PANDA BEAR & SONIC BOOM veröffentlichen ihr erstes gemeinsames Album RESET. 9 überschwängliche Songs als Beweis für die Kraft von Gemeinschaft und Zusammenarbeit.
"Reset" ist die überschwängliche und erste gemeinsame Veröffentlichung der langjährigen Freunde und Kollaborateure Panda Bear und Sonic Boom. Inspiriert von Sonic Booms Sammlung amerikanischer Doo-Wop- und Rock'n'Roll-LPs aus den 50er und 60er Jahren, sind die Songs auf "Reset" so eingängig und fröhlich wie alles, was Panda Bear oder Sonic Boom in ihrer eigenen Karriere gemacht haben, und sind ein Beweis für die Kraft von Gemeinschaft und Zusammenarbeit. "Reset" ist die überschwängliche und erste gemeinsame Veröffentlichung der langjährigen Freunde und Kollaborateure Panda Bear und Sonic Boom. Inspiriert von Sonic Booms Sammlung amerikanischer Doo-Wop- und Rock'n'Roll-LPs aus den 50er und 60er Jahren, sind die Songs auf "Reset" so eingängig und fröhlich wie alles, was Panda Bear oder Sonic Boom in ihrer eigenen Karriere gemacht haben, und sind ein Beweis für die Kraft von Gemeinschaft und Zusammenarbeit. Der Kern von "Reset" entstand nicht lange nach dem Beginn der internationalen Lockdowns, so dass die Chance, gemeinsam an diesen Songs zu arbeiten nicht nur einen Weg aus der Isolation bot, sondern auch einen Weg, den Blues der Gegenwart zu kanalisieren und ihn in etwas anderes für die Zukunft zu transformieren. "Reset" ist ein 40-minütiges, seltsames Licht, das aus einer besonders dunklen Zeit heraus leuchtet. Das ist vielleicht das Hauptversprechen des Albums - mit den nicht seltenen Härten der Realität zu rechnen und einen Weg auf eine andere Seite zu bieten. Wenn "Reset" für Panda Bear und Sonic Boom eine vorübergehende Medizin war, so ist es jetzt für den Rest von uns eine dauerhafte Medizin, eine Erinnerung daran, dass es manchmal ausreicht, mit Freunden alte Lieblingslieder zu spielen und mitzusingen, damit sich die Welt ein bisschen besser anfühlt.
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Erstmals auf Vinyl: Das selbstbetitelte Debütalbum (2002) des britischen Singer/Songwriters Matt Hales aka Aqualung von 2002 mit der Hitsingle 'Strange & Beautiful (I'll Put A Spell On You)', die ihn über Nacht berühmt machte und dem Album zu Goldstatus im UK verhalf. Mit der zusätzlichen Bonus-LP 'Live At The Playhouse Theatre'. Dunkelgrünes Doppelvinyl.
- 'Uniting Radiohead-ish British rock and symphonic pop in the masterly mould of Burt Bacharach, the Beatles and the Beach Boys, tenor Hales delivers keenly focused keyboard-based drama that lows away all pretenders trailing in Coldplay’s wake.' - Rolling Stone
- 'What might result if Joe Jackson ever enlisted Radiohead as a backing group.' - Guardian Guide
- 'Slow, intricate songs of longing and love.' - The Independent
- 'A guiltless pleasure.' - Hot Press
Alexandra Burke is truly one of the UK"s most distinguishable powerhouse voices, having sold over 5 million records in the UK. The London-born singer has also become one of the UK"s most sought-after West End leading ladies. Alexandra first rose to fame winning the fifth series of The X Factor in 2008 with an iconic duet with idol Beyoncé, to an audience of over 10 million. Debut #1 single "Hallelujah" was Christmas #1 and went on to sell over 1 million copies, a first for a British female solo artist. Debut #1 album "Overcome" spent over a year on the UK Album Chart, earning three BRIT Award nominations. In late 2010, Alexandra released "Overcome: Deluxe Edition" securing her third chart-topper with "Start Without You" and included a brand new version of fan-favourite "The Silence". To celebrate one million copies sold worldwide, Alexandra has curated her own definitive version of "Overcome". The 18 songs across the 2 LP set features the bonus tracks "Dangerous" and "It"s Over". Pressed on limited edition white vinyl, the album is packaged in a gatefold sleeve with stunning printed inner sleeves and an exclusive poster.
Jetzt auch als Deluxe 3LP im violetten Vinyl erhältlich, dieses Format wird die orange-farbene Deluxe 3LP Edition in der Zukunft ersetzen! Das Belfaster Duo Bicep veröffentlichten ihr zweites Werk 'Isles' bereits Ende Januar 2021 und das Album chartete auf Platz 8 in den deutschen Albumcharts!
Zwei Jahre in Arbeit, erweitert „Isles“ die kunstvolle Energie des 2017 erschienenen selbstbetitelten Debütalbums von BICEP und vertieft gleichzeitig die Klänge, Erfahrungen und Emotionen, die ihr Leben und ihre Arbeit beeinflusst haben. Sie beschreiben „Isles“ als „eine Momentaufnahme“ ihrer Arbeit in dieser Zeit, wobei die Stücke so konzipiert sind, dass sie sich in ihren verschiedenen Durchläufen von der Aufnahme bis zur Live-Show und darüber hinaus entwickeln. Der weltweit beliebte Sound von Bicep entstand, als ihr eigener rasanter Aufstieg im Musikbusiness begann. Nach dem Start ihres legendären FeelMyBicep-Blogs im Jahr 2008 entwickelte sich ihre simple Website, die stets neue Italo-, House- und Disco-Juwelen aus der Musikgeschichte präsentierte, zu einem durchschlagenden Erfolg, der regelmäßig über 100.000 Besucher pro Monat verzeichnete. Nachdem der Blog ein Plattenlabel und eine Clubnacht hervorgebracht hatte, wurde das Duo mit begehrten DJ-Sets, die die musikalische Vielfalt ihres Blogs widerspiegelten, auf die internationale Bühne gehoben. Nach den Erfolgen mit Produktionen für Throne of Blood und Aus Music wurden Bicep 2017 bei Ninja Tune unter Vertrag genommen, wo sie im darauffolgenden Jahr ihr umjubeltes, selbstbetiteltes Debütalbum veröffentlichten, das einen Top-20-Einstieg in die britischen Charts erreichte und in der Groove schaffte, was in der langen Geschichte des Magazins noch kein Release bewerkstelligen konnte: sowohl die Kategorie „Album des Jahres“ als auch mit „Glue“ die Kategorie „Track des Jahres“ zu gewinnen. Titel wie „Opal“ - und der bald folgende Four Tet-Remix - sowie die eben erwähnte Lead-Single "Glue" mit dem von Joe Wilson entwickelten Video wurden 2017 zu Meilensteinen der elektronischen Musik, wobei letzteres vom DJ Mag ebenfalls zum „Track of the Year“ gekürt wurde.
The Hunna kehren mit ihrem vierten Studioalbum „The Hunna“ zurück. Das erste selbstbetitelte Album der Band ist eine Ansage - die Band wird neue Höhen erklimmen!
Felix Laband’s The Soft White Hand is the masterwork of an artist who expresses himself through musical and artistic collage acting together to reinterpret his sources and to express significant elements of his own personal story.
Released by Munich-based Compost Records, the 14-track album is Laband’s first full-length offering since the critically acclaimed Deaf Safari in 2015. It is heralded by the single “Derek and Me”, and is being pressed on vinyl for distribution globally.
