sought after and expensive in it's original form.

AA. Doris Monteiro - E Isso Ai
The instantly recognisable, original version of the classic and much covered 'E Isso Ai'. Beautiful laid back samba/MPB, drenched in horns and percussion.
Taken from her 1971 Odeon LP.
This is the second time the hugely prolific Doris Monteiro has featured in our Brazil 45's series; previously with 'Se Vocé Quiser Mas Sem Bronquear' on number 9.

'Que Vida É Essa' is a certified samba-rock classic from 1973, taken from one of Wal's sought after 7"'s. Uptempo for the dancers, with percussive grooves, chic and even some wave sounds for extra sunshine vibe.

'Atôa Atôa' is a samba-jazz-fusion classic by Ronald 'Ronie' Mesquita, featuring Burnier & Cartier. Taken from the sought after 'Ronie & Central Do Brasil' LP on Tapecar. Previously unreleased on 7".

Following Stab Breaks and Crystal Blue Cuts, a chilling new theme emerges this time inspired by the legendary horror icon Chucky, the killer doll with razor-sharp punchlines. This record is a full on tribute to the story and voices of the film’s unforgettable characters. Side A delivers a loaded sound bank packed with eerie samples, while Side B features six skip-proof scratch tracks designed for seamless performance. Also included is a download card giving you digital access to the full record, plus four exclusive bonus beats available for free download.

Krystal Klear returns to Running Back with another batch of purpose-built dance floor tracks. The name? Personal. It means something, but that bit stays off the press sheet.
Written during a particularly charged stretch of inspiration, these tracks aim to soundtrack every hour of the night: from the hopeful haze of doors open to the bitter-sweet buzz of lights on.
Crafted as quiet tributes to nights out and DJ booths in Germany, Scotland, and London, places where sweat meets sub, and the USB never quite ejects.
The formula? Unchanged and undefeated: heavy drums, melodic inflections, more ARPs than strictly necessary, and something emo stirred in for good measure. Dance music for dancers. Or at least for the idea of them.

Secret Soul Society aka Cal Gibson backs up his already assured reputation for being something of an edit maestro here. 'Julians Cabbages' kicks off with dubby downtempo drums and some lovely twinkling arps. 'Make It All True' then refracts a shimmering vocal and some nice musical percussion around a lazy groove and 'Finally Got My Life Together' has a dreamy feeling and widescreen synth architecture. 'Next To You' shuts down with more textured bass and another weird yet wonderful vocal sample.

TAMTEN, the master storyteller behind the synthesizers, extends his invitation to every curious listener to ponder the same questions that haunt him throughout his peculiar career: what impacts the sound of an era? How are we shaped by what we hear and see? Do we channel our collective feelings of longing and desire for higher purpose in accord or in opposition to major historical and political forces?
On "Wschodnia Fala: The Reimagined Vision of Eastern-European Wave Music" TAMTEN takes us on a kaleidoscopic voyage through a parallel universe where the symbols and echoes of days gone by are so much more than just archived exhibits of nostalgia. Through an array of meticulous, cut & paste rearrangements, the Warsaw-based artist manages to animate yet another fantastic world of "what could be", following his more apocalyptical take on the previous LP.
There is boldness in every aspect of the release. The saga-like story unfolds evoking the excitement of seashore autobahn ride, thrills of long-forgotten discotheque nights, rush of obsessive romance and intriguing, noir-inspired drama of introspection. The analogies between Polish wave music (with nods to Aya RL, Republika, Klaus Mittfoch, Papa Dance or even Bajm) and global disco-era top chart phenomenons like Kraftwerk, Grace Jones, Giorgio Moroder and Duran Duran, could spark hour-long musicology debates. The melodies and harmonies heard on the album resemble compositions everybody knows but also sound completely new and exhilarating, just as western music clips experienced for the first time behind the Iron Curtain and then collected compulsively on VHS tapes. The feeling of the author's frenetic attempt to capture sensations, memories, artifacts and ideas never escapes the listener till the very last minute of the recording.
"Wschodnia Fala" could pass for an eerie, anonymous late 80s lost-and-found cassette mixtape unearthed on any of the Berlin Wall's sides, if it wasn't for its crystal-clear, contemporary production value and the fluent, educated use of samples ranging from bizarre and opaque to deliberately retro-pop-influenced. Those elaborate winks of the eye for those in the know are already TAMTEN's trademark and they reflect his long-standing fascination with the dancefloor anthropology rather than just the dancefloor itself. Even though never leaning towards formulaic, easy-to-mix, club-ready stompers, his ideas are still groovy enough to make anyone move.
The album strives for some sort of unattainable totality - it's a ticket to a seance, an experience, a rite. It is a chance to time travel and dance with your ancestors in a glass labyrinth on acid or to watch an 80s teenage adventure, coming-of-age, road cruising film in the cinema of your imagination with only a soundtrack provided. A "the best of" CD compilation of hits from a childhood we remember from a different timeline. A comic book sketch, a diary of an archivist, an elegy for the times that never were and a party you wish you could go to right now. The adventure is always different with another listen.
Step in. Close your eyes. Reimagine.
Embrace the wave

