Limited edition tri-color splatter vinyl. The vinyl edition of Daedelus' new LP "Xenopocene" features a die cut cover title album text which allows the viewer to see the multi color swirling vinyl beneath. Xenopocene means Alien Age. Some have theorized our current is the Anthropocene; however in an era where artificially generated and deep faked, what is terrestrial in origin vs u.f.o.? Daedelus’ latest LP ‘Xenopocene’, inspired by their artist-in-residency with S.E.T.I. follows a timeline from an extraterrestrial first contact thru to 10k days hence and spiraling towards the nearest exoplanet 6,000+ years away. Attempting to parse out science informed fiction from the fact that in an unfathomable universe life exists outside our confines. Actually there are guidelines in place for receiving such a communication. In S.E.T.I.'s Protocols for an ETI Signal Detection (which first line reads "Declaration of Principles Concerning the Conduct of the Search for Extraterrestrial Intelligence...") well measured steps from such an awesome event could almost be read as unexceptional. Hyperbole has little place in the sciences whereas music makes the most from. Daedelus across 11 tracks deftly deals with space inspired sounds pulling equally from Gustav Holst and Sun Ra as Alice Deejay and Amon Tobin. No techno-optimism here, ultimately this is Earth music made to dream upwards. Asking us to reckon with our humanity while daring us to envision a new epoch. Interlaced throughout are quavering violins by Vivek Menon. Featuring words from the singular R.A.P. Ferreira on "Starfire" and extra instrumentation from Eli Henry Goss of the Breathing Effect in "Float
Buscar:spac
- Ein Moment Sind Zwei Sekunden
- Der Regen Tropft
- Tanzende Kakteen
- Fleissige Ameisen
- Sechs Fingen An
- Das Insekt
- Denn Alles War Nur Ein Trick
- Schwarzwald
- Schauet Her
- Buback
- Gummitwist
- Space Bob
- Sirius Und Alpha Zentauri
- Rapwalz
- Alte Pizza
- Hey Baby Hop
- Glitzergleiter
- Junger Mann
- Gummitwist (Instrumental)
- Gorck Fock
- Elektro Platinum Saturn Gott
wieder auf Lager Der Plan gelten als zentrale Wegbereiter der Neuen Deutschen Welle: Mit minimalen Mitteln produzierten Moritz Rî, Frank Fenstermacher und Pyrolator experimentelle elektronische Musik, verspielt und mitunter dilettantisch anmutend, aber immer mit Humor. 1984 wurde Der Plan von der japanischen Kaufhauskette Seibu für sechs Konzerte nach Tokio eingeladen. Anlass war die von Seibu ausgerichtete deutsche Woche. Ausgerechnet Der Plan? Warum nicht eine Oktoberfestkapelle oder die Scorpions? "Damals war in Japan die NDW sehr beliebt", so Moritz Reichelt. "Man kannte sich dort besser damit aus als hierzulande. Außerdem war an diese Kaufhauskette der Plattenladen und Vertrieb Wave angeschlossen, und die kannten sich richtig aus." "Japlan" dokumentiert die Setlist dieser Tokio-Auftritte. Neben Songs von den Vorgängeralben "Normalette Surprise" und dem Soundtrack "Die letzte Rache" und von der Doppelsingle "Golden Cheapos" enthält "Japlan" auch seltsame Instrumentalstücke, die extra für diese Konzerte produziert wurden. Und einen der bekanntesten Songs des Plans: "Gummitwist". Das Album erscheint mit Bonus-Tracks.
Mr. G and Duncan now return to 49North with a brand new 4 track EP.
The first cut, Cosmic One is a peak time futuristic roller that lures you in gently and leads you through its infectious sonic journey.
Cosmic Two comes straight in with its solid electro-funk 808 rhythm, a nod to early Detroit electro but with its feet firmly set in the 21st Century, it builds and builds and builds.
Cosmic Three revisits the synth work of Cosmic One and switches things up a few gears. From the get-go it’s heads down, a driving funk fuelled groove.
Cosmic Four rewinds us to a beat-less reprise of Cosmic One but very much its own unique space. Like sliding into a warm bath of dubbed out beat-less analogue bliss
Enjoy the ride ......
Ein wahrer Dub-Klassiker von 1980: Rückwärtstapes voller interplanetarer Soundeffekte, gespenstischer Stimmen und klingelnder Percussion, 'Starship Africa' hört sich wie ein schräger 'Alien' Film-Soundtrack an, der die Dub-Reggae-Horizonte ins Unermessliche erweitert. Mit Mitgliedern der Roots Radics, Misty In Roots und Prince Far I’s Arabs war es der einzige Release auf dem Pre-On-U-Sound-Label 4D Rhythms. Reissue mit ausführlichen Linernotes, Archivfotos und DL-Card. Kürzlich in der MOJO-Rubrik 'How To Buy… On-U Sound' zur am meisten empfohlenen Platte des gesamten Katalogs gewählt.
Erstmals seit 1982 auf Vinyl erhältlich: 'Psychotic Jonkanoo' war das sechste Creation Rebel-Album in drei Jahren, ursprünglich lizenziert an das Glasgower Post-Punk-Label Statik. Ein weiterer solider Killer-Dub, weniger instrumental, mehr ausgereichtet auf bewusste Vocals im militanten Stil samt unterstützenden Harmonien im Black Uhuru-Stil. Mit Backing-Vocals der Punk-Legende John Lydon (The Sex Pistols, Public Image Limited) und einer ausgesprochen experimentell-britischen Herangehensweise an traditionell-jamaikanischen Roots-Reggae, was zu einem unverwechselbaren Hybrid-Sound führt, der immer noch frisch klingt.
'Anybody searching Adrian Sherwood's catalogue for an easy point of entry would do well to start here, and everyone else can simply applaud Psychotic Jonkanoo as the last truly great roots reggae album of the 1980s.' - All Music
Icelandic musician and visual artist Sunna Margrét is set to release her debut full-length album, Finger on Tongue, via No Salad Records. Citing influences from krautrock legends CAN and Neu!, outsider synth pop artist The Space Lady and electronic music pioneers Suzanne Ciani and Eliane Radigue, Finger on Tongue is a masterclass in experimental pop, capturing an authentic Icelandic essence through its electronic and spellbinding sounds. Some tracks offer softness and peace while others invite you to dance, and the album homogeneity is precisely ensured by the rigorous approach to writing.
Gatefold Sleeve / 180g Vinyl
Returning to the well of Roger Doyle once again, his “Babel” project spans a decade of composition work before its’ initial release in 1999 as a 5CD set. Over 100 pieces and almost 50 collaborators it marks a journey through a virtual tower of Babel with each piece corresponding to a room within an imagined giant tower city. For the 25th Anniversary vinyl edition Doyle has revisited it- remastering it and providing its first vinyl edit - 80 minutes spread across two 180gm LP’s - rounding out the package with extended liner notes and a download code to the full 6 hours.
We’ve previously explored Roger’s Operating Theatre days and the idea for this project came in the early nineteen eighties while Doyle was heavily involved with the experimental theatre group. Working with emerging technologies and across a variety of genres he realised that he would be unlikely to achieve an overarching compositional style. Instead deciding to make a virtue out of the fact that he composed so schizophrenically, he wished to create a musical alphabet out of short abstract sounds with these sounds being analogous to phonemes in speech. With Blade Runner and sci-fi embedded in the zeitgeist of the times he came to the idea of the Tower of Babel as both a futuristic skyscraper and also an embodiment of language.
In the spring of 1990 Babel was finally begun and kept growing until it reached over 6 hours of music and was released in 1999.A large-scale musical structure making use of many technologies and music languages, with each piece of music being thought of as a 'room' or place within an enormous tower city. Each track in the main section corresponds to a virtual sonic architecture. The pieces are divided into two kinds: aural representations of actual spaces like The Dressing Room, The Stairwell and Mr. Brady's Room alongside internalised dream spaces like the Room Of Rhetoric, the Spirit Levels and the Mansard childhood memory room. Listeners can navigate their way differently through this virtual building at each hearing. As a supplement to the Babel Tower KBBL - the fictitious radio station – broadcasts a number of shows. Each has its own style and atmosphere. Collaborating with DJs, actors, writers and singers, KBBL is made to sound like a real radio station with ads, traffic reports and phone-ins.
Examples of the connections within the project can be found via the architecture were the saxophonist in the off-stage dressing room is rehearsing for her solo in the concert-hall (heard in Pagoda Charm) or the room off the stairwell, where the sounds of piano lessons and apartment life can be heard and the apartment where a muffled KBBL can be overheard At a molecular level The Iron Language Alphabet is a sound alphabet containing tiny fragments of sound representing letters or characters of an alien alphabet. This sound alphabet can be heard scattered through other pieces like The Room of Rhetoric, Pagoda Charm and in KBBL in Johnny’s Body at 002. Other molecular scatterings can be found in Cantilena where two songs sung by Operating Theatre’s Elena Lopez in KBBL are exploded and re-arranged to form new entities.
Doyle’s Babel celebrates language - a slight variation on the Biblical morality tale - and musical expression in all its variety.
King Of Blue by Yes Indeed sees Laurie Tompkins and Otto Wilberg take their eclectic stance on cosmic jazz and electronics to further uncharted and dreamlike territory, encompassing a unique logic of what is harmoniously absurdist.
King of Blue by Yes Indeed sees members Laurie Tompkins and Otto Willberg further dive into their melismatic take on cosmic jazz and new electronics, by way of their highly eclectic and at times nonsensically sensical modus operandi. Their work is defined by an eloquent flurry of ideas, spheres, and signifiers, creating a musical universe of surprising longevity and depth. Treating musical convention with gentle disdain, Yes Indeed take on a variety of genres and moods and switch them around into a beautifully melismatic and dreamlike state of being. King Of Blue is a mini- album of fragmented beauty and warmth. It puts the illogical center stage and gives space to abruptly miniaturist musical ideas, allowing them to take on a meaning bigger than one would expect. It is cosmic music for modern times. A brazen descent into the execution of a fundamentally diversified musical stance.
'Yes Indeed' are Laurie Tompkins & Otto Willberg. Live, they play keys, bouncy bass and sing over tactile, emotive samples. Their music is epic and also somehow wrong, with space for delicacy, straight-up joy and soaring licks. Since 2022’s ‘Rotten Luck’ - their first proper album, on Bison - YI have played across the UK and Europe. Solo, Laurie co-ran the Slip label and has put out CDs on Entr’acte, 33-33 and Hyperdelia. Otto is a roaming bassist in groups like Historically Fucked and Abstract Concrete and his LP of “wildly singular, wickedly trippy and sensual set of fusion jams” (Boomkat) was recently out on Black Truffle.
Organ of Corti, the trio of Joachim Nordwall (IDEAL Records, The Gagmen), Mattias Gustafsson (Altar of Flies) and Dan Johansson (Sewer Election, Enhet för Fri Musik) returns with another exercise in the slow-motion decay of analog sound. Usher, a minimal hypnotic track on side A reveals its subtle details after multiple listens while the claustrophobic Trauma on the flipside will grab your immediate attention. Machines that hum, sputter, and crackle while slowly moving forward. Vaguely familiar tape loops, spacious synths and crumbling electronics. A journey into the unknown.
The Swedish underground scene continues to deliver some of the best experimental acts and Organ of Corti firmly establish themselves as part of the foundation with a recent self-released cassette, another cd on New Forces and this new single. While their sound has clearly evolved, these alchemists are staying true to their original intention of forging fragments of surreal nightmares.
Recorded by award-winning mastering engineer Kevin Gray's record label, Anthony Wilson's Hackensack West is Cohearent Records' follow-up to Kirsten Edkins' Shapes & Sound album. Produced by Joe Harley and recorded all-analogue/all-tube at Gray's studio, Cohearent Recording, the AAA vinyl release is pressed on 180-gram vinyl at RTI and housed in a deluxe tip-on gatefold jacket.
From the liner notes:
The week before these sessions in the summer of 2023, I sat down each morning with the goal of composing one new song by day's end. I knew I'd soon be in the room with my dear friends Gerald Clayton, John Clayton, and Jeff Hamilton, three musicians whom I trust the most, and with whom I've played the most over the last couple of decades. I tried to imagine themes that would feel natural to us, the kinds of songs we could simply dive into without much thinking. When we headed to Kevin Gray's studio to record, I brought seven new songs along with me. Five are included on this album.
"Daido" is dedicated to Japanese photographer Daido Moriyama, who became known in the late 1960s for his grainy, sometimes blurry, high-contrast black and white images made throughout Japan. I love his pictures taken on the streets of various Tokyo neighbourhoods such as Shinjuku. His portrait of a menacing stray dong, from his series "A Hunter," is the kind of picture that, seen just once, is unforgettable. These days Daido is still out on the street making pictures, at the ripe young age of 85.
"Verdesse" has a sinuous, chorinho-like melody and rhythmic feel. The tune seems to weave and bob playfully in a space of brightness the way a grapevine seems to curl towards the sunlight. So I named it after a wine grape native to the pre-Alpine region of Isère, near Grenoble in eastern France, that makes a particularly delicious and drinkable white wine.
I wrote "Sunday," well...on Sunday. It unfolds slowly, like a good Sunday does when there's nothing to do, you can sleep in, you've got your person beside you, and you just relax into the day.
"The Lands" is dedicated to a family very dear to my heart: that of tenor saxophonist Harold Land. My mother met Harold when they were both teenagers growing up in San Diego, California. The two of them became lifelong friends, and a little later, Harold enjoyed a fruitful musical association and close friendship with my father, Gerald Wilson. Harold, his lovely wife Lydia, and their son Harold Jr. were extended family for us; they looked after me with love and care. Some of my first gigs ever as a young guitarist were with Harold's incredible band that included Oscar Brashear, Billy Higgins, Richard Reid, and Harold Land Jr.
I've loved Todd Rundgren's "Marlene" since I first heard it on his epic double-album Something/Anything. With its tender, well-contoured melody buoyed by a few special harmonic surprises, it almost seems like something from the pen of Burt Bacharach. It tells such a complete musical story. Rundgren's recorded version has a beautiful endlessly repeating tag. So we played the melody simply, and used the tag as a small staging area for a bit of improvising.
Hackensack West is our alias for engineer Kevin Gray's studio Cohearent Recording, a place inspired by Rudy Van Gelder's first studio in Hackensack, New Jersey. Located inside Van Gelder's parents' home, the musicians played in the living room! It was there, in 1954, that Thelonious Monk recorded his classic tune "Hackensack," a "contrafact" melody over the chord changes to the Gershwins' "Oh, Lady Be Good!" In contrafact-like fashion, my own bebop-spirited melody "Hackensack West" seems to nod toward the changes of a few recognizable standards, without corresponding to any particular one.
Janis Joplin wouldn't be denied on Pearl. The powerhouse vocalist had kicked her addictions, teamed with a stupendous band, and partnered with a producer that knew how to best showcase her voice on record. She came to the sessions with an armload of astonishing songs, and a burst of creative energy that mirrored her rejuvenated emotional state and undeniable spirit. You can hear it on every note of the 1971 record. Ranked #135 on Rolling Stone's 500 Greatest Albums of All Time list, Pearl sold more than four million copies and stands as the first female rock superstar's definitive studio work.
Mastered from the original master tapes, cut at 45RPM, and pressed on dead-quiet vinyl at RTI, the iconic audiophile label's reissue takes Joplin and Co.'s stupendous performances to newly transcendent levels. Boasting a fidelity that further magnifies the singer's passion and producer Paul A. Rothchild's clear production, this pressing benefits from increased spaciousness, dynamics, and openness afforded by the wider grooves. Joplin's husky, strong, and penetrating singing has never sounded so vibrant or made deeper connections. Warm, organic, and free of any artificial ceilings, this version lets you step into Sunset Sound Recorders with the performers, such is the degree of realism and authenticity. Indeed, few, if any words, describe Joplin better than "authentic," and her spirit comes to life on this 2LP set in positively transcendent fashion. Like its headliner, this pressing leaves it all on the floor.
While Joplin's electrifying vocal prowess is universally lauded – she's recognized as the greatest white female blues singer the world has ever seen – her mix of compassion, confidence, and charm play as large a role in attracting listeners and keeping them ensnared more than four decades after her tragic death. And on Pearl, she burrows into deeper stylistic veins, teasing out sides of her persona and craft she'd never previously displayed. Her signature desperation, sadness, and vulnerability remain – the harrowing, lonely wail that begins her soul-ravishing take on Jerry Ragovoy's "Cry Baby," underlined with a Wall of Sound-like piano accompaniment, could only come from a person severely scarred by loss and disappointment – yet Joplin also reveals a sense of humour and beatnik innocence that helped propel the album to the top of the charts for nine straight weeks.
Playfully introduced as "a song of great social and political import," the acapella "Mercedes Benz" reflects Joplin's throaty timbre as well as her enhanced, sunnier mood. Similarly, her definitive read of Kris Kristofferson's "Me and Bobby McGee" signals a laidback demeanour and a move into country strains, with the delivery as natural, carefree, and loving as any in the rock canon. As she does throughout the record, Joplin invests her all in the narrative so that there's no line between the performer and the song. She makes everything on Pearl feel autobiographical, and by extension, gut-wrenchingly honest, and devastatingly intimate. Joplin achieved these feats often during her brief career, yet there are differences on Pearl, chiefly among them her balance of impeccable timing and raw emotion. Heart-aching anthems such as "A Woman Left Lonely" offer both grit and control, subtlety and attack, resulting in cathartic releases distinguished with originality, personality, and instinctual passion.
Pearl remains Joplin's finest hour, with credit also owed to the Full Tilt Boogie Band – the only group she ever considered to be her own – as well as the Doors alum that sat behind the boards. Joplin and Rothchild both admitted to sharing a common bond and understanding, with the latter inheriting the role of teacher and Joplin, a willing student ready to discover how she could use her voice in new, more expressive ways. The fruits of the pair's labours fill Pearl, be it the guardedly optimistic "Get It While You Can" or assertive, fleet-footed "Move Over."
Experienced in the new light brought to fore by this definitive Mobile Fidelity edition, Joplin's swan song is no longer about a masterpiece that its creator never lived to see finished. Rather, it's about a once-in-a-lifetime vocalist realizing mammoth potential and wringing passion out of every note. It's not a tragedy, but a triumph. Get it while you can.
Miles Davis' boundlessly influential On the Corner was so far ahead of its time upon release in 1972, the jazz cognoscenti rejected its groundbreaking concoction as middling in nature. Yet time has a way of righting wrongs and shifting views by adding needed context and perspective to visionary ideas, music, and approaches — the likes of which fill Davis' boldest and most controversial — undertaking. Designed to bring the focus back on the groove and bottom-end frequencies, the funk-loaded On the Corner revolutionized jazz. It also set new standards for record production, presaging remixing and electronica by more than a decade. And the work has never sounded more thrilling thanks to this very special pressing.
Sourced from the original master tapes and pressed on MoFi SuperVinyl, Mobile Fidelity's numbered-edition 180g 33RPM SuperVinyl LP of On the Corner exposes the internal mechanisms, free-associated playing, and then-unmatched studio techniques in vivid fashion. The low end, crucial to every composition here, is both heard and felt, with locked-in bass lines and low-range percussion conveyed as taut, solid, and visceral passages. You can discern the multiple layers of rhythm Davis employed on complex tracks such as "Black Satin," as On the Corner stands as his first effort to use overdubbing and multiple tape machines. As a pioneer, Davis likely would’ve loved MoFi’s groundbreaking SuperVinyl profile that features the lowest-possible analogue noise floor as well as pristine transparency, dead-quiet surfaces, and superb groove definition.
New degrees of spaciousness and airiness — equally important to the musique concrete arrangements — give the impression Davis and Co.'s creations float in space. Instruments are portrayed in three-dimensional manners, rhythmic loops retain tonal purity, and horn solos skitter across an extra-wide soundstage that takes listeners into Columbia's Studio E. Mobile Fidelity's SuperVinyl LP captures Teo Macero's innovative production — and the trumpeter's cutting-edge aural collages — in definitive fashion.
Heavily inspired by Sly and the Family Stone, On the Corner portrays street vibes and remains Davis' Blackest-sounding record. The conscious attempt to connect with youthful audiences tapped into rock and funk is evident not only on the colorful cartoon cover art depicting hot-pants and zoot-suit revelers, but in the music's emphasis of recurring drum and bass grooves. Distinct from Davis' earlier fusion experiments, the record's long-misunderstood set dials back improvisation in favor of beats, loops, and atmospherics that generate trance-like effects. While Davis utilizes his band for core duties — Chick Corea and Herbie Hancock prominently figure — he also relies on an all-star cast of side-men for concentrated soloing and additional support.
With rhythm providing the basic foundation, other notes fall into place, with their positioning steered by Macero and Davis' editing-room techniques. Looking to the manipulation-based work of Karlheinze Stockhausen and teaming with Stockhausen disciple Paul Buckmaster, Davis re-imagines what grooves constituted and could accomplish throughout On the Corner. The shapes of the songs become completely transformed as they progress. Faint melodies, spacey chords, chunky riffs, wah-wah fills, and repeated motifs bounce in and out of a sonic funhouse that wouldn't be out of place at a Harlem block party.
Exotic, intrepid, and filled with Davis' "jungle sound," On the Corner remains daringly hip more than four decades later.
High-level reissue of one of the legendary and world-renowned bands that emerged in Australia, essential for any lover and collector of Australian Rock and Punk Rock / High Energy. "Spaceman In a Satin Suit' was released in 1994 and it is one of the best and most mature works in Celibate Rifles' discography, and now for the first time on vinyl since its initial release. This great LP reflects the simple spirit of the Rifles' rock'n'roll with catchy choruses and signature guitars, with another part that they began to play with after this album, a more experimental and introspective side. The 14 songs of the Celibate Rifles introduce you with an electric storm, oppressively dense, hard and heavy, which then become faster, sharper and stronger, where they overflow Punk, which remains their hallmark, with sharp guitars, wounded and full of fury, until they reach a kind of breaking point towards a more experimental part, together generating an interesting sonic boom (The Ramones team up with Blue Oyster Cult in a particularly gloomy alley). Lovelock's lyrics exude more optimism than on previous LPs and this peaks with 'Big World', a declaration of love to his beloved planet Earth. There is also room for his usual biting social commentary. On the album we also find a tribute to one of its musical influences, 'Let's Do It Again' by Sonic's Rendezvous Band (with the participation of Fred 'Sonic' Smith, ex-MC5).
30 Jahre nach der Veröffentlichung des selbstbetiteln Debütalbums erscheint "Electric Orange" nun endlich auch auf Vinyl gepresst. Die Doppel LP kommt auf 180g schwerem, orange-marbled Vinyl und im Gatefold-Sleeve daher. Dirk Jan Müller interessiert sich seit 1988 für die deutsche Underground-Musik der 70er Jahre, und seine Leidenschaft für Bands wie Amon Düül, Tangerine Dream, Nektar, Neu! und Can führte dazu, dass er Synthesizer, Keyboards, Verstärker und verschiedene Musikgeräte aus den 70er Jahren sammelte. Von seinem Heimstudio aus veröffentlichte er einige Underground-Kassetten mit elektronischer Musik, die im Kassettennetzwerk zu kursieren begannen ("Octopus's Garden" und "Time Signals"), bis 1992 eine britische Firma namens Electronic Dreams "Time Signals" veröffentlichte. In der Zwischenzeit begann Dirk mit der Arbeit am Debütalbum "Electric Orange", zu dem er eine Reihe anderer Musiker und eine Fülle von Instrumenten wie Hammondorgel, Saxophon, Flöte, verschiedene Schlaginstrumente, Samples und E-Gitarren hinzuzog. Im März 1994 veröffentlichte das deutsche Underground-Elektronik-Label "Manikin" das Album auf CD. Es hieß schlicht "Electric Orange" und war eine atemberaubende Mischung aus Krautrock der frühen 70er Jahre und psychedelischem Space Rock, aber mit einem völlig modernen Sound, der das Genre mit neuen Technologien und Produktionswerten aktualisierte. Das Album wurde schnell zu einer begehrten Veröffentlichung, allerdings haperte es am Vertrieb und schien somit zum Kultstatus verdammt zu sein, bis Delerium Records es entdeckte und die Rechte erwarb. Auch 30 später fasziniert der Electric Orange-Sound noch immer und es war überfällig, dieses Juwel endlich auch auf Vinyl zu veröffentlichen.
Our fifth chapter is the one where we seek, savor, and settle. The muse found us in the depths of raising children, nurturing relationships, surviving a world-changing virus, bidding farewell, shifting our mindsets, and discovering a sense of peace heretofore unseen. Our third decade of life has proven to be one of routine, rest, and realization, and these songs are about the lessons we’ve learned. We’ve learned to be space-holders and defenders of the people we hold close. We’ve learned from deep, steady love in various forms. We’ve learned to let go of people and perceptions and priorities that just didn’t make the cut as we weighed what is right and important and worth keeping. We’ve learned how all the things we’ve always treasured continue to withstand the pressure of time. If you notice an upward trend to the mood and emotions, you’re on target-we have found calm waters, for now. - The Secret Sisters (2023)
Mind, Man, Medicine by Secret Sisters, released 29 March 2024, includes the following tracks: "If the World Was a House", "Planted", "I Needed You", "Same Water" and more.
This version of Mind, Man, Medicine comes as a 1xCD in a(n) Digipak packaging.
Spaceship is Mark S. Williamson, a musician, sound artist, film maker and educator based in Todmorden, West Yorkshire. His work is often made in response to his environment, working on location, combining
field recordings with electronic and acoustic instrumentation, usually recorded outside, amid the landscape and weather. Mark has recorded for wiaiwya, Apollolaan, the Dark Outside and his own Forged River Recordings. "Williamson is building desire tunnels, churning through the layers of rock and soil to find his conclusions." - The Wire // "...the droning synthesizer waves conjure up something spectral and eerie, stretching out like the wi de horizon..." - The Quietus // "Beautiful." - Hannah Peel
OPAQUE YELLOW VINYL[23,49 €]
For Fans Of... Thee Sacred Souls, Joey Quinones, Durand Jones & The Indications, Thee Midniters, The Altons, Trish Toledo, Sunny & The Sunliners.To say that The Sinseers play oldies would be a misnomer. Fronted by bandleader and son of East Los Angeles Joey Quiniones, the group has quietly chipped away at the sounds of R&B and soul for the last half-decade. Quinones and his crew have continuously created a distinctive vibe that explores all aspects of a timeless genre, bringing together their interpretation of music through an unmistakable modern lens. With their most recent effort, the aptly titled Sinseerly Yours (Colemine 2023), the band recorded most of the album live in the studio. With Quinones on vocals and keys, vocalist Adriana Flores, Christopher Manjarrez on bass, Francisco Floreson on guitar, Bryan Ponce on guitar and vocals, Luis Carpio on drums and vocals, saxophonists Eric Johnson and Steve Surman, and Jose Luis Jimenez on trombone, The Sinseers achieves their most fully realized sound to date. All of the album's stunning tracks were recorded in a converted studio space in Rialto, California, known as Second Hand Sounds. The converted studio space, which used to be a dentist's office, allowed the group to experiment with their sound like never before - this time, the group managed to take a series of big swings, only to emerge with a fuller, more pronounced version of themselves. Despite those new strides, the band remains wholly committed to its sonic aesthetic while injecting its brand of vibrant 21st-century cool. Of course, the group has never been the type to shy away from their influences as they expertly toggle between 60s pop vis-à-vie early Beatles records to obscure dancehall Jamaican tunes - all fully extrapolated and reinterpreted through modern Chicano soul sound that the group has built their everlasting repertoire on. Quinones and bandmates have continued to apply what they've learned from their previous releases and their relentless touring schedule throughout the country. It's clear here that the work is paying off, putting to practice their musical chops thoroughly with all members expertly honing their sound. The melting pot of ideas is showcased with incredibly lush orchestrations and arrangements, married with pitch-perfect harmonies, allowing the group to further solidify themselves in the pantheon of the Southern Californian songbook. Also Available From Thee Sinseers: What's His Name 7”, It Was Only A Dream
Baby Blue & Halloween Orange Vinyl[22,27 €]
decade-plus together, the four-piece - Julia Shapiro (guitar, vocals), Lydia Lund (guitar, vocals), Gretchen Grimm (drums, vocals), and Annie Truscott (bass, vocals) - have created a resonant body of work. Live Laugh Love is a natural continuation. Against the bizarre backdrop of the past few years, Chastity Belt remained a supportive space for the members to grow and experiment, drawing on the ingredients most essential to their process since the beginning: authenticity and levity. Recorded over three sessions in as many years (January 2020, November 2021 and 2022), the focus became more about enjoying their time together in the studio than making it feel like work. Their ease and familiarity with engineer Samur Khouja in LA, who also recorded their last album, made for a particularly enjoyable process. Once completed, they returned to renowned engineer Heba Kadry who mastered the album. Album opener "Hollow" sets the tone with a gently driving rhythm while guitar layers stream like sun rays through an open car window. A warmth radiates through Shapiro's voice, even while grappling with feeling lost and stuck. "The older I get," Shapiro says of the lyrics, "the more I realize that I might just always feel this way, and it's more about sitting with the feeling and accepting it, rather than trying to fight it." That wisdom seems to anchor Live Laugh Love . Chastity Belt has never shied from navigating the spectrum of difficult emotions, and an existential thread weaves throughout the subject matter. And yet the songs feel more grounded than ever; there's a sense of quiet confidence and self-assurance that comes with being less numb and more present. Facing discomfort takes more fortitude, after all. Live Laugh Love finds the members in their prime as musicians. Their parts trace intricate patterns over one another, but there's room to breathe between the layers. Everyone contributes to the writing, sometimes switching instruments, and for the first time, all four members sing a song. It's never been more apparent that they are creative siblings, cut from the same belt. "We've been playing music with each other for over a decade," says Shapiro, "so it really does feel like we're all fluent in the same language, and a lot of it just happens naturally." "Laugh" seeks in the balm of friendship, aware of the anticipatory nostalgia that hits during a good time that you're already missing before it's gone; the heavier guitar tones on "Chemtrails" streak ominous chord progressions over Grimm's precision timekeeping, lamenting memories that won't fade easily. During a transitional time, Truscott came across a note in their phone that read, "it's not hard all day, just sometimes," which inspired a poignant line in the chorus of "Kool-Aid," their first song as lead vocalist on a Chastity Belt recording. Another standout, "1-90 Bridge" shines with a silvery melody that soars as Lund belts one of the most resounding moments on the album: "Tell your girlfriend she's got nothing to fear/I'm set in my head/My body's a different story." The track "Blue" saunters nonchalantly with a wink; you can almost hear Shapiro's smile as she sings "Faking it big time/So I can hit my stride/Man, it feels good to be alive," channeling early Chastity Belt channeling early '90s before channeling the late Elliott Smith in a spiral of distortion and insight: "Don't get upset about it/It's gonna pass/Tell all your friends about it/They're gonna laugh." "We have such a strong sense of each other's musical inclinations" says Lund. "I think this allows for a lot of playfulness...we can kinda surprise each other, like a good punchline would."