In The Soft White Hand Laband works with source materials that will be familiar to those who know his previous four records – Thin Shoes in June (2001), 4/4 Down the Stairs (2002), Dark Days Exit (2005) and especially Deaf Safari which reached deep into the South Africa scene and its political culture to inspire its vocal and music sampling. However, the disengagement he felt from his homeland during his latest album’s creation – an abiding sense of untethered-ness to place and space, exquisitely rendered in tracks like “Death of a Migrant” – is perceptible in Laband’s desire to illuminate instead aspects of his own life.
“For this album, my source material became almost autobiographical as opposed to African statements I’ve worked with previously,” says the artist. “I have sampled a lot from documentaries from the 80s crack epidemic in impoverished African American communities and believe my work speaks unapologetically for the lost and marginalised, for those who are the forgotten casualties of the war on drugs. In the past, I have had my issues with substance abuse, and I know first-hand about the nightmares and fears, what it feels like to be isolated and abandoned.”
Few artists have managed to air these intimate aspects of their life so luminously as Laband does in tracks like “5 Seconds Ago”, “They Call Me Shorty” and in the strange and meditative “Dreams of Loneliness”. “I’ve been building this weird, autobiographical story using other people talking. It’s kind of humorous but it is also sad and beautiful,” says Laband.
Yet, as in all of Laband’s recorded output, the delineations between emotions are never starkly drawn and The Soft White Hand is also shot through with beauty. Nature appears in recordings made in his garden in the intimate early morning hours, whether as in the calls of the Hadada Ibis and other birdsong in “Prelude” or of the vertical-tail-cocking bird in “Derek and Me”. The last is a wonderful track with Derek Gripper, the South African experimental classical guitarist of international renown, whose 2020 song “Fanta and Felix” imagines a meeting between Fanta Sacko and Laband.
Laband’s eloquence in reinterpreting classical composers such as Beethoven in “We Know Major Tom’s a Junkie” is another thrilling aspect of the new record. “I’ve been properly exploring classical music on this album,” explains Laband, “taking melodies from classical compositions and reinterpreting them”. A fresh quality comes to his work through this sonic adventuring: the tender manipulation of the mundaneness of the computer’s AI voice to reimagine and reinvent iconic lyrics and melodies in strange and unexpected configurations.
The Soft White Hand is Laband’s most cohesive body of work to date. Yet it remains, in its sheer artistic scope, impossible to describe fully. Darkness abuts the gossamer light. A song that summons the sunrise and all the hope of a new day could also be about the final dipping down of the sun that portends a troubled night ahead. Interludes are invitations to expand outwards or shift inwards. Mistakes and “weird fuckups” in the sound are cherished as convincing statements against what Laband calls the “grossness” of perfect sound in modern music.
For this world-leading electronic artist, the boundaries are unfixed. He is inspired by the German Dada artist, Hannah Höch, who memorably declared: “I wish to blur the firm boundaries which we self-certain people tend to delineate around all we can achieve.” His music consequently reflects a primal artistic impulse that is also visible in Laband’s considerable visual art output as seen recently in several solo exhibitions such as that held in the No End Gallery in Johannesburg in 2019 and in the works he produced during his 2018 Nirox Foundation Artists Residency. “My music is always about collage, as is my art,’’ he affirms. “Everything I do is collage. It is a medium I find very interesting because you are taking history and distorting it and changing its meaning and turning it upside down and back to front.” In her book Recollections of My Non-Existence, Rebecca Solnit calls collage “literally a border art”; it is “an art of what happens when two things confront each other or spill onto each other”.
With The Soft White Hand, Laband is confirming his singular ability to achieve this in both art and music, melting the divisions between the two creative disciplines until they become one. He is also affirming his belief that an album of music should be more than a collection of unrelated tracks, but should unfold a fully integrated, cohesive story as in the song cycles of the great classical composers. In doing so, he claims his position as one of the most significant artists working today.
Artist Statement – Felix Laband – August 2022
When the Khmer Rouge took their captives for processing, they identified their class enemies by looking at their hands. If they were sunburned, rough and calloused, they were those of a peasant, a proletarian to be spared. But if they were soft and white, then they were those of a city-dweller, an intellectual or bourgeois, an adversary to be liquidated.
In calling this album The Soft White Hand, I was reflecting on the Cambodian genocide and how it resonates in contemporary South Africa. The apartheid era is over, and gone with it is white political domination. Yet economic and social privilege is still held in soft white hands. But those who grasp it know just how tenuous is their hold, how it singles them out, and my music reflects their subconscious fears, the stress and guilt of clinging on to what others envy and desire.
The soft white hand of the title suggests to me a further image, one that relates to all of postcolonial Africa. In my mind’s eye, I see the soft, duplicitous handshake of the smooth representatives of the superpowers making deals and promising gifts that benefit only them, and not their African dupes.
Yet, soaring above the wailing of sirens sampled from the first day of the invasion of Ukraine, my music is also about love gained and passion lost. It is about the tender caress of a soft white hand that conducts you into a place of dreams to be enfolded by nocturnal melodies.
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Welcome to Carsharing Tapes. Welcome to the future.
With "DIURNAL TIDES: First Wave" we're proud to present not only the first release of our new imprint for classic electronic music mixtape culture but also the first ever official gathering of two long standing figures which both have been relentlessly and continuously contributing to the German underground scene for more than two decades now.
And these two are: baze.djunkiii and THE D3VI7.
baze.djunkiii, Hamburg-born and based, officially entered the electronic music scene as a DJ back in 1997 from an angle of being an enthusiastic raver, launched his very own label Intrauterin Recordings in 1999 and - apart from becoming an 24/7 networker, knowledge hub, music blogger etc. - evolved into one of the most versatile underground DJs and purveyor of original DJ culture around whose journey on the decks has taken him all over Germany as well as to Greece and the United States and to countless hours of air time on a plethora of underground radio stations as well.
THE D3VI7, on the other hand, remains an elusive figure. Deeply rooted in electronic music production and the hell'ish jungle of circuit board wiring as well as DAW madness THE D3VI7 is a moniker created by one of the most active, yet probably most underrated figures on the release circuit, a nom de guerre which serves the sole purpose of being able to operate anonymously without any confirmation bias being attached to other musical guises which might, or might have not, been used previously and in earlier stages of a long lasting involvement in music. And btw - this is the first time ever THE D3VI7 agreed to provide an official DJ mix for a mixtape release.
With baze.djunkiii's mix opening the roughly hour long journey of "DIURNAL TIDES: First Wave" on the A-side we're getting a prime example of what original DJ culture is all about as he's taking us on a fascinating journey from deepest underground Electro to screaming, spiralling Acid madness and beyond, digging up most underground vinyl cuts and making proper use of his extensive collection of rare 7" releases - a format that has been criminally overlooked by many DJs but provides a treasure trove of goodness as this mix easily proves.
Turning the tape THE D3VI7 does what THE D3VI7 does best on the flip: Being a force. A dark one. Forging a pounding, most relentless stream of hammering Techno tunes to take out unsuspecting punters on heaving dancefloors one by one THE D3VI7 provides a high octane selection of peak time excess that either thrills or kills - an ode to the power of raw and unpolished Techno madness in its purest form. A power that cannot be contested. Ever.
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"Who invented the Typical Girl?" The Slits gleefully proclaimed as they attacked sexual stereotypes way back in 1979. There are no typical girls. Just remarkable women making remarkable music, as this compilation highlights. 16 of the greatest current female fronted independent punk, darkwave and independent bands, from around the world, celebrated on vinyl.