Grown through collaboration, Samuel Savenberg’s EP As Bright as a Burning Star stands for a music that evolves and becomes newly tangible in the very moment of performance.
The live EP captures a concert by Savenberg and his band, recorded at the 2024 B-Sides Festival on Sonnenberg near Lucerne. In this setting, the concert with his close musical companions takes on a life distinct from the studio recordings it draws upon, casting the music in a new light: more immediate, vibrant, and warmer.
As Bright as a Burning Star features newly interpreted pieces from Unsung—Savenberg’s 2023 album released via Präsens Editionen—alongside two new songs. The title track had existed in a similar form since 2016 but had never been released—until it was rediscovered by chance during preparations for the concert. The second new piece, "Expressions of Regret", features vocals by Remo Helfenstein, a longtime friend and fellow Präsens Editionen artist.
As Bright as a Burning Star is a labor of love—shaped by shared musical histories and lasting friendships. It is available on cassette tape, for streaming and as a digital release via Präsens Editionen.

Samuel Savenberg is a composer and producer based between Lucerne and Berlin. Following the release of Unsung in 2023, he has presented selected remixes and live performances—the latter mostly in a band setup—and collaborated with other artists, taking on a variety of roles.

Founded in 2011 in the process of launching zweikommasieben, Switzerland-based publishing house and music label Präsens Editionen has released music on vinyl, cassette, CD, and digital formats—alongside magazines, books, and other printed matter. Audio releases include works by Anna Homler, Robert Turman, Belia Winnewisser, Samuel Reinhard, Martina Lussi, and Magda Drozd & Nicola Genovese’s Sopraterra.


* Edition of 66 professionally dubbed cassette tapes (colored)
* Special artwork by Denise Haeberli at INTR in custom snapbox
* Free DL

Die mit Sicherheit coolste Spaghetti-Western-Compilation aller Zeiten kommt vom legendären SoundtrackLabel CAM Sugar. Niemand geringeres als der Brite Jeymes Samuel, Regisseur des modernen NetflixWesterns „The Harder They Fall“ und anderer Erfolgsfilme, sowie Singer-Songwriter (The Bullits), kennt sich mit der Musik italienischer Kult-Western bestens aus. Aus den CAM-Sugar-Archiven hat er jetzt 20 mitreißende Tracks aus der Feder von Ennio Morricone, Piero Umiliani, Nico Fidenco und anderen Legenden zusammengestellt. Diese Themen voll wilder Rhythmen, donnernder Gitarren und entfesselter Orchester sorgen für Action auch auf dem Plattenteller.

Drei der von den Originalbändern remasterten Tracks sind bislang auf Vinyl unveröffentlicht. Multi-Talent Jeymes Samuel hat auch das Cover-Artwork von Hand gemalt, im beiliegenden Booklet interviewt er die beiden Stars seines Westerns “The Harder They Fall”, Regina King und David Oleyowo, außerdem sind Original-Notenblätter und Filmposter abgebildet.