As she's gotten older, Ella Smoker has found that her subconscious has been trying to tell her "some pretty wacky stuff". Thoughts will come to the 21-year-old singer-songwriter in dreams, or as she writes lyrics in studio sessions, words floating onto the page before she's really had a moment to realise what they are. "As soon as we start making the music, my brain sort of turns off," she explains. "I'll be sitting there, writing all this stuff that feels like a load of nonsense, and a month later, I'll look back and be like `oh'. It all comes from a place I didn't even realise was there." In learning how to open up to herself, gglum ended up finding a kindred spirit in producer Karma Kid (Maisie Peters, Shygirl, Connie Constance), pushing past her natural bedroom-pop introversion to find joy in the process of collaboration. Whether it's the ragged radio-rock of `SPLAT!' ("basically about realising that somebody you held up very highly is actually just a massive shambles of a person") or the riotous, industrial energy of `Easy Fun', Smoker is able to reshape her vocal around the mood, creating a record which expertly balances light and shade. "I've never really done anything in like that vocal style before," she says of `Easy Fun's near-spoken delivery. "I love that song because it's not something I would have come up with on my own, but Karma Kid was great at pushing me out of my comfort zone. I just thought like, look: I can be a little silly with this." The release of `The Garden Dream' will offer gglum plenty more opportunity to get both silly and serious, to be bold in her exploration of new ideas and sounds But it will also offer the opportunity to further accept herself as the dreamlike artist she always wanted to be; confidently embellishing acoustic worlds that her listeners can burrow safely within. "I feel like I naturally gravitate towards wanting to make musical spaces that you can feel like you're living in, rather than trying to make songs", she says. "That's something I really wanted to solidify with this album: I basically want to make music that feels like when you're looking out the window and it's the end of the film and you're imagining what comes next. That's the sound of what I want to be doing."
As she's gotten older, Ella Smoker has found that her subconscious has been trying to tell her "some pretty wacky stuff". Thoughts will come to the 21-year-old singer-songwriter in dreams, or as she writes lyrics in studio sessions, words floating onto the page before she's really had a moment to realise what they are. "As soon as we start making the music, my brain sort of turns off," she explains. "I'll be sitting there, writing all this stuff that feels like a load of nonsense, and a month later, I'll look back and be like `oh'. It all comes from a place I didn't even realise was there." In learning how to open up to herself, gglum ended up finding a kindred spirit in producer Karma Kid (Maisie Peters, Shygirl, Connie Constance), pushing past her natural bedroom-pop introversion to find joy in the process of collaboration. Whether it's the ragged radio-rock of `SPLAT!' ("basically about realising that somebody you held up very highly is actually just a massive shambles of a person") or the riotous, industrial energy of `Easy Fun', Smoker is able to reshape her vocal around the mood, creating a record which expertly balances light and shade. "I've never really done anything in like that vocal style before," she says of `Easy Fun's near-spoken delivery. "I love that song because it's not something I would have come up with on my own, but Karma Kid was great at pushing me out of my comfort zone. I just thought like, look: I can be a little silly with this." The release of `The Garden Dream' will offer gglum plenty more opportunity to get both silly and serious, to be bold in her exploration of new ideas and sounds But it will also offer the opportunity to further accept herself as the dreamlike artist she always wanted to be; confidently embellishing acoustic worlds that her listeners can burrow safely within. "I feel like I naturally gravitate towards wanting to make musical spaces that you can feel like you're living in, rather than trying to make songs", she says. "That's something I really wanted to solidify with this album: I basically want to make music that feels like when you're looking out the window and it's the end of the film and you're imagining what comes next. That's the sound of what I want to be doing."
As she's gotten older, Ella Smoker has found that her subconscious has been trying to tell her "some pretty wacky stuff". Thoughts will come to the 21-year-old singer-songwriter in dreams, or as she writes lyrics in studio sessions, words floating onto the page before she's really had a moment to realise what they are. "As soon as we start making the music, my brain sort of turns off," she explains. "I'll be sitting there, writing all this stuff that feels like a load of nonsense, and a month later, I'll look back and be like `oh'. It all comes from a place I didn't even realise was there." In learning how to open up to herself, gglum ended up finding a kindred spirit in producer Karma Kid (Maisie Peters, Shygirl, Connie Constance), pushing past her natural bedroom-pop introversion to find joy in the process of collaboration. Whether it's the ragged radio-rock of `SPLAT!' ("basically about realising that somebody you held up very highly is actually just a massive shambles of a person") or the riotous, industrial energy of `Easy Fun', Smoker is able to reshape her vocal around the mood, creating a record which expertly balances light and shade. "I've never really done anything in like that vocal style before," she says of `Easy Fun's near-spoken delivery. "I love that song because it's not something I would have come up with on my own, but Karma Kid was great at pushing me out of my comfort zone. I just thought like, look: I can be a little silly with this." The release of `The Garden Dream' will offer gglum plenty more opportunity to get both silly and serious, to be bold in her exploration of new ideas and sounds But it will also offer the opportunity to further accept herself as the dreamlike artist she always wanted to be; confidently embellishing acoustic worlds that her listeners can burrow safely within. "I feel like I naturally gravitate towards wanting to make musical spaces that you can feel like you're living in, rather than trying to make songs", she says. "That's something I really wanted to solidify with this album: I basically want to make music that feels like when you're looking out the window and it's the end of the film and you're imagining what comes next. That's the sound of what I want to be doing."
- A1: Boyfriend
- A2: Uma
- A3: No 1 Fan
- A4: Brand
- A5: Purr (Interlude)
- A6: Seles
- B1: Grow
- B2: Pretty Head (Interlude)
- B3: Cicciolina
- B4: Penny For Love
- B5: Skin (Interlude)
- B6: Feigned Sleep
- B7: Horse
- C1: No 1 Fan (Ep Version)
- C2: Worri
- C3: Horse (Ep Version)
- C4: Sunny Pie
- C5: Cicciolina (Single Version)
- D1: Purr (Davies 7" Version)
- D2: Space Between Your Moles
- D3: Seine
- D4: If Jfa Were Still Together
- D5: Ghost Of Fun
Black Vinyl[29,83 €]
Milky Clear Vinyl
Driven by lust-fueled limerence and drifting far from conformity, Butterflies Don't Go Away captures Majesty Crush's transient, yet subversive mark on the landscape of American shoegaze to come. Tracked between 1991-1995, the quartet reimagined the collapse of the American rust belt as a late-night, nail biting fever dream/revenge fantasy. This deluxe 2xLP compiles their Love 15 album, singles, EPs, and rarities, all remastered from the original tapes, with thorough annotation and visual documentation in a 24-page booklet. An immortal transcendence if there ever was one.
This is long overdue. I mean, looooooonnnnnng overdue. A solo album by Jim. The trap kit - so straightforward, so mysterious. What"s inside those things? Air and light - from which century? Which continent? Which planet? Depending on how and when you hit them it can be a vibration sent through a prehistoric breath, particles of Saturn"s atmosphere, the dead, wet leaves you walked through on the way to the first day of school. These are the memories of the drums on this record. Infinite and personal. Editing each other as they muscle to the front or soft shoe to the shadow. Cymbals can override/cancel everything out - wipe your memory clear or make the memory clearer. Drums are the instrument where you can feel the presence of the player the most - the full body - and sense the thoughts of the player the most. The instrument with the most choices to be made sends out the most brainwaves. A bouquet of brainwaves is on this LP. Jim oversees it all, surveys from the lost place we"re in, the void - the drumless song. We trust. We trust, Jim. His big green eyes search for the right tool (mallet, brush, etc), eyes that search you like you"re a song he wants to join, wants to see if he can add to or understand. Before humans, drums were playing - these drums. Genesis was a solo drum piece. After humans, these drums, this album. Someone - the last man - is out in a spaceship at the edge of space. He plays a single chord on a synth to set time free from its bind and then lets go. This album sets time free, lets it frolic, lets it graze, lets it remember. This is a record of thoughts, memories, surgery. A deft surgical operation you may not even realize is happening as it"s happening but you"re back on your feet when it"s over. Memories refreshed. Did you really even listen to it? -Bill Callahan, November 2023
This is long overdue. I mean, looooooonnnnnng overdue. A solo album by Jim. The trap kit - so straightforward, so mysterious. What"s inside those things? Air and light - from which century? Which continent? Which planet? Depending on how and when you hit them it can be a vibration sent through a prehistoric breath, particles of Saturn"s atmosphere, the dead, wet leaves you walked through on the way to the first day of school. These are the memories of the drums on this record. Infinite and personal. Editing each other as they muscle to the front or soft shoe to the shadow. Cymbals can override/cancel everything out - wipe your memory clear or make the memory clearer. Drums are the instrument where you can feel the presence of the player the most - the full body - and sense the thoughts of the player the most. The instrument with the most choices to be made sends out the most brainwaves. A bouquet of brainwaves is on this LP. Jim oversees it all, surveys from the lost place we"re in, the void - the drumless song. We trust. We trust, Jim. His big green eyes search for the right tool (mallet, brush, etc), eyes that search you like you"re a song he wants to join, wants to see if he can add to or understand. Before humans, drums were playing - these drums. Genesis was a solo drum piece. After humans, these drums, this album. Someone - the last man - is out in a spaceship at the edge of space. He plays a single chord on a synth to set time free from its bind and then lets go. This album sets time free, lets it frolic, lets it graze, lets it remember. This is a record of thoughts, memories, surgery. A deft surgical operation you may not even realize is happening as it"s happening but you"re back on your feet when it"s over. Memories refreshed. Did you really even listen to it? -Bill Callahan, November 2023
- Antena Magne?Tica Captando Campos Electromagneticos I
- Antena Magne?Tica Captando Campos Electromagne?Ticos Ii
- Micro?Fono De Contacto Captando Vibracio?N Del Puente Llacole?N
- Micro?Fono De Contacto Captando La Interaccio?N Entre El Viento Y Un A?Rbol
- Micro?Fono De Contacto En Elementos Vibrantes
- Micro?Fonos De Contacto Captando Granizos
- Micro?Fonos De Contacto En Autobu?S
- Hidro?Fono Bajo El Fondo Del Mar
- Vibraciones De Materiales Geofon Ii
- Vibraciones De Materiales Geofon I
- Vibraciones De Materiales Geofon Iii
- En La Direccio?N Del Viento
- Ronroneo De Selai
- Rai?L
- Efectos Sonoros En La Naturaleza
Valentina Villarroel is a sound artist and phonographer who explores the intricate dynamics within various Southern ecosystems. Her work revolves around the profound potential of acoustic ecology, particularly in the face of encroaching real estate development on natural spaces. She also delves into the consequences of sound pollution on numerous species, contributing to their decline or disappearance. In recent years, her focus has extended to urban soundscapes and significant sonic events, such as the October 18th protest in Chile. With a solid background in bioacoustics applied to both human and animal well-being, Valentina assumes the role of co-director at AOIR Sound Laboratory. There, she spearheads an interdisciplinary initiative that centers sound as its core element. This includes the creation of the sonic cartography portal aoir.cl, as well as the development of handmade electronic devices like the Bowerbankii and the creation of various experimental microphones.
Anna Gréta goes gentle...into her second album on ACT, “Star of Spring”. The Reykjavik-born pianist, singer and a songwriter, who has lived in Stockholm since 2014, has her own way of approaching the art of quiet, artful, deeply personal songs, often drawing inspiration from the beauty and power of Iceland’s natural landscape. Her 2021 ACT debut "Nightjar in the Northern Sky" was named after a bird, and this follow-up album lands gracefully on a flower, the “glory of the snow”, also known as the "star of spring", which symbolises the ending of winter and the arrival of spring.
But look closer, and there are always other levels of meaning. Her "Nightjar”, the rare bird she once saw in front of the northern sky, was a metaphor for the search for the things which are special and essential. In fact, almost all of Anna Gréta's lyrics have more than one significance, and her storytelling has now taken a leap forward on "Star of Spring". She says of the little flower on the title track: "I wasn't just inspired by the way it takes over the meadows in spring and turns them from green to blue, but also by the fact that it blooms because it is compelled to do so. It cannot do anything else."
Anna Gréta's starting point to creating music was and is the piano. She first studied classical music, then switched to jazz. She only started singing later, when she was writing the songs for Nightjar and wanted to express herself in words. Anna Gréta's debut as a singer, pianist and songwriter earned her international acclaim: Downbeat Magazine called it „an album with the metamophoric diversity of a year’s seasons and a voice like the everchanging colours of the Northern lights“, France Musique “a remarkably immersive experience” and Jazzwise “starkly beautiful”.
On "Star Of Spring" Anna Gréta has further developed her individual style. Her vocal lines can resemble piano motifs, often doubling them and resonating with an impressively quiet vibrato, sometimes quirkily reminiscent of Björk, at other times with the brooding ease of Norah Jones. The album also bears a very distinctive production style. For each of the songs, Anna Gréta has created her own little world of choirs, rhythmic textures and various smartly used keyboard instruments. The album ranges from the hymnal and elegiac - in "She Moves" or in the title track - to the playful and cheerful "Space Time" or the extremely pared-down melancholic ballad "Denouement". And even if the general mood of the music exudes above all warmth and comfort, Anna Gréta also deals with serious topics, such as the forced birth control of women in Greenland during the 60s and 70s in the song "The Body Remembers".
There is a directness of expression and emotionality, even sensuousness about the new album, and that is not least because Anna Gréta’s band has developed and become a properly played-in unit with the experience to take this album’s more complex arrangements in its stride. The sheen and brightness of her piano playing is contrasted with a deeper voice, that of her father Sigurður Flosason's bass clarinet, on three tracks. "This album is more playful and experimental," she says. "A lot of things were easier for me than on the first album. And while I was still completely focussed on my own world then, now I was even more conscious and aware of what was going on around me."
The result is music that is rooted in jazz, but at the same time goes far beyond it in a very subtle and deeply touching way.
Los Angeles-based Fabiano Do Nascimento is a multi-string guitarist and songwriter who melds the traditional idioms of his native Brazil (i.e., samba, choro) with the more contemporary and experimental strains of jazz, pop, and electronic music. Das Nuvens (“The Clouds”), out July 2023 on Leaving Records, is a crisp, frequently blissful, and deceptively groove-oriented showcase from a consummate musician — a rich and varied collection of songs, all of which seem to prioritize, and thrive in, the soft and intentional spaces between notes.
Das Nuvens constitutes the free-form, exploratory work of a musician who, having mastered a distinct musical language, seeks to apply his skill towards broader, more experimental modes of expression. Fittingly, track one — built around a contemplative, pointillistic refrain— is titled “Babel,” a reference to the legend of man’s attempt to build a tower to heaven, and how God thwarted this alleged act of hubris by shattering man’s shared language, sowing chaos and confusion. Though a stern parable on its face, it is a myth that enshrines our world’s dizzying array of languages (of modes of being), and the subsequent beauty of cultural exchange through art. In this regard, it is a fitting opening statement for an album that collapses and collages not only contemporary and classical Brazilian and pop idioms, but also the diverse range of indigenous music that Nascimento has encountered and studied in his travels as a touring musician.
Les yeux grands fermés is a spontaneous new EP that is an ode to freedom, both in the creative process and in everyday life. This opus depicts the rather raw feelings of a young artist who had a tough time of it when he was starting out, and who is now finally experiencing the success he had been hoping for. More liberated, the protagonist is now enjoying a new life: a more freestyle lifestyle full of surprises and lightness, with days governed by studio sessions, parties and carnal relations... all the while keeping his feet firmly on the ground and his goals firmly in mind! In terms of songwriting and production, Les yeux grands fermés is an improved blend of ABSOLEM's last two projects, Leur dire and Balle d'Argent, featuring both their introspective songwriting, here even more touching, and their arrogant, second-rate side. ABSOLEM continues the journey begun on Balle d'Argent, a project in which the rapper discovered himself to be more than ever in harmony with his music (spontaneity, introspection, fluidity of text) and less concerned by all the external factors (industry, the race for numbers, social networks, pressure, etc.), social networks, pressure, etc.).
Produced in a very short space of time, Les yeux grands fermés is a highly intuitive and spontaneous project with some tracks created from scratch in just a few hours.
Entirely produced, recorded and mixed by Dee Eye in their cellar-home studio, the project retains the 'live' touch. studio, the project retains the 'home-made' touch that characterises the duo and which they are constantly perfecting. The featuring with JeanJass, who is very close to the duo, was just as natural, having worked with with Dee Eye and advises them on the creation of their projects. projects. The result is a track with a very intimate theme (esotericism and introspection), which takes the form of an astral journey.
Project after project, the chemistry between ABSOLEM and Dee Eye grew stronger and stronger and the main objective remains the same: to break new ground in every area production, writing, interpretation, mixing and mastering). Continuing to continue to work on a number of projects on their own, Dee Eye continues to progress experience and a keen eye in the artistic direction of ABSOLEM's projects. projects. With quality, consistency and efficiency always in mind and efficiency, ABSOLEM and Dee Eye are increasingly asserting their desire to create their own musical colour, a sort of hybrid between Slowthai and Asap Rocky with and Asap Rocky, with innovative production and flows, featuring rap lyrics.
Die Band "My Solid Ground" war eine deutsche Progressive-Rock-Band, die in den 1970er Jahren aktiv war. Dieses obskure Krautrock-Album mit dem Namen "My Solid Ground" aus dem Jahr 1971 gilt seit langem als Klassiker des Genres. Das erste Stück, das 13-minütige "Dirty Yellow Mist", wird seinem Ruf zweifellos gerecht, die Gruppe begibt sich in einen düsteren Space Rock. Der wie eine Mischung aus psychedelischem Rock und progressivem Rock klingt. Mit vielen langen Keyboard tönen, einem knackigen Gitarrenriff, einigen Acid-Gitarren-Sounds und verzerrtem Sprechgesang sowie einigen wortlosen Gesängen in höheren Tonlagen. "That"s You" hat genug Energie, um als Proto-Punk durchzugehen, und der Refrain von "Do you wanna die" tut diesem Eindruck keinen Abbruch. Der Song "The Executioner", ist ein finsteres Stück, das zwischen einem mit Echo untermaltem Gesang und intensiven Gitarrensoli wechselt. Die Songs auf dem Album sind geprägt von eingängigen Melodien, experimentellen Klängen und lyrischen Texten. Wenn du ein Fan von Progressive-Rock bist oder gerne neue Musik entdeckst, könnte "My Solid Ground" eine interessante Wahl für dich sein.
'Lost In The Night' is Palace's debut EP originally released in 2014. Now on Lewis Recordings the vinyl has been remastered and the CD comes as a gatefold. Whilst not a blues band in the traditional sense their blend of blues space rock is undeniably British with bluesy and soulful vintage overtones. Leo's sublime voice perfectly complements the dreamy ambient electric guitars creating a timeless sound, drawing comparisons to early Kings of Leon, Foals and past greats like Buffalo Springfield. Now signed to Fiction Records the band released two albums both critically and commercially acclaimed. Bassist William Dorey left Palace after their first album and now records under the name Skinshape. "It's darkly beautiful, with twilight seeming to break through every note." CLASH. // "It's a romance-bloomed introduction of the highest order." DIY // "Londoners Palace riff on Local Natives and Grizzly Bear's spacious, swooning sound."
Loup Vert is the first jazz album of French pianist Julien Grassen Barbe, joined for the occasion by double bassist Sébastien Bacquias and drummer Fabien Duscombs. Conceived and composed in the Pyrenees mountains, recorded around Paris, it is an album of twelve tracks that came as a response to the proposal of Julien Galner (producer, founder of HIDD label). Loup Vert is the name of a fetish, a creature that breathes inspiration. Informed by many influences, from Frédéric Chopin to Morton Feldman, from Erik Satie to Herbie Hancock, through Keith Jarrett, Madlib and Naftule Brandwein, Julien Grassen Barbe's music opens a space dedicated to improvisation, melody, and the exploration of textures. Trained in classical music, graduate of the conservatory of the Hautes-Pyrénées region, where he is originally from, Julien Grassen Barbe is a songwriter and a musician, but also an ethnomusicologist, specialist in Jewish music, and a published author. A trip to New-York, land of Thelonious Monk, had a deep impact on him. He used it as a time for jam sessions, lessons with some of his favorite musicians, Aaron Parks, Aaron Goldberg, Barry Harris. Between 2014 and 2016, he explored pop, invited by Chateau-Marmont and Exotica to collaborate on two records as a keyboardist. It is on this occasion that he got closer to Julien Galner, producer, founder of the HIDD record label who asked him to record a jazz record. They entered the studio to record Loup Vert, a project that is a cross between impressionism, cinema, be-bop, mathematics and improvised music. Most of the pieces were written by Julien Grassen Barbe, mixing acoustic and electric/electronic worlds.
Bad Manners proudly presents Nite Fleit debuting on the label with 5 oceanic cuts. Her signature blend of high-octane techno, acid and electro shatters expectations and perfectly fits the label's vision. Brace for a bold proclamation of sonic supremacy, solidifying Nite Fleit's ascent through the ranks of electronic music hierarchy.
On Rotation returns with the second instalment of its Genetic Memories V/A series, showcasing the diversity of the label’s sound through 4 floor-focused cuts from a spectrum of global talent.
Fresh from dropping an EP with our good friends space:lab, Rambal Cochet delivers a mind-melting A1 to start things off. Deep, tasteful and making full use of his trademark sound design, “Meteora” is one for the witching hour!
Bolam steps up next with the party-starting “Dream Machine”. Colourful synths sit atop driving breaks, with the peak-time energy dialled up to 11.
Flipping the record reveals a darker, hazier sound. Moisk’s “GooSE Attack” is reminiscent of long nights (and mornings, and afternoons) in the smoky clubs of Berlin and Amsterdam, while the dark, rolling tech house of “X-Stream” by Aussie heroes Primitive Needs is pure afters’ fodder - a real B2 killer for those who know.
On Rotation is a Leeds-based event & mix series turned label, with 6 genre-defining releases featuring scene stalwarts such as Adam Pits, Solar Suite, Anderson, Roza Terenzi and Hybrid Man, Jamie Leather & more.
"Rationalizing our place amongst the Stars is a referendum. A mandate in the scale of a space-time continuum, which is a task that might seem infinitely cavernous to most, but a lifelong mandate to others. As nature's allowance of time just isn't favorable to an average human lifespan of a 100 years, this task must be inherited and handed down in the method of an acoustical trust. Rhythm considered as a safe depository.
Neo Tantric Parts is about high premium thought processes about simplicity and oneness. Diagnostic in the way it blends time, rhythm and harmony together as a proposal to consider placement in this moment of time". - Millsart
Footnote translations:
"Rationalizing our place amongst the Stars is a referendum".
The human lineage only diverged from our most recent common ancestor about 5 million years ago; less than half of 1% of that time, and modern Homo sapiens is only between 200,000 and 50,000 years old, depending on your definition. Such vast spans of time are hard for us to comprehend.
"A mandate in the scale of a space-time continuum, which is a task that might seem infinitely cavernous to most,but a lifelong mandate to others".
The singularity had no dimensions and space and so it stands to reason that it had no dimension in time. In other words, there was no time so there was no such thing as "before". By that reasoning, time itself is the same age as the universe, which is about 13.8 billion years
"As nature's allowance of time just isn't favorable to an average human lifespan of a 85 years"
The world average age of death is a few years lower at 68.9 years for men and 73.9 years for women. Within the European Union, these are 77.7 and 83.3 years respectively.
"This task must be inherited and handed down in the method of an acoustical trust. Rhythm considered as a safe depository".
A legal arrangement or understanding by which a person or organization looks after money or property for somebody else until that person is old enough to control it.
- A1: Dj Marko - Marko's Theme
- A2: Pirupa - Party Non Stop
- B1: Andhim - Boy Boy Boy
- B2: Roger S. - Get Hi
- C1: Miro - Spaceman (Mr Sam & Marko's 'Definition Of Weird Minds' Remix)
- C2: Blaze - Lovelee Dae
- D1: Street Corner Symphony - Symphonic Tonic (Nbg Remix)
- D2: Jaydee - Plastic Dreams
- E1: Rachel Row - Follow The Step (Kink Beat Mix)
- E2: Jonas Rathsman - Tobago
- E3: Junior Jack - My Feeling (Kick 'N' Deep Mix)
- F1: Reboot - The Frenchie Thing
- F2: Criss Source - Hugs'n Kisses
Limited Edition Triple Gatefold Vinyl including DJ Marko's Theme, Miro, Junior Jack, Blaze, Pirupa, Street Corner Symphony and more.
We are excited and honored to announce the release of a La Rocca Classics vinyl. A Limited Edition Triple Gatefold Vinyl release that celebrates all monumental milestones from La Rocca's club culture. A selection, carefully curated by Wim Van Ouytsel, founder and moving spirit of the legendary nightlife brand since 1988.
Embark on ajourney through the annals of dance music history, where each track has been handpicked to evoke cherished memories of euphoria and transcendence. From the ethereal melodies of trance anthems like 'DJ Marko's Theme' and the electrifying remix of Miro's 'Spaceman' by Mr Sam, to the infectious rhythms of Junior Jack and the soulful vibes of Blaze, and not forgetting the soul-stirring house gems by Pirupa and Street Corner Symphony, this vinyl encapsulates the essence of Belgium's iconic club.
"For his fourth full length album, we see the proficiency of instrumentalist and composer Prins Emanuel in full bloom as he turns head deep into the techniques he established on the preceding outing of Diagonal Musik. Here, he revisit what he refers to as a diagonal approach in composing; i.e. starting at one point and then moving to the farthest point in the process, as a way for him to connect the dots somewhere in the middle, or - like I previously described it for the liner notes of that album - “something akin to drawing only shadows and then finishing with the contours”.
And in the tradition of great sequels, this is a much larger and intricate production. While relying on the guitar as a formative backbone to many songs, the layering of brass and woodwinds houses these compositions in bold and sharply lit structures. Mallets and percussion adds an air of momentum but also grounds these tracks in earthy hues.
Thawed and gracious, Diagonal Musik II in essence creates a space that bridges the various paths of Prins Emanuel’s musical universe. At once post-minimalist and avant garde in nature while also peeking through the door at both IDM and folk music, the lingering sensation is that of a well balanced palate that doesn’t break under the presence of repetition. Enveloped in a fourth world approach to jazz and incorporating the more contemplative side of post punk or art pop, there is a story hidden in here that gives cause to the appropriation of these influences.