Inspired by the pioneering women of the 1st wave punk era and beyond, Emotional Response continues to bring you the sixth volume of their acclaimed TYPICAL GIRLS series. Featuring the finest in current punk, indie, darkwave female fronted music for all corners of the globe.
"Who invented the Typical Girl?" The Slits gleefully proclaimed as they attacked sexual stereotypes way back in 1979. There are no typical girls. Just remarkable women making remarkable music, as this compilation highlights. 16 of the greatest current female fronted independent punk, darkwave and independent bands, from around the world, celebrated on vinyl.
Inspired by the pioneering women of the 1st wave punk era and beyond, Emotional Response continues to bring you the sixth volume of their acclaimed TYPICAL GIRLS series. Featuring the finest in current punk, indie, darkwave female fronted music for all corners of the globe.
Shannen Moser wants to have a conversation: with their past selves, their present self, their undesignated, unfurling future selves; with the trees that adorn their old street, and the door they used to call home; with the shadows of lovers-turned-to- friends and the overwhelming cacophony of abrupt change. They’re drawing a map but the port of call is cloudy and indistinct. It’s while traveling along these nebulous contours that their latest album The Sun Still Seems To Move forms a kind of physicality, of outstretched giving hands, that offers a guide through the fog. Here, Moser examines the disorien- tating, challenging task of trying to hold onto ourselves––and everything else––all at once. But this isn’t a fatalistic journey of melancholy or apprehension. Instead, Moser celebrates the small steps and the unwavering perseverance that makes it all worthwhile.
Moser’s previous albums Oh, My Heart (2017) and I’ll Sing (2018) were praised for their careful, intimate arrangements that showcased their sharp, interpersonal narration and time- less lush vocals. On The Sun Still Seems To Move
During the last decade Pedro Alves Sousa has been establishing himself as one of the most inventive and creative musicians of his generation. He is a self-taught musician and continues to learn how to play his saxophone every day. His label Futuro Familiar is born out of the idea that he needed to mark some of his creative evolutions and create more specific paths for his career. “Rahu” and “Ketu” were recorded in 2016 and 2017 with a group of musicians: Alex Zhang Hungtai (Dirty Beaches), Gabriel Ferrandini, Júlia Reis, David Maranha and Pedro Alves Sousa. Both start with the idea of free jazz but soon develop into other stages, manifesting mostly an idea of sound instead of music.
Recorded at Galeria Zé dos Bois, Lisbon, 12-05-2016, by Cristiano Nunes.
Mixed by Pedro Alves Sousa, Edited and co-edited by Pedro Alves Sousa and Gabriel Ferrandini, Mastered by James Plotkin.
Cover by Fátima Moreno
Alex Zhang Hungtai - Percussion ; Saxophone
Pedro Alves Sousa - Percussion ; Saxophone ; electronics
David Maranha - Percussion ; organ
Gabriel Ferrandini - Percussion
Júlia Reis - Percussion
During the last decade Pedro Alves Sousa has been establishing himself as one of the most inventive and creative musicians of his generation. He is a self-taught musician and continues to learn how to play his saxophone every day. His label Futuro Familiar is born out of the idea that he needed to mark some of his creative evolutions and create more specific paths for his career. “Rahu” and “Ketu” were recorded in 2016 and 2017 with a group of musicians: Alex Zhang Hungtai (Dirty Beaches), Gabriel Ferrandini, Júlia Reis, David Maranha and Pedro Alves Sousa. Both start with the idea of free jazz but soon develop into other stages, manifesting mostly an idea of sound instead of music.
Recorded at Galeria Zé dos Bois, Lisbon, 29-12-2017, by Cristiano Nunes.
Mixed by Pedro Alves Sousa, Edited and co-edited by Pedro Alves Sousa and Gabriel Ferrandini, Mastered by James Plotkin.
Cover by Fátima Moreno
Alex Zhang Hungtai - Percussion ; Saxophone ; Drumpad
Pedro Alves Sousa - Percussion ; Saxophone ; Electronics ; Flute
David Maranha - Percussion ; Organ ; Flute
Gabriel Ferrandini - Percussion ; Electronics ; Flute
Here is the much anticipated volume 3 of the HOT SAUCE compilation LPs dedicated to the Trojan related UK labels between 1965 and 1975.
HOT SAUCE VOLUME 3 features outstanding original Rocksteady, Boss Reggae and early Reggae (“Reggay”) tracks including rare songs, overlooked gems, hidden treasures and a couple of hits.
The record labels showcased on this third volume are Amalgamated, Duke, Gayfeet, Grape, Harry J, Rio, Randy’s, Treasure Isle, Upsetter and Trojan. The tracks here have been selected according to their musical interest firstly, their rarity, and their complementarity.
These tracks are all outstanding tracks, “killer tracks”, there is no “filler” whatsoever.
Particular attention has been paid to the way the songs are sequenced (or “mixed”) so that the album builds up nicely and gradually, generally starting with the Rocksteady songs on the A side and the 70s songs on the B side.
HOT SAUCE is a musical journey across early Jamaican Reggae - highlighting its diverse musical genres and outstanding artists – as it was once published by the U.K. record labels during this golden decade…
Since the early 70s “Tighten Up” series, no compilations have really explored these labels in depth on vinyl.
Wenn ,Black Stabat Mater" das Album ist, mit dem sich das HEDVIG MOLLESTAD TRIO auf neues Terrain wagt, dann ist ,Evil In Oslo" die Zusammenfassung der früheren Jahre, obwohl es tatsächlich auch eine klare Verbindung zwischen beiden Alben gibt. Während die neun Performances hier von den ersten drei Studioalben stammen, sind die meisten längere Workouts, die HEDVIG als selbstbewusste und talentierte Gitarristin zeigen. Aufgenommen in den Osloer Clubs ,John Dee" und ,Buckley's" ist ,Evil In Oslo" ein kraftvolles Livealbum, das sich auf ein hohes Level an musikalischem Können stützt und eine perfekte Balance zwischen Freiheit und Disziplin eingeht. Diese qualitativ hochwertigen Aufnahmen fangen sowohl die pure Energie als auch die kleinsten Details auf ganz großartige Art und Weise ein. Mit Linernotes von Richard Williams. ENG Reissued! If "Black Stabat Master" can be seen as moving into new terrains, then "Evil In Oslo" can serve as a summing up of the previous years, although there is also a clear link between the albums. While the nine live performances presented here all come from their first three studio albums, most are lenghty workouts again showing Hedvig as a very confident and accomplished solo guitarist. Recorded at Oslo clubs John Dee and Buckley's, "Evil In Oslo" is simply a kick ass live album (never thought we'd ever use that expression, but there you go), with a very high level of musicianship and a perfect balance between freedom and discipline. The hi-res recordings capture both the energy level and all the details in a marvellous way! Liner notes by Richard Williams.
Fresh off the back of a sell-out spring tour celebrating the 10 year anniversary of the bands much lauded third album Men's Needs, Women's Needs, What-ever (which saw them headline their largest show to date at Leeds First Direct Arena), The Cribs release their new record 24-7 Rock Star Shit. Recorded live to tape in just 5 days by venerated underground engineer Steve Albini (Nirvana, Shellac, Pixies) 24-7 Rock Star Shit marks a return to the bands early roots with it's raw, rough-around-the-edges approach and sonic aggression. Originally conceived during recording sessions for the bands fifth album In The Belly Of The Brazen Bull these recordings were elevated to quasi-mythical status amongst the bands famously dedicated fan-base, with excitement building for a "punk album" flipside to 2015's more pop-leaning For All My Sisters. Originally intended as an EP, once sessions were completed the band found that they had recorded enough material for an album and decided it should be released that way instead - "That approach just really suits us, we were just having too much fun I guess" laughs the band.
