For the past 20 years, NO FORMAT! has been cultivating the idea of an artisanal and homemade label, supporting artists who stand out with unexpected projects. Its motto, "You never know in advance what you"ll fall in love with", has guided its direction from the outset. Its high standards on the quality of the sound has become its trademark, while one of the mainstays of its work is the development of collaborations between artists from diverse backgrounds. For its 20th anniversary, a new guard of electronically-inspired artists takes over the NO FORMAT catalog for an original remix album, specially created for the occasion. 10 iconic tracks from the label are reimagined by 10 young, talented, emerging and/or established producers, carefully chosen on each track. While Pan-African trio Toto Bona Lokua"s music is reworked by British-Ghanaian afro-bass pioneer Hagan, South African vocal duo Msaki x Tubatsi is reimagined through a remix by amapiano heavy-weight Vigro Deep. Blick Bassy"s delicate Cameroon folk turns into an afro-club anthem produced by Moonshine collective leading figure Vanyfox ; Haitian-American neo-jazz artist Melanie Charles electrifies "Kouzen" by Haitian Canadian singer-songwriter Mélissa Laveaux ; renowned sound artist Sofie Birch transforms Koki Nakano"s delicate piano into an ambient soundscape. Japanese house pioneer Shinichiro Yokota gives a new spin on electro-jazz collective Asynchrone, which was inspired by Ryuichi Sakamoto"s work. "NO FORMAT! Remixed (2004-2024)" is both a celebration of 20 years of music and creation, bringing this beautiful and curated catalog into a vibrant and festive compilation, and a step towards the label"s next 20 years.
2xLP mit Redux Packaging/Artwork. Moses Sumney erweitert mit "græ" das Klanguniversum, das in seinem gefeierten Debütalbum "Aromanticism" und der anschließenden EP "Black In Deep Red, 2014" (2018) aufgebaut wurde. Sumneys zweites Album "græ" ist eine Behauptung, dass das Unbestimmbare immer noch existiert und das Verweilen darin ein Akt des Widerstands ist. Das Doppelalbum ist eine konzeptionelle Auseinandersetzung mit der Farbe Grau und untersucht das Spektrum der Grautöne in Bezug auf Farbe, Verschiebung, Zwischenräume und marginale Identität. Indem Sumney "græ" in zwei facettenreiche, dynamische Kapitel unterteilt, schafft er buchstäblich einen "grauen" Zwischenraum, in dem die Zuhörer die Kunst aufnehmen und betrachten können. Nicht unbedingt Singles, nicht unbedingt Alben, nie ganz allein Songs oder gesprochene Wortteile. Das alles ist weder hier noch dort. Weder das Eine, noch das Andere. Die Lieder auf "græ" mögen unterschiedlich erscheinen, aber es gibt immer diese Stimme, unverkennbar und durchdringend, welche die Stücke zusammenhält: eine himmlische Klinge, einen Walgesang, Miles' Flügelhorn. Das alles erschafft ein Paradoxon, das Aufmerksamkeit einfordert und den Atem raubt, in dem Kunst und Künstler sich der Festlegung entziehen. All dies ist "græ". Weder noch, wenn man so will.
Defined by a riveting array of Caribbean rhythms, Etienne Charles's first album featuring his big band arrangements is a personal triumph, but Creole Orchestra is also part of a much larger Story. Drawing on material from several different commissions and projects, the album encompasses the key players from Charles's band Creole Soul and features special guest vocalists Rene Marie and Brandon Rose, plus DJ Logic (turntables).
Rhetoric & Terror is Berlin-based Hemphill’s second album since leaving Liars back in 2016.
No stranger to reinventing his approach towards composition, Rhetoric & Terror feels like we are – perhaps for the first time – opening a doorway into Hemphill’s personal life, to his disparate sonic influences, his wide-ranging journeys through philosophy, and his own reflections on his role as an artist.
Like different thoughts and feelings emerging in a state of meditation, Hemphill invites you to pause on one ‘scene’ for a moment before moving onto the next. There’s space to get lost here – both emotionally and in the colour of the album’s wide-ranging textures.