The inherent warmth of certain instruments play their part in this story. Emanuel often builds on the notion of ‘organic music’ but broadens the definition via subtle electronic enhancements that sit naturally alongside their acoustic counterparts. Take for instance the voice emulator sequence that opens “Kadens Tre” and is dashed on by guitar slides and flute drills to roll further down a hill of staccato percussion. A few tracks in, the lines are so blurred it becomes a natural state until the harsh and eerie sample loops of closing track “Östan Vind” finally breaks the spell. ”
FRN Dancehall might have emerged in Jamaica, but over the last few decades the popular genre's tendrils have stretched out across the globe. In Kampala, Ratigan Era is adding a distinct Ugandan twist to dancehall, fusing it with East African humor and hyper-melodic afrobeats elements imported from Ghana and Nigeria. The versatile MC grew up listening to Jamaican music like Vybz Kartel, Busy Signal and Mavado - in his hometown of Kawempe there was almost no way to avoid it - and it blurred into the background, blending with local church music, US hip-hop and radio pop. He developed this diverse range of influences into a completely unique Afro-dancehall flow that simmers between Luganda, patois, Spanish and English, reflecting the melting pot of cultures and dialects that characterizes contemporary Africa. Ratigan broke out with a memorable feature on Pallaso's Ugandan hit 'Nsaba', a track that echoed throughout the country booming from nightclubs, motorcycle loudspeakers or from convenience stores. Now he's assembled his first album "Era", a furiously inventive interweaving of rubbery vocals and memorable chants backed by futuristic beats from Hakuna Kulala's most boundary-pushing producers. Congolese producer Chrisman takes the reins on 'Gorilla Attack', providing a downtempo groove that echoes recent Jamaican chop deployments from breakthrough artists like Skillibeng and Skeng. For his part, Ratigan ducks and dives between Chrisman's gqom-inspired low end womps and corrosive synths, commanding attention with his smart, dextrous flow and tongue-twisting lyrics.The Modern Institute and Golden Teacher's Richard McMaster handles 'Top Strike Force' leaving space in his wiry, minimal beats for Ratigan to flit between anthemic repetitions and ice-cold AutoTuned wails. On stand-out track 'Badman Style', Ratigan's guttural patois is measured against a dizzy trap-dancehall hybrid beat from HHY & The Kampala Unit's Jonathan Uliel Saldanha, aka Lithium Beats, while on the surreal 'Drop it Down', Japanese mad scientist Scotch Rolex brings out Ratigan's cheeky sense of humor with toytown bleeps and laser zaps. MC Yallah collaborator Debmaster appears on 'Gan Dem', meeting Ratigan's double-time raps with soundsystem destroying rolling subs, and veteran US noisemaker Kush Aurora sprinkles magic dust on 'Cool and Deadly', galvanizing the link between global bass mutations, Jamaica and East Africa.And despite the grab-bag of producers and inspirations, "Ratigan" is a strikingly coherent listening experience that accurately snapshots Kampala's colorful froth of sounds and phrases. Ratigan's outsized personality is welcoming and captivating, providing the sights, sounds and smells of the city with a frenetic rhythm that's as intimate and local as it is far-reaching. It might just be the future we so desperately need.
Following the success of the 'Tokyo Glow' compilation, Wewantsounds once again teams up with Japanese Tokyo-based DJ Notoya to dig the rich Electric Bird catalogue and come with a versatile selection of sunny Jazz-Funk gems recorded between 1978 and 1987 for the label. A tasty selection featuring Yasuaki Shimizu, Toshiyuki Honda and Mikio Masuda, together with a few American musicians such as Ronnie Foster and Bobby Lyle. Most tracks make their vinyl debut outside of Japan and the album has been designed by Optigram/Manuel Sepulveda and is annotated by DJ Notoya. Audio newly remastered in Tokyo by King Records....
Saint Louis based Piscean Group return with a 45 showcasing their future funk jazz sound
Led and produced as always by Osunlade (Yoruba Records), this ever evolving group provide two new tracks; the first “Finger It Out” a driving groove punctuated by explosive horns and an irresistible drop, backed with “Kushti”, a beautiful downtempo meditative jam with loping beat and spaced out guitar licks that transports you to a new time and space.
2024 Repress
After Space Dimension Controller the Clone Royal Oak series is coming with another young talent. This time its Swedish Genius Of Time, known for their debut release on Aniara records. Three takes on classic house music done by young producers in their unique almost serene style that reveal their nordic roots. Genius Of Time shows that house music can still sound fresh.
In 2014, Wye Oak released Shriek, their fourth album. It was a necessary departure for Jenn Wasner and Andy Stack, who found themselves on uncertain ground after two years of constant touring for 2011's Civilian, living on opposite ends of the country and trying to revitalize their creative partnership. Wasner set aside her guitar for a bass. Stack took on the band's upper register, playing syncopated, meditative keyboard parts that interacted with Wasner's voice, which was newly freed from its call-and-response relationship to the guitar_what had been, until then, a signature of Wye Oak's sound. "This idea and the ensuing creative reworking of our band did what it was meant to do," Wasner writes in 2024. "It ended a long, painful period of creative stagnancy and reconnected me with the joy of making music." During that period, Wasner and Stack were introduced to William Brittelle, the Brooklyn-based composer whose 2019 LP Spiritual America featured Wye Oak, the Metropolis Ensemble, and the Brooklyn Youth Chorus. His orchestral reimaginings of five songs from Shriek (Shriek: Variations, if you will) are the centerpiece of this package, which serves not only to mark the tenth anniversary of a great album, but to demonstrate the richness of Wye Oak's compositions. Stack says of Shriek: Variations: "It's like looking at the songs in a funhouse mirror. The songs on Shriek can be stripped down or embellished_this is maximal embellishment. William took the album and blew it to smithereens, looking at it in a weird, prismatic way." Through Brittelle, Wasner and Stack found themselves at the intersection of classical, experimental, and pop music. Further collaborations, like the Brooklyn Youth Chorus- featuring No Horizon and Paul and Michi Wiancko's string arrangements on "My Signal" from The Louder I Call, The Faster It Runs, followed, as this connection fundamentally changed the way Wye Oak approached making records, incorporating an entirely new palette of sound into their work. That shift began here. Shriek: Variations may feel like a startling take on the material, something like light bursting into a room through drawn curtains, but Brittelle's arrangements are largely original to his first collaborations with Wye Oak a decade ago, suggesting that his maximalist arrangements have lived comfortably within the framework of Shriek the whole time, waiting for the right moment to emerge. It's a fitting reintroduction to the album, which upon its initial release was pigeonholed into the easy one-note talking point of being the "no-guitar" record. But even so, as that happened, Shriek quietly started to become a staple among Wye Oak's core fans. Here, with help from Brittelle's expansive compositions, the release draws attention back to the songwriting_how, regardless of the instrumentation, Wasner and Stack's uncanny musicwriting partnership at the core is what makes both Shriek and Wye Oak excellent. Joined by the Metropolis Ensemble, Paul Wiancko, and Lizzie Burns, Wye Oak turn songs like "Logic of Color" inside out, reaching towards a kind of pastoral bombast, Brittelle's aesthetic with Wasner and Stack as an anchor. In fact, "Logic of Color" in this iteration takes that "no-guitar" script and flips it, with Wasner playing the synthesizer ostinato on acoustic guitar at its center. If Shriek is a record that charts the depths of solemnity and inner space, its Variations, roiling in a sea of winds, brass, and strings, recolors that space and complicates it, a gorgeous, unexpected response to the original's siren call.
Recorded on
10th March 1980 (Tracks 1, 3, 8, 9, 10)
16th March 1980 (Tracks 1, 2)
1st April 1980 (Tracks 2, 4, 5, 7, 9)
Produced: B.C. Gilbert : G. Lewis
Engineer: Eric Radcliffe.
Asst. Engineer: John Fryer
Recorded at Blackwing Studio
B.C. Gilbert: Voices, Guitars, Bass, Percussion, Tapes, Drums
G. Lewis: Voices, Guitars, Bass, Percussion, Tapes, Synthesiser
A.M.C.: Voice: Cruel When Complete
Floating-point re-master by Russell Haswell, August 2011
Cut at Dubplates & Mastering by Rashad Becker, August 2011
New artwork and layout: Dave Coppenhall
With the demise of the group Wire in 1980, founder members Bruce Gilbert and Graham Lewis joined forces to create Dome. With the assistance of engineer Eric Radcliffe and his Blackwing Studio Dome took the ethic of "using the studio as a compositional tool" and recorded and released three Dome albums on their own label in the space of 12 months: DOME (July 1980), DOME 2 (October 1980) and DOME 3 (October 1981). A final fourth album, WILL YOU SPEAK THIS WORD: DOME IV was released on the Norwegian Uniton label in May 1983.
These albums represent some of the most beautifuly stark and above all timeless exercises in studio experimentation from early 1980s alternative music scene.
Previously issued in the out of print DOME 1-4+5 box set in 2011. Now available as standalone LP with download card.
With the demise of the group Wire in 1980, founder members Bruce Gilbert and Graham Lewis joined forces to create Dome. With the assistance of engineer Eric Radcliffe and his Blackwing Studio Dome took the ethic of »using the studio as a compositional tool« and recorded and released three Dome albums on their own label in the space of 12 months: »Dome« (July 1980), »Dome 2« (October 1980) and »Dome 3« (October 1981). A final fourth album, »Will You Speak this World: Dome 4« was released on the Norwegian Uniton label in May 1983.
These albums represent some of the most beautifuly stark and above all timeless exercises in studio experimentation from early 1980s alternative music scene.
For Forever folds time and space. While the sounds and stories will be recognizable to fans, they arrive with considerable bruises incurred on the journey from Set Free until now.
For those unfamiliar with The American Analog Set, this should be a simultaneously dark and vibrant introduction. Troubled lyrics permeate throughout, and the accompanying sounds are occasionally damaged and snarling. Not all things languid and dreamlike from past records have been abandoned or forgotten, but the dreams represented here are darker.
While the previous eras of the band are referenced, they are carried forward and incorporated without a hint of patronizing nostalgia. For Forever is a document of a group that acknowledges their past while they advance into new territories and evolve.
This release is entirely new material and is not connected to the forthcoming Numero reissues of the band's first three records.
- A1: Intro 0 50
- A2: Wordplay 3 17
- A3: Spontaneity 4 08
- A4: Rugged Ruff 3 08
- A5: Interlude 0 29
- B1: I Confess 4 06
- B2: Uknowhowwedu 3 35
- B3: Interlude 1 09
- B4: Total Wreck 3 26
- B5: Innovation 3 23
- C1: Da Jawn 5 19
- C2: Interlude 1 05
- C3: True Honey Buns (Dat Freak Sh*T) 3 41
- D1: 3 Tha Hard Way 4 12
- D2: Biggest Part Of Me 4 51
- D3: Path To Rhythm 3 24
Bahamadia’s 1996 debut album Kollage is rightly regarded as one of the greatest rap albums of the 1990s. For the first time ever, Be With present the definitive double LP version of this eternal hip-hop classic, including the legendary "Path To Rhythm" which never appeared on the original LP or on vinyl, anywhere. An indelible VIBE from start-to-finish, Kollage presents Bahamadia's swirling rhymes delivered with an irresistibly butter flow and razor-sharp assuredness over a steady slew of smoothed-out, jazzed-up, blunted beats. Achingly cool and effortlessly funky throughout, it's an absolute must for true 90s hip-hop fanatics.
The entire Kollage project was recorded at D&D Studios and the ties to Gang Starr are keenly felt, with DJ Premier producing five tracks in addition to the killer songs Guru had already produced with her. Working with the cream of the mid-90s East Coast sound, Kollage is, accordingly, a record that demonstrates a varied musical taste with disparate influences, as Bahamadia has previously stated: “The title Kollage was a reflection of my state of mind. I first got interested in music from playing my parents’ and grandparents’ records, as well what I heard on the radio. I wanted Kollage to reflect that diversity both lyrically and sonically."
With intelligent, poetic lyricism and a laconic verbal style bursting with both warm texture and deceptive energy, Bahamadia’s flow was as inspired by Aretha and Nancy Wilson as it was Q-Tip, Schoolly D and Lady B. Swaggering out the gate, "WordPlay" finds Bahamadia confidently showcasing her considerable old-school battle-rhyme skills over a Guru beat that utilises an infectiously bouncy bassline with splashes of sultry jazz horns and a Jeru vocal snatch for the hook. Up next, the quietly shimmering and ruggedly beautiful "Spontaneity" is one of the most alluring on the record, Da Beatminerz crafting a brilliantly soulful and jazzy soundscape for Bahamadia's effortless vocals to float across. It's followed by "Rugged Ruff", where the rapper carefully constructs a swift off-beat flow over Premier's raw jazzy fire.
With smooth spacey synth vibes overseen by former Geto Boys producer N.O. Joe, "I Confess" is, without question, a fly love song and soothing (p)-funk groove. "UKNOWHOWWEDU" is an airy, chilled tribute to her hometown. Produced by Ski Beatz & DJ Redhanded, it rides a gloriously mellow break. It's a true Philly anthem, shouting out a who’s who of the entire city’s scene. Early banger "Total Wreck" follows, presenting a murky Guru instrumental elevated by jazzy horns. Bahamadia invokes the title's suggestion, firing her brilliant bars more aggressively than we’re accustomed to. More Beatminerz-brilliance comes in the way of "Innovation", an opportunity for the MC to invoke Freestyle Fellowship in her forward-thinking and literary verses. "Da Jawn" features hometown buddies The Roots, with Black Thought gliding into a back-and-forth with Bahamadia over ?uestlove’s warm, snapping percussion. With the strut club banger "True Honey Buns (Dat Freak Sh*t)", DJ Premier provides some laidback vibrant boom bap for Bahamadia to share a wild, cautionary tale about a night out with her girl, Kia.
Fan favourite "3 Tha Hard Way" is a hypnotically sinister cut, with Bahamadia, K-Swift and Mecca Star taking star turns to coast over DJ Premier’s raw beat whilst the tender "Biggest Part Of Me" is a heartfelt stunner dedicated to her son. Incredibly, only the European and Japanese CD versions of Kollage was released with the brilliantly breezy “Path To Rhythm”, featuring Ursula Rucker. Whilst ostensibly a "bonus track", it's anything but, to our ears. Very much in sonic conversation with KRS-One's stretched-out sleeper classic "Higher Level", it's absolutely essential so we had to include it, appearing on wax for the first time here, exclusively. Quite a coup.
Somewhat predictably, whilst Kollage was released to significant critical acclaim, it suffered from disappointing sales. In the intervening years - and for far too long - it was a criminally underrated record, an increasingly hidden gem. We hope this double LP reissue - which looks and sounds amazing - will go some way to correct this. This 2024 Be With double LP re-issue has been mastered for vinyl by Simon Francis, cut by Cicely Balston and pressed at Record Industry. It's too bold and beautiful to remain overlooked and underserved.
Fado music’s fastest-rising stars, Portuguese singer Sara Correia’s acclaimed third album Liberdade is a triumph. Sara arrives in 2023 with the status of a phenomenon: she has travelled the world to great acclaim, nominated for a Latin Grammy along with her appearances as a judge on the hugely popular Portuguese version of reality singing competition The Voice. Sara Correia’s smoky and passionate voice captures love and power, sadness and joy, the city of Lisbon and the Portuguese soul. Inhabiting the space between traditional, dark Fado and its modern, lighter incarnation, her mellifluous toplines are influenced by French chanson.
Stolen Goods Records announce Pergola's cinematic techno 'Zed' EP, featuring a remix from indie-dance legend CURSES.
Exploring hypnotic, emotionally charged melodies and vast techno breakdowns, the title track opens up the EP with a strong sense of mystery. Suspenseful strings build in anticipation as the bassline filters in intensity, this deep space offenng is the perfect example of a tune fit for the club as well as headphone-listening.
'Freak' is a beautifully intense piece featuring soft synths marked by subtle scratches, a feel-good vocal and the catchy strum of a quitar. '"Zed' is then given the CURSES treatment, the Optimo Music, Bordello a Parigi and Correspondant artist amplifies its retro feel resulting in nine minutes of pure dark disco hedonism. Closing out the release is an ambient collaboration between Pergola and Luigi Sambuy, 'Tunnel' is an ode to the early days of IDM through to the '70s.
*"Zed' marks the third release on Lele Sacchi & Asian Fake's Stolen Goods Records and follows up their widely acclaimed 'Volume 0' compilation as well as the recent collaborative EP between Black Loops & Innocent Soul. Since its launch last summer, the label has seen the support of artists like Dixon, Sasha, DJ Seinfeld and DJ Sneak and has garnered plays on prestigious stations like NTS and BBC Radio 1. The imprint continues its strong start to the year with three new tracks from the hyper-talented Pergola: a newcomer to the scene whos aready listed on labels such as Multinotes, Sementa ano Adriatiques Siamese, the latter which saw/ him reach number one on Beatport's Electronica chart.
"Jolifanto" takes its name from the first verse of "Karawane", a seminal Dadaist phonetic poem by Hugo Ball. When Ball first recited it in 1916 at the Cabaret Voltaire, both the author and the audience embraced a trance that left Ball exhausted, requiring assistance off the stage as the audience claimed the spotlight.
Over a century later, by a series of fortuitous events, "Jolifanto" is also the title of an album featuring two powerful musical entities. Artists stemming from diverse backgrounds converge with a shared experimental spirit, curiosity and passion for exploration in their music.
"Jolifanto" is an unexpected explosion propelled by (poly)rhythm, expanding into seemingly distant territories under the influence of flamenco. The Dadaist spirit permeates the work, where a constant tension between the improvised and the meticulously planned is evident. ZA! and Perrate together form an organism traveling from the roots to the rave, with nothing sounding out of place because the place is yet to be defined.
Perrate witnessed ZA!'s concert in a festival he attended as part of the audience. The Catalans surprised him with a proposal that he found radical and unclassifiable. Later, after being invited to prepare a collaboration for the Música y Museos season in Seville, Perrate decided to move off the beaten path, approaching ZA!, who quickly embraced the proposal. Exchanges of ideas and audio tracks ensued in a short time and they quickly found out that they were in the same wavelength. A week before the concert, they met in the same physical space for the first time, dedicating a couple of days to composition and preparing the gig at La Mina Studios in Seville. The concert took place, hailed as "the best concert most attendees had experienced in a long time", as reported by the Diario de Sevilla. That energy needed to be captured, and so it was, at the Happy Place studio in Seville, where the album was recorded between March 6th and 9th, 2023.
The Catalan duo ZA!, "the duo that mash up terrace-chant mayhem with... everything else" (The Wire #384), has operated independently and self-managed since their inception in 2004. They overlap genres and amalgamate sounds that move, with intensity, between wild jazz, post-rock and avant-garde electronics, among other influences. In their acclaimed latest work, they have revived the Phoenician language, exploring Mediterranean sounds alongside MegaCobla and Tarta Relena.
Perrate, active since the late 90s, explores the outer edges of flamenco without forsaking its profound essence rooted in lineage and tradition, evident in every note of his voice. His latest work, "Tres golpes" (Lovemonk/El Volcán, 2022), named flamenco album of the year by Babelia/El País, and one of the albums of the year for BBC3's Late Junction, reflects an innate curiosity, possibly the seed of all the fortuitous events leading to this album.
The encounter between Perrate and ZA! is the result of serendipitous events interwoven with the narrative of artists dedicated to experimentation and radicalism in all its forms.
Bite Down, the Merge Records debut of Rosali, finds acclaimed songwriter and guitarist Rosali Middleman in the midst of transition. Written after moving to North Carolina from her longtime home of Philadelphia, Bite Down is a searching, hungry record by an artist who is resolved to bite down on life, in all its horror and joy. She is joined here by Mowed Sound_David Nance (bass, guitar), James Schroeder (guitar, synth), Kevin Donahue (drums, percussion)_and in studio by Destroyer collaborator Ted Bois (keys). Bite Down is Rosali's second album working with Mowed Sound, and there is urgency and ambition in their collaboration_a band pushing each other not just to expand on what they've already done together, but to break through into altogether new territory. Among those joining Rosali and her band there is Dan Bejar of Destroyer, who waxes poetically on where she's been, where she's going, and how thrilling Bite Down is to experience: It's hard to talk about Rosali's music. Songs that reach outward like this, but then constantly disarm with their intimacy. What do you call such inner searching that is hellbent on rollicking? Songs that long for a sense of peace and songs that want romance, all on equal footing in the same plot of earth? Performed wild, but always centered around the incredible lyrical calm that is Rosali's voice. Bite Down makes me think about singers and bands that throw themselves hard into the storm, the way the Rosali quartet does. (Jim captures the tone of this perfectly, again!) The calm of her voice over top of the band's raging_it is the emblem of songs that live to put themselves in harm's way. But it's not harm. It's just that you have to play hard to get at these goods. The calm of Rosali's voice, the straight talk of her inner search vs. the wildness of the band, the sonic storm she rides in on. That's their sound. The Mowed Sound. It's hard to talk about these last couple Rosali albums without talking about them. They play free and wild and relentlessly melodious. They rip and create space and fill it up with what seems like reckless abandon, but listen carefully or listen for a while and you'll find them paying real close attention to each other and exactly what the song demands. Maybe Fairport did this, maybe VU. It's a strange telepathic brew. Breezier songs like "On Tonight" and "Rewind" sound like they've fought their way to get to that sense of ease. Maybe that's the Mowed Sound "sound"_hard-won ease. Then add to that Ted Bois' patented Rhodes sleaze (see sinuous title track "Bite Down") steering the record into late-night corners; the incredible "Hills on Fire" (maybe the centerpiece of the album), the guitar-ripping and the singing taking turns in reaching new levels of intimacy. It feels listened-in on, exposed and invented on the spot. It is also simply a staggeringly beautiful song. There are a few of those on the album. In contrast, "My Kind" is a raucous, hand-delivered classic; the band throws tables over. For the most part, this is a moodier record than No Medium. It has the same sound of "I've traveled through fire to deliver you these songs," but it is also quieter, more nocturnal. The quiet dread of staring down an open road, and the excitement of that. By the final track, "May It Be on Offer," it is the prayer uttered as you hand yourself over to the world.
Introducing "The Sevens” - A Sonic Revelation from A Place To Bury Strangers Prepare to embark on a transcendent auditory journey with "The Sevens” a series of four 7-inch vinyl records that unveil a treasure trove of previously unreleased tracks from A Place To Bury Strangers' critically acclaimed 6th album, "See Through You." Renowned for their visceral sonic assault and immersive live performances, A Place To Bury Strangers has cemented the end-all-be-all space for over-the-top post-punk / shoegaze destruction. With this special vinyl collection, the band invites listeners to delve deeper into their sonic universe, exploring uncharted territories and hidden gems. 'Chasing Colors/I Can Never Be As Great As You Are' is the second release coming March 22. "When looking back at the recordings that were done around the time of See Through You there were a bunch of great tracks that just captured life back then and really had something incredible going on. Even though they are a bit raw and a bit personal, I thought it would be a mistake if they didn't come out. I thought it would be best to go back to my roots and put out a series of 7"s the way A Place To Bury Strangers started. That strange weird format where the tracks each speak for themselves, no album context to muddy the water. These tracks are such a contrast to the way I am feeling now and the current songs we've been working on so slip back into this moment in time.” says APTBS’ Oliver Ackermann. The vinyl is pressed as a white disc.
400 copies purple wax! Fold Out Poster, remastered & remixed by Eroc Welcome to the definitive Vortex. The LP you're holding has been on a journey, and no, not just shipping. Mouth's second after 2009's Rhizome, Vortex was mostly recorded in 2011 and 2012 over five sessions in a small space where the band rehearsed. Material was pieced together intermittently over a period of 11 months with Chris Koller handling guitar, keys and bass and Nick Mavridis on drums. That's where it started. Two construction projects: the studio and a recording that would help define the course of the band in classic and melodic progressive rock, happening almost simultaneously in a creative meta-narrative that could easily stand as analog for the depth of pieces like "Into the Light" or the sprawling "Vortex" itself, which opens the record (new and old editions) in an encompassing display of impulse and fluidity Through experiments in atmosphere like "March of the Cyclopes" and toward the finish of "Epilogue," Mouth married sounds that in other contexts would come up disparate, like finding a hidden magnetism between two north poles. Most of the Vortex songs were created on the spot in the studio.There would be no way to know it at the time, but this process would result in a collection of songs with a broad range, within as well as between the component tracks. "Parade" taps Sly Stone on the shoulder and asks if he wants to party (he does), while the penultimate "Soon After_" resonates with its smoky, mellow-jazz vibe. "Vortex" itself happens over six movements and was put together across different sessions, while "Epilogue" happened in a day. Dissatisfaction with the original mix - and when an album has as much put into its arrangements as Vortex, that balance matters - would lead Mouth to offer Out of the Vortex in 2020 as a collection of alternate versions of pieces like "Mountain" and "Parade," as well as the unreleased "Ready" and "Homagotago's Paddle Boat Trip," the latter an apparent successor to a cut from Floating. But sometimes a thing nestles itself into the back of your head and just won't leave, and Mouth's pursuit of a finished Vortex would lead them into the studio again. Koller handled the remix himself in Oct. 2023, and in addition to helming the new master, krautrock legend Eroc (who drummed in Grobschnitt) brought a gong to mark the beginning of "March of the Cyclopes." Like a lot of the finer touches on this Vortex, be it a hashed-out stretch in the title-track built on a drum/bass jam or just pulling the vocals and Hammond down a bit in "Epilogue," the result is a stylistic flourishing that was there all along throughout the journey and now can finally shine as the band intended. - JJ Koczan / Dec. 2023
- Rip Wizard
- Cough It Up
- Carcinogen
- Dead Cloud
- Hex
- Lung Ruiner
- Dweller
- Marsquake
- Blast Off
WEED GREEN RIPPLE EFFECT Vinyl[21,43 €]
A resiny slab in the grand tradition of weed-fiend odysseys from Sleep, Weedeater and Bongzilla, ready to inebriate the riff-obsessed masses. Red-eyed at the crossroads of thunderous stoner sludge and towering doom, Hashtronaut are ready to daze and inebriate the riff-obsessed masses on this planet and beyond. No Return is a resiny slab In the grand tradition of weed-fiend odysseys from Sleep, Weedeater and Bongzilla, an intoxicating and pummeling journey through time and space infused with a lungful of potent hook-doom. Pummeling and intoxcating stoner metal for fans of Sleep, Bongzilla, Electric Wizard and Monolord LP pressed on sleek transparent yellow vinyl!
"As Bill Orcutt’s most mature and exhilarating LP to date, Music for Four Guitars was a slab of undeniable Apollonian beauty. Its approachability and obvious novelty landed it not only on the year- end lists of every key-pushing codger in the underground in 2022, but also on NPR in the form of the Bill Orcutt Guitar Quartet, an ensemble assembled to perform this music and featuring Wendy Eisenberg, Ava Mendoza, and Shane Parish in addition to Orcutt. But while their Tiny Desk Concert gave a whiff of the quartet’s easy intimacy, the sterile confines of the virtual recital medium still left a puzzle unsolved: how might these brutally mannered bricks of minimalist counterpoint sound on a stage in front of actual breathing bodies?" "This was the question foremost in my mind when I first saw the quartet in San Francisco a few months before this double live LP was recorded. I was already familiar with the prowess of Eisenberg and Mendoza, two of the most technically intimidating shredders to blast out of the noise/improv underground, and knew Parish as the mastermind behind the epic translation of Orcutt's quartet recordings into a fully notated score. I was ready to be 'blown away'—and I most assuredly was. The quartet navigated Orcutt's jaggedly spiraling right angles into the shining core of the compositions with joyous ease, faithful to the originals in nearly every way (though their tempos were slightly ramped up, Blakey style, to communicate their breathless rush). The renditions were flawless, stellar and inspiring. I had expected nothing less." "Which leads us to this album, Four Guitars Live, recorded in November of 2023 at Le Guess Who? festival during the quartet’s first European tour. The true essence of this set is not simply in its faithfulness to the source compositions, but in the group's easy familiarity (no doubt the result of weeks on the road) and the generosity of their improvisations, both collective and solo. Orcutt, clearly cognizant of both the caliber of his collaborators and the singularity of their voices, has given everyone room to stretch out, and all have delivered some of their most moving passages to date." "One of this record's great thrills for me is imagining a listener, perhaps unfamiliar with the outer limits of contemporary guitar improvisation (or the Tzadik catalog), slammed into catatonia by Mendoza's liquefying lines on Out of the corner of the eye, then revived and healed by the languid, breathy lines of Parish's unaccompanied, spaced-out breakdown of the track's main theme, finally only to be crushed by Eisenberg’s staggering extended solo on Only at dusk (somehow channeling both Eugene Chadbourne and Buck Dharma)." "There's another peak, which begins at the end of side B, in Orcutt's own languid solo, encapsulating the flowing focus of his recent solo LPs, and serving as an introduction to the next side's ensemble tour de force, the psychic heart of the album, On the horizon: its melodic core passing first to Orcutt, launching into a sublime solo turn by Eisenberg, a duo of Parish and Mendoza, before parachuting back into the ensemble for a smashup rendition of Barely visible and Glimpsed while driving (renamed Barely driving) knitted together with an softly bubbling ensemble improvisation. The transfer is orchestrated yet seamless, its tonal form undeniable even in the presence of obvious dissonance." "The breadth of Four Guitars Live gives lie to the false notion that agile, polytonal improv is necessarily without soul, is necessarily inaccessible. Rather, Four Guitars posits a human avant-garde music that the most conservative will recognize as virtuosic and revel in its classic intervals, boiling counterpoint, and precisely- layered facets. Even the rockers in your life might dig it, so why not pass it on?"—Tom Carter
The Left Side is the latest body of work from the Iggy Pop-endorsed teens since the release of their acclaimed second EP We Aren’t Getting Out But Tonight We Might in summer 2022. With Saul at the creative helm, The Left Side is a mature and cerebral body of work with Saul once again writing and producing the entire EP (with co-production by Ali Chant (Yard Act, Katy J Pearson, Dry Cleaning) on ‘Conman’ and ‘ITSA’). Written in Saul’s bedroom, the EP is a retrospective insight into the young band’s journey so far as they tie up their teenage years.