Originally released in 1994 on Calypso Records / Irma Records in a triple vinyl promo white label version, Don Carlos's album Aqua is the
second album by the Varese-based DJ producer, already then known for his first two singles Alone and Mediterraneo, then both included in
his first album entitled Mediterraneo and released only in Compact Disc format in 1992 for the American market printed and distributed by
IRMA U.S.A., the American subsidiary of IRMA Records Italy.
The same fate will also have the Compact Disc format of the Aqua album, again printed only on the American market.
But the triple vinyl, printed in a limited edition of 500 copies in a white generic envelope, was never reissued and has become a rare record
over the years.
After almost thirty years, after countless requests for reissues, especially in the last few years in which the name and music of Don Carlos
has made a comeback, Irma Records has decided to reissue the vinyl in exactly the same original triple version.
DJ Don Carlos (born Carlo Troja) with his productions in the 90s has become one of the cult producers for DJs around the world.
His track Alone released in 1991 for Calypso was and still is one of the classics of House Music, played by all the major American and British
DJs.
At the time of its publication it was considered an underground song and therefore did not sell very much, but over the years its myth has grown
thanks to its subsequent productions as for example his second single, the EP entitled Mediterraneo, title which it will then inspired his first CD
album printed in the USA with the same title.
Several other singles followed, another album, always printed only in the USA, entitled Aqua, from which a triple promo vinyl was extracted which
today is one of the artist's most requested rarities.
In Italy his third album was released in 2002 entitled The Music In My Mind where Kim Mazelle, Michelle Weeks, Taka Boom and Kevin Bryant
were present as vocal guests. In 2009 a collection of the first two albums released in the USA titled Mediterraneo-Club Favourite Collection '90-
98 and in 2010 his fourth album entitled The Cool Deep which reproduced the sounds closest to his first productions.
Also active as a remixer for Italian and international labels, one of his most important works is the remix of Byron Stingily of the song You Make
Me Feel of which he made a worldwide hit. As a producer he also used other pseudonyms such as Montego Bay, Aquanuts, Sotterranea and
Love 2 Love Orchestra. He has played and plays in different countries such as London, New York, Miami and at various festivals, such as the
Robot and the Stickermule Festival in an evening with Apparat, Derrick May, DJ Koze, Lil 'Louis, Young Marco and Ellen Allien, LTJ Xperience
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Vielen erscheint Istanbul als ein von Mythen und Traditionen umrankter Sehnsuchtsort, andere betrachten es als Symbol für wirtschaftlichen Fortschritt. Seit den Gezi Park-Protesten 2013 sieht Westeuropa in der pittoresken Metropole am Bosporus mehr als die Hagia Sofia und andere Kulturdenkmäler. Der Gitarrist Erkin Cavus verbrachte viele Jahre seines Lebens in der riesigen, hochverdichteten und oft hektischen Stadt. Hier hat er Karriere gemacht, an der Seite berühmter Künstler gespielt, ehe er vor rund vier Jahren nach Deutschland zog. Nun setzt Cavus, zusammen mit Reentko Dirks, dem historischen Istanbul ein klingendes Denkmal. Inspiriert von Bildern des berühmten Fotografen Ara Güler (1928-2018), der als einfühlsamer und detailverliebter Beobachter zum Chronisten des Lebens seiner Heimatstadt wurde. Seine Aufnahmen des mittlerweile verblassten, teils unwiederbringlich zerstörten Istanbul und der ehedem höchst unterschiedlichen Stadtteile hängen längst in Museen. Bei der Entwicklung des Repertoires für Istanbul 1900 hat sich das Duo bewusst Zeit genommen. Der stärkste kompositorische "Flow" entwickelte sich in den Wochen vor dem Studiotermin. Die individuelle Form der Stücke, die absichtsvoll konkrete Jazz- wie traditionellen Bezüge vermeidet, "hat sich ungeplant entwickelt", so Istanbul 1900 ist eine atmosphärische Hommage, die mitunter nachdenklich klingt, dann wieder zarte Leichtigkeit suggeriert. Angesichts des Themas Vergänglichkeit und des Umstands, dass Erkin Cavus seiner Heimatstadt nicht ganz freiwillig Adieu sagen musste, ist ein Hauch Melancholie sicher keine Überraschung. Gleichwohl vermeiden die beiden Musiker jedes dramatische Pathos. Ihre Töne zeichnen, ganz im Geist der Schwarzweißa-Fotos Ara Gülers, feine Schattierungen. Selbst wenn sie in "Moda" schwungvoll das Nachtleben der großstädtischen Bohème oder in "Pera" die Dynamik in Straßencafés und -kneipen nach Feierabend imaginieren. Insgesamt entwickelt Istanbul 1900 einen sehr eigenen, subtilen Zauber, den man so nur selten erlebt. Ganz wie die Stadt, die an der Schnittstelle von Orient und Okzident Welten verbindet.
Self-recorded indie experimentalist from the Pacific Northwest. For fans of Grouper, The Microphones, Unwound’s Leaves Turn Inside You. Features Madeline Johnston (Midwife), Alex Kent (Sprain), Lula Asplund, a chamber ensemble and more. In 2019, Drowse’s Kyle Bates set out to produce a self-recorded new album. Marked by moving across state lines, long-distance relationships, and deaths in the family, the following years proved to be metamorphic. Now, three years later, he’s emerged with Wane Into It, continuing a distinctly Pacific Northwestern tradition of self-recording indie experimentalists (Grouper, The Microphones, Unwound’s Leaves Turn Inside You). One of the most impactful moments came during the looming passing of a family member. With death expected, the choice was made to conduct a bizarre “living-wake” gathering—with the soon-to-be1deceased in attendance. Shortly after, Bates found himself disturbed, preoccupied with the abstraction of memory. The experience led him to reassess the tool one uses to curate our selective memories: the internet. The internet, which creeped into even more aspects of life during the pandemic, serves as our self-made digital link to the past. Its uncaring presence layered over humbling thoughts of death and his own childhood memories of the Oregon Coast as he worked on Wane Into It; life’s hyperreal texture sank into the recordings as he felt his body age and wane. Big sounds were captured in bedrooms, hallways, practice spaces, forests, and on highways throughout West Coast vibraphones chime over black metal guitars, a mellotron drones under degraded samples, violins splinter against granular field recordings. In the process of documenting these aural moments Bates completed an MFA at Mills College, coloring the album with shades of avant electronic and minimalist composition (Pauline Oliveros, Terry Riley, Maryanne Amacher, Sarah Davachi etc…). To realize this scope Drowse collaborated with Madeline Johnston (Midwife), Alex Kent (Sprain), Lula Asplund, a chamber ensemble and more. Bates’s songwriting and production have never been more lucid; sounds flicker as he sings with fragile intensity. The record, Drowse’s third for The Flenser, impressionistically distills loss, distance, mystery, prescription drugs, the preservation of memory via recording, and ambient anxiety through its titular act: to Wane Into It, to disappear awaiting the next moon phase, water returning to sea before reemerging as a wave. Track Listing: 1. Untrue In Headphones 2. Mystery Pt. 2 3. (Ashes Over The Pacific Northwest) 4. Wane Into It 5. Telepresence 6. Gabapentin 7. Blue Light Glow 8. Three Faces (Cyanoacrylate) 9. Ten Year Hangover / Deconstructed Mystery