With his wife Angelika Kaswalder on vocals throughout the album and multi-instrumentalist Morgan Henderson – a longtime friend of Hemphill’s since Henderson’s time in the post- hardcore band The Blood Brothers - adding woodwind, Nonpareils is no longer simply a solo project – and it’s apparent in this openness.
The name of the album – Rhetoric & Terror – describes this split that Hemphill is making from the conceptual nature of his first solo album (2018’s Scented Pictures), and the new direction that he – perhaps – hopes to continue taking. The title comes from a chapter in Giorgio Agamben’s book, “The Man Without Content”, where he describes the concepts of rhetoric and terror to describe two different types of writers: the rhetorician and the terrorist. The terrorist is a misologist who is only into the feeling; the rhetorician is committed to logic and form.
“With Rhetoric & Terror, I wanted to start with emotions and feeling. I was playing with my kids, listening to Cocteau Twins, I have a wonderful partner, and it seemed very contrary to any sort of growth to sequester myself from this life in order to get into character as a musician. Instead, I tried to remove the boundaries between my creative life and my. responsibilities and have it all be one fluid thing. All things at all times, and trust that this will guide my music rather than more intellectual concepts or limitations.”
Despite its catalysts being in philosophy and conceptual art, Hemphill has created an album that’s deeply “emotionally available”. It’s also helped him take a new stance on life that combines his life as a partner and parent in a kind of unity with his role as the artist. It’s plain to hear as a listener – Rhetoric & Terror, despite its intimidating name, is welcoming
and playful, even during its most intense moments.
James Bay ist zurück mit neuer Musik und veröffentlicht sein viertes Studioalbum „Changes All The Time“!
Das Album inklusive seiner Single ”Up All Night” Feat The Lumineers & Noah Kahan ist nun erhältlich
als CD und Vinyl.
Mit Seeing schlägt Tord Gustavsen ein neues, komplexes Kapitel in seiner Reihe gefeierter Trioaufnahmen
auf, die er 2003 mit dem heute als Klassiker geltenden Album Changing Places begonnen hat. Die neue
Aufnahme mit ihren kompakten, konzentrierten Liedformen „spiegelt meine persönliche Entwicklung wider,
ich werde älter und konzentriere mich mehr und mehr auf das Wesentliche im Leben und in der Musik“,
sagt der norwegische Pianist. Mit fünf Eigenkompositionen, zwei Choräle von Johann Sebastian Bach,
einem traditionellen norwegischen Hymnus sowie dem englischen Kirchenlied „Nearer My God, to Thee“
aus dem 19. Jahrhundert taucht Tord zusammen mit seinem langjährigen Wegbegleiter Jarle Vespestad
am Schlagzeug und Steinar Raknes am Kontrabass tief in seine unverwechselbare Mischung aus Jazz,
Blues, Gospel, skandinavischer Volks- und Kirchenmusik ein. „Die Melodien wertschätzend“, wie Tord
es ausdrückt, schöpft das Zusammenspiel der Gruppe Kraft aus der Zurückhaltung und baut die Musik
geduldig auf ihre Höhepunkte hin auf, während Gustavsen, ein wahrer Meister des Trio-Formats, das Ganze
mit seinem feinen Anschlag und seiner ganz speziellen subtilen Gospel-Glut prägt.
Available for the first time on Double 180g Black Vinyl.
Fully remastered at Abbey Road.
Includes 7 rarities chosen by Johnny.
Brand new art direction.
Released in 2003, Boomslang was Johnny Marr’s first solo studio album. After his departure from The Smith in 1987, Marr spent a number of years with the likes of The Pretenders before recruiting Zak Starkey (drums), Alonza Bevan (Bass) and more to form The Healers in 2000. Recorded at Clear Studios in Manchester, with James Spencer (New Order, The Charlatans), Boomslang comprised of eleven tracks that combined his signature guitar playing with heavy psychedelic rhythms."