A coming of age saga, the EP acts as a vehicle for Saul to dive into the psyche behind emotional evolution, and to unpack the complexities of maturity and the ability to say goodbye to the past. These themes present themselves not only in the songs, but right down to the title of the EP itself - which refers to the fact that the left side of the brain is responsible for comprehension.
Summarising the EP, Saul says: “It’s the closest we have been to knowing what picture we want to paint. It’s another window into the musical space we wish to explore, yet I think we’re closer to having our sound. I think the project signifies the end of a section in our lives, moving out from the haze of the moment and reflecting on our teenage years and all its chaos with more understanding.”
L’objectif have drawn instant acclaim across their two EPs to date with support coming from key tastemakers at 6 Music (where previous single ‘Feeling Down’ was daytime playlisted after being premiered by the station’s Steve Lamacq) such as Amy Lamé, Tom Robinson, and of course Iggy Pop, BBC Radio 1’s Jack Saunders (who made the band his Next Wave featured artist and featured
‘Burn Me Out’ and ‘Do It Again’ as Daily Delivery) and Gemma Bradley, Radio X’s John Kennedy, Apple Music 1’s Matt Wilkinson, and Australian national broadcaster triple j. The effervescent young band have already received ‘ones to watch’ tips from national media outlets NME (First On), The Line Of Best Fit (On The Rise), The Observer (One to watch), The Sunday Times Culture (Breaking Act), and more.
On September 9th, 2022 at the Harrison House in Joshua Tree, Georg and Heike debuted a collection of songs that would later comprise Son of Velvet Rat’s Ghost Ranch studio album. A sacred space to present these new pieces, stripped-down to their most essential elements: two voices; one gruff and anchoring baritone, the other lifting in weathered hope, over six strings danced upon by Georg’s possessed spider-fingers, every note plucked with intention. A bare-boned outpouring, reverberating through the House like Midnight Mass in a rare church brave enough to explore the complexities of love.
That night, which ended with a refreshing baptismal monsoon as we walked out to our cars, would have to be preserved in the amber of memory until Georg and Heike would properly document the pieces at Gar Robertson’s Red Barn Studio in Morongo Valley the following spring ’23, before finishing the album in Austria.
Ivy Falls, the alias of singer-songwriter Fien Deman, will release her first full album in the spring of 2024. 'Sense & Nonsense' sounds mature, with a clear vision and direction. Fien wrote the album after a breakup and leaving her home; she witnessed cracks appearing in her life and found herself in a whirlpool of insecurities. Writing turned out to be the way to reorient herself and discover what she could fill her empty 'house' with. Everything changed: a new life, a new place, new people, and a new view of herself as a musician and writer. Bram Vanparys, aka The Bony King of Nowhere, makes his debutas a producer on Ivy Falls' first release. This unreleased duo impresses with 'the best coda for the confusing time that your twenties can be.'
Sometimes hitting a wall is inevitable. This occurred, partly even literally, in 2020: a broken nose, a painful breakup, and a series of chaotic events shook Fien's foundations. Losing her job, ending her relationship, leaving her home, and returning to her parental home, she hit rock bottom and started her quest to rebuild everything from scratch. After the tumult, Fien decided to shed the oppressive norms and ideas learned as a child and wholeheartedly pursue her own choices and projects.
In the years that followed, each aspect of her life gradually fell into its right place. This extended to her musical identity, themes, and sound. Acquiring some guitars and an upright piano, she endeavored to master them as a self-taught artist. Devoting ample time to her self-made home studio, she returned to the essence, distancing herself from the polished pop sound of her initial work and reconnecting with her first musical love - the singer-songwriters who had colored her teenage years. This rediscovered inspiration marked the first time in her musical career that everything felt perfectly aligned.
The album's artistic approach aligns with a fresh, expansive outlook on life and the future. Fien aims to challenge rigid societal concepts, including the notion of 'golden years.' She questions what and when exactly should be considered the most significant, joyful, and vibrant moments of life. The album delves into topics like the perceived superiority of extroverts, narcotic materialism, and toxic positivity. It's not a lament but rather an ode to what truly matters-the essence, love, and beauty. Fien's perspective encourages finding your inner child and immersing yourself in timeless and profound feelings.
Musically, Fien discovered her perfect match in Bram Vanparys (The Bony King of Nowhere), her newfound love. She wrote the songs, and he took on the role of album producer and co-arranger. Together, they crafted a metaphorical space where every small musical idea has room to flourish, and each insight and effort carries significance. Influenced by indie folk luminaries such as Julia Jacklin, Amen Dunes, Feist, Sharon Van Etten, Sufjan Stevens, and Nick Drake, Ivy Falls has set a high standard for her sound.
The main constant? Fien's distinctive voice commands every song, now revealing greater depth and nuance than ever. In live performances, Ivy Falls is joined by a talented ensemble: Trui Amerlinck (Tsar B, Mayorga), Jasper Morel (Black Box Revelation), Simon Raman (Steiger), and Anton De Boes (Philemon).
In the past, Ivy Falls has launched two EPs, received airplay on Studio Brussels and Radio 1, and shared the stage as supportfor artists like Balthazar, Jessie Ware, Sigrid, and Mabel.
The debut album of Soft Loft, titled "The Party and the Mess," comprises 12 tracks and is set to be released in March 2024, in a standard 12" black vinyl edition, as well as in a limited special edition
featuring a colored eco-mix vinyl accompanied by a poster and digital formats. The material was produced by grammy-nominated Gianluca Buccellati (Arlo Parks, Biig Piig, easy life, Lana Del Rey) and cut in a snowed-in studio in Engelberg. Soft Loft is a collective of musicians dedicated to creating safe spaces using sound. Fans Also Like Phoebe Bridgers, Sharon Van Etten, Billie Eilish.
The fledgling but already notable UFO Series now looks to Italian producer and prodigious underground innovator Riciar Ghir for a captivating journey through the more energetic house realms, all with an outer space feel. 'Niriba Shuttle' opens with tribal percussion and progressive synths that are coloured by subtle acid lines. 'Silenzio' is slow, heavy and persuasive with its old school piano acting lighting up your soul. There's a twisted tech funk to 'Platter Dreams' that makes it perfect for 2am cruising and 'Bad Egg' sets down with plenty of colour. These cuts will all work several different moments on the dance floor making it a hugely useful 12".
Kyiv (Ukraine) born Sasha Renkas, made music as Antenna for almost a decade, releasing many EP's and a full length album. Now he follows his urge to make a different kind of music. The result is a full length album with slow, intimate, nighttime music varying from abstract pop ballads to ambient movie score pieces. At times they sound like stripped down Kate Bush instrumentals, drenched in reverb, or introvert Roxy Music with a touch of dub and nineties trip-hop. "This time I wanted to compose music and then perform my instruments live making this album. I used mainly old synthesizers and other instruments and a heavy layer eighties reverb machines. Before moving to the Netherlands, I was growing up in the nineties in Kyiv, surrounded by economic turbulence and a weird mix of music from different decades that overflowed the country after years of isolation. Accompanied by the weird early Ukrainian visual culture I was mesmerized by the music videos I saw on TV and I wanted to belong there. I guess I never really grew up, still drifting like a cowboy through imaginary spaces, in a timeless vacuum, outside of real life. I decided to release this album as Sasha Renkas, because it felt very personal and pure, all coming from a spacious, misty place where everybody is still alive and safe."
Dinosaur Jr. Webstore Exclusive auf Opaque Light Purple Blast Vinyl. Nur 300 Stück verfügbar. "Sweep It Into Space" ist Dinosaur Jr.s erstes neues Album seit dem 2016 erschienenen "Give A Glimpse Of What Yer Not" und setzt den vielleicht besten "Second Act" aller Zeiten einer Band fort. Ursprünglich für Mitte 2020 geplant, wurde der zeitliche Ablauf dieser Platte durch das Auftreten von Corona vereitelt. Aber es bräuchte mehr als nur eine Pandemie, um die exquisite Power dieses Trios zu dämpfen, wenn es einmal in Fahrt ist. Und "Sweep It Into Space" ist ein Meisterwerk von auf den Punkt gebrachter Energie. In den Jahrzehnten seit der Veröffentlichung von Dinosaur Jr.s Triptychon an Gründungs-Alben ist klar geworden, dass ihr Sound, der einst als eine Form von fast gezähmten Lärm gefeiert wurde, eher eine Art voll funktionierende Popmusik ist/war/immer war. Im Zentrum von allem, was sie taten, standen schon immer Melodien. Was Dinosaur Jr. produzieren, ist nichts anderes als eine schöne neue Version des Rock-Kontinuums - Riff, Power, Beat und Sehnsucht, geschaffen mit einem Blick in die unendliche Zukunft. Aufgenommen wie immer in Amherst's Bisquiteen Studio, begannen die Sessions für "Sweep It Into Space" im Spätherbst 2019, nach einer Westküsten-/Südost-Tour. Der einzige zusätzliche Musiker, der dieses Mal zum Einsatz kam, war Kurt Vile, der das Album mitproduzierte und die 12-saitige Leadgitarre auf dem beschwingten "I Ran Away" spielte. J Mascis' Stimme ist sofort eingängig über den aufsteigenden, elektrisierenden Gitarrenlinien. Wie es für Dinosaur Jr. typisch ist, schrieb und singt Lou Barlow zwei der Dutzend Stücke des Albums (und liefert mit "Garden" seinen vielleicht besten Dinosaur-Beitrag), und Murphs Schlagzeug-Spiel treibt die Platte an wie ein Go-Cart aus der Hölle. Lous Songs sind hier so elegant wie immer. Js Tracks fließen und blühen in den verschiedenen Richtungen, die er oft verfolgt. Aber es gibt nur sehr wenige Momente, in denen man nicht wüsste, dass man Dinosaur Jr. hört, selbst wenn man die Nadel mit verbundenen Augen an irgendeiner Stelle der Platte ansetzen würde. Sie haben einen unverwechselbaren Sound. Mit "Sweep It Into Space" erweitern sie ihr persönliches Universum weiter, ohne jemals ihren zentralen Kern zu verlieren.
Repress
Obscure Shape & SHDW represent the new generation of German techno, they took over in a very small amount of time their own space, and they showed that their sound can fit in many different places. Now it's time for them to join the label with a stunning debut that represents all they did in this years, but even better what they want to aim for in the future. It's a refined release. Four full length tracks that are extremely helpful in any occasion from clubs to pure raves and warehouses, there is no real rule, it's all about energy and power. Welcome to Obscure Shape & SHDW.
My Back Was A Bridge For You To Cross, ANOHNI"s sixth studio album, expresses a world view by shape-shifting through a broad range of subject matter. Through a personal lens, ANOHNI addresses loss of loved ones, inequality, alienation, acceptance, cruelty, ecocide, devastation wrought by Abrahamic theologies, Future Feminism, and the possibility that we might yet transform our ways of thinking, our spiritual ideas, our societal structures, and our relationships with the rest of nature. On her first full album since 2016"s HOPELESSNESS, she explains the creative process was painstaking, yet also inspired, joyful, and intimate, a renewal and a renaming of her response to the world as she sees it. "Some of these songs respond to global and environmental concerns first voiced in popular music over 50 years ago." ANOHNI"s approach since her last record has shifted from someone tasked with challenging global denial, to an artist seeking to support others on the front lines. "I learned with HOPELESSNESS that I can provide a soundtrack that might fortify people in their work, in their activism, in their dreaming and decision-making. I can sing of an awareness that makes others feel less alone, people for whom the frank articulation of these frightening times is not a source of discomfort but a cause for identification and relief. On "It Must Change," ANOHNI soulfully describes systems in collapse with a note of compassion for humanity: "The truth is I always thought you were beautiful in your own way // That"s why this is so sad." ANOHNI"s voice is sensual and smoothed, selectively reaching to the edges of what it can contain. "We"re not getting out of here // No one"s getting out of here // This is our world," she murmurs. A portrait of legendary human rights activist Marsha P. Johnson taken by Alvin Baltrop features on the cover, reflecting a 25-year relationship with the memory of Johnson that ANOHNI has held space for in the presentation of her own work. Elsewhere, the album artwork states "IT"S TIME TO FEEL WHAT"S REALLY HAPPENING". In some ways it feels as if she is reaching across her life"s expression, and has found a moment of unique composure, wearing her long exploration of disarming intensity, with the maturity of a painter carefully choosing her colors. "I want the work to be useful, to help others move through these conversations we are now facing, to move with dignity and resilience through this bitter dawning."
- A1: Hiroshi Kamayatsu - Have You Smoked Gauloise
- A2: Happy End - Haruyo Koi Come Spring
- A3: Yoshiko Sai - Aoi Galasu Dama Blue Glass Ball
- A4: Tadashi Goino Group - Jikan Wo Koero Go Beyond Time
- B1: Jun Fukamachi - Omae You
- B2: Momotaro Pink With Original Pinks - Hachigatsu No Inshow Augusts Impression
- B3: Vol 1 Chap.100 - Heya No Naka In The Room
Nippon Psychedelic Soul 1970-1979 is Time Capsule’s continuation of the deep dive into Japan’s rich history of folk and psychedelic soul music.
Vinyl LP with 4 page insert, original artwork and photos
The kaleidoscopic psychedelia of 1970s Japan captured a fragile and fertile moment as the country sought its future in funk grooves, heavy reverb and lyrical hallucinations.
The follow-up compilation to Time Capsule’s Nippon Acid Folk, Nippon Psychedelic Soul takes myriad pathways into the tripped-out undergrowth of 1970s Japan. Finding their feet at home and looking for inspiration abroad, the musicians featured here were engaged in the communal soul-searching that followed the breakdown of the 1960s protest movements. Some made it big, others drifted into oblivion. The music they left behind shimmers with intensity.
At the core was Happy End, the first project of YMO’s Haroumi Hosono, whose distortion-heavy guitar and crisp back-beat laid the foundations for Japanese lyrics that flipped the paradigm of Japanese rock music on its head. With it came a new found sonic ambition, such as in the bold Philly-soul style arrangements of producer Yuji Ohno, whose work with occult wandered Yoshiko Sai shares some of the bittersweet grandeur of Rotary Connection or David Axelrod.
Then there was Jun Fukamachi, a pioneer of Japanese synthesis, whose debut album was a carnival of orchestral funk, euphoric horn lines and rich production, complete with soaring guitar solos, psychedelic organ and a truly cinematic finale. The first and only time Fukamachi would sing on record, ‘Omae’ rips like the ultimate end-of-nighter.
Influenced by giants of the US soul scene, maverick composer Hiroshi “Monsieur” Kamayatsu (otherwise known as ‘the Brian Wilson of Japan’) went one step further, enlisting Tower of Power to play on ‘Have You Smoked Gauloises?’ The B-side to Monsieur’s biggest-selling single, it coasts with sophisticated cool - a liquid bassline and suave keys comping under a roaring trademark ToP sax solo. No surprise it found favour once more on the Acid Jazz dance floors of ‘90s London.
Such was the spirit of experimentation that big studio productions and private press releases sat side-by-side, with the likes of Momotaro Pink and Kazushi Inamura, taking their hopes of success into their own hands with the resources available to them. More reflective but no less robust, theirs was a heavy, fat-backed drum sound, soaked in dramatic, soulful psychedelia.
If some were dreamers and others space cadets, none were further out than sci-fi writer, musician, activist and self-made scientist Tadashi Goino, who transformed his own fantasy novel Messenger from the Seventh Dimension into an operatic prog odyssey with few discernible musical reference points – a majestic and completely bonkers outlier even among company as strange and brilliant as that which is collected here.
Less a compilation of a scene, as a compilation of a sentiment, Nippon Psychedelic Soul is a wild ride from start to finish, shattering the narratives of the Japanese folk and rock tradition into a million tiny pieces.
Repress!
Presenting a collection of deep spatial gems mined from the ever impressive TK Disco vaults for your playback listening pleasure!
The TK Disco music empire has blessed our ears and minds with an endless stream of music since it's late 1960's inception. Countless soul and funk sides were produced, cut and released by label founder Henry Stone and his associates, in turn changing the face of contemporary black music in the USA and across the world forever. It is true that the TK story originated on America's 'Space Coast', the modern frontier of lunar exploration and galactic travel, the home of NASA and countless missions beyond the stars nestled on the East Coast of the United States.
'Moon Ride' - The compilation you hold in your hands, is merely one strand of the incredible music that was beamed out of Hialeah, FL over the decades. The focus on this collection is the idea of the 'cosmic' from the Disco era. These are records that emit a spacey vibe, either from their lyrical content or equally from their sonic qualities, imbibing synths and electronics to create otherworldly grooves. These records were big hits on underground music scenes such as Daniele Baldelli's cosmic movement in the 70's and 80's in Lake Garda, they were vehicles of escapism and hedonism on the discerning dancefloors of NYC in the hands of progressive DJs like David Mancuso and Nicky Siano and they were also essential building blocks in the creation of House and Techno music in the Midwestern cities of Chicago and Detroit, inspiring legendary artists such as Mr Fingers and Jeff Mills and countless others. An essential collection of music for listening, dancing, loving and travelling!
TK Disco's influence is still felt today and this carefully curated selection of tracks showcases some absolute classics, overlooked nuggets and rarities from the label's huge output. Mastered with love by Optimum Mastering, Bristol UK. Brought to you by TK Disco / Henry Stone Music & Above Board Distribution 2021.
Snakes Don't Belong In Alaska have firmly established themselves as a prominent force in the underground UK psych scene, sharing the stage with some of the biggest names in the current generation of psych rock. Notably, they collaborated on a mesmerising album with the legendary Japanese psych artist, Junzo Suzuki, and have had the privilege of performing alongside esteemed bands like Hawklords, 10000 Russos, and The Myrrors, among others.
Originating from the vibrant city of Newcastle upon Tyne, SDBIA embraces an experimental genre non-conforming psych style, blending elements of stoner, kosmische, space rock, prog, and post rock. This captivating fusion of sounds creates a unique musical experience that continues to captivate audiences far and wide.
Their latest offering ‘Navegando Al Paraiso’ sees a slight change of pace from the band, but none less potent. As we’ve now become accustomed to with SDBIA, the band invite you on a transcendent musical journey, effortlessly blending psychedelic rock with waves of folk and post-rock. This album immerses listeners in a dreamscape where ethereal melodies ebb and flow like the tides. Each track evokes a sense of wanderlust, drawing inspiration from timeless musical traditions while pushing the boundaries of sonic exploration. Snakes Don't Belong in Alaska paint an otherworldly soundscape that invites you to lose yourself in the euphoria of musical and introspective discovery.
Available on super ltd edition green & clear vinyl, only 300 copies pressed.
Mon Goose is multi-instrumentalists Yegang Yoo and Robert Lombardo (both ex-Alex Delivery Jagjaguwar). Flowing seamlessly between dance grooves to experimental soundscapes, their songs twist and turn melodically through dense layers, animated by inventive live percussion and a creative melding of electronic and acoustic sounds. A Seoul-native trained in classical piano and composition at an early age, Yegang transplanted to New York City in 2000, where she and Robert began playing music together. Robert's history spans from playing guitar and drums in garages and basements, to the rabbit-holes of experimental and dance musics, to the present where he pulls from all of those influences in the music of Mon Goose and as a sound designer and composer for films.
Very Still Right Now lives in the intersection of music to listen to and music to dance to. Showing influences from space disco (stand-out track “I Feel Goose” is gloriously remixed by Lindstrøm) to Krautrock to techno ... to soundtrack records ... to classical ... it shifts and turns, sweeping you unaware from the disco dance floor to the melancholic high seas with a unique ability to contain, expand, and gradually distort moods without sacrificing a sense of lightheartedness. The album is the culmination of several years’ work from the duo, tangled in the wires of an arsenal of analog gear in their basement studio in Greenpoint, Brooklyn, and is the first offering of much to come.
Like the best of them, Daniel Chavez got his start immersing himself in the nightclubs, dingy basements, and record stores of Chicago. Cycling around the South Side with records and a small PA system strapped to his back, he found himself at Smartbar and eventually began slinging records at Gramaphone alongside some of the deepest heads of his generation. Before long, Daniel made the jump to Brooklyn and landed at A-1 Records, while diving further into the global deep house community and soaking up knowledge like a sponge. After sowing seeds in obscurity for many years, Daniel saw the fruits of his labor in 2023 with a debut 12” on Halo’s Muted Noise imprint.
These tracks were designed and refined over the course of a year to meet the strict specifications of the Jewel soundsystem and dancefloor. “Writing on Water” is a submersive, simmering tune that heaves and moans for eight minutes, but could probably go on for an hour. “Terras” strips away the layers to reveal a spacious, floating world supported by a fat, rolling bassline. On the flip, “Spiraling” echoes a feeling of early My Love Is Underground and the New York deep house golden era before it: a time of revolution. Finally, “67th Session” combines space and depth with a simple vibraphone riff that can go off day or night.
Inmitten des kosmischen Echos hallt ein eindringlicher Schrei durch die unendlichen Weiten, der vom wachsamen Sonar eines Satelliten in der Umlaufbahn aufgefangen wird. DARKSPACE, das aus Wroth, Yhs und Zharaal bestehende Dreigestirn, wendet sich an die Bewohner der Erde. Sie sind in die Kategorien I bis III I eingeteilt und haben die Menschheit in den letzten Jahrzehnten seit ihrer Gründung mit ihren Übertragungen aus dem Weltall in ihren Bann gezogen.
DARKSPACE nimmt erneut Kontakt zu den Erdbewohnern auf - einedunkle Manifestation des Black Metals, scheinbar aus den Tiefen eines stellaren Schwarzen Lochs entsprungen, präsentiert eine jenseitige Reise durch den Kosmos. Mit einer eiskalten Umarmung und psychedelischer Leitfähigkeit präsentieren die mysteriösen Gestalten ein einzigartiges Album mit atmosphärischem Black Metal jenseits des menschlichen Verständnisses. Fraktale elektronische Samples schneiden sich durch Schichten von außerirdischen Drones und manifestieren eine immersive Erfahrung, die die Grenzen des konventionellen Black Metal-Genres sprengt. Gesangsübertragungen, die wie ein Flüstern aus dem All klingen, sind nahtlos in den Mix eingeflochten und verleihen den außerweltlichen Klängen eine eindringliche Dimension.
Menschen, macht euch bereit für eine Reise jenseits der bekannten Gefilde. DARKSPACE lädt euch ein, in die rätselhaften Weiten von "Dark Space -II" einzutauchen, wo sich die Grenzen der Realität auflösen und die jenseitigen Spuren des Black Metal mit unvergleichlicher Intensität erklingen.
COMA's melodic innovations between indie and electronica have always been incredibly accessible, sparing neither hooks nor emotions, and expanding the scope of what club music can be from album to album. In this respect, the new album 'FUZZY FANTASY' (their 2nd album on City Slang) is the next logical step - away from the dancefloor, closer to life. The Cologne-based duo COMA has firmly established themselves as a household name at the intersection of Indie Pop and Electronic Music. While embracing the incorporation of warmer Pop elements, COMA remains loyal to their artistic essence: meticulously crafted electronic music that has the ability to evoke both joy and melancholy simultaneously.
Tracks like 'Space', 'Hideout', and 'Start/Stop/Rewind' catapult COMA into the musical vicinity of the Pet Shop Boys, Hot Chip, and the more recent Depeche Mode. 'FUZZY FANTASY' is the result of an astonishing transformation, though in retrospect, not entirely surprising.
Axis of Time is the stunning debut album from Philadelphia mallet percussionist and poet Angelo Outlaw. Featuring Eraserhood Sound's signature synth & soul production, Axis of Time is a dazzling blend of jazz, rare groove, funk, soul and r&b. According to Outlaw, the album is meant to transport the listener to a dream-like state, where space and time slowly fade away and reality is merely a distant memory. Each song sets a unique scene, as the pace of the music swells and sways_from the euphoric highs of lead single "Free My Mind" and uninhibited groove of "Speed of Light" to the trance-like meditation of "Dreams" and mournful melodies of "Invisible Clock," Angelo and the Eraserhood Sound house band truly go to the cosmos and back. The record is an extraordinary debut from Outlaw, a young gay Black man who hopes to serve as an inspiration to others who might be perceived as different or other. His work transcends race, creed, religion, and politics, and has the power to speak to the universality of time, space, and human connection.
Axis of Time is the stunning debut album from Philadelphia mallet percussionist and poet Angelo Outlaw. Featuring Eraserhood Sound's signature synth & soul production, Axis of Time is a dazzling blend of jazz, rare groove, funk, soul and r&b. According to Outlaw, the album is meant to transport the listener to a dream-like state, where space and time slowly fade away and reality is merely a distant memory. Each song sets a unique scene, as the pace of the music swells and sways_from the euphoric highs of lead single "Free My Mind" and uninhibited groove of "Speed of Light" to the trance-like meditation of "Dreams" and mournful melodies of "Invisible Clock," Angelo and the Eraserhood Sound house band truly go to the cosmos and back. The record is an extraordinary debut from Outlaw, a young gay Black man who hopes to serve as an inspiration to others who might be perceived as different or other. His work transcends race, creed, religion, and politics, and has the power to speak to the universality of time, space, and human connection.
Lisbet Fritze and Louise Foo have shared artistic trajectories for half of their lives, having been two thirds of pop noir purveyors Giana Factory. As Glas, the duo reveals a patchwork of everyday observations rooted in significant life changes: moving countries, becoming a mother, keeping sane with and without a significant other. The music conveys a quest for balance, riding the line between doomy drama and playing it cool.
Their 10 song, self-produced debut, Kisses Like Feathers, will be released, worldwide in March 2023, through Hamburg’s hfn music. All lyrics, vocals and instruments were performed by Glas, and recorded in their studio. The album was mixed by Anders Trentemøller, with artwork by Brunswicker studio The Copenhagen-based duo have never been short on inspiration. Lisbet has lent her vocal and guitar talents to Trentemøller, in both the studio and on stage. Louise has explored immersive music with avant-pop project SØSTR, along with her sister, Sharin Foo of The Raveonettes. Lisbet’s other life involves architectural design. Louise works with sound installations in a visual arts context. The musical ideas of these two polymaths find coherence in the newly-formed Glas.
Kisses Like Feathers embody Nordic duality. Dark at times, it also presents with an open ethereality. Some songs feel tailor-made for a club’s sound system. Others lend themselves to intimate, headphone moments. While Lisbet and Louise’s harmonious vocal stack is the common thread throughout the album, the musical fabric is interlaced with acoustic, electric, and electronic instruments. Lo-fi piano and acoustic guitars share a reciprocal space with rich, synthetic orchestration. Galloping, modern rhythms and folk arrangements are often featured in the same song. These elements, and so many others, buttress the pair’s hymns.
red LP[27,10 €]
Amirtha Kidambi"s Elder Ones join We Jazz Records for their third LP "New Monuments", to be released on March 15th 2024. Elder Ones is the quartet performing the compositions of vocalist Amirtha Kidambi (Mary Halvorson"s Code Girl) lies nestled in a venn diagram of musical spheres and communities in New York City. Her collaborators are formidable artists in their own right.
black LP[27,52 €]
Amirtha Kidambi"s Elder Ones join We Jazz Records for their third LP "New Monuments", to be released on March 15th 2024. Elder Ones is the quartet performing the compositions of vocalist Amirtha Kidambi (Mary Halvorson"s Code Girl) lies nestled in a venn diagram of musical spheres and communities in New York City. Her collaborators are formidable artists in their own right.