Self-recorded indie experimentalist from the Pacific Northwest. For fans of Grouper, The Microphones, Unwound’s Leaves Turn Inside You. Features Madeline Johnston (Midwife), Alex Kent (Sprain), Lula Asplund, a chamber ensemble and more. In 2019, Drowse’s Kyle Bates set out to produce a self-recorded new album. Marked by moving across state lines, long-distance relationships, and deaths in the family, the following years proved to be metamorphic. Now, three years later, he’s emerged with Wane Into It, continuing a distinctly Pacific Northwestern tradition of self-recording indie experimentalists (Grouper, The Microphones, Unwound’s Leaves Turn Inside You). One of the most impactful moments came during the looming passing of a family member. With death expected, the choice was made to conduct a bizarre “living-wake” gathering—with the soon-to-be1deceased in attendance. Shortly after, Bates found himself disturbed, preoccupied with the abstraction of memory. The experience led him to reassess the tool one uses to curate our selective memories: the internet. The internet, which creeped into even more aspects of life during the pandemic, serves as our self-made digital link to the past. Its uncaring presence layered over humbling thoughts of death and his own childhood memories of the Oregon Coast as he worked on Wane Into It; life’s hyperreal texture sank into the recordings as he felt his body age and wane. Big sounds were captured in bedrooms, hallways, practice spaces, forests, and on highways throughout West Coast vibraphones chime over black metal guitars, a mellotron drones under degraded samples, violins splinter against granular field recordings. In the process of documenting these aural moments Bates completed an MFA at Mills College, coloring the album with shades of avant electronic and minimalist composition (Pauline Oliveros, Terry Riley, Maryanne Amacher, Sarah Davachi etc…). To realize this scope Drowse collaborated with Madeline Johnston (Midwife), Alex Kent (Sprain), Lula Asplund, a chamber ensemble and more. Bates’s songwriting and production have never been more lucid; sounds flicker as he sings with fragile intensity. The record, Drowse’s third for The Flenser, impressionistically distills loss, distance, mystery, prescription drugs, the preservation of memory via recording, and ambient anxiety through its titular act: to Wane Into It, to disappear awaiting the next moon phase, water returning to sea before reemerging as a wave. Track Listing: 1. Untrue In Headphones 2. Mystery Pt. 2 3. (Ashes Over The Pacific Northwest) 4. Wane Into It 5. Telepresence 6. Gabapentin 7. Blue Light Glow 8. Three Faces (Cyanoacrylate) 9. Ten Year Hangover / Deconstructed Mystery
Mit dreißig Jahren aktiven, schändlichen Dienstes unter ihren Gürteln sind NECROPHOBIC unbestrittene Legenden des Death- und Black-Metal-Undergrounds. Die 1989 von Schlagzeuger Joakim Sterner gegründete Band aus Stockholm vertrat von Anfang an eine einzigartige und furchtlose Vision und bestätigte ihr Können 1993 mit dem mittlerweile legendären Debütalbum 'The Nocturnal Silence'. Indem sie den selbstbewussten Dilettantismus und die primitiven Klänge, die viele ihrer Kollegen schätzten, hinter sich ließen, schufen NECROPHOBIC eine kühne und lebendige eigene Identität und zauberten eine dicht melodische, aber unendlich verruchte Version von makabrem Extrem-Metal hervor, die seitdem von unzähligen weniger bekannten Bands nachgeahmt worden ist. The 'Third Antichrist' ist das dritte Album von NECROPHOBIC und wurde ursprünglich 1999 veröffentlicht. Die schwedischen Black-Death-Metal-Legenden bringen dieses Album nun als eine von insgesamt neun Wiederveröffentlichungen auf den Markt. Wer eine gut produzierte Mischung aus Death Metal und leichten Black Metal-Zutaten mag, sollte um dieses Album keinen großen Bogen machen. Wie schon die früheren Veröffentlichungen 'Hrimthursum', 'Death To All' und 'Satanic Blasphemies' in diesem Jahr, wurde auch 'The Third Antichrist' von Dan Swanö im Unisound Studio remastered.
All Eyez on Me is the fourth studio album by 2Pac and the last to be released during his lifetime. Released on 13th February, 1996, by Death Row and Interscope Records, the album features guest appearances from Dr. Dre, Snoop Doggy Dogg, Redman, Method Man, Nate Dogg, Kurupt, Daz Dillinger, E-40, K-Ci & JoJo, and the Outlawz, among others.
The album features productions by Shakur alongside a variety of producers including DJ Quik, Johnny “J”, Dr. Dre, DJ Bobcat, Dat Nigga Daz, DJ Pooh, DeVante Swing, among others.
The album includes the number-one singles “How Do U Want It” (featuring K-Ci and JoJo) and “California Love” (with Dr. Dre, featuring Roger Troutman) and the hip-hop ballad “I Ain’t Mad at Cha”, along with the Snoop Dogg collaboration “2 of Amerikaz Most Wanted” as a promotional single. It featured four singles in all, the most of any of Shakur’s albums. Moreover, All Eyez on Me made history as the first ever double-full-length hip-hop solo studio album released for mass consumption globally.
All Eyez on Me was the second album by 2Pac to chart at number one on both the Top R&B/Hip-Hop Albums charts, selling 566,000 copies in the first week.
Upon release, All Eyez on Me received instant critical acclaim, and it has been ranked by critics as one of the greatest hip hop albums, as well as one of the greatest albums of all time. In 2020 the album was ranked 436th on Rolling Stone‘s updated list of the 500 Greatest Albums of All Time.
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Originally released in 2006 as a mini-CDr in a limited edition of 300
signed and numbered copies, this immersive selection of solo recordings
by Savage Republic, Scenic and Independent Project Records founder
Bruce Licher finally gets the expanded reissue treatment
Newly packaged in oversized die cut pocket folders complete with various inserts
to give a more complete artistic presence to the unique and special music that is
being shared. CD packaging is designed by world-renowned graphic design artist
Bruce Licher.
The three original tracks "recorded in the summer of '97 on a cassette 4-track" are
now accompanied by a fourth instrumental that ventures into atmospheric
electronic territory. The bonus track was composed on an old Roland SH-2000
synthesizer Licher found while living in Arizona; it is, rather fittingly, named
"Number 09" "an homage to the Beatles' most adventurous piece of
experimentation. 'Exploratorium' reclaims equal fondness for the natural and the
industrial. This inquisitive approach is made clearer "and intriguing" by the
unexpected pairing of the original three tracks with "Number 09". Whereas "Peak",
"Going Home" and "The Penstemon Field" eagerly play with stretching the role of
guitars and bass, "Number 09" takes its cue from the hypnotic synths of the
Human League's 12" from 1979 'The Dignity of Labour' and sets off for an
unconstrained sonic trip that goes from the jarring to the meditative. It's a
mesmerizing blend of ambient and post- rock, noisy shoegaze and pastoral
melodic structures, droning avant-garde and soundtracks at their most.
Come Play With Me continue their journey to support emerging artists
with the 21st edition in their singles club which has previously featured
artists including Harkin, Team Picture, Fizzy Blood, Cinerama (The
Wedding Present) and more
After supporting both Fuzz Lightyear and Josephine Sillars with standalone
digital singles, they were selected to feature on the split 7 € release.