"‘A virtuoso guitarist with a galvanising charm that electrifies her audience.’ - Guardian
Molly Tuttle & Golden Highway release a new six-song EP, Into the Wild, via Nonesuch Records. The EP, a follow-up to their Grammy-winning and critically acclaimed 2023 album, City of Gold, includes three new songs as well as previously released covers of Jefferson Airplane’s ‘White Rabbit’ and Olivia Rodrigo’s ‘good 4 u’, and an alternate version of the City of Gold track ‘Stranger Things’.
In addition to the band’s previously scheduled US tour dates, which include a performance at the Ryman in Nashville in September, they have announced a new batch of US dates in November, including stops in North Carolina, Virginia, Maryland, upstate New York, Massachusetts, and more.
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Of the new release, Tuttle says: “With this new EP we invite you to come on a journey with us Into the Wild. I wrote the title track with Ketch Secor after a week spent in the redwoods. This song is about getting lost in the wilderness even if it’s just in the forest of your mind. ‘Getaway Girl’ was an unfinished song I had started writing for our last LP City of Gold. It’s about a whirlwind romance set in New York City, kind of like Carrie Bradshaw meets bluegrass. In addition to these two new original songs, we included some of our favorite covers that we’ve woven into the live show, ‘White Rabbit’ by Jefferson Airplane and ‘good 4 u’ by Olivia Rodrigo.”
She continues: “We paid tribute to one of my favorite California songwriters Kate Wolf with a new version of her song ‘Here in California’ which features my dad, Jack Tuttle, and longtime friend AJ Lee singing with me. I used to play this one with my family band back in the day! On ‘Stranger Things’ (Down the Rabbit Hole Version) I wanted to go for a stripped back ethereal version of this song originally played by the full band on City of Gold. It features a trio with Dominick Leslie on mandolin, and Nathaniel Smith on cello and synth. I hope you enjoy trekking deeper into the woods with us as we pick up where we left off on City of Gold and explore new territory as a band.”
Earlier this year, Tuttle and the band—fiddler Bronwyn Keith-Hynes, mandolinist Dominick Leslie, bass player Shelby Means, and banjo player Kyle Tuttle—earned their second consecutive GRAMMY win for Best Bluegrass album for City of Gold, released last year on Nonesuch Records. Earlier this month, the band was nominated for eight IBMA Bluegrass Music Awards: Tuttle and the band are up for Entertainer of the Year, Vocal Group of the Year, Instrumental Group of the Year, and Album of the Year for City of Gold. Tuttle is nominated for both Female Vocalist of the Year and Guitar Player of the Year, and Bronwyn Keith-Hynes for Fiddle Player of the Year and New Artist of the Year. Additionally, Jerry Douglas, who produced City of Gold with Tuttle and is up for Resophonic Guitar Player of the Year, will be inducted into the Bluegrass Hall of Fame.
Raised in Northern California, Tuttle moved to Nashville in 2015. In the years since, she has received many accolades; in addition to the two GRAMMY wins she was also nominated for Best New Artist. She has earned three wins at the 2023 IBMA Bluegrass Music Awards and Tuttle won Album of the Year at the 2023 International Folk Music Awards. Additionally, she has earned Instrumentalist of the Year at the 2018 Americana Music Awards, and Guitar Player of the Year at the IBMAs in both 2017 and 2018. Tuttle has performed around the world, including shows with Billy Strings, Béla Fleck, Hiss Golden Messenger, Jason Isbell, Old Crow Medicine Show, and Dwight Yoakam, as well as at several major festivals including Newport Folk Festival and Pilgrimage."
Permanent Parts is the second album released by visual artist Katharina Grosse (synthesizer) and musician Stefan Schneider (synthesizer; So Sner, To Rococo Rot, Mapstation). Grosse and Schneider were joined at Galerie Max Hetzler on 29 April 2023, performing as part of the Spectrum without Traces exhibition, by three artists who all generally work within improvised music - Carina Khorkhordina (trumpet), Tintin Patrone (trombone and electronics), and Billy Roisz (noise generator, piezo and mini cymbal). Permanent Parts is an extraordinary set of recordings that inhabits multiple zones at once: within its thirty-five minutes, we can hear the interactions of non-idiomatic collective music making, and the electronic glimmers of electro-acoustics, while, at the same time, the music remains untethered to genre.