ORANGE VINYL
Daniel Boeckner understands the grit and gravel that accumulates in the heart and that it takes an unwavering courage to crack through that clutter and burrow to the other side. And in Boeckner's hands, that quest comes via post-apocalyptic synth and guitar heroism, a rallying cry for those always coming home through the scorched clouds. Throughout his work with Wolf Parade, Handsome Furs, Divine Fits, Operators, Atlas Strategic, and more, the iconic Canadian indie rocker recognizes that few feelings are more gratifying-more memorable, more generative, more abundant-than hope. But it takes getting the hell out of your own way. A culmination of that deep library of musical reference, Boeckner is set to release his first album under his own name: Boeckner! No matter where his genre exploration has taken him, there's something about growing up in punk and DIY spaces that puts collaboration in Boeckner's blood. Composed of a collection of intimately familiar elements, Boeckner! elicits the same thrill of young passion and discovery. It's a jet-powered chase through a tech-noir cityscape-fueled by a dream and that special someone in the passenger seat. That urgency and passion have always been a trademark of Boeckner's, and writing on his own pushes those feelings further into the center of the scope. But while Boeckner may be the clear driving force behind the album, he's not without collaborators for his solo debut. After meeting producer Randall Dunn while contributing to the soundtrack to the Nicolas Cage-starring psychedelic horror film Mandy, Boeckner knew he'd found the perfect counterpart for his solo debut. "I'd been a fan of his forever, especially the Sunn0))) records he produced," Boeckner says. "Working with Randall really unlocked some suppressed musical urges, things that I enjoy in my private life but don't normally weave into what I'm releasing-like occult synth, pseudo-metal, krautrock, and heavy psych influences." That base allows Boeckner to thoughtfully weave between emotional imagism and more grounded storytelling. Throughout the record, his imagery delves into science fiction, but it's charged first and foremost by experience. The trio of Boeckner, Dunn, and drummer Matt Chamberlain (Pearl Jam, David Bowie, Fiona Apple) formed a sort of dark engine for the album, and Chamberlain's ingenious approach of triggering a vintage Arp synthesizer simultaneously with each drum track helped Boeckner shape the record's atmosphere. That tense futurism was influenced by Boeckner's time staying in Dunn's Circular Ruin studio, a dusky, electronic aura burned into every track. By the end of the album, Boeckner! eases from sci-fi epic into something more akin to a torched VHS copy of a John Cassevetes film, the chemtrails and nuclear fallout fading long in the distance. Like all good sci-fi, the emotion and pain hits home for the author and listener alike, and the genre flourishes bolster the human experience. In revealing more than ever before, Boeckner! ratchets up the musical intensity to unforeseen levels and hopes to find some peace at the end of the journey.
- A1: Extreme Cold Weather - Enjoy Yourself
- A2: Johannes Paul Der Letzte (Dedicated In Hate To Pope John Paul Ii)
- A3: Mother Theresa (Dedicated In Love To Mother Theresa)
- A4: Hyper Borea
- A5: Radezky March (We Hate To Be In The Army Now)
- A6: Nero
- B1: Hymn To Abramelin - Messiah (New Version)
- B2: Space Invaders
- B3: Thrashing Madness
- B4: Golden Dawn
- B5: The Last Inferno
- B6: Resurrection
- B7: Olé Perversus
High Roller Records, 180g black vinyl, ltd 500, insert, poster, original mix with all interludes between the Songs! Original 1986 sound !!! Specially mastered for vinyl by Patrick W. Engel at Temple of Disharmony!
Die schnellste Band der Welt – Die GRAMMY nominierten Extreme Power Metal Pioniere DRAGONFORCE sind Warp Speed Warriors!
Die Grammy-nominierten Extreme-Power-Metal-Pioniere DRAGONFORCE veröffentlichen ihr neues Album Warp Speed Warriors am 15. März 2024
via Napalm Records. Die ikonische Band um die Gitarrenvirtuosen und Gründungsmitglieder Herman Li und Sam Totman, Sänger Marc Hudson,
Bassistin Alicia Vigil und Schlagzeuger Gee Anzalone ist bekannt für ihre meisterhaften, unvergleichlichen und blitzschnellen Gitarrensoli, die ein
ganzes Genre beeinflusst haben. Dabei sind Inspirationen aus unterschiedlichsten Heavy-Metal-Stilen, Fantasy-Welten und Videospielen deutlich
hörbar.
Seit ihrer Gründung im Jahr 1999 haben DRAGONFORCE die Metal Szene weltweit mit ihren extrem erfolgreichen Alben und kultigen Singles in ihren
Bann gezogen, darunter der mit Platin ausgezeichnete Hit „Through the Fire and Flames" – die ultimative Herausforderung für Gamer im legendären
"Guitar Hero III: Legends Of Rock". Bekannt für ihre epischen Kompositionen lassen DRAGONFORCE auf ihrem mit Spannung erwarteten neuen Album
mehr Einflüsse aus unterschiedlichen Genres einfließen und entwickeln ihren Sound damit deutlich weiter.
Warp Speed Warriors, produziert von Damien Rainaud, Sam Totman an Herman Li– und von letzterem gemischt und gemastert – ist ein
unvergleichliches, innovatives Hörerlebnis, das sich als Highlight in die umfassende Diskographie der Band einfügt. Eine wahrhaft epische Reise!
Die Stimme von Creed! - Das mitreißende neue Album des Grammy-Preisträgers SCOTT STAPP!
Der mehrfach Grammy-Award-Nominierte und -Gewinner SCOTT STAPP setzt seine triumphale Rückkehr als Solo Künstler fort und veröffentlicht am
15.03.2024 sein brandneues Album Higher Power via Napalm Records. Als eine der bekanntesten Stimmen der Rockmusik ist Stapp "bereit für
ein großes Jahrzehnt. Er kling genauso kraftvoll wie vor 25 Jahren und enthüllt die Härte, die in seiner ikonischen Stimme ruht (Loudwire). Das
kommende Album ist der Nachfolger des 2019 erschienenen The Space Between the Shadows, das neben unzähligen weiteren Top-Chartpositionen
auf Platz 3 der US Current Rock Albums Charts, der US Current Hard Music Albums Charts und der UK Official Rock and Metal Charts einstieg. Higher
Power besteht aus 10 unvergesslichen Tracks – darunter absolute Radio Hymnen, gefühlvolle Balladen, absolute Metal Banger und Heavy-Rock Hits –
und besticht durchweg mit Brillanz und inbrünstiger Energie. Dabei werden Themen wie Verlust, Frustration, Verrat und Beinahe-Niederlagen
besprochen. Neben SCOTT STAPPs unverkennbarem Gesang und seinen herausragenden Songwriter-Fähigkeiten bietet Higher Power bestechende
Auftritte der Hardrock-Queen Dorothy, des mehrfach ausgezeichneten Gitarren-Virtuosen Yiannis Papadopoulos und einen Song den der mehrfach
Grammy-prämierte Songwriter und Musiker Steve McEwan mitgeschrieben. Higher Power wurde von Marti Frederiksen und Scott Stevens produziert,
wobei Stapp selbst als Co-Produzent
Los Angeles duo crushed announce their signing to Ghostly International and the first vinyl pressing of their 2023 debut EP, extra life. A love letter to `90s radio, the first collaboration from musicians Bre Morell and Shaun Durkan finds them tuning a shared taste for maximalist dream pop. Open-hearted hooks and melodic riffs move through a haze of breakbeats, spliced sound design, and distortion. Faithful yet fluid in its channeling of golden age alt-rock, Britpop, trip-hop, and electronica, there's a refreshing freedom to the sound, which quickly resonated with fans and critics upon initial release. Pitchfork called it "effortless, widescreen dream pop that's serene without being sentimental," and NPR cited its "deep sense of place and time." The music also struck Ghostly, and the first measure for crushed and their new label home is to give extra life a wider physical release paired with remixes from band favorites Real Lies and DJ Python. The story of crushed is written across midnight transmissions. In the early 2010s, Morell, who fronts the band Temple of Angels (Run For Cover Records), hosted a graveyard shift college radio show and used to play music from Durkan's former band Weekend (Slumberland Records). In 2020, Durkan, having focused on production work (Tamaryn, Young Prisms) following Weekend's run as a formidable shoegaze act, hosted a late-night program on a community radio station in San Francisco. Driving one day, he heard Temple of Angels by chance and was immediately drawn to Morell's voice. He added a song that night to his on-air tracklist. Morell saw it and reached out to thank him and point to that connection made a decade earlier. The exchange sparked a long-distance project. First, they filled an audible moodboard with `90s classics from the likes of Natalie Imbruglia, Sneaker Pimps, and The Sundays. Songs that transported them back to places of comfort and discovery; Morell's memories of a metallic, lavender boombox that dispatched past sounds from a world beyond her Houston suburbia, and Durkan, in his mom's car on the way to band practice. These touchpoints provided a palette for crushed to experiment without expectations, purely for the fun of it. A creative intimacy emerged; stepping outside the reverb walls of her full band, Morell embraced more clarity and a range of emotions in her vocals, while Durkan looked inward as a producer, collaging fragments from their everyday lives: voice memos, piano recordings, even the panting of Morell's late dog on "milksugar." The wistful ballad embodies extra life's feeling as a whole. "I am home again," sings Morell; her refrain cycles above a drum machine beat as Durkan colors their universe with star-lit strums, synth swells, and the crackle of fireworks in the distance. Elsewhere, the duo's uptempo mode is equally effective, like the super-charged duet "coil" or the propulsive opener "waterlily," which sets a cinematic tone for the set. Bold, bright, and replayable, extra life presents crushed as a project of immense promise, two artists unlocking something special within themselves, a space to hold both melancholy and bliss. Durkan adds, "To me, extra life is true and pure - in a way I haven't felt about music in a really really long time."
- Star Trek: The Next Generation-Main Title
- Stardate
- Troi Senses
- Picard‘s Plan
- First Chase
- First Chase (Part 2)
- Detaching
- Separation
- Shaken
- Court Time
- There Goes Da Judge
- U.s.s. Hood
- On Manual
- The Next Generation-End Credit
- Personal Log
- Admiral
- Old Lovers
- Caverns
- Splashing
- The Woods
- Memories
- Scanned
- Big Guns
- Unknown
- Departure
- Main Title-Version #2 (Alternate M.t.)
- Revealed
- Reaching Out
„Star Trek: The Next Generation“, the soundtrack composed by Dennis McCarthy, now available on vinyl. This exclusive vinyl edition brings the iconic music of the acclaimed sci-fi series directly to your home, delivering an authentic and aweinspiring sonic experience. This exclusive vinyl edition is a must-have for all Star Trek fans and vinyl enthusiasts.
Featuring stunning cover artwork and a limited number of copies, this LP is sure to be a highly coveted collector‘s item. Get your copy of Star Trek: The Next Generation - Original Soundtrack on vinyl now, and let the power of music take you into the vastness of space!
Miles Davis created just one studio album with his original sextet: Milestones. And he made every moment count. Pairing with Cannonball Adderley, John Coltrane, Red Garland, Paul Chambers, and Philly Joe Jones, Davis not only laid the groundwork for the modalism that immediately followed but tailored a genuine modern-jazz masterwork laden with performances among the most explosive of his distinguished career. Sandwiched between the more famous 'Round About Midnight and the epochal Kind of Blue, Milestones remains a seminal work of art.
Sourced from the original master tapes and pressed on dead-quiet SuperVinyl, Mobile Fidelity's numbered-edition 180g LP grants each musician their own space amid broad soundstages. Afforded the benefits of a nearly non-existent noise floor and supreme groove definition, this vinyl reissue doubles as a time machine back to the February-March 1958 recording sessions.
Colors, shapes, and dimensions appear in the manner that resembles what you'd glean from behind a studio control room's window. Davis' burnished trumpet is rendered in three-dimensional perspective and seemingly coaxes the band to play with unburdened zest. Coltrane's trademark saxophone teems with lifelike tonality and images with specificity; his solos work in tandem with and against the driving rhythms. Garland's swaggering piano lines? Visualize the keys as he hits full stride, the chords and fills slithering around skeletal frameworks.
Inducted into the Grammy Hall of Fame and selected as a "Core Collection" record by the Penguin Guide to Jazz, Milestones is as famous for its title track – widely considered ground zero for modalism and bolstered by Jones' hallmark "Philly Lick" rim shot – as the players that produced it. The launching pad for many of Davis' improvisational flights, the album teases the explorations Coltrane would soon chase. Davis' own solo work broaches territories that far exceed what he had done in his bop-rooted past. Every song is a highlight.
Take the bravado "Dr. Jackle," featuring a hot-foot pace and bebop strains, or "Sid's Ahead," which continues the album's blues theme while juggling edgy harmonics and inside-out structures. On "Billy Boy," distinguished with an arco bass solo from Chambers, Garland gets a turn in the spotlight and channels the openness practised by one of his heroes, Ahmad Jamal. Even more instructive is the band's reading of Dizzy Gillespie's "Two Bass Hit." Three years removed from the version Davis and company recorded for the trumpeter's Columbia debut, this interpretation demonstrates the extent to which the group had jelled in a relatively short amount of time.
Then there's "Straight, No Chaser," the definitive rendition of Thelonious Monk's signature piece. Coltrane's marbled playing pulls at the tune's borders, Adderley takes liberty with solos, and Davis dances around his mates, at one point quoting "When the Saints Go Marching In" while demonstrating his knowledge of tradition and casting an eye towards the future.
About that future. Garland already had one foot out the door during the Milestones sessions to the extent Davis spells him on "Sid's Ahead." Jones would stick around for a bit longer but soon plot his exit. History proves Davis navigated the changes with visionary aplomb. Yet the chemistry, excitement, and beauty the sextet achieves on Milestones cannot be overstated. This reissue helps put the album in proper perspective – and presents the music the fidelity it deserves.
Dire Straits never made a big to-do about its final run. In classic understated British fashion, the band simply let its music speak for itself. And how. Originally released in September 1991, On Every Street became the group's swan song – a lasting testament to the influence, musicianship, and integrity of an ensemble whose merit has never been tainted by cash-grab reunions or farewell treks. It remains an essential part of the Dire Straits catalog and a blueprint of the distinctive U.K. roots rock the collective played for its 15-year career.
Sourced from the original master tapes, housed in gatefold packaging, and pressed at RTI, Mobile Fidelity's 180g 45RPM 2LP set of On Every Street presents the album like it has always been meant to be experienced: in reference-grade audiophile sound. Recorded at AIR Studios in London and produced by Dire Straits leader Mark Knopfler, it features all of the band's sonic hallmarks – wide instrumental separation, visceral textures, seemingly limitless air, broad soundstages, atmospherics that you can almost reach out and feel. Each element is made more vibrant, physical, and lifelike on this collectible reissue, which marks the first time this 60-minute work has been available at 45RPM speed.
Afforded generous groove space and black backgrounds, the songs from On Every Street burst with nuanced details and vibrant colors. Dire Straits' playing appears to float, their intricate performances organized amid hypnotic, fluid, three-dimensional arrangements. Mobile Fidelity's definitive-sounding set also brings into transparent view Knopfler's finely sculpted guitar lines, expressive tones, and laid-back vocals – as well as the balanced accompaniment from his band mates. Here's a record on which you can hear the full blossom and decay of individual notes, and imagine the size and shape of the studio. It is in every regard a demonstration disc. And it happens to be filled with timeless fare.
Remarkably, On Every Street almost never came to light. Dire Straits initially dissolved in September 1988 after touring behind its blockbuster Brothers in Arms and suffering the departure of two members. At the time, Knopfler professed his desire to work on solo material; bassist John Illsley also explored side projects. But Knopfler's decision in 1989 to form the country-leaning Notting Hillbillies reignited a spark to reconvene his primary band and craft a fresh batch of songs. Six years removed from Brothers in Arms, Knopfler, Illsley, keyboardist Alan Clark, and keyboardist Guy Fletcher teamed with A-list session pros – steel guitarist Paul Franklin, percussionist Danny Cummings, saxophonist Chris White, guitarist Phil Palmer included – to create what still stands as an unforgettable farewell.
The platinum record brings the band full circle in that it returns Dire Straits to a quartet formation; finds the group refreshingly out of step with the era's prevailing trends; and sees Knopfler and Co. knocking out song after song with the deceptive ease of a punter tossing back a pint at a pub. That subtle cool, clever poise, and innate control – signature traits that no other band ever matched – dominate On Every Street. Knopfler's clean, virtuosic six-string escapades unfurl with dizzying melodicism and economical efficiency. Led by his winding fills and focused solos, Dire Straits traverse a hybrid landscape of rock, jazz, country, boogie, blues, and pop strains with near-faultless prowess.
More than any other entry in the group's oeuvre, On Every Street welcomes quick detours down back alleys and into the depths of human souls. What makes it more brilliant is its staunch refusal to cater to commercial expectations or take advantage of prior successes; every passage feels true, every measure echoed in the service of song. It's evident in the humorous satire of "Heavy Fuel," closeted desperation of the witty "Calling Elvis," and shake-and-bake bounce of "The Bug." It pours from the album's darker corners, as on the high-and-lonesome melancholy of the title track and bruised emotionalism of "When It Comes to You."
Hinting at the open-minded approaches and boundless curiosity he'd embrace as a solo artist, Knopfler doesn't limit himself when it comes to style or subject matter. Look no further than "You and Your Friend," a shuffle whose all-inclusive lyrics encourage an array of interpretative meanings. Another of the album's deep cuts, "Iron Hand," comes on as one of the band's most memorable moments – the narrative addressing the abuses of power at the 1984 Battle of Orgreave during the U.K. miners' strike. Given cinematic heft by the expert production, the true-fiction account puts into perspective the richness, poetry, and depth of On Every Street.
"Every victory has a taste that's bittersweet," sings Knopfler on the title track. At least that bittersweetness seldom sounded so damn good on record.
Kane Pour is a songwriter and multimedia artist who lives in Gainesville, FL, and has been making loop and guitar-based electronic music since 2004. His work often leans into the subtle and murky emotions that dwell beneath the surface, calling forth themes of care, sadness, and tenderness of the human soul. With a wide sonic palette and sense of humor, he puts his love of harmony and space first, slowly dimming through soft landscapes of various textures. The Last Wave is a spiritual successor to Sun People Sleepwalker, an album Kane Pour released as Pospulenn in 2010. The album is a series of ambient guitar meditations on reconciling painful memories, growing, and reclaiming identity. The Last Wave was recorded at the onset of the Covid pandemic when Pour was home isolating. He put together the songs and walked around at night listening to them, feeling intense loneliness in the present, but finding comfort in having time to reflect on his past. The tone and aesthetic of the album evolved over time but Pour named it The Last Wave because he thought it might be his last album or the last living remnant of his soul left after the world fell apart.
Foreign Mail returns with a new compilation including another geographically diverse roster of artists.
On this occasion, the board of directors specifically requested a more calm pace, with spacious soundscapes and harmonious, reverberant pads as protagonists. Expect a wider spectrum of styles: techno, house and ambient.
Long-time friend of the label Fader Cap returns to Butter Sessions with a potent four-track EP 'Blue Pool'. First appearing as Sedgwick on our 10 years of BSR compilation, Fader Cap has since released music on Craigie Knows and his own Straight 2 It Recordings.
Connecting the dots between progressive house and techno, the four tracks on 'Blue Pool' maintain an infectious energy, with pumping drums and plenty of space for contemplative synth work to keep the body moving and brain tingling. The rolling, dub-wise basslines set the foundations for intricate sound design and tripped-out sequences that provide that sweet head high we're chasing. Let your mind wander as you float away into the blue pool.
One of the most successful and enjoyable debuts in history, The Cars' self-titled album doubles as a greatest-hits collection. That's because not one song here is unrecognized or unknown. A huge reason why the Boston quintet became America's most popular new-wave band, The Cars launched eight tracks still regularly heard on radio stations everywhere. Consider the hit list: "You're All I've Got Tonight." "Good Times Roll." "Just What I Needed." "Moving in Stereo." "My Best Friend's Girl." "Don't Cha Stop." If you're a fan of pop music, this album is mandatory. Just call it the best new-wave rock album ever made.
And now, The Cars sounds better than it has in any previous incarnation. Mastered from the original analogue tapes, Mobile Fidelity's numbered-edition LP allows the music's oscillating rhythms, futuristic keyboard passages, panned stereo images, and rippling textures to be experienced like never before. The songs take on a surreal quality, the Cars manipulating the vibrant music at will to mesmerize the listeners' senses and hold them at bay. Mobile Fidelity's pressing epitomizes the sensation of "moving in stereo."
Led by Ric Ocasek and Benjamin Orr, the Cars managed to unite then-disparate styles: bubblegum pop melodies, angular art rock, progressive arrangements, and terse minimalism. Orr's low, understated singing and Ocasek's cool, detached vocals lend shades of doubt and double meaning to the lyrics, which are further counterbalanced by orchestral keyboard flourishes and electronic beats. The brilliant arrangements also benefit from a laidback cool and understated irony that remain uncommon in the over-the-top world of mainstream music. Obsessed with incorporating the latest technologies and sounds into its palette, the band spiced its tunes with delightfully quirky accents — country-tinged guitar fills, echoing Syndrums, reggae splashes, hard-rock tones, robotic pulses.
The results are the sounds of a creative landmark. At once accessible and eccentric, edgy and catchy, The Cars explodes with emotion, energy, and hooks. It's impossible not to get caught up humming and singing along to every song, an appeal that comes courtesy of Roy Thomas Baker's stellar production. The legendary producer, best known for his work with Queen, ensured that the record seamlessly packed a smooth midrange, spacious imaging, and call-and-answer choruses in one tight package. Baker's trademark touches with harmony vocals abound.
"The MoFi disc is much better than the original in every way. It's more dynamic, much more natural on top, and all three dimensions have a lot bigger space. This disc is great from start to finish, but "Moving in Stereo" will blow you away on a great system in a big room."
—Jeff Dorgay, TONEAudio
Most audiophiles know Alan Parsons Project's I Robot by heart. Engineered by Parsons after he performed the same duties on Pink Floyd's Dark Side of the Moon, the 1977 record reigns as a disc whose taut bass, crisp highs, clean production, and seemingly limitless dynamic range are matched only by the sensational prog-rock fare helmed by the keyboardist and his creative partner, Eric Woolfson. Not surprisingly, it's been issued myriad times. Can it be improved? Relish Mobile Fidelity's stupendous UltraDisc One-Step 180g 33RPM box set and the question becomes moot.
Mastered from the original master tapes and pressed at RTI on MoFi SuperVinyl, I Robot comes to life with reference-setting realism on this numbered, limited-edition reissue. Boasting immaculate highs and lows, generous spaciousness, and see-through transparency that takes you into the studio with Parsons and Woolfson at Abbey Road, this definitive edition is designed to demonstrate the full-range capabilities of the world's best stereo systems while offering listeners the convenience of having all the music on one LP.
Featuring a nearly inaudible noise floor, this transcendent UD1S edition functions as a repeat invitation to savor reference-grade soundstages, immersive smoothness, sought-after instrumental separation, three-dimensional imaging, and consummate tonal balances. Able to be played back at high volumes without compromise or fatigue, it is a demonstration record for the ages – the likes of which are no longer being made. This is the very reason you own and invest in high-end audio gear.
The special characteristics of this UD1S version extend to the premium packaging. Housed in an elegant slipcase, the reissue features special foil-stamped jackets and faithful-to-the-original graphics. Aurally and visually, it is made for discerning listeners who prize sound quality and production, and who desire to fully immerse themselves in everything about this conceptual landmark. The Alan Parsons Project's most famous record deserves nothing less.
Inspired by and loosely based around the Isaac Asimov stories of the same name, I Robot delves into themes of artificial intelligence and technological dominance that make the record extremely relevant in the 21st century. Indeed, Parsons and Woolfson's pinnacle creation dovetailed with the ascendency of Star Wars, which itself is experiencing a rebirth in an age of self-driving cars, smart devices, and mindless automation. Lyrically, songs such as "The Voice" call into question human behavior – and their relationship to increasing robotic supremacy – in everyday life. Parsons and Woolfson reflect the associated paranoia, dichotomy, and transformation via shifting sci-fi arrangements steeped in drama and moodiness.
The absorbing tunes on I Robot also continue to fascinate due to their perfectionism and innovation. Borrowing from Pink Floyd's strategies, Parsons and Woolfson utilize a looped sequence on the title track to create new downbeats. "Some Other Time" employs two different lead vocalists and yet gives the illusion that only one is involved. Captivating strings, a piccolo trumpet, and bona fide pipe organ grace "Don't Let It Show." The origins of "Nucleus" stem from a unique analog keyboard concoction dubbed "the Projectron," devised by Parsons and electronic engineer Keith Johnson. Andrew Powell's orchestral and choral arrangements top it all off, with "Total Eclipse" arriving as a frightening track that presages the climactic "Genesis Ch. 1 V. 32."
Does man or machine win in the end? Decide as you get lost in Mobile Fidelity's UltraDisc 180g 33RPM LP pressing. Secure your numbered copy today!
More About Mobile Fidelity UltraDisc One-Step and Why It Is Superior
Mobile Fidelity Sound Lab's UltraDisc One-Step (UD1S) technique bypasses generational losses inherent to the traditional three-step plating process by removing two steps: the production of father and mother plates, which are created to yield numerous stampers from each lacquer that is cut. For UD1S plating, stampers (also called "converts") are made directly from the lacquers. Since each lacquer yields only one stamper, multiple lacquers need to be cut. Mobile Fidelity's UD1S process produces a final LP with the lowest-possible noise floor. The removal of two steps of the plating process also reveals musical details and dynamics that would otherwise be lost due to the standard multi-step process. With UD1S, every aspect of vinyl production is optimized to produce the best-sounding vinyl album available today.
MoFi SuperVinyl
Developed by NEOTECH and RTI, MoFi SuperVinyl is the most exacting-to-specification vinyl compound ever devised. Analogue lovers have never seen (or heard) anything like it. Extraordinarily expensive and extremely painstaking to produce, the special proprietary compound addresses two specific areas of improvement: noise floor reduction and enhanced groove definition. The vinyl composition features a new carbonless dye (hold the disc up to the light and see) and produces the world's quietest surfaces. This high-definition formula also allows for the creation of cleaner grooves that are indistinguishable from the original lacquer. MoFi SuperVinyl provides the closest approximation of what the label's engineers hear in the mastering lab.
- What I Had To Do
- The Tunnel Has No End
- What Good's The Medicine?
- Better Man
- I Get By / Did It Happen That Way?
- Damn The Working Man
- Video Spectrum In The Bowling Green
- Throw 'Em Out
- I Know About No Money
in this music, that makes me bow my head out of respect for primal, natural forces. It is said that this third album in the discography is the most important one, I have no doubt whatsoever that "Magna Mater" is a polished, ambitious and the best work in the several-year history of Kalt Vindur, and if this is how black metal of the 21st century is to sound, it should be glorified without a doubt.
Recommendation!!! Amen."- Metal Crush 'Zine (Jarek) Cover artwork made by Maciej Kamuda (Blut Aus Nord, Spaceslug, Sunnata,
Trauma)
HJirok is a mythical figure, conceived as a fictional character by Iranian-born Kurdish singer and artist Hani Mojahedy. Together with versatile music producer And Toma of Mouse On Mars, she combined a variety of sounds collected during their joint travels to Iraqi Kurdistan and elsewhere with heavily processed recordings of Sufi drum rhythms and setar melodies. The result is a driving, dubbed-out, and deeply intricate soundscape that perfectly sets the stage for Mojahedy's extended, unconventional vocal techniques and polyglot lyrics. Both informed by tradition and rigorously forward-looking, »Hjirok« (with a lowercase J) is at once a profoundly personal album and a universal utopian promise. As a ghost from the past, HJirok draws on Mojtahedy's memories to mould a new future out of them.
The foundation for »Hjirok« was laid in the city of Erbil in the Kurdish part of Iraq. During one of their stays in the region, Mojahedy and Toma recorded the three percussionists Hadi Alizadeh, Jawad Salkhordeh and Serdar Saydan as well as setar player Ali Choolaei from Motahedy's backing band while they were playingthe rhythms and notes that she had grown up with in the house of her grandfather in the Iranian city of Sanandaj. Her memories of that place revolve around hypnotic Sufi music, dervishes in deep trance, and ecstatic singing. Much like this music seemed to open a portal to other dimensions, the inhabitants of the house lived in a sort of alternative reality: It provided them with a hideaway from political circumstances. Following the Iranian revolution in 1979, a Kurdish rebellion ensued but was met with the utmost brutality by the new regime, which resulted in the death of thousands.
It is no coincidence that the music on »Hirok« would draw on rhythmic patterns that were passed on from one generation to the next for hundreds of years. »The project is rooted in the figures of the Sufi dervishes and thus a culture that precedes today's political, social, cultural, and religious systems,« explains Mohtahedy. »The Sufi sound travelled around the entire world. I like to think of it as a dialogue between peoples-one based on the rhythms of the drums and the sound of their voices.« Toma adds that by electronically transforming the recordings and enriching them with field recordings from both rural and urban spaces, they were able to use the stories told by the drums and the setar to create an entirely new narrative.
The story told by these eight pieces is hence a deeply personal, but also inherently political one. Moitahedy herself left Iran in 2004 and relocated to Berlin in 2010. Having continued to use her art as a platform to tirelessly advocate for the rights of the Kurdish people and women under oppressive regimes, she has not been allowed to return to her country of origin ever since. »Hani is singing for equality and there are people who are afraid of that-her femininity, her strength.« Toma says. Much like earlier Hirok sound installations addressed human-made climate change and other systemic ills, also »Hjirok« can hardly be disconnected from far-reaching struggles for liberation and equality.
This is also true on a thematic and even linguistic level. »The lyrics are about a promise,« Mojahedy says, citing Kurdish writer Ebdulla Pesêw as an inspiration. »At their core, these are about that day on which violence and fear become a thing of the past; what they tell you is ot not give up, to keep hoping,« she adds. The promise embedded in them is an emancipatory one. These contents are mirrored on a linguistic level: The lyrics were written in both Kurdish and Farsi, blurring the lines between the two languages and thus, Kurdish and Persian cultures.