To listen to Sarah Mary Chadwick's music is to be a quiet observer to her
thoughts on love, death and mental health - Sometimes anguish bears
itself in sullen, dreamy vs dreary moments, but more often torment
manifests at the break of Chadwick's voice as she sings painfully
vulnerable, self-aware lyrics
Chadwick is a singer/ songwriter and visual artist, based in Melbourne. After
moving to Australia from New Zealand to pursue a career in music, Chadwick
spent a decade fronting the grunge band Batrider. In 2012 she shifted focus to
her now prolific solo career. Essentially Chadwick's work is basic reportage of
events and observations from her own life, creating something exactly realised
yet completely relateable. Chadwick's performance remains singular and complex
as she simultaneously savors and is repelled by the podium that her creativity
affords her, acknowledging that it's a position of power being on a microphone
and how ..it's a desperate demand to be seen. It's funny and really sad. These
days, I just want to be an entertainer.''
I always write a lot so I love it when songs can find homes in the outside world.
Track one 'Flipped It' was recorded in the "Me and Ennui" session, and I couldn't
find a comfortable place for it on that record. Track Two 'All the things...' was
recorded during the "Please Daddy" sessions, earlier that same year in 2019.
Pressed on 7" White Color vinyl.
Here lies a reissue of the first release from legendary long-running
Chicago group ONO, Kate Cincinnati
ONO originally self-released the music in an edition of 300 tapes, and it shares
several traits with the music of today's ONO. travis's singing moves effortlessly
between gospel, blues, opera and noise registers; Shannon Rose Riley plays a
maelstrom of music on her horn of choice, here saxophone; bandleader P.
Michael Grego quietly orchestrates bass, guitar and lap guitar, creating a musical
Jenga tower. If this is your first time with ONO, hop on board and see why Moor
Mother, Black Midi, Algiers and countless other acts love them so. If you're
already a fan: don't walk - run.
Miet, the solo project of musician Suzy LeVoid, was born out of a form of absolute urgency, to make music at all costs Self- taught, when she started playing bass in 2013, the desire to compose and perform on stage quickly led her to create this one-woman band, where the bass
and the voice are the foundations of a raw, sincere, skin-deep music.Only backed
by a looper, she writes and performs alone, and quickly made her way onto the
French stages, appearing alongside Jeanne Added or Shannon Wright.
Although she's always alone on stage or in the studio, Miet expresses how much
the discovery of otherness nourishes her creation, to the point of having chosen
for this second album, still in English, a title in German 'Auslander'. For the
Nantes-based singer, this term means the magic of an unexplained but familiar
word. This "foreigner", or more exactly this "other", seems to take on the
appearance of a character that we learn to discover throughout the ten tracks of
the album.
Suzy LeVoid's newest offering is full of her unique signature sound : abrasive
rock, a deeply personal blend of sound loops, hypnotic rhythms and powerful
distorted bass lines. Strongly inspired by the work of Walt Whitman, Miet, like the
American poet, subtly uses repetition to give a hypnotic character to her lyrics.
This feeling of hypnosis is largely accentuated by the sequence of sound loops,
creating a perception of an infinite cycle and thus giving birth to an almost
mystical atmosphere.
MATTERS UNKNOWN is the new project led by multi-instrumentalist and
composer Jonny Enser.We Aren't Just is the debut album from MATTERS
UNKNOWN – Jonny Enser from Nubiyan Twist's solo project
Over 14 tracks, it travels through Afro- jazz, celestial blues, soulful funk,
electronica, hip hop referencing influences such as Mulatu Astatke, Pat Thomas
and Tony Allen all of whom he has worked with via Nubiyan Twist.This album
features some of the UK's finest young players including members of Nerija, Noya
Rao, Golden Mean and COLECTIVA. For fans ofJazz is Dead and Emma- Jean
Thackray. Every track on the album is inspired by a facet of Jonny's personal
development; drawing from his relationship to the city, whether in the delta
regions of the Mississippi river or along London's arterial Thames. The album is a
material testament to the flexibility inherent to MATTERS UNKNOWN; it can be
orchestrated to accommodate a 15-strong orchestra, replete with a string section
to move you to the dancefloor as Jazz originally intended, or stripped down to the
bare bones of a trumpet and tuba- led quartet whose intentions remain all the
same; to pierce into the audience's soul.
Jonny is honest, often laying bare his personal plights with his physical disability
and mental health, and the steep – yet rewarding – uphill climb as a musician and
Jazz instrumentalist. We Aren't Just is a multi- faceted study of the self, one's
relationship with the external world; the material, and the living within the inert.
SEMI-ACOUSTIC INTERPRETATIONS OF CLASSIC ANATHEMA TRACKS,
NOW MASTERED HALF-SPEED AT AIR STUDIOS, LONDON FOR A
SUPERIOR, SHARPER, MORE DIRECT & ENGAGING SOUND
"The pastoral introspection of Nick Drake & Radiohead with moments of sublime
beauty" – Metal HammerReleased in 2008, 'Hindsight' was the first release of
new studio recordings from Anathema since 2003's acclaimed conceptual album,
'A Natural Disaster'.
Featuring selected favourites from the band, as well as new track, 'Unchained
(Tales Of The Unexpected)', Hindsight featured sensitive semi- acoustic
arrangements - utilising acoustic, electric & orchestral instruments - that further
develop the deep, emotional landscapes that Anathema has become justly
renowned for.
Arranged by guitarist Danny Cavanagh, engineered by Les Smith & performed &
produced by Anathema, 'Hindsight' also features cellist Dave Wesling, who
previously toured with the band.
Mastered Half- Speed & pressed on Single LP for the first time, available via
Kscope.
Outsider, alt, psych, power trio Jemma Freeman and The Cosmic Something are the aural equivalent of a distorted photograph capturing the hinterland found between emotions and actions. Emerging like joyous sci-fi warriors, the songs either overtly or indirectly demonstrate solidarity with anyone that’s ever identified feeling off kilter with the rest of the universe and needed an equally wonky soundtrack to back it. An introspective journey through psychedelic glam-rock nightmares, woozy flows of self discovery and beguiling lyrics delivered with subtlety and intensity. Jem, Samuel Nicholson (bass) and Jason Ribeiro (drums) are your astral guides in this strange country, illuminating a path, in reality they’re as lost as the listener. In this limbo, thoughts tumble on top of each other through twisted rhythmic guitar, bass and drum lines that interchange and play with each other in a frenzied cosmic dance. // “An onslaught of guitar...” – Popoptica // "lush guitar work and rapid fire energy.. part Kate Jackson part PJ Harvey.” - For The Rabbits // Tracklisting: 1. Big Bread 2. Easy Peeler 3. Nobody Ever 4. Huge 5. Lump 6. Maersky 7. Bugles 8. I Thought Too Much 9. Sicilian Mousse 10. Take Me
Wenn ,Black Stabat Mater" das Album ist, mit dem sich das HEDVIG MOLLESTAD TRIO auf neues Terrain wagt, dann ist ,Evil In Oslo" die Zusammenfassung der früheren Jahre, obwohl es tatsächlich auch eine klare Verbindung zwischen beiden Alben gibt. Während die neun Performances hier von den ersten drei Studioalben stammen, sind die meisten längere Workouts, die HEDVIG als selbstbewusste und talentierte Gitarristin zeigen. Aufgenommen in den Osloer Clubs ,John Dee" und ,Buckley's" ist ,Evil In Oslo" ein kraftvolles Livealbum, das sich auf ein hohes Level an musikalischem Können stützt und eine perfekte Balance zwischen Freiheit und Disziplin eingeht. Diese qualitativ hochwertigen Aufnahmen fangen sowohl die pure Energie als auch die kleinsten Details auf ganz großartige Art und Weise ein. Mit Linernotes von Richard Williams. ENG Reissued! If "Black Stabat Master" can be seen as moving into new terrains, then "Evil In Oslo" can serve as a summing up of the previous years, although there is also a clear link between the albums. While the nine live performances presented here all come from their first three studio albums, most are lenghty workouts again showing Hedvig as a very confident and accomplished solo guitarist. Recorded at Oslo clubs John Dee and Buckley's, "Evil In Oslo" is simply a kick ass live album (never thought we'd ever use that expression, but there you go), with a very high level of musicianship and a perfect balance between freedom and discipline. The hi-res recordings capture both the energy level and all the details in a marvellous way! Liner notes by Richard Williams.