“The Firebird” is a ballet and orchestral concert work by the Russian composer Igor Stravinsky. It was written for the 1910 Paris season of
Sergei Diaghilev’s Ballets Russes company based on the Russian fairy tales of the Firebird and the blessing and curse it possesses
for its owner. The Firebird’s mortal and supernatural elements are distinguished with a system of leitmotifs placed in the harmony dubbed
“leit-harmony”. Stravinsky intentionally used many specialist techniques in the orchestra, including ponticello, col legno, flautando, glissando,
and flutter-tonguing. Set in the evil immortal Koschei’s castle, the ballet follows Prince Ivan, who battles Koschei with the help of the magical Firebird.
Recorded in 1961 by The Columbia Symphony Orchestra.
This version in limited pressed on Solid Orange vinyl.
Having established himself as a guitar slinging matinee idol fronting Welsh riot starters Trampolene and riding shotgun in Peter Doherty’s band the Puta Madres, Jack Jones releases his debut solo album ‘Jack Jones’. For this album Jack Jones has put away his guitar and embraced a fresh and highly contemporary sound in which to couch his hard-hitting state of the nation poems of existential fear and loathing. His lyrics tackle many of today’s burning issues: mental health, drug addiction, mortality, and the tortuous demands of technology. There’s also joy and hope in there. With some of his catchiest tunes so far, it’s a record that’ll both open up this natural-born star to untapped audiences, and reveal hidden depths to those already ‘on the team’. Much like the first Specials album at the turn of the 1980s, you can imagine ‘Jack Jones’ being useful to youngsters in 2024 trying to navigate the problems of today – swap birth control and street violence for mindless hedonism and mental-health struggles, and you have an equally bold and connective roadmap to the pitfalls of contemporary young-adult living. Jack Jones has enjoyed Top 10 success with TRAMPOLENE on the Independent Album Charts with three Top 10 Albums, hit the road as special guest to Liam Gallagher at the personal request of the iconic frontman, supported The Libertines on an Arena Tour as ‘Tour Poet’ and had the honour of being the first act to headline Swansea Arena. Headline tour dates are: November 2nd Glasgow The Poetry Club SWG3, 3rd Liverpool Jacaranda, 6th North Shields Three Tanners Bank, 7th Manchester YES Basement, 8th Cambridge The Six Six Bar, 9th Shrewsbury Albert & Co Frankville, 13th Bristol The Exchange, 14th London Old Blue Last, 15th Swansea Bunkhouse, 16th Cardiff The Moon
Blue Foundation's album "Sweep Of Days" is celebrated at its 20th year anniversary with this special limited re-master vinyl print. The album remains a timeless classic, a testament to artistic innovation and creativity's enduring power. Blue Foundation, the groundbreaking Danish electronic duo, has etched its name in the annals of music history seamlessly blending elements of electronic, trip-hop, ambient, and dream pop. Their music is characterised by ethereal melodies, haunting vocals, and intricately crafted soundscapes. The fusion of electronic beats and organic instrumentation creates a captivating juxtaposition that has spellbound their audiences since 2000. Their seminal album, "Sweep Of Days" from 2004 solidified their status as pioneers in electronic music, a timeless classic that united electronic music with dream pop and trip-hop. The album swiftly earned critical acclaim for its evocative soundscapes and emotionally charged compositions, going gold in Denmark and achieving international recognition when the single “Sweep” featured in the hit movie "Miami Vice".
New pressing in soon, note increased price. When Jerry Fuchs joined Maserati in 2004, he initiated a complete overhaul of the group: old songs were dropped, tempos were drastically sped up, and the budding psych-rock impulses of guitarists Coley Dennis and Matt Cherry were given room to grow. Beginning with the electrifying Inventions for the New Season, Maserati were a better, faster, stronger beast. That spirit shines bright on Maserati VII, their first album conceived since Fuchs' passing. Maserati has an uncanny ability to toggle time back and forth between the past, present, and future – often in the span of one song. On Maserati VII, they're grounded