From the underground to festival main stages, they’ve built their reputation on sheer force of will, crushing live shows, and an unshakable foundation of heavy riffs and harder work.
Now, with their fourth studio album “Where Only The Truth Is Spoken”, Sheffield’s finest step into a new league. Recorded in California at Dave Grohl’s legendary Studio 606, the album was tracked through the iconic Neve 8078 console, the same desk that captured game-changing records like Nirvana’s “Nevermind,” Fleetwood Mac’s “Rumours,” and Tom Petty’s “Wildflowers.” For a band that’s always pushed forward without compromise, it was the perfect setting to carve out a record that represents everything Malevolence stands for.
The album marks a new level of songwriting precision without sacrificing the band’s trademark weight. Working alongside Grammy Award-winning producer Josh Wilbur (Lamb of God, Gojira, Trivium), the result is Malevolence at their most punishing, urgent, and anthemic.

From the underground to festival main stages, they’ve built their reputation on sheer force of will, crushing live shows, and an unshakable foundation of heavy riffs and harder work.

Now, with their fourth studio album “Where Only The Truth Is Spoken”, Sheffield’s finest step into a new league. Recorded in California at Dave Grohl’s legendary Studio 606, the album was tracked through the iconic Neve 8078 console, the same desk that captured game-changing records like Nirvana’s “Nevermind,” Fleetwood Mac’s “Rumours,” and Tom Petty’s “Wildflowers.” For a band that’s always pushed forward without compromise, it was the perfect setting to carve out a record that represents everything Malevolence stands for.

The album marks a new level of songwriting precision without sacrificing the band’s trademark weight. Working alongside Grammy Award-winning producer Josh Wilbur (Lamb of God, Gojira, Trivium), the result is Malevolence at their most punishing, urgent, and anthemic.

Zum ersten Mal sind Kodak Blacks größte Hits jetzt auf Vinyl erhältlich!

Diese exklusive 1LP-Sammlung vereint die beliebtesten Fan-Tracks, die Kodak Blacks Karriere geprägt haben und seine lyrische Brillanz, sein melodisches Genie und seine unverwechselbare Energie zeigen. Von Chart-Hits wie ZEZE bis hin zu knallharten Hymnen wie Transportin' fängt diese Sammlung die Essenz von Kodak Blacks Kunst ein.

Gepresst auf hochwertigem Vinyl liefert das Album einen warmen, immersiven Sound, der dich seine Musik auf eine ganz neue Weise erleben lässt.

Ride bassist Steve Queralt’s debut solo album Swallow is a beautifully brooding nine-track collection that combines the darkly textured soundscapes of early M83 and Sigur Rós with an electronic sheen reminiscent of Boards Of Canada. It also features guest vocals from Sonic Cathedral labelmate Emma Anderson (formerly of Lush and Sing-Sing) and Verity Susman (Electrelane, Memorials).Swallow has been slowly but surely pieced together between Ride albums and tours over the past five years and, perhaps as a result, has a slightly dystopian, Blade Runner feel that reflects the liminal spaces in which it was created.Despite the fact that the majority of the album is instrumental, there is plenty of power and emotion poured into these moody, moonlit soundtracks. When words do appear, an underlying anger and political slant emerges and amplifies the album’s dark intensity. This is most notable on the closing track, ‘Motor Boats’, where he overlays words from Julie Sheldon’s polemic poem The Same Boat (“We’re all in the same boat they say, but I would disagree”). According to Steve, these simple words of rejection “capture the reality of our times perfectly”. However, it was the collaborations with the two guest vocalists that tied the whole thing together and paved the way to the finished album. “After a few false starts, I had started to doubt the project altogether. It was going nowhere,” says Steve. “Then, out of the darkness, Emma got in touch to tell me that she’d found her voice and could I send her some tracks. A few files back and forth and an afternoon in the studio later and we had ‘Lonely Town’ and ‘Swiss Air’.”In the meantime, Verity from Electrelane had added vocals to the song ‘Messengers’ and transformed the track. Matthew Simms, now her bandmate in Memorials, would go on to mix the finished album.“Swallow has turned out so much better than I had hoped,” enthuses Steve. “I’d fallen out of love with it so many times I was thinking of calling it Loveless. But then, that wouldn’t be the whole story.”