Three-time Grammy nominees, the San Antonio, Texas-based quartet NOTHING MORE return with their highly awaited seventh album, 'SPIRITS'. It features thirteen focused, adventurous and intense songs, uniting introspective philosophical lyrics with unapologetically massive anthems, including the in-your-face 'TURN IT UP LIKE (Stand In The Fire)', their most recent Top 10 Billboard Active Rock radio single 'TIRED OF WINNING'. Since emerging in 2003, NOTHING MORE has made rock radio chart history with no. 1 singles for both 'This is the Time (Ballast)' and 'Go To War', while they also have seven Active Rock Radio Top 10 singles in their repertoire. 'SPIRITS' further proves their expertise in the rock genre and beyond. It documents the tumultuous time the world experienced over the past two years capturing the desperation and isolation of lockdown, the spiral of substance abuse, the pain of broken relationships and survival in self-reliance while summarizing the overall story and mission of NOTHING MORE: Reflect, Provoke, Inspire.
Three-time Grammy nominees, the San Antonio, Texas-based quartet NOTHING MORE return with their highly awaited seventh album, 'SPIRITS'. It features thirteen focused, adventurous and intense songs, uniting introspective philosophical lyrics with unapologetically massive anthems, including the in-your-face 'TURN IT UP LIKE (Stand In The Fire)', their most recent Top 10 Billboard Active Rock radio single 'TIRED OF WINNING'. Since emerging in 2003, NOTHING MORE has made rock radio chart history with no. 1 singles for both 'This is the Time (Ballast)' and 'Go To War', while they also have seven Active Rock Radio Top 10 singles in their repertoire. 'SPIRITS' further proves their expertise in the rock genre and beyond. It documents the tumultuous time the world experienced over the past two years capturing the desperation and isolation of lockdown, the spiral of substance abuse, the pain of broken relationships and survival in self-reliance while summarizing the overall story and mission of NOTHING MORE: Reflect, Provoke, Inspire.
Canadian rock band Nickelback are the 11th best-selling musical act of all time with over 50M records sold. This summer the internet has been a-chatter with Nickelback posts, some even suggesting that what the world needs now is a new NICKELBACK ALBUM. And that album is here!
Nickelback will be releasing their new album Get Rollin’ on 18 November.
** INITIAL 400 LPs CONTAIN A BONUS 7" OF A RARE XMAS SOUL 45! **
** THE 4th VOLUME OF RARE & HIP-SHAKING SEASONAL GROOVES!! **
Dear Santa, we just loved "Santa's Funk & Soul Christmas Party," Volumes 1-3 TRLP-9013, TRLP-9027, TRLP-9050, and we have really tried to be good this year! Please bring us a whole 'nother album's worth of rare and obscure Christmas-themed funk and soul!
When the third volume of "Santa's Funk & Soul Christmas Party" was released in 2015, everybody involved was certain that it would be the final one. For years, the curators had been looking for "Christmas Rare Grooves" until they finally realized there was nothing left to discover that would justify a fourth volume. Sure, it would have been an easy task to dig through the catalogues of major labels to come up with 40 minutes of more-or-less trivial Christmas soul music. But who on earth would want that kind of album? Since the foundation of Tramp Records in 2003, the label has gained a high reputation as one of the very few German reissue labels of obscure funk, soul, and jazz music. 99% of the songs originate from 7" singles, the small and handy standard-format of the 1960s, which, like Santa's sleigh magically circling the planet on Christmas Eve, spins at forty-five revolutions per minute on the turntable.
So, what can you expect from this, the fourth volume of a series which had ostensibly been completed with only three volumes? After some seven years of digging across the world wide web with open ears and eyes, never tiring of the hundreds of (mainly) shitty songs, hoping to find that kind of monster soul or funk track that constituted the hallmark of the previous volumes, the compilers slowly and surprisingly began to see a fourth volume taking shape. Finally, after more than two thousand days, a complete album's worth of quality tunes had been discovered and secured for release.
"Santa's Funk & Soul Christmas Party Vol. 4" contains a highly diverse selection of obscure Christmas songs. For example, take Bey Ireland's garage-mod-rocker "All I Want For Christmas Is A Go-Go Girl," is something to get you go-going around the tree! Do you prefer mirror-balls to tinsel? Check out Bill Deal with Pure Pleasure. Too fast? How about the dazzling-melancholic "I Won't Be Home For Christmas"? Do you prefer rap music while you wrap presents? Then your choice is going to be Hot & Sassy. Old-School-Hip Hop at its best. Every single song has a compelling reason to be included in this extraordinary selection. Not least is the opening track by Sharon Jones & the Dap-Kings. Their contribution represents the soul sound of the 21st century. Charming soul music with sociocritical lyrics, something you rarely find in the current musical landscape.
Even though the selected tracks that the two compilers and their worker elves proudly present on "Santa's Funk & Soul Christmas Party Vol. 4" are unbelievable, they are very real and will be the surprise gift from Santa this season that can be enjoyed year-round! It took seven years to complete, but believe us when we say it was well worth the wait. Merry Christmas, everybody!
Key selling points:
- initial 400 LPs contain a BONUS 7" of a ULTRA-RARE Christmas soul 45
- ALL but one song appear on CD, Vinyl LP and digital for the very first-time
- the vinyl LP comes with a full album download code
- fold-out CD-booklet and gatefold LP come with liner notes and label scans
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By the close of the Sixties, record retailer and jukebox businessman Karl ‘J.J.’ Johnson was firmly established as one of Jamaica’s leading record producers, having released a string of best-selling rock steady and proto-reggae 45s by such noted local acts as Lee ‘Scratch’ Perry, the Rulers, Carl Dawkins, the Kingstonians and the Ethiopians. Early in 1969, Trojan Records released an album containing a dozen of Johnson’s latest recordings in the new reggae style. Entitled Reggae Power, the LP was dominated by regular hit-makers the Ethiopians.
Reggae Power is available as a limited edition of 1000 individually numbered copies on orange coloured vinyl.
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Sofia Nøt from the project IAmNøt is a DJ and a producer from Bratislava/Slovakia, who just released her debut album “Changes”.
The album stems from the sounds of electronic dance music of the 90s and describes Sofia’s battle with gender identity. The music video for the track “Changes” won a prize at an international festival in Košice and participated in a prestigious ‘London Music Video Festival. In this video, Sofia kills her “old self” with an axe.
Since 2019 IAmNøt has posted her singles online. Many are also accompanied by story-driven music videos from director Simon Seriš. The music style comprises many genres, including breakbeat, techno, and synth-wave.
In the past three years, Sofia played DJ’s sets filled with breakbeats and 4/4 rhythms across the Czech Republic and Slovakia. You could see her, for example, at the Brutal Assault festival this summer.
Sofia’s debut album “Changes” was released on 9th September and is now available on all major digital platforms and a 12” LP vinyl record.