Mojahedy, or rather HJirok, conveys these philosophical themes with elegance. Herversatile vocal performance is only loosely basedo n established styles. »Of course everything started with traditional rhythms, but we kept pushing things further and further, so Idid the same with my voice,« Mojahedy explains. »There were no boundaries.« The same can be said of the field recordings that she and Toma used. Whether it's conversations between members of the Pesmerge, the Kurdish armed forces, having a chat in meadow full of bunnies or the humming and buzzing of metropolises like Tehran: »Hirok« paints a sonic picture that is quite literally autopian one; that of a non-place in which different soundscapes, cultures and ways of life coexist peacefully.
What the album conjures up from Mojahedy's memory is not only a very specific place during a unique time in history as experienced by a single person. It is also ametaphorical home open to anyone who wishes to enter - promise of a better, more egalitarian future for everyone. Hence, HJirok will bring it on tour, presenting the material as an audio-visual live show that makes use of the photo and video material that Mojahedy and Toma have collected during their travels through Kurdistan.ja
»Other Rooms« is an uncompromisingly adventurous and engaging listen. It manages the rare feat of remaining concise while brimming with detail and inventiveness.
Ten years into a multifaceted career in experimental sound, Belgium’s Adriaan de Roover presents »Other Rooms«, his second solo album and a product of the thoroughly unexpected things we all experience, from societal freeze to the dissolution of individual relationships. Originally recorded for a performance with Fennesz at Église Notre-Dame de Laeken in 2020, »Other Rooms« was reworked into its final form in 2023. De Roover notes an inspiration from »looking at different versions of a life, sitting in a space between them; a constant focus on those alternate things... What if, what if.« It is introspective music informed by a desire for connection to oneself, to others, and to the boundless scale of everything else.
»Other Rooms« is Adriaan’s second outing through the acclaimed Dauw imprint, which is also the home to Midori Hirano, Dylan Henner, H.Takahashi, Lieven Martens and Taylor Deupree. Stepping back from rhythm-oriented motifs, this latest work is a concise but varied collection of weightless melodies and expertly sculpted, computerized soundscapes.
MME Recordings lands on planet earth with their first release from Berlin based Italian producer Cesare Muraca. The spacey four tracker opens with an immediate dancefloor smasher in the form of Space Message. The trippy yet melodic synths balance out the killer drums and addictive bassline to hypnotize dancers in the groove. The rest of the EP comprises of euphoric synth structures and chunky bass, offering a solid allrounder that simultaneously works for any moment in the night.
Marius Circus is well known and loved for a signature analogue sound and once again that is laid out for us all to enjoy here on a new EP that comes with a remix from men of the moment Jazxing. First up is the deep, unhurried and dubbed out 'Lost On A Path To Nowhere,' a subtle late-night sound with wispy synths and a muted bassline that grows ever more prominent. The Jazxing Pathfinder remix is more tropical and steamy, and on the flip 'No Way Home' douses you in more blissed-out chords before the downbeat boogie of 'Space Crumbs Trail'. This is yet more essential summer goodness from Is It Balearic.
For the 15th anniversary of this timeless classic, !K7 Records are re-issuing Tosca’s seminal album ‘No Hassle’ in an audiophile 3LP format.
Multi-instrumentalists Richard Dorfmeister and Rupert Huber have been friends since their Vienna schooldays. Richard later became half of the globally acclaimed DJ-producer duo Kruder and Dorfmeister, while Rupert worked in piano composition and sound-art installation. ‘No Hassle’ is Tosca’s fifth studio album.
A luxurious tapestry of analogue and digital sounds, submerged samples and live instruments, it evolves and expands into an hour-long ambient symphony. The title reflects not only the duo’s laidback approach to making music but their whole philosophy of life.
‘No Hassle’ is all about contemplation and concentration. While recent Tosca releases like J.A.C. (2005) and the remix collection Souvenirs (2006) were a move towards classic song structures and club-friendly grooves, their latest is a much more introspective journey into inner space.
**GREEN VINYL**Firefriend RCKNRLL ‘São Paulo is one of the largest, filthiest, and most violent cities of the world. And this is the music we make here’. Captured live at the No. 74 in São Paulo – brace yourself for a one way trip to the heart of darkness. RCKNRLL is an transcendental psychedelic sonic assault, a lightning storm of guitar haze and drugged-out wailing. Mainlining an elegantly wasted take on two-chord avant garage rock that makes direct reference to Plastic Inevitable era Velvet Underground, where Yury Hermuche devotional fuzz layerd on top of Julie and Caca primal throbbing rythm - you will feel the effect as time and space start creasing and folding in at the edges. The overall music created at this venue on this night is so intense and claustrophobic that, at times it will pin you back into your seat – such is the physicality of Firefriends music. This is not just another live album - this is a mission statement. With a taste for hallucinogens and the drone RCKNRLL is completely unyielding, it offers no concessions to listeners, demanding they embrace the distortion - . Do yourself a favour. Turn the music on, the lights off, and let yourself go. RCKNRLL, FUZZ, FEED YOUR HEAD
repress !
A.Skillz and Krafty Kuts team up once again on this track with funk and soul Sensation Gizelle Smith on Vocals.
Creating a disco, funk summer time groover. Their remix takes the track in a more Chilled slice of Electro Funk.
The track has been licensed to a Monkey Shoulder Whiskey Campaign and will be featuring as part of their space launch project. The brand launched a bottle of whisly into space on a carbon netural Ballon, where it circled the earth and the track was played before decending to earth where the whsikey was used to create a cocktail.
X CLUB. is the production duo of Ben Clarke and Jesse Morath. Founded in Brisbane/Meanjin Australia’s warehouse scene and exported to London and beyond, their music is inspired by early 90s techno all the way through to future-facing drum’n’bass, with X CLUB. carving out a space entirely of their own thanks to their authentic and eclectic take on dance music with serious consideration for underlying groove.
With releases on labels such as Steel City Dance Discs, SPANDAU20/CROWDS, 99CTS Records and Stay On Sight, X CLUB. have seen their records reach global audiences with frequent touring across the UK, Europe, North America, Asia and Australia.
Wrestling With New Technique by X CLUB. is the second release on their own label HIDE THE JUNK, a powerful four track offering that follows on from it's HTJ001 predecessor which set out to explore the groovier, percussive and fun side of techno. These tracks have met dance floors the world over, summer into winter, making for big stage moments and more intimate club connections. It's the follow up EP that fans and DJ's alike have come to know and expect in X CLUB. and the start of what will be an exciting 2024.
Unreleased, "lost" 7inch off the Bruton library music album "Deep Funk". Two killer cuts by the Sound Stylistics: The Message is a piece of heavy soul featuring the vocals of late great UK soul singer Noel McKoy, Freedom Sound is a space funk groove with moog synth on top. Officially licenced from BMG Zomba Production Music in 2007, manufactured and forgotten. These 45s have just been unearthed from the pressing plant's storage room after more than 15 years.
Tucked away in a corner of northwestern Europe and so small you could drive through it in minutes without noticing you were ever there, Luxembourg is often overlooked. This is also true for Luxembourg’s music scene, and even more so in the early 1980s. Aside from a string of victories at the annual Eurovision song contest or the mighty Radio Luxembourg that had for decades been blasting jazz, rock and other modern music into stolid Western European ears, very little else seemed to be going on. But even in a country of barely 350,000 people, musical adventurers had picked up on the spaced-out jazz-funk of bands like Return to Forever, Herbie Hancock’s Mwandishi, Weather Report, George Duke, and the electric Miles Davis. Under the leadership of trumpet player Gast Waltzing, a handful of them put together a band called “Atmosphere” and used the sound of their inspirations as a launchpad for their own musical exploration.
What you hold in your hands is a “best of” the Atmosphere band, which released two albums and a 7” single between 1981 and 1986. Privately pressed and long out of print, with original copies very hard to come by even in their country of origin, these records have for years been unheard by anyone outside hardcore collector circles. With no master tapes available, it was a real labor of love to track down the best quality vinyl copies and to reissue a selection of our favorite tracks in professionally remastered form.
Editions de Lux is a new label dedicated to unearthing and releasing records we love and believe deserve more attention, with a focus on Luxembourg and the surrounding countries. We are just the latest in a long line of immigrants who have come to work in Luxembourg and who are trying to find our own path into the heart of this mysterious little country that has much more to it than dark forests, medieval castles, rusting steel mills, and shadowy banks.
Dersu and Diego Figueura are Basel-based brothers also known as Alma Negra and have been responsible for some seriously fresh and funky, afro-inspired dance music since their inception a decade ago. With releases on Heist, Lumberjacks In Hell, Basic Fingers and their own Alma Negra imprint, the duo wear their Cape Verdean roots proudly on their sleeves ensuring a warm, tropical sound emanates through their productions. For their Delusions debut Alma Negra have delivered a compelling and well-rounded EP which shows off their skills across two original tracks, a dub version and a brilliant remix from Yuksek.
Title track Madrugada takes us directly to the afterparty. More specifically, the kitchen of the house party where the action invariably continues to the early hours. Live horns, guitar, percussion and bass all bring a big sound and real band groove to the production making for a feel good modern-day boogie tune guaranteed to lift the spirits.
Next up we have the aptly named Funky Fever which treads a similar path with big horn parts rubbing up alongside Moog synth lines and punctuated with 80’s tom fills and a rock solid rhythm guitar riff. The real star of the show is the vocal which is unashamedly raw and unpolished giving an authentic and endearing hook to the track.
French producer Yuksek is someone whose productions we’ve been loving for some time and really happy to finally have him onboard for a remix for what we feel is the perfect project for him. Like Alma Negra, Yuksek is another talent who is difficult to pigeonhole and enjoys mashing up genres and incorporating many outernational influences into his sound. On his remix of Madrugada he keeps many of the live parts intact but generally ‘houses’ up the drums and mix which increases the energy without losing the overall vibe of the original.
Closing out the EP we have Alma Negra’s own Dub Mix of Madrugaga which goes for a classic dub approach; pairing back the parts, muting the vocals and creating space for the groove to shine, all making for a perfect track to warm up the dance floor early doors.
**Ltd First Pressing on Black/Red Splatter Vinyl** Introducing Observers “The Age of the Machine Entities” an instrumental heavy metal reimaginin of Stanley Kubrick and Arthur C Clarke's 2001 A Space Odyssey. Observers is a new project fronted by Martin Kennedy whose ambient rock band All India Radio has seen music used in CSI, One Tree Hill and many more. Canadian metal titan Devin Townsend even covered an All India Radio song that he fell in love with while on holiday. Kennedy has also released over fifteen albums with Steve Kilbey of psychedelic rock legends The Church. Kennedy says “I’ve been fascinated by 2001 A Space Odyssey ever since my mum took me to see it in the 1970s. It blew my mind. I started making my own 2001 inspired super 8 movies, I collected everything I could afford and I’m still obsessed with it into my adult years.” “The Age of the Machine Entities” is entirely instrumental and takes us on a cosmic journey through melodic metal, atmospheric riffs and psychedelic ambient sequences with echoes of Gojira, Black Sabbath and Tangerine Dream and the early 70’s work of Pink Floyd. Indeed treats us to a searing metal version of the obscure but fan favourite “The Narrow Way Part 2” from the Floyd’s Umma Gumma. The album was mixed by Joe Haley from Tasmania’s legendary Psycroptic and the line up is Rich Gray (Annihilator) on bass, Chris Bohm on drums, and guest soloists including Joe Haley and Jake Weber. The all important visual aspect is brought to life by Ryan T Hancock (known for work with King Buffalo, ᴀɢɴᴏxɪᴀ, Robot God), who created the mesmerizing album artwork. Observers' "The Era of Machine Entities" is a fusion of artistic brilliance that pays homage to the timeless mystery of "2001: A Space Odyssey.”
Utrecht (NL) based Tusky proves that punk-rock is alive and well in 2024, with the release of their fist-in-your-face-but-you-love-it new album: ‘Tusky’. Their third studio album will be released March 8th 2024 on Suburban Records
.
On previous releases, the band has been known to be in charge of their own recordings and productions, but with the new album they took it a step further: They converted their rehearsal space into a studio. By doing this, they have built a space in which they were able to record their new album in peace. “Having your own space is awesome! A place where you can take all the time you need, to experiment with different amps, pedals, guitars, mics. Each day we could go on as long as we wanted, but we could also decide to take a break and go for a swim in a nearby lake,” singer Vladimir Stevic elaborates.
Mercurio is the debut album by Opuntia, the solo project of Mexico City producer Camila de Laborde. After three albums with her duo/band, Camila Fuchs (ATP/Felte, etc.), Camila decides to embark on a new path of musical and interpersonal exploration with Opuntia as her new alias, and with the album Mercurio as a statement of metamorphosis and creative process.
Broadly speaking, Mercurio is a direct impact of beautiful melodies, rhythms, and voices that traverse a leftfield electronic pop axis, sprinkled with elegant nods to experimental transitions. In Mercurio, you can sense the spaces, textures, and echoes, akin to a sort of retro Sci-Fi analogy. Bass hits or percussions carry a weight that bursts forth yet delicately dissolves instantly – perhaps another analogy, akin to liquid metal. From softness to fury across the ten songs, Opuntia proposes an artistic reinvention in constant movement. Speeds and spaces change, but the narrative remains consistent from beginning to end – finding a place, a resolved utopia. Mercurio is darkly joyful, with substantial doses of sophisticated pop.
- A1: Nuha Ruby Ra – My Voice
- A2: Lande Hekt – Gay Space Cadets
- A3: Panic Shack – The Ick
- A4: Sinead O Brien – Like Culture
- A5: Ciel – Baby Don’t You Know
- A6: Brix Smith – Fast Net
- A7: Momma – Motorbike
- A8: Dream Wife - Leech
- B1: Los Bitchos – Las Panteras
- B2: Peaness – How I’m Feeling
- B3: Girl Ray – Everybody's Saying That?
- B4: Arxx Ft. Pillow Queens – Call Me Crazy
- B5: Roe – I Can Change
- B6: Ailbhe Reddy – Walk Away
- B7: Lexie Carroll – The Sky Looked Nice Today
- B8: Dana Gavanski – I Kiss The Night
Charity-Compilation zum Internationalen Frauentag 2023 (Mittwoch, 8. März) mit Beiträgen aktueller Indie-Künstlerinnen von Brix Smith über Dream Wife bis Los Bitchos, die alle auf ihre Anteile verzichten. Sämtliche Einnahmen gehen an die beiden britischen Wohltätigskeitsorganisationen Brighton Women's Centre & RISE, die ihr Möglichstes tun, um Frauen in allen Bereichen von häuslicher Gewalt über Trauer bis Obdachlosigkeit zu helfen. Die LP ist insgesamt auf 1.000 Stück limitiert, die CD enthält 5 Bonustracks.
The previously unissued soundtrack to the 1964 noir, You're Not From A round Here, discovered after 55 years in the Louis Wayne Moody archive. A hobo's bindle full of twangy tremolo, reverb-drenched revenge, and existential echo. Songs of a lienation, paranoia, dark alleys, betrayal, prison, prostitution, trains, gun play, feminine betrayal, and the dusty, lonely road of self discovery. A black and white affair trapped under the weight of a post-war technicolor allure, You're Not From Around Here lives in a universe of moral ambiguity.
The previously unissued soundtrack to the 1964 noir, You're Not From A round Here, discovered after 55 years in the Louis Wayne Moody archive. A hobo's bindle full of twangy tremolo, reverb-drenched revenge, and existential echo. Songs of a lienation, paranoia, dark alleys, betrayal, prison, prostitution, trains, gun play, feminine betrayal, and the dusty, lonely road of self discovery. A black and white affair trapped under the weight of a post-war technicolor allure, You're Not From Around Here lives in a universe of moral ambiguity.
Sully returns to Astrophonica for a celestial collaboration with young Manchester based vocalist Salo.
Always one step ahead of the pack, Sully relinquishes the signature crusty Jungle breaks in exchange for crisp and steely, live sounding drums to provide the groove for a stripped back and crushed 808 bassline - a hi-def take on his iconic sound. This minimalist structure gives the foundations and space for Salo’s bittersweet vocals to take the lead with clarity and float off into the glorious twilight. A celestial collaboration that spotlights both artists’ strong points.
Sully totally flips the script with the ‘Not Just a Dub Mix’ by taking Salo’s vocals and giving them the Tubby treatment. The Jungle breaks return and sirens ring out - one for the club Salo, born in Tbilisi, Georgia before moving to Manchester via Glasgow as a child, is a classically trained pianist with all the swagger and charm of Manchester club music. She studied at Glasgow Music Academy and Royal Northern College of Music before working with club legends such as Zed Bias, Chimpo and Bassboy.
This is Sully’s first return to the label since 2020’s seminal, highly requested and repressed Swandive EP. At this point he honestly needs little introduction - he’s become one of the highest selling and most sought after Jungle artists for the best part of a decade and shows no signs of stopping
"Something happened on No. The early EPs from Baltimore’s Tomato Flower were pretty, dreamy psychedelia. Warm to the touch, like looking up at the trees on a cloudless day. On No, the four-piece’s debut album, those trees, that cloudless sky, have become haunted, thorny, stormy. It takes Tomato Flower from buttoned-up, almost technically formalist psych pop to something more urgent, raw, emotionally immediate. No is messier, more expansive, and through all of its chaos, the band’s most rigorous artistic statement to date.
No is the band’s first effort made entirely in person, the first thing tracked in a studio instead of in a bedroom. It is a highly collaborative record written and recorded by everyone, partially made live. It is very much the byproduct of a band that has done some serious touring, following a coast-to-coast tour with Animal Collective in the summer of 2022.
Lead single “Destroyer,” has Jamison Murphy practically screaming over angular guitars, oscillating in a sonic space somewhere between the prettiness of Broadcast and the sludge of Jesus Lizard. It also presents an early entry point to one of No’s major conceptual underpinnings: that of the breakup between Murphy and fellow co-lead vocalist and guitarist Austyn Wohlers, which occurred during the composition of the album.
It wouldn’t be fair to just call No a break up album. It’s far more complicated with that. No is a record about negation: I will not do this, you cannot tell me what to do, we are not living in a utopia, don’t be delusional. No embraces a kind of brutal realism, a confrontation of life that only happens when you wizen up a little bit. All of it is a brutal delight, a departure from the past, a nod to a startling present."
- A1: Long Life Death
- A2: Vortix
- A3: Zarathustra Dance
- B1: Eternal Sunshine Of Solitary Mind (W/ Massimiliano Pagliara)
- B2: Sadness Is Only Way To Happiness
- C1: Raver's Heart Is A Mess (W/ Brame & Hamo)
- C2: Memory Is A Clock
- D1: We Don't Know The Way, We Just Stay (W/ Pablo Bozzi)
- D2: Music Will Never Stop, Party Will Never End
Younger Than Me announces his debut full length "The Golden Age Of Love", to be released on 90's Wax this coming March 2024. The record is the perfect example of the breadth of his irrepressible and unique sound. Featuring collaborations with Massimiliano Pagliara, Brame & Hamo and Pablo Bozzi. The artist is an Italian native known for a modern interpretation of '90s club music' - a dynamic blend of Progressive House, Trance, EBM, Breakbeat, and Techno ideas. This first album is a love letter to a deep-rooted passion for the idiosyncrasies of rave culture and the crossover points with contemporary electronic music.
Younger Than Me, an artistic project by Francesco Mingrino that is steeped in the nostalgia of ‘90s rave, yet not at all trapped in that past. A project that has cemented a special place in the electronic music scene with a string of records on labels like Bordello A Parigi, Amsterdam-Utrecht based platform XXX, Rotterdam’s Bar and Jennifer Cardini’s Dischi Autunno. To this point Francesco has pushed his fun yet forceful sound, with many releases on his own 90's Wax, and collaborations with people like Skatebård, Francesco Farfa, Timothy Clerkin and Curses (as Y2C).
"The Golden Age Of Love" as a package is curated in Younger Than Me's characteristic style. Opening with "Long Life Death", a track that sets the stage with a cinematic soundscape in a classic Carpenter vibe. Picking up the tempo "Zarathustra Dance" takes you right into the golden age itself, its low slung beat and carefully sequenced lead line pushes an ever building tension designed to crack any dancefloor. The track with Massimiliano Pagliara, "Eternal Sunshine Of Solitary Mind", is one of the highlights, perfectly building around a catchy lead with tight arpeggio and sequenced acid. Leading us into the 2nd half of the record "Sadness Is The Only Way To Happiness" is a proto-trance beast, inspired by that period in the early 90s when Trance was less bright lights and big stages and more dark rooms and smoke filled spaces, an ever building progressive run of haunting vocals, rave stabs and rolling bass.
Whilst YTM is at home presenting dancefloor focussed material, we see him explore the other side too, with "Memory Is A Clock" like the earlier "Vortix", he ditches the 4x4 for breakbeat territory. Whilst the bass keeps the solid metronome you would expect, "Memory Is A Clock" is a track that takes a few moments, contemplative melody and trademark arpeggios take the lead. When it comes to the other collaborations on the record, the appearance of Brame And Hamo on "Raver's Heart Is A Mess" sees them lean into the Progressive nature both artists love so much. Then Pablo Bozzi lends his own unique outlook to "We Don't Know The Way, We Just Stay" in one of the standout tracks, epitomising Younger Than Me’s ability to create profound experiences.
The album concludes with "Music Will Never Stop, Heartbeat Will Never Fade, Party Will Never End", less of a title and more of a personal philosophy – the perpetual essence of rave culture and its timeless impact on music. A rhythmic belter, juxtaposed with incendiary synth-lines and staple catchy sequence work, finishing the record with one of the true highpoints. In addition the release also features four digital bonus tracks, including "The Other Face Of Loneliness" and a Prog Dance Reshape of one of the records more eclectic cuts "Zarathustra Dance" all offering an extended exploration into the creative landscape YTM inhabits.
"The Golden Age Of Love" is a debut album that ticks all the boxes; it's a celebration of a bygone era through the lens of the contemporary. Younger Than Me stands as a testament to the enduring spirit and evolving nature of the music that began in the ‘90s rave scene, with an LP that pushes Love, Progression and Fun to the forefront.
Das lauteste Rock/Fusion-Instrumental-Power-Trio der Welt beschert uns ihr erstes Konzeptalbum: In DUCK flieht der Protagonist, eine Ente, vor einem Pinguinpolizisten nach New York, wo Aufreger und Gefahren auf ihn warten. Die Aristocrats - Guthrie Govan/Gitarre, Bryan Beller/Bass, Marco Minnemann/Schlagzeug - haben ein kaleidoskopisches musikalisches Universum erschaffen, in dem sie sowohl typische Genre-Pastiches als auch einfallsreiche neue Arrangements erforschen - einige davon überraschend gefühlvoll und sensibel -, um die Geschichte zu ihrem rasanten Ende zu führen. Und während ihre offensichtliche Virtuosität und die ihr innewohnende Absurdität wie immer vorhanden sind, wird sie nun in der bisher ambitioniertesten kompositorischen und klanglichen Produktion der Band eingesetzt. Die abwechslungsreiche Musik begleitet den Protagonisten von der Ente in einem Großstadt-Tanzclub ("Aristoclub") über den gewaltsamen Rauswurf aus einer Spelunke ("Hey, Where's MY Drink Package") bis hin zum düsteren Thema für seinen Pinguin-Verfolger ("Sgt. Rockhopper") und endet schließlich mit dem actiongeladenen Balkan-Fusion-Finale "This Is Not Scrotum", bei dem der Geiger Rusanda Panfili (Hans Zimmer Live) als seltener Aristocrats-Album-Spezialgast auftritt. Duck ist das erste neue Studioalbum der Aristocrats seit fünf Jahren und wurde und mit einem Original-Artwork von Lance Myers (Space Jam) versehen. Und es ist klar, dass die ARISTOCRATS ihre kollektive Kunstfertigkeit auf ein völlig neues, wenn auch absurdes, Niveau gebracht haben. Als Standard CD, CD Deluxe Package in Box mit USB-Stick mit Stunden an Bonus-Material, Schlüsselanhänger und mehr sowie Dopple-Vinyl-LP erhältlich!
PAWN PAINTERS, das sind vier junge Kerle aus dem bayerischen Schrobenhausen, die auf magische Weise Indierock, Postpunk und Spacerock miteinander kombinieren. Sie haben ihren spacigen, von Reverb geprägten Grundsound genommen und ihn schneller (Durchschnittstempo: 179,1 bpm), rauer und punkiger gemacht. Um diesen Charakter auf dem Album einzufangen, haben sie das komplette Album an zwei Wochenenden live im Proberaum aufgenommen. Es ist rough und ungeschönt, aber (eben) auch geradeheraus und lebendig.
Post-Punk (Originally Called New Musick) Is A Broad Musical Genre That Emerged In 1977 In The Wake Of Punk Rock. Post-Punk Musicians Moved Away From Punk's Traditional Elements And Raw Simplicity, Adopting Instead A Broader, More Experimental Approach That Included A Variety Of Avant-Garde Sensibilities And Non-Rock Influences. Inspired By Punk's Energy And DIY Ethos, But Determined To Break With Rock Clichés, Artists Experimented With Styles Such As Funk, Electronic Music, Jazz And Dance Music; Dub And Disco Production Techniques; And Ideas From Art And Politics, Including Critical Theory, Modernist Art, Film And Literature.
These Communities Have Produced Independent Record Labels, Visual Art, Multimedia Performances And Fanzines. These Three Compilations Are By No Means 'Best Of' Or Collections Of Chart Hits. They Are Compilations That Endeavour (And We Think They Do Well) To Take A Wide-Ranging Look At The UK And American Post-Punk Scene In The Years From 1978 To 1984, But Here Almost Everything Stops In 1981, Giving Space To Bands And Artists That Almost Always Didn't Make It Beyond The 45 Rpm Mark. A Representation Of The True 'Outside Of Everything' Of The Era.
“But into my miserable brain, always concerned with looking for noon at two o’clock" - Charles Baudelaire (1869)
The Foreign Department is the second album by Astrel K, the solo project helmed by Stockholm-based British ex-pat, Rhys Edwards. Those already familiar with Edwards’ work will likely know him for fronting the cultishly great Ulrika Spacek, and given he operates as the principal songwriter in both projects, much of the same hallmarks of his cathartic, elliptical songwriting are present in Astrel K. Nonetheless, The Foreign Department feels like a rubicon moment of sorts, and the album that Edwards has unconsciously been working towards his entire creative life.
As a title, The Foreign Department offers an instructive guide for the listener, framing a life-in-transition/artist-in-exile document that maps two impromptu moves in twelve months for its songwriter: the first from London in pursuit of a relationship, the second between homes in Stockholm as that decade long relationship then suddenly dissolved. Indeed, diffusion, dissolution and reconstitution feel like appropriate touchstones for its recurring themes. Written amidst the flux of two states, at once isolated from home and then any established emotional anchor, the resulting eleven tracks came to represent a precognitive search for shifting identity and with it forming an unwittingly biographical record. It's commendable and somewhat telling that during this shake up, Edwards somehow landed upon his most realised and original work.
With a former life stripped away, there emerged an opportunity to reinvent a sense of self through art, now not just as a writer, but a composer also. Developing the confidence to arrange songs in ways he'd previously considered off-limits, while also taking cues from the opulent string and brass arrangements of records like Mercury Rev's Deserters' Songs and Death of A Ladies Man by Leonard Cohen, Edwards enlisted a range of performers to bring to life the mini-symphonies forming in his head. Perhaps it's inevitable that an album written while facing the consequences of being alone would eventually ossify around the process of bringing people together.
For all its troubled origins, The Foreign Department is a remarkably warm sounding collection. Edwards' lyrics are typically knotty and neurotic, dancing around the poetry of quarter-life anxiety, but the music itself is often joyous and even uplifting, the combination expressing that neat duality of melancholic euphoria. Edwards sings variously of crises, "torrid pieces of art", of "houses on fire" and not "having the guts for it", yet these troubling sentiments are framed by seemingly incongruous swelling strings, chirping horns or motorik percussion, creating that sense of pushing forward or floating above, of wrapping your troubles in dreams, a salve for the moments when you get a bit too much for yourself.
Lead single, 'Darkness At Noon', likely captures this all best. Named for the French idiom "midi a quatorze heures", the maddening idea of attempting the impossible for the sake of some greater possibly pointless cause, it directly grapples with the opposing notions of wanting and not wanting, of being here and being there at the same time. The conflicting and impossible self. It’s something Edwards addresses in the song at perhaps his most open, opining, “I know I want to be seen, but I hate most of what comes out of me”. And yet here is, putting it all out in the open and on the line, the dialectics of his enlightenment up on show.
Scottish alt/post/progressive-rock outfit Midas Fall release their Fifth studio album, ‘Cold Waves Divide Us’ on March 8th, 2024 worldwide on Monotreme Records. Michael Hamilton joins founding members Elizabeth Heaton and Rowan Burn for the follow-up to their 2018 Prog Magazine Awards ‘Limelight Award’ winning album, ‘Evaporate’. ‘Cold Waves Divide Us’ sees Midas Fall at their most confidently visceral, each song moving beautifully between quiet and loud, gentle and crushing. “This album is a heavier and bigger experience than the last album”, says Heaton. “We kept the atmospheric strings and 80s synths of Evaporate but wanted to add heavier layered elements, to represent more what we sound like live.” Opener ‘In the Morning We’ll Be Someone Else’ starts quietly with serene piano and vocals, ominously ratcheting up the tension to walls of crashing guitars and Heaton’s soaring vocals. ‘I Am Wrong’ thunders along on pounding rhythmic drums swirling around heavy swathes of low and delicate melodic highs. On ‘Monsters’, the band are more contemplative, with an ethereal beginning making way for gorgeously syncopated guitar and drums, whilst ‘Cold Waves Divide Us’ builds slower, allowing Heaton’s voice to gracefully float over the growing force beneath it. ‘Avalanche’ is a bittersweet lullaby showcasing Heaton’s heart-rending vocals in one of the quieter moments on the album. ‘Point of Diminishing Return’ sees a more electronic influence, with glittering shimmered synths taking the space where guitar melodies were, but with all of the Post Rock beauty that the duo are known for, something ‘Little Wooden Boxes’ showcases perfectly, expertly hovering between gentle clean guitar and piano, and exhilarating, uplifting full-band, full-bore epic. Credits: Elizabeth Heaton - vocals, guitars, strings, synths, piano, drums // Rowan Burn - guitars, synths, piano, drums // Michael Hamilton - bass, synths, drums // Music by Elizabeth Heaton and Rowan Burn/Lyrics by Elizabeth Heaton
- A1: Armin Van Buuren - Am I Ai? (A State Of Trance Year Mix 2023 Intro)
- A2: Gareth Emery - Missing You (Feat Maria Lynn)
- A3: Above & Beyond - 500
- A4: Armin Van Buuren - Love Is A Drug (Feat Anne Gudrun)
- A5: Dim3Nsion - Stronger Now
- A6: Armin Van Buuren & Matoma - Easy To Love (Feat Teddy Swims - Tanner Wilfong & Assaf Remix)
- A7: Estiva - Via Infinita
- A8: Aname - Escape
- A9: Super8 & Tab & Crowdplusctrl - Incomplete (Feat Jess Ball)
- A10: Miss Monique & Avira - Subterranean (Feat Luna)
- A11: Laura Van Dam - Needing You
- A12: Maor Levi & Magnificence - Let You Go
- A13: Kasia - Universal Nation
- A14: Hel Slowed & Amber Revival - If You Only Knew
- A15: Aname - Anywhere (Road Trippin’) (Road Trippin’)
- A16: Armin Van Buuren - Dayglow (Feat Stuart Crichton)
- B1: Dekkai - Firmament
- B2: Armin Van Buuren - In & Out Of Love (Feat Sharon Den Adel - Innellea Remix)
- B3: Orjan Nilsen - 9910
- B4: Armin Van Buuren - Motive
- B5: Chicane - Saltwater (Feat Moya Brennan - Ilan Bluestone Remix)
- B6: Seven Lions & Above & Beyond - Over Now (Feat Opposite The Other)
- B7: 7 Skies - Tokyo777
- B8: The Blizzard - Kalopsia (Matt Fax Remix)
- B13: Dim3Nsion - Adagio In G Minor
- B14: Giuseppe Ottaviani Vs Alex Sonata & Therio - Tears Of The Kingdom (Feat Tishmal)
- B15: Giuseppe Ottaviani & Ilan Bluestone - Futuro
- B16: Hel Slowed & That Girl - Hold Onto This
- B17: Gareth Emery - Vertigo (Feat Sarah De Warren)
- C1: Ahmed Helmy - Glitch
- C2: Ferry Corsten - Mind Trip
- C3: Cubicore - Bifrost
- C4: Lostep - Burma (Aname Am Remix)
- C5: Armin Van Buuren - Vulnerable (Feat Vanessa Campagna)
- C6: Ahmed Helmy - R4Ve 201
- C7: Achilles & Wintersix - Night Vision
- C8: Fergie - Here Comes That Sound
- C9: Dod - So Much In Love (Armin Van Buuren Remix)
- C10: Ferry Corsten - Yes Man
- C11: Ahmed Helmy & D72 - Analogy
- C12: Ben Gold & Ruben De Ronde - Bliksem
- C13: Bryan Kearney Vs Karney - Compromise
- C14: Achilles, Semblance Smile & Sharon Valerona - Never Lost
- C15: Orjan Nilsen - Xiing (Nilsix Remix)
- C16: Maarten De Jong, Frank Spector & Luca Morris - Minuetto
- C17: Asteroid - Free
- C18: Murzo - Kiss The Night
- C19: Xijaro & Pitch - Invisible (With Adara)
- B9: Luke Bond Vs M6 - Nexus
- C20: Bryan Kearney & Bo Bruce - Shine A Light
- B11: Eelke Kleijn - Time Machine
- C21: Paul Van Dyk & Ciaran Mcauley - Someone Like You
- D1: Paul Van Dyk, Marc Van Linden & Sue Mclaren - Beautiful Life (Shine Ibiza Anthem 2023)
- D2: Miyuki - Love Again Like That (Feat Tara Louise)
- D3: Xijaro & Pitch - Chasing Dreams
- D4: Binary Finary - 1998 (Victor Ruiz Remix)
- D5: Emma Hewitt Vs Roman Messer - Fallen
- D6: Will Rees Vs Asteroid - Exhilarate
- D7: Artento Divini Vs Davey Asprey Presents Adda & Ontune - Divas
- D8: Whiteout - Adsr
- D9: Mhammed El Alami - Healing
- D10: Ciaran Mcauley & Susie Ledge - You’re Never Alone (Uplifting Mix)
- D11: Driftmoon - Feel The Waves
- D12: Allen Watts & Rene Ablaze - On My Way (Feat Cari)
- D13: Xijaro & Pitch - Time (With Cari)
- D14: Trance Wax - Artificial Intelligence
- D15: John O’callaghan - Riverside
- D16: Alex Morph & Amy Wallace - Surrender
- D17: Allen Watts - Set Me Free
- D18: Giuseppe Ottaviani - Angel (Feat Faith - Yelow Remix)
- D19: Aly & Fila Vs Chapter 47 Vs Richard Bedford - Edge Of Tomorrow
- D20: Sneijder Vs Cari - You Take My Breath Away
- D21: Ben Gold - Follow The King (Feat Madelyn Monaghan - David Forbes Remix)
- D22: Solarstone - Solarcoaster (Maarten De Jong Remix)
- D23: Daxson - Who We Are
- D24: Giuseppe Ottaviani - To The Stars (A Dreamstate Anthem) (A Dreamstate Anthem)
- B10: Uufo - Energize
- B12: Armin Van Buuren & Punctual - On & On (Feat Alika)
- D25: Haliene - Reach Across The Sky (Ben Gold Remix)
- E1: Trance Wax - Ascend
- E2: Emma Hewitt Vs Xijaro & Pitch - Everlasting
- E3: Craig Connelly & Christina Novelli - Black Hole (Giuseppe Ottaviani Remix)
- E4: Andrew Rayel - One More Memory
- E5: Craig Connelly - Nathan’s Song
- E6: Armin Van Buuren, Ferry Corsten, Rank 1 & Ruben De Ronde - Destination (A State Of Trance 2024 Anthem)
- E7: Ardi - Mystical
- E8: John Askew - Aces Hi
- E9: Giuseppe Ottaviani - Conscious Mind
- E10: Armin Van Buuren & Just Us - Make It Count
- E11: Bk - Xtc Nation
- E12: Bryan Kearney - Encanta
- E13: Somna & Sarah De Warren - Satellites (Will Atkinson Remix)
- E14: Emma Hewitt Vs Daxson - Warrior
- E15: Craig Connelly & Haliene - Other Side Of The World
- E16: Ram & Cari - What Matters
- E17: Sneijder Vs Nat Conway - Everybody’s Free
- E18: John Askew - Running In The Dark
- F1: Ben Gold - Ultrasonic (Maarten De Jong Remix)
- F2: Armin Van Buuren - Computers Take Over The World (Maddix Remix)
- F3: Will Atkinson - Cosmic Heartbreak
- F4: Armin Van Buuren Vs Xoro - God Is In The Soundwaves (Feat Yola Recoba)
- F5: Armin Van Buuren & Vini Vici - When We Come Alive (Feat Alba)
- F6: Bk - You Are The Master
- F7: David Forbes - Dreamstate
F8 . Liam Melly - Energy
F9 . Armin Van Buuren - Space Case
F10 . The Obsessed - Free Yourself
F11 . Ie Shuuk & B Stylezz - Konje
F12 . Armin Van Buuren - Lose This Feeling (Maddix remix)
F13 . Armin Van Buuren - Lose This Feeling (Dimension remix)
F14 . Armin Van Buuren - AI Vs Humanity (A State Of Trance Year mix 2023 outro)
After capturing the attention of audiences, DJs worldwide and the media with the brilliant "Flight Of Sagittarius", Brazilian Diogo Strausz, signed to Parisian label Goutte d'Or Records, presents : Samba From Outer Space This second opus takes us on a journey through time and style, from jazz-funk to dance music and Afrobeat, invoking masters such as Caetano Veloso, Giorgio Moroder or Tony Allen.
"This idea of "Samba From Outer Space" comes from dance music being a universal language beyond electronic but mainly a form of gathering people together in the same frequency." says Diogo. We could summarize everything in "Electronic dance music is nothing but samba from outer space."
- A1: Pushing Feat Derane Obika
- A2: Right Of Me Feat Derane Obika (On My Dace Side Version)
- A3: Back In The Underwater Feat Reiwa Pia
- A4: Walkin’ A Dream Feat Derane Obika
- A5: Hold The Line Feat Derane Obika
- A6: Cat With Camera
- B1: Fall Into The Flame Feat Derane Obika
- B2: I Am Believe Feat Derane Obika
- B3: Don’t You Worry Feat Derane Obika
- B4: Are U Ready? Feat Derane Obika
- B5: Watergate Feat Manuela Amalfitano
- B6: I Am Believe Feat Derane Obika (Dreamy Vibe)
The debut album by musician and producer GO.SOUL.MAP. is a little gem in which pop and soul intersect and the clichés between
mainstream and underground leap. A sexy and pensive nocturnal journey, immersed in thirteen songs between soft bass and space disco trips, with the voice of Londonbased Derane Obika of Living Sounds.
The selection of songs in this album were made with the hope to bring the listener to deep thought, the lyrics and melodies seamlessly
married to tracks that drive the listener's emotions.
Produced, written and performed by Derane and Salvo, they came together by chance and were inspired to make the album making
sure to balance the sound between the Lyrics, Melody and Music to insure that not only the songs are heard but the experience
remembered and both spirit and soul are touched.
The album is truly "Music From The Heart"
Behind the alias GO.SOUL.MAP. hides one of the most authentic and purest talents of the current Catania music scene. Of which,
moreover, under other guises and names, he has been an indispensable pillar for over a decade. An artist of immediate sensitivity, not only artistic. His training is fairly canonical: as a child, he studied piano. From there, as if following the movements of concentric circles, the passion for synths, drum machines, the world of samples and the recording studio. Above all, an uncommon ability to breathe in music. Accepted and found without prejudice, but always with the need to reveal a distinctive track, a signature. Touring between bars, streets, concerts and clubbing. An experience very consistent with the subject matter of this disc. Which is, in fact, the debut of a nonrookie. An ambitious record, because it possesses a sound that is as sexy as it is thoughtful and a writing style, exemplary, that lies on that borderline that, in the stereotype, defines underground and mainstream. Fields that instead it crosses naturally and between which it moves without any particular problems. After all, the music comes not from the malice of the intellect but from the nuances, tender or vehement, of naivety.
Peaceful Sound For Broken Minds is a pop record, pop soul, of modern urban pop. Yes, labels, even in the sense of tags, are definitely that. Of course, it is the way in which ideas are rendered that makes the difference. The record is about the need to find one's peace, but it is the fall that it shows and not the landing. With honesty and, above all, style. That is, mastery of means and an important file work with which to decline that therapeutic soul pain in which his songs are immersed.
We wait for hours more, the initial Fall Into The Flame and I Am Believe seem to tell us from there we move on. Hold The Line is where trip hop forgets itself, immersing itself, to the point of blurring, with the retro atmospheres of someone like Curtis Harding. Pushing has a space disco cadence that, more pronounced, we also find in the lunar expedition sound of Watergate. The exotic visions of Back In Underwater, between the stardust of Air and the innocence of Plone, become more jazzy in Cat With Camera. Just as in the urban streaks of Don't You Worry, which in upbeat mode would sound like a great reggae song, or Are U Ready, or in the disco funk of Right Of Me, the soulful accent of Derane Obika of Living Sounds emerges, a Londoner of Nigerian origin who grew up listening to gospel, Prince and Stevie Wonder, whose voice guides us through the songs of Peacefull Sound For Broken Minds. Which is a new point for that work of redefining the standards of pop today that Space Echo is doing. Throwing the clock overboard, because the time it wants to capture is nothing more than the movement of its hands.
Synthesizerklänge im modernen Dance-Gewand - das war das Rezept der seinerzeit ungeheuer beliebten Band „Koto“, die mit ihrem unvergessenen Hit „Jabdah“ Musikgeschichte schrieben. Die flächigen, spacigen Koto-Sounds sind auch auf dem hervorragenden Album „Koto - Plays Science Fiction Movie Themes“ zu hören. Nicht nur für Fans von Koto, sonde für alle Science-Fiction-Freunde! Jetzt endlich wieder als farbige Vinyl erhältlich
Nils Økland is interested in the journeys and dialogues of music across time and space, a music without national and traditional borders. At the same time, he is also very inspired by local music from many places and often prefers old fiddlers and singers who have a unique personal playing style. The first concert with Nils Økland Band took place in 2014, and since then, they have released the Norwegian Grammy nominated "Kjølvatn" on ECM and "Lysning" on Hubro, which won the award. It has been seven years since their last release. On March 1st, the highly anticipated album "Gjenskinn" (Gleam) is set to be released. The band has been working on the album for a long time, resulting in a genre-defying, cohesive work inspired by influences from around the world. Nils Økland, known for his innovative playing style on the Hardanger fiddle, violin, and viola d'amore, comes from the folk music tradition and is internationally recognized. He has collaborated with major orchestras, composed music for various mediums, and played on albums with notable musicians. Additionally, he is a member of the rock trio Lumen Drones (ECM), their latest release (Umbra) was released on Hubro, and he was a member of the improvisation band 1982 (Hubro), bridging folk, classical, and improvisational music. The Nils Økland Band consists of several of the foremost musicians in Norway: Rolf-Erik Nystrøm (saxophone), Sigbjørn Apeland (organ), Håkon Mørch Stene (percussion), Mats Eilertsen (double bass). These are musicians who, individually, have collaborated with Økland for a long time, but many of them had not played together before Økland formed the band. Rolf Erik Nystrøm has played in the genre-crossing contemporary music trio Poing for several decades, in addition to being a soloist with large orchestras, playing with world and folk musicians, and in various jazz bands. Sigbjørn Apeland has a long history of collaboration with Økland. They play a lot as a duo and have also played in the band 1982 for ten years, along with drummer Øyvind Skarbø. Percussionist Håkon Mørch Stene plays in the contemporary ensemble Asamisimasa and has also released critically acclaimed albums featuring music by Laurence Crane, Gavin Bryars, and Michael Pisaro on Hubro. Mats Eilertsen is the leading jazz bassist of his generation. He has played with a number of prominent jazz musicians such as Tord Gustavsen, Trygve Seim, Bendik Hofseth, and has released several albums under his own name on both Hubro and ECM. The Band - Nils Økland: Hardangerfiddles and violin, Rolf-Erik Nystrøm: Alto and baritone saxophones, Sigbjørn Apeland: Harmonium and Fender Rhodes, Håkon Mørch Stene: Percussion, vibraphone and electronics, Mats Eilertsen: Double bass.
More Than Ten Years Since He First Emerged On Skull Disco, Appleblim Presents His Debut Album. The Label He Co-founded With Shackleton Was The First The World Heard Of His Productions, But Laurie Osborne's Innate Relationship With Electronic Music Culture Reaches Back Much Further Than Those Groundbreaking Early Days Of Dubstep. Early Days Spent Soaking Up Hardcore, Jungle, Techno And Plenty More Besides Were Fundamental Foundations From Which To Spring Into The Then-unknown Realms Of Sub-low Half-step Club Music. At That Time Fwd>> And Dmz Were The Church For This Ritualistic Sound, And Appleblim Was A Regular Fixture At Both.
As Dubstep Matured, Magnified, Mutated And Meandered, So Appleblim Moved Beyond Skull Disco To Explore Different Avenues Of Expression In The New Many- Layered Club Music Landscape. His Own Apple Pips Imprint Was A Natural Vessel On Which To Explore The Emergent Fusions Of Hardcore-derived Sounds And The Us-born House, Techno And Electro, While Labels Such As Aus Music Equally Provided A Home For His Work (often Alongside Komonazmuk). Meanwhile Long-standing Collaborations With Alec Storey (al Tourettes / Second Storey) Finally Manifested In The Hyper-modern Mind-twist Of Also, Captured As An Album On Legendary Rave Label R&s.
More Recently It's Been Possible To Hear Appleblim Delve Into Electro-acoustic And Ambient Production Alongside Bassweight Sounds On Tempa, One Of The Original Bastions Of Dubstep Culture. As The Existing Boundaries Between Genres, Cultures, Eras And Scenes Continue To Dissolve, On His Debut Album Appleblim Offers Up A Fresh Approach That Brings Some Of The Foundational Sound Ethics Of Rave Culture Into A Modern Framework.
Hardcore Breaks Are Still A Regular Sound Source In Contemporary Club Tracks, But On Life In A Laser It's Instantly Apparent That Appleblim Has Moved Beyond Choosing Popular Drum Samples To Truly Tap Into The Elusive Feeling Engendered By The Music Of The Era. It's A Tricky Feat To Manage, But In The Pie-eyed Chords Of ignite', The Subby 808 Tom Basslines On nci' Or The Mr. Fingers Synth Flex On manta Key' The Sonic Finish Sports The Same Understated Grit And Grime That Made Those Early Records So Timeless. There's Still Space For Modernism, Not Least On Snaking 2-step Killer i Think We'll Let The Gas Sort This One Out', But It's Offset By A Layer Of Dust, Not To Mention An Inherent Moodiness That Can't Be Faked.
This Fine Balance Of Rave Romanticism And Future-minded Approaches Binds Together In A Cohesive Conceptual Statement. First And Foremost It's Appleblim's Personal Reflection On The Music That Has Moved Him On Countless Dancefloors Since His First Flirtations With Soundsystem Culture. At The Same Time The Canny Influx Of Modern Ideas Into The Soundworld Of The 90s Genuinely Results In A New Proposition, Making For A Perfect Fit On The Modern-day 'ardcore Fetishists Label Of Choice, Sneaker Social Club. Many May Claim To Draw On Old-skool Influences In Their Modern Trax, But Take One Listen To flows From Within' And You'll Feel The Same Time-slipping Surge Of Future-shock As The Ravers At Lost, Dreamscape, The Dungeons, Clink Street, Blue Note And All Those Other Iconic Spots.
If there ever was a monicker apt for describing an artist’s behavior, that is Ghost Lemurs. Manifesting spottily in compilations and limited edition tapes, then returning to the shadows without much fanfare, the project has indeed demonstrated a ghostly behavior and a nature as puzzling as the animal it takes its name from. Wombs And Alien Spirits represents now their most public outing, one in which the duo of visual artist / producer Kareem Lofty and Daniele Guerrini (better known as Heith and as Haunter’s co-founder) are happy to showcase all the discoveries in a process of musical and spiritual research begun in 2019. Described by the artists themselves as an experiment in mediterranean psi-trance, the album makes use of an incredibly diverse number of traditions, sonic sources and techniques of musical experimentation, keeping its psychedelic intentions central to the whole creative endeavor. Moments of meditative relaxation are brought to unsettling new levels by cavernous basses and spaced out drones, while tight polyrhythms bring beautiful granular melodies to a sidereal ceremonial dance. As beautiful and captivating as it is, Wombs And Alien Spirits remains as chimeric and unrestrained as any previous effort by the two artists. It’s a type of folk music devoid of a specific homeland, but resulting from the authors’ heritages, simultaneously divided and united by the mediterranean sea, injected with all the trajectories of their personal journeys. It ends up sounding profoundly human and uncannily inhuman, tapping into the undiscovered alien element at the beginning of the experience of life. Genre: Electronic / Experimental Listen:
Peace Okezie, das Genie hinter Master Peace, nimmt kein Blatt vor den Mund. Er muss die Dinge aussprechen und verkörpert den Satz: "Wenn du es sagen willst, dann sag es einfach." Obwohl er nie unvorsichtig oder unsympathisch mit seinen Worten umgeht, ist dieser Satz eine Bestätigung, die ihn antreibt.
Seine Energie ist auf Augenhöhe mit der eigenwilligen, überschäumenden und vor allem extrem guten Musik, die er macht. Bei Master Peace geht es darum, die Menschen in seine verrückte, wunderbare und kakophonische Welt einzuladen. Er zieht Hörer an, die sich nach Rebellion und Abweichung von der Norm sehnen. Mit seinem Debütalbum "How To Make A Master Peace" verschiebt Master Peace die Parameter des Genres mehr denn je. Peace lässt seine Inspirationen spielen, indem er die Generationen der britischen Musik, die ihn groß gemacht haben, in seinen Sound integriert. "I Might Be Fake" hat die Dringlichkeit von "Giddy Stratospheres" von den Long Blondes aus dem Jahr 2005, gemischt mit der Spacigkeit des Klaxons-Katalogs der späten Nullerjahre. "Shangaladang" ist eine Ode an Peace' Black-Music-Inspirationen, mit einer Anspielung auf Skepta; hier passt er den Text "I've got my hood mates and white niggas" aus dem 2016er Song "Man" des Rappers an seine rauere, The Clash-artige Melodie an.
Der raue Künstler wird bereits als neue Stimme des britischen Indie gefeiert und war bei den AIM Awards 2023 als "One To Watch" nominiert. Das 11-Track-Album ist eine Mischung aus der alternativen Musik, mit der der Brite aufgewachsen ist, von Arctic Monkeys & Friendly Fires bis hin zu Gorillaz.
- A1: The Office
- A2: Such A Good Year
- A3: Jean Loses Her Shit
- A4: Military School
- A5: The Groffs
- A6: Sex Pretzels
- A7: Enough Talk
- A8: Not Speaking
- A9: Stairwell
- A10: Feel Any Worse
- A11: Ola's Fantasy
- A12: Two Endings
- A13: Douching
- A14: Romeo & Juliet - Cosmic Dreams
- A15: Romeo & Juliet - If Love Be Rough
- B1: The Line
- B2: I Feel The Same
- B3: Spying
- B4: Ruby & Otis
- B5: The Clinic
- B6: Eyes
- B7: Leaving School
- B8: Planet Zorg
- B9: School Morning
- B12: Stop Pumping
- B13: Safe Space
- B14: Funeral
- B15: Maeve's Letter
- B10: God
- B11: Eric's Calling
Top-Zusammenstellung von Tracks aus den Original-Soundtracks aller vier Staffeln der Netflix-Serie 'Sex Education', komponiert vom preisgekrönten RTS-Komponisten Oli Julian. Limitierte Auflage auf Baby-Pink-farbigem Vinyl.
Wo ein Krater liegt, muss es einen Vorfall gegeben haben. Etwas ist eingeschlagen oder ausgebrochen, wo jetzt Ruhe ist. 2012 spien Messer das fiebrige Debüt "Im Schwindel" in die brodelnde Begeisterung für Punk aus Deutschland und wuchsen zu einer prägenden Stimme im Post-Punk-Revival der Zehnerjahre. Was auf den letzten beiden Platten "Jalousie" (2016) und "No Future Days" (2020) noch wild wucherte, ist nun auf "Kratermusik" stärker begriffen und gibt zugleich Sicherheit für weiterführende Expeditionen. Die einzelne Idee ist jetzt schärfer konturiert als zuletzt, Kratermusik ein Album im Wortsinn: Jede Seite ein anderes Bild, eine andere Szene mit anderen Figuren, zusammengehalten von einem Einband, einer Motivwelt, einem Sound, der dieses Mal dicht, aber umso detaillierter ausfällt. An anderer Stelle lösen sich Stimmen auf: Pola Lia Levy, die lange schon eng mit der Band befreundet ist und gerade mit ihrer neuen Band Dews in den Startlöchern steht, spendet Harmonien, die im erst sachten, dann zunehmend mitreißenden "Im falschen Traum" mit dem Rest der Band verschwimmen. Im Space-Dub-Finale "Am Ende einer groszen Verwirrung" stimmt sie mit Joachim Franz Büchner in einen beherzten Singsang ein. Was hier tröstlich klingt, wirkt im vielstimmigen Spiegel zerrissen, wenn auch nicht zwingend unheimlich - sondern ähnlich faszinierend-ambivalent wie Mille Petrozza von der legendären Thrash Metal-Band Kreator, der mit einigen englischsprachigen Zeilen durch den wispernden Refrain am Ende des Wave-Epitaphs Grabeland schneiden darf. Messer bleiben also ambivalent, fragend und suchend, gerade wenn es um Krieg und Frieden oder die Zukunft des Planeten geht. Die Bewegung steckt schon im Titel: Das "Messer verwandte Wort" Krater, so Otremba, "ist vieldeutig, ein Wort, bei dem klar ist: Zu dem muss man sich verhalten. Das ist ein scharfkantiges, schroffes Wort." Im Krater steckt immer auch das Potenzial zur Explosion, im Frieden lauert der nächste Krieg. Im Vorrang des Ästhetischen ist die neue Platte aber ein typisches Messer-Album, auch in seiner gewohnten Überschreitung dessen, was Post-Punk sein kann. Vielfältiger klang diese Band nie, ihr Referenzsystem bleibt undurchschaubar. Parallel spülen die Pop-Gezeiten wieder eine (Neue) Neue Deutsche Welle an, doch Messer bleiben ihren eigenen Zyklen verpflichtet, befinden sich in ständigem Übergang: Metaphern nie ganz auflösen, Motive immer neu ausleuchten, Sounds nochmal anders aufeinander beziehen.
- A1: Prologue
- A2: Unexpected Error
- A3: Sprint In Danger
- A4: Reality
- A5: Joyful Trotting
- A6: Inorganic Creature
- A7: New World
- A8: Despair
- A9: Encounter
- B1: Dropping
- B2: Cruel Reality
- B3: Escape
- B4: Brave Determination
- B5: Another Planet
- B6: Dark Spacecraft
- B7: Growth Alone
- B8: Enigmatic Trouble
- B9: Dark Tunnel
- C1: Nightmare
- C2: Sudden Attack
- C3: Glorious Appearance
- C4: Philosophy Of Eden
- C5: Beginning
- C6: Nostalgia
- D1: Soul Of The Earth
- D2: Peaceful Air
- D3: Rescue
- D4: Lost Future
- D5: Greedy
- D6: Contrary
- D7: Battle
- D8: Beautiful Land
- C7: Destroying Future
- C8: Devastated Illusion
STUDIO4℃×Osamu Tezuka
A story of the love and adventure of a woman who lived for 1300 years.
``Phoenix'' Nostalgia Arc has been made into two animated works with different endings!
Theatrical release of the movie “Firebird Eden no Hana” / Disney Plus “Firebird Eden no Sora” world exclusive distribution
Master Osamu Tezuka is hailed as the "God of Manga" and is still revered all over the world. Of the 12 stories in the timeless masterpiece "The Phoenix," which became his masterpiece and life's work, the "Nostalgia Chapter," which depicts the future of the earth and the universe in which we live, will finally be made into an animated film for the first time. STUDIO4°C, which continues to create artistic video works, was the one who completed the spectacular spectacle, which took seven years to create. The voice actors include Rie Miyazawa, who plays the main characters Romi, Yosuke Kubozuka, Issey Ogata, Honoka Yoshida, Shintaro Asanuma, and Ryohei Kimura. A gorgeous voice actor team gathers to make a timeless masterpiece into a movie. The person in charge of the music is Takatsugu Muramatsu, who is active in a wide range of areas including film music and providing music for numerous artists. The music, which has both a grand scale and a poetic feel, gently envelops the story.
Black Bones are the Belfast DJ & production duo comprising of Aaron Black & Timmy Stewart, who have been collecting and playing music for decades. They formed Black Bones to put their stamp on the edits & production world as well as play DJ sets together. An initial edit series created seven highly collectible 12''s, securing plays and plaudits from some of the worlds best DJs & record stores. This led to recording DJ mixes for Apiento's Test Pressing, Tim Sweeney's Beats In Space & recording original material for Touch Sensitive, Hoga Nord, Duca Bianco, Optimo Music & Emotional Response.