All tracks were written, produced & recorded by Sofia Nøt
except ‘Estrogen’: written by Sofia Nøt & Pkrek and
‘2020’ contains a guitar by Jakub Spiszak
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Spanky Wilson has a famously powerful voice but that is matched by just as potent a horn section, with some added staccato guitar chords and a super groovy rhythm section here on this much warranted reissue. She is a conduit for "The Funk' here with a mega fine vocal performance time after time on this well curated selection of classic covers. The likes of The Doors' 'Light my Fire', Cream's 'Sunshine of your Love' and 'Loveland' are all included and stand right out. Each one shows a different but equally essential side to the voice of Spanky Wilson. All tunes have been newly remastered for this release by P-Vine.
Ingredient is the elegant collaboration of Toronto poets, composers, producers and dear friends Ian Daniel Kehoe and Luka Kuplowsky. Their self-titled release is an enigmatic electronic avant-pop record attuned to the micro and macro perspectives of the natural world. Ingredient is an album whose lyrics are more poem than lyric, and whose songs exist in a merger of house music, philosophically-minded lyricism and contemporary R&B. One might recall electronic and art-pop luminaries such as Yukihiro Takahashi, The Blue Nile, and Arthur Russell, or connect it to contemporaries like Nite Jewel, Westerman and Blood Orange. A distinct world of dance, of questions, of secrecy and ultimate softness.
Eight years of friendship forges strange telepathy.
In the summer of 2020, Ian Daniel Kehoe was entrenched in a new feeling of heaviness; psychosomatic symptoms had started to proliferate; stress made new pores across the body, bending sensitivity into pain. His days were met with confusion, detachment, sleeplessness and pain without causation. Disfigured, he felt that what had been central and centering was blown out to the periphery of things. In a moment of self-preservation he reached out to his dear friend Luka Kuplowsky to make an album together. For Kehoe, it was an instinctual grasp for the anchoring truthfulness of deep friendship and the potential for a dedicated creative collaboration. Kuplowsky’s presence was light, supportful and curious, eager to explore musically the sounds they were mutually drawn to: house music, ambient pop, dub. The duality between Kuplowsky and Kehoe – between the Aflight and the Unmoored – is a portrait of a friendship whose exchanges came easy and produced an outpouring of song. Creation and therapy crisscross. In email correspondence that catalogs their process of collaboration, affection abounds: “feels bare without the Luka Licks”, or “Love you so much”, or “Kinda just overwhelmed with deadliness coming in at all angles.” When their voices first come in together on “Wolf,” that harmony arrives in a dramatic avant-pop sound that is bold and wondrous.
Kuplowsky and Kehoe both arrive at Ingredient as established artists whose works are committed to language’s propensity to provoke and mystify. Kuplowsky’s 2020 album Stardust is an idiosyncratic and otherworldly blend of pop and jazz romanticism grounded by Cohen-esque vocals and a stirring philosophical curiosity. Kehoe’s entrance into the new decade has hatched four records of pop experimentation, most recently 2022’s Yes Very So, a euphoric and bold album of poetic synth-pop and meditative ambient instrumentals. Kuplowsky and Kehoe’s union as Ingredient is a beautiful and unusual chemistry that integrates their distinct approaches while bringing forth a newness: a sound that alternates between cinematic technicolor and dubbed out fogginess; a lyricism that exchanges their lucid and clear poetics for a playful and obtuse verse. The album intuitively taps into the opposing emotional states of Kuplowsky and Kehoe during the conception of the record, contrasting the buoyancy of trumpeting keyboards (“Resurface”), angelic synthesized voices (“Come”), and rolling bass (“Photo”) with the record’s underlying darkness of whirring buzzsaw textures (“Transmission”), whooping sirens (“Wolf”) and murky ambience (“Illumination”). Lyrically, this duality arises in the record’s flux between openness (“Variation”, “Raindrop”) and existential dread (“Wolf”). “Illumination” most clearly crystalizes this opposition, reconciling the verses’ neurotic yearning for enlightenment with the chorus’ liberating doctrine of negation: “no more devotion… no more delusion”. Amidst the gradations of light and dark, Kuplowsky and Kehoe trade indelible, lush melodies as though their voices are made of a substance that melts easily one into the other. The harmony of poetry, sound, and texture cuts through your brain fog like a wet diamond.
Ingredient’s self-titled record was assembled by Kuplowsky and Kehoe over the course of six months in a home studio they frequented daily. Amidst synthesizers and drum machines they composed, re-composed, and workshopped a wide array of music, ultimately focusing on a set of eight songs that lived in a shared musical and philosophical world. Recording days often ended in basketball games at a local court or a rooftop commune over a pot of tulsi tea and a crossword puzzle. Kuplowsky brought in the Blue Cliff Record – the classic anthology of Chan Buddhism – whose inscrutable and sublime insights remained constant throughout the recording process as an activator of reorientation and reflection. While Kehoe was frequently rendered physically immobile by bouts of anxiety, a patience and mutual caring governed the pace of their creation; rest, stretching and meditation became equally important as the act of arrangement. Invited into their intimate circle of composition was Thom Gill, whose heavenly voice uplifts “Variation” and “Raindrop,” and Karen Ng, whose alto sax simmers and dances around the funky strut of “Raindrop.”
The lyrics on Ingredient reflect the persistence of change, the infinite variability of nature where randomness and divergence are no accidents. In Daoism, duality, in the form of Yin and Yang, is not contradictory as it is in Western idealist philosophy, but rather composes the eternal and lived paradox of our changeless-changing universe: changeless because all is change, and changing because the dynamism of the Dao makes each moment transformational. Kuplowsky and Kehoe refract this way of seeing the world, as in Variation: “Variation in the natural world / there it is.” Ingredient is an experience of the manifold ways of saying there it is of the transformational world, and there it is, unfolding. Elsewhere, change and ephemerality is addressed through the record’s preoccupation with non-human perspectives, reorienting the listener to the wolf, the mouse, the emerald frog, the centipede, the bird, the fly in the lamp. The album cover visualizes this fascination with the striking image of a reddish-orange frog atop a defamiliarized landscape of dark green leaves. Mirroring the exploratory process of the record’s collaboration, the frog also signals the amphibian’s natural inclination to leap into boundless potential. Kuplowsky and Kehoe’s lyrics manifest philosopher and ecologist Timothy Morton’s concept of “the mesh,” drawing attention to the “vast, entangled web” of interconnectedness that connects all life forms and interweaving the songwriters’ shared wonder into the Animal’s unknowability. As Luka narrates in the breakdown of the dance-floor ready “Photo,” “the closer we observe things, the further they retreat into abstraction.” In Ingredient’s ecosystem, perception is a reversible fractal where the world’s minutest details mirror the shape of the cosmos.
According to the Dao, the path to healing starts by reorienting perception away from the self and toward the self’s subsumption in Totality. For Kehoe, collaborating with Kuplowsky became the reorientation necessary for the self-preservation he was seeking, opening up a shared creative practice to navigate and soften the complexity of his psychological shattering. The album begins with Kuplowsky intoning “colossal faith” which bounces around the stereo field in a cloud of echo, and it is the enormity of “faith” that centers both Kuplowsky and Kehoe’s collaboration and their inquisitiveness in the vast mysteries of our very being. Truth in Ingredient is not an essential nugget, but a bending of the light – it is the equivocal entanglement of how we are in nature as nature, but with a plea or prayer under our breath that marks our felt distance from what we are a part of: “carry me towards the mountains of my birth / returning to the nest / the silence of the earth.”