Now on Mystic Arts 02 Black Bones pay homage to early rave days, illegal parties, pirate radio culture & 90s breakbeat sounds they both still adore. A side, Find The Frequency, is a ghostly ride through breakbeats & warehouse euphoria. While the flip side, Konstant Kollision is otherworldly bass heavy music that takes in post punk & African Head Charge influences amidst washes of dubbed out delay.
Complete with 10" vinyl record and booklet presenting Laurianne Bixhain's photographic work and text by Chloe Chignell.
Presented at the Mudam (Museum of Modern Art of Luxembourg) and initiated by a photographic exploration by Laurianne Bixhain, the work "The day begins with a loud boom" interrogates the manner and extent to which we are defined by our relationship to the physical environment, and the cultural import of the techniques of production. Its imagery follows the trajectories of the materials subjected to the processes of diamond cutting and automotive glassware fabrication, and presents the traces of human intervention of which those materials are both the object and the repository.
The interplay of its imagery, music and text constitutes a theatrical whole: both the staging of the text and the sonorities create an architectural space within which each constituent object is deployed. That spatiality is shared and complemented by the text’s sonorous and performative qualities. Likewise, the elements of texture and abstraction in the imagery invoke our sense of touch, as a means of material and spatial appreciation.
The succeeding reiterations of the ostinato the day begins with are treated graphically by its progressive effacement, evoking the tension in assembly line work between repetition and linearity, accumulation and exhaustion, trace and erasure. Such attrition is equally conveyed by the harsh, impassive, and architectural qualities of both the images and the music which accompany the text. The latter notably deploys a range of insidious effects, from the marriage of dissonance and unsettling rhythm evocative of the competing cycles of multiple industrial machines, to sensual and reassuring sonorities which are contaminated by their contrast with the harsh acoustic aesthetic elsewhere.
Returning to Intrepid Skin after her brilliant debut EP, and following on from a string of acclaimed releases since then, Berlin-based producer, DJ, and label owner Valerie Ace presents four new cuts of powerful hard dance and techno. Strass and Stress is out 1st March as both vinyl and digital.
With a background in organising DIY raves and a commitment to community-led efforts in electronic music, Valerie carefully fuses references from a range of genres into a singular, contemporary take on techno. Guided by an instinctive ear for experimental, groove-driven frameworks, her strain of dance music is hard-edged but mischievous, playful but heartfelt.
Diving straight into the peak hours, opening track 'Taking a Risk' is a swirl of hard kicks, frantic alarms and distorted leads; a statement of intent for what is to follow. Hot on its heels is the aptly-titled 'Slay'- a marching roller with double drops of acid, warped sonics and echoing glitches. Plunging into a hazier zone, 'Anxious not Afraid' takes an intoxicated spin on psytrance, building a vast acoustic space with equal parts tension and release. Closing off the EP, 'How To Fit In' jumps back onto the floor with an unrelenting spiral of
industrial-leaning hard drum chaos.
Strass and Stress is an all gas no brakes package of four crucial cuts from a producer on top of her game.
Maybe your demands of punk are a little too high. Maybe they're a little too exacting - you know what you want, but you don't know how to get it. Maybe you've got an itch that's needed scratching since you first heard '(I'm) Stranded' (sounds like a doctor needs to look at that, mind). Maybe all or none of these things are true and you're just in search of three or four chords and some righteous snot. Reader, you have come to the right place. Split System came sauntering out of Melbourne back in 2022 with a self-titled 7" and a debut LP (the sensibly-titled 'Vol. I'), and as a listener of exquisite taste, one or both of those items will have carved out their own spaces within easy access of your record player. With members of acer-than-ace garage punkas Stiff Richards and Speed Week among their number, not to mention the redoubtable Jackson Reid Briggs, they deal in a gloriously back-to-basics take on punk that's part Undertones, part Royal Headache and part Chris Bailey - all hooks and glory, all the time. They're so much more than the sum of their parts and they make this shit sound effortless. Well, here's an update for you: they're back! Second album (the equally-sensibly-titled 'Vol. II') is now upon us, and a thoroughly tremendous follow-up it is too. As soon as opener 'The Wheel' slams into your speakers, it's clear that they've lost none of the pep or power that made their debut such an essential listen; if anything they're even more raucous and revved-up than before. Yep, that's jargon for 'they rule hard', and let me add here that you could listen to this album 100 times in a row or simply try inserting dynamite sticks with lit fuses into your ear canal; either way, your poor little mind is gonna blow. It's an album made entirely of bangers (still on that explosion metaphor, are we?) - the concise questioning of 'End of the Night' is as pure a punk rock nugget as you could ever wish to uncover, and 'The Drain' is just energy distilled to a perfect series of hooks - with a passion for rock'n'roll in its most scintillating form. Just listen to it. That's all you need to do. Your demands have been met - here's your new favourite record.
PART 1[20,59 €]
DECEPTION ISLAND homes in on their minimal synth approach, with italo disco and darkwave being the main components of the album.
The subject matter of Lee’s lyrics range from upbeat to melancholic. Her work covers a range of personal and social issues, including current affairs and social commentary.
They are telling the stories of darkish shades of love, everlasting longing and solitude. They mirror the brutal part of human nature as well.
The cover art, created by Joan Pope, is a piece of art to praise in its own right. Flowers are above a skull, an easy symbol of life and death. Multiple hands caress the objects while down below is a naked woman lying down. She reaches up towards the skull while the skull if it had eyeballs, stares back at the figure. It’s simple and odd, yet eye-catching, and the static that lines the cover art makes it seem like it’s floating in space.
Termination is an album inspired by the halting problem in computer theory, i.e. whether the program will finish running or continue to run forever. The halting problem is undecidable, meaning that no general algorithm exists that solves it. This is true also for human life, as it goes up and down and one can’t program it, because simply you cannot predict the future, and even if we could there are so many variables that can easily f*ck up any sort of forecast. Modern Stars is an Italian neo psych rock band which showcases a unique musical style characterized as instinctive, flickering, fuzzy, aerial, groovy, bizarre, distorted, harmonious, and dissonant. Influenced by bands like Spacemen 3, Primal Scream, Suicide, and lesser known musicians. Termination is Modern Stars' fourth studio album, following Silver Needles (2020), PsychIndustrial (2021) and Space Trips for the Masses (2022).
The Total Space sees Boa Morte edge deeper into the woods of ambient, drone and synthesised sound with little to guide them but their innate melodic compass and instinct for unorthodox song. Daniel Presley, the perma-nomadic Texan producer, flew in to safeguard the Boa Morte fundamentals: emotive yet unsentimental vocals; a disquieting ease with space and silence; percussive interventions on drum-shell, tom-rim and cymbal-cup; an aversion to rhythm guitar; harmonies that add rather than dilute personality, and a bloody-minded patience when it comes to pacing.
Als ELECTRIC CALLBOY in diesem Jahr ihr neues Album TEKKNO veröffentlichten, war nicht klar, welche Auswirkungen das Album haben würde.Ausverkaufte Konzerte, Abriss der größten europäischen Festivals und endlich Platz 1 in den offiziellen deutschen Charts. Die Band aus Castrop-Rauxel is begeistert eine unglaubliche Bandbreite an Menschen.Die TEKKNO Tour 2023 findet nun in Arenen statt und Electric Callboy sind bereit für den nächsten großen Schritt.Um dies gebührend zu feiern, wird es eine limitierte 'TEKKNO (Tour Edition)' geben, die neben dem regulären Album, 5 Live-Bonus Tracks enthält, die während der ausverkauften Europatour 2022 aufgenommen wurden. Erhältlich als Ltd. 180g. transp. light blue-lilac marbled Vinyl
Record label boss, producer / DJ, and revered collector Marc Davis returns to his Chi-Talo series with the much-anticipated second volume. A concept of a split EP, taking one ultra-rare Chicago gem and the other a scarce Italian disco record and re-interpreting them for the modern dancefloor aesthetic.
With the first volume, released on Marc’s own Black Pegasus label, now trading hands for considerable amounts of money, round two sees him impart another double dose of digging sorcery for this Mr Bongo 12”.
Marc began his illustrious career in the Windy City in the ‘80s and was one of the first out of Chicago to be recognised for his eclectic approach to DJing. Presenting a global sound palette that took in choice cuts from Brazil, Africa, jazz fusion, house, soul and disco, whilst mixing it together Chicago style. Decades of knowledge and experience that is now distilled down into the Chi-Talo series.
The Italo selection came via a tip from Marc's Swedish friend, Julian Wareing. Hearing the track led Marc down the rabbit hole to secure a copy of this Italo-Disco, album cut oddity by the New Sound Quartet from 1979. The original of 'Bass Construction', measures in at four and a half minutes and is already a feverish funk groover. But Marc saw an opportunity to extend and re-edit the track, keeping in the vein of the original but giving it space to breathe. Tweaking out every last ounce of goodness, Marc locks you into a hypnotic groove for maximum dancefloor deliverance.
The Chicago side is as rare, as the rarest of hens-teeth, only ever existing as a one-off acetate by the band The Saucer Planes. One of the members of the group was the sadly passed-away older brother of Marc’s DJ mentor, Jahmal Anderson. From the very first listen, Marc knew he’d been hooked up with an undiscovered boogie gem. A long-lost track that the world needed to hear. But the project has remained dormant until now, not least due to the fact that the original recording of this low-fi vocal boogie groove is housed on an ever-deteriorating solo acetate. Rescued, restored and given a brand-new lease of life, Marc has turned the track into a low-slung, psychedelic instrumental boogie bounce. Raw, rough and mesmerising, it’s a refreshed relic that is a testament to Chicago’s club sound and swagger.
Whichever side you draw for, this is guaranteed to move bodies as much as it wins over hearts.
Released in 1960, Giant Steps was a watershed album for John Coltrane, solidifying the saxophone legend's reputation as one of the most influential and innovative musicians in jazz history, as well as delivering jazz to an increasingly mainstream audience, while garnering significant critical acclaim.
Although this was John Coltrane's debut for Atlantic, he was concurrently performing and recording with Miles Davis. Within the space of less than three weeks, Coltrane would complete his work with Davis and company on another genre-defining disc, Kind of Blue, before commencing his efforts on this one.
Coltrane (tenor sax) is flanked here by essentially two different trios. Recording commenced in early May of 1959 with a pair of sessions that featured Tommy Flanagan (piano) and Art Taylor (drums), as well as Paul Chambers — who was the only bandmember other than Coltrane to have performed on every date. When recording resumed in December of that year, Wynton Kelly (piano) and Jimmy Cobb (drums) were instated — replicating the alternate non-Bill Evans lineup featured on "Freddie the Freeloader" on Kind of Blue, sans Miles Davis of course. At the heart of these recordings, however, is the laser-beam focus of Coltrane's tenor solos.
All seven pieces issued on the original Giant Steps are Coltrane compositions. He was, in essence, beginning to rewrite the jazz canon with material that would be centered on solos — enabling the solo to become infinitely more compelling. This would culminate in a frenetic performance style using melodic phrasing that noted jazz journalist Ira Gitler accurately dubbed "sheets of sound."
The Giant Steps chord progression consists of a distinctive set of chords that create key centers a major third apart. Jazz musicians ever since have used it as a practice piece, its difficult chord changes presenting a "kind of ultimate harmonic challenge", and serving as a gateway into modern jazz improvisation. Several pieces on this album went on to become jazz standards, most prominently "Naima" and "Giant Steps."
The Penguin Guide to Jazz selected this album as part of its suggested "Core Collection" calling it "Trane's first genuinely iconic record." In 2003, the album was ranked No. 102 on Rolling Stone magazine's list of The 500 Greatest Albums of All Time, 103 in a 2012 revised list, and 232 in a 2020 revised list.
Undeniable music perfection deserves definitive sound and top-notch packaging. This reissue was mastered directly from the original master tape by Ryan K. Smith at Sterling Sound and cut at 45 RPM. Pressed on 180-gram vinyl at Quality Record Pressings, and housed in tip-on old style gatefold double pocket jackets with film lamination by Stoughton Printing.
Overall, Giant Steps is not only a critical triumph but also a defining moment in John Coltrane's career. Its innovative compositions, masterful performances, and profound influence on jazz make it an essential entry in Coltrane's discography and a timeless masterpiece in the history of the genre.
A Colourful Storm begins 2024 with a luxurious suite of daydreaming introspection courtesy of Unchained, the longstanding solo project of Nathaniel Davis who was last seen on vinyl in the final Blackest Ever Black release. Recorded at home between 2020 and 2023, Gabbeh is the latest expression of Davis's guitar-based instrumental musings and represents a stylistic evolution of his self-released noise tapes and CD-Rs into romantic, bossa nova-influenced melody-making. He wrote the tracks sporadically, with minimal instrumentation and intervention. Electric guitar, bass improvisations and rhythms from an old drum machine are layered and given new life, the space between them softly breathing with minutiae of the everyday: the buzz of cicadas, the passing of cars, the whistling of passersby. The psychogeography of Grenoble, Davis' home since 2018, played a conscious role in the weaving of Gabbeh's fabric: "I think certain songs reflect, in ways, Grenoble's natural surroundings. 'Drac' is named after the river that flows from the mountains down to the city… 'Dru' is the name of a well-known peak near Chamonix". Opener 'Largo' sets the mood, its primitive samba rhythm concealed by a cloud of saudade. The bebop sensibility follows suit, the tension between its angular picks and percussive shuffle a wondrous balancing act, while the intoxicating sway of 'Rambler' is perhaps the most poignant expression of longing and loss we've heard in recent years. Highly recommended for fans of Durutti Column, Maurice Feebank, Toninho Horta.
By welcoming the beauty of imperfection and simplicity, Sven Wunder applies the timeless wisdom of wabi sabi on this musical journey. What you can hear is filtered through Ukiyo-e (which translates as “pictures of the floating world”), which illustrates everyday life, as well as through Japonism, the study of Japanese art, and more specifically its influence on European works. The result is a surface that creates an illusion by sound. The infusion of Min’yō with jazz rock, this hazy scene evokes the landscape of Monet’s ”The Water Lily Pond”, which depicts the painter’s Giverny garden, with a Japanese bridge, bamboo, ginkgo trees and the reflection of the sky in the pond. This illusion constructs both time and space.
The surface of the music, like the canvas of the painting, invents a journey between now and then by interpreting the idiom of folkloric and western art instruments. In this composition, the sound of the Western concert flute, which stretches back to the Renaissance and Baroque periods, evokes the sound of the bamboo-flute (”shakuchachi”), which reached its peak during the Edo period. The guzheng, also known as the Chinese zither, with a more than 2,500 year history, joins traditional Japanese folk melodies with modern pop percussion and 20th century electronic instruments such as the Moog synthesizer, Wurlitzer electric piano and electric bass.
This is the illusion that celebrates the fleeting nature of all things. A journey. A deep inhale and a slow exhale. It has a mix of jazz (both funky and progressive), East Asian and South Asian sounds. The idea of fusing these styles and reframing them with the aesthetic of wabi sabi is to reconnect with nature and concentrate on asymmetries and emphasize ornamentation to generate new ways of looking at the world, here and now.
For 46 minutes Alex Zhang Hungtai punctures our perception of linearity, working like a conductor, encouraging percussive flurries to trip and fall over each other, sometimes tempered by contact mic feedback to help skewer the chronology. He’s assisted by three additional percussionists - Wet Hair’s Ryan Garbes and Shawn Reed, and Leonard King - while Signal Decay’s Nick Yeck-Stauffer plays trumpet, with each extra voice blurred into the middle distance, curling like pipe smoke into convulsive whorls.
The piece is frankly astonishing in its grasp of the maelstrom. Initially tentative, searching, with higher register hits like moths butting lone lightbulbs in an abandoned apartment block, the distant, plangent peal of twin brass wafts between rooms to impart a distinctly floating, OOBE- like feel for space. The brass recedes while the drums’ low end thickens and roils like a gamelan tempest, blurring impressions of knackered buildings or the temple rituals of ancient epochs, with sounds wafting in from other rooms to mess with the stereo field like ghosts of worshippers doing their thing. Remarkably, it conjures a fever dream miasma of ricocheting, thunderous polymetric clatter and proprioceptive fuckry without ever losing its head.
Hungtai’s canny use of contact mic feedback drone and cymbal saw gives the whole thing a sense of gauzy delirium that unites the grouches like mildewed grout and cobwebs, coarsely gelling the elements in a way that resonates with Pauline Oliveros and co’s Deep Listening band acousmagique as much as Basil Kirchin’s keeling ‘World Within World’ classic, the ghosts of Sun Ra’s ‘Nuclear War’, the possessed atmosphere of the cabin where Harley Gaber recorded ‘Wind Rises in the North’, and no doubt Harry Bertoia’s massive metallic sculptures, agitated at midnight.
Humid, menacing, and wraithlike, the album’s’ sense of keening chronics belies a visionary hand at the tiller, here tightened by Rashad Becker’s mastering, which faithfully brings to light, and shadow, the depth of perception and wild but concentrated energies at play, sealing in place a truly staggering session for adventurous ears, cineastes and Lynchian acolytes alike.
- 1: Change Your God 04:03
- 2: It Is Time 04:14
A Place To Bury Strangers announce “Change Your God,” from their new 7-inch series, The Sevens, via Dedstrange. “Change Your God” appears alongside “It Is Time” in the first installment of the series, out digitally today and physically this Friday, February 23rd. The Sevens are four 7-inch white vinyl records being released each month from now through April. They unveil a treasure trove of previously unreleased tracks from A Place To Bury Strangers' critically acclaimed sixth album, See Through You. Renowned for their visceral sonic assault and immersive live performances, A Place To Bury Strangers has cemented the end-all-be-all space for over-the-top post-punk/shoegaze destruction. With this special vinyl collection, the band invites listeners to delve deeper into their sonic universe, exploring uncharted territories and hidden gems.
Following on from their contribution to theButter SessionsCome Togethercompilation released in March this year, Melbourne'sPolitodeliver their debut EPUltraparallel.Politois the collaboration between musicians Robert Downie and Finnian Langham and dancers Arabella Frahn-Starkieand Hillary Goldsmith. The ensemble integrates improvised techno and contemporary dance to form well-considered and captivating performances. The spirit of these performances are masterfully captured on the 12" record. On the transition between mediums, the group states; "we always aim to capture the unpredictability and liveliness of our improvised performances when we record, and try to sculpt the feeling of continuous movement which is so intrinsically tied to Polito's identity."
Ultraparallelconsists of four tracks that were extracted from studio sessions, emerging organically whilst jamming. The EP's introductionHornet's Webwields mutilated samples of vocals and spoken word, paired with abrupt rhythms to forge anomalous techno. The eponymous trackUltraparallel, recorded in 2018, is a dark and brooding arrangement with a murmuring melody and an infectious recurring bassline. Polito reflects; "this track is from the first batch of studio sessions we had as Polito where our intention was to create more discrete 'tracks' which could be played by DJs, rather than the longform compositions more similar to the live performances which we had recorded up to that point."
Turning the record over,Seventh Limbembodies the music for dance nuance by infusing dub with sounds from outer-space. Polito reveals; "we wanted to explore creating something more in line with the mood of our live performances, which are typically slower and have a rather meditative atmosphere. The more relaxed tempo allows the dancers to move at a sustainable pace and gives the musicians more space to prepare and manipulate the various musical elements in real-time. The result is our first formal exploration of 'the chugger.'"Ultraparallel'sfinaleSublunaryis a playful sequence mingling electronics with an airy clarinet and saxophone.
Attuned to their audience,Politoimagines how their music will be consumed throughout the creative process. They comment "while making music in the studio, we try to transport ourselves mentally to hypothetical dancefloors the music we're making could be played on, adding moments and sounds which would excite, energise, disorient, or have some other desired somatic effect. We're also considering not just how the music sounds, but how it would 'feel' when played on large sound systems."Ultraparallelultimatelypresents a refreshing visual take on literal dance music; a considered and holistic approach to enhancing the experience of listening and moving.
From out of nowhere - if nowhere is the febrile, warped and twilit imagination of Julia McFarlane - comes Whoopee, the second album by J.McFarlane’s Reality Guest. Whoopee is an esoteric, kaleidoscopic movie in music form directed by Julia McFarlane and co-conspirator Thomas Kernot. Full of life, breakbeats and smokey vignettes on the fragile nature of interpersonal relationships, Whoopee is a stylistic evolution from everything McFarlane has done before. Surreal, beautiful in parts and replete with the aching wisdom McFarlane’s songwriting has always promised, this Reality Guest pulls back the curtain on a whole scene of naked truth. Recorded in Melbourne in bursts since the release of 2019’s Ta Da, Whoopee features a new sound palette and band member in Kernot. The duo dive deep into electronic pop tropes, mining digital synths, samples, breakbeats and deep bass grooves, largely dispensing with live instrumentation. If Ta Da took twists and turns with your expectations, offering a Dada-ist, monochromatic take on pop music, Whoopee is McFarlane’s subterranean love-sick pinks, reds, greens, purples and blues. Becoming something of a tradition, the album starts with an instrumental intro pilfered from a 90s’ spy film or cinema intro music, puffing up the listener for the heart-squeezing bathos of Full Stops. Over a bleary backdrop of walking bass lines, jazz- inflected keys and smoked-out atmosphere, McFarlane’s poetry narrates the fragile state of a relationship: “You put a full stop where I thought there’d be a comma, I want the story to continue even with all the drama.” Over a palpable pain, the narrator is revelling in the drama of a relationship, addicted to tumult and heightened emotion. On Sensory, a space age bachelor lounge pad ballad, the converse state of the previous song is explored, here the narrator is battling the numbness of being out of the drama, stuck in a sensory-deprivation tank, anaesthesized and battling to emerge from the fog. Wrong Planet explores an otherworldly pop music, hewing a bright hook out of a sense of confusion. A bona-fide, sing-along chorus bursts out of the narrator musing on the absurdity of existing in this reality. It speaks of one of Julia McFarlane’s main talents, her knack of inspecting human relationships and states with a clear perspective, like an alien visiting Earth and realising everything we are is really, really strange. Whoopee is both more accessible than previous Reality Guest work and somehow more obfuscated. Where the production on Ta Da was dry, sharp and strange, this Reality Guest is blurred, almost smeared with the effluvium of 90s+00s culture and existence. Through it all, it’s hard to deny the undeniable pull of the songs. Precious Boy carries on the lounge theme with a whole sampler of cut up sounds fading in and out of the haze as McFarlane’s voice is right up to the speaker cooing and free- associating, maybe in love or maybe in confusion... maybe they’re the same thing? Sometimes the listener is invited to just bathe in the tone of the vocal, as on Apocalypse, where the texture and timbre of the vocal is luxurious, bathing in piano tinkles and double bass throb. On lead single Slinky, a cut up beat reminiscent of Washingtonian Go-Go drum patterns leads, the song slipping through your fingers, elusive and presenting sound as pure pleasure. Closer Caviar jumps back into the broken breakbeats of a surreal funk, fuelled by the sensory pleasure of the music, a hedonistic whirl in rapture, the narrator now living life to the fullest in all its giddy heights and deep troughs. This is the album’s main character fully-actualised and in the terrible, beautiful moment.
Happy we can introduce a new addition to our catalog THINNER005, an EP called
“ & . . “
as the title tells, it’s a joint release by our friends, KOOLMFL, Sonic Weapon &. . Lemmi Ash
“& . . “ EP includes three club tracks, which been power played by Powder over these years in many different moment.
Each track can add a distinctive touch to the night, as like completing your cocktail with lemon and/or lime.
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KOOLMFL, fka K-LINE and Sonic Weapon is our regular suspects from Nagoya, motor city of JAPAN.
Some may know them putting out a shared EP “G” before on Thinner Groove and now they back to it again.
atonbow by KOOLMFL features words of a space traveller in state of peaceful sorrow, seemingly communicating their honest thought to the loved one who might not be hearing, Can you hear me ? … Hi astronaut, at least we can :)
KOOL’s clicky drum work pass the words to the floor, and the party breaks down with sudden synth and take all of us home.
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On track HOMIE, Sonic Weapon shows his signature fast boogie style again in a new approach with much dubbed out, ear pleasing, filtering, minimalistic, and stylistic way. The texture keeps changing but keeping the groove.
Feels like the beauty of watching a bridge getting slowly collapsing after somehow you made it to the other side.
& . .
We also want to introduce Lemmi Ash, a Swedish duo formed by Samo DJ and Martinou, newly joining the TG spectrum,
The duo previously had a release from ESP institute and each of them countless solo appearance on various releases . . .
Nonetheless, they a good long time friend and perfect fit for this release.
The duo features comfy calming ear tickling electronic sound with some kiddish, animalistic, or primitive humor in their own balance. This track Presence grooves with a leaning forward racing gamey phrase drifting around the mini synth explosion, feels like a joyful cruise during regardless the intense highway.
Co-Accused Records kick off 2024 with some sonic grooves from French duo Human Rebellion. Their 'Kosmik Trip EP' has four spacey, electro cuts with wicked remixes from Sync 24 & Co-Accused.
Human Rebellion launch the EP with the title track 'Kosmik Trip' a mind-bending intergalactic destroyer. Sync 24s remix sees the trip take a dark turn with sinister vocals and hypnotic builds. Co-Accused take it into techno territory with a relentless, high energy take on the original. 'Censored Truth' opens the portal to the B side with free-radical synths intertwining with dark machine funk. The punchy drums in 'Hybridization' pull you towards a distress beacon, with face-hugging builds and chest bursting drops. Human Rebellion round off the release with the dystopian, driving sounds of 'Jupiterians'
Back in 2020 The Whole Truth dropped a heap of gospel inspiration on Parkway in the shape of “Lord, Quench my Soul.” Three years later and they’re back stronger than ever.
The original Believe is an intense call for hope, featuring some amazing hooks and instrumentation that reference the sound of classics yet still bring new flavors.
Parkway boss Mark Seven has stretched the piece out into two further mixes, injecting time and space to create club friendly mixes that are high on hope!
Altogether it’s more timeless magic from the label you rely on
“Music gives us a place to be lost. Washing away thought, place, time and identity. It’s in the falling into the river, the dream, that we find just who we could be”.
Classically trained cellist, composer and storyteller Lihla (Lih-Qun Wong) presents her debut album, ‘Socha’ for A Strangely Isolated Place. Combining a vast instrumental skillset of piano, cello, electronics and spoken word, she crafts intensely immersive aural-hallucinatory worlds of intricately shifting landscapes.
A deeply personal work, Socha explores the ‘diaspora of time and space, and why we all feel so displaced.' Piano chapters capture the meeting place between memory and longing, while explorational vocal and cello textures invoke and echo the ancient, the feminine, and the otherworldly.
Lihla’s voice guides us, weaving through electronics and field recordings of the ‘real-world' to set the path for a poetic and deeply haunting journey through the internal psyche that is truly transportive and escapist.
‘Socha’ will be available on transparent smoke 12” and digital.
London band Those Unfortunates release their second album, Welcome to Woodberry Down, on October 27th through Gare Du Nord Records, on LP accompanied by a limited edition photobook.
Welcome to Woodberry Down is a collection of songs about the eponymous housing estate in the London Borough of Hackney. Singer/lyricist Ben Brill’s family were among Woodberry Down’s first residents in 1950. Dubbed the estate of the future, and built on land that had previously been the preserve of the wealthy, Woodberry Down’s social homes were emblematic of a new post war optimism.
Brill’s family called Woodberry Down home for over 50 years, eventually seeing the estate fall into managed decline. Not long after his grandmother’s death in 2006, the bulldozers moved in, and the foundations were laid for a new, privately owned housing development.
Brill started work on this project in 2016. At the time a Hackney resident, he spent countless early mornings walking round the condemned – but still not quite empty - estate, and watching a new version of the future rise in its place. He took photographs, and started writing songs, inspired equally by the liminal spaces he explored, and the utopian ideals of the London County Council planners.
The band will be celebrating the album’s launch with friend Paolo Ruiu at Margate’s Tom Thumb Theatre on October 27th, and London’s Betsey Trotwood on October 28th.
BlackCat is the sister label to WhiteWolf Records. Its purpose is to
showcase undiscovered NY talent and friends of WhiteWolf. High
quality beats and intrinsic groove for your dancefloor.
With BC001 we introduce Ṣonuga aka Femi Shinuga-Fleming. A NYC
based techno producer and DJ with Nigerian and Caribbean roots and an extensive background in live experimental electronic music.
Ṣonuga is interested in the intersections of deep textural soundscapes, layered percussion and shuffled rhythms.
His debut EP, 'Airing' explores themes of sound and space influenced by his architectural studies, while also exploring and paying homage to contemporary dub techno.






























































































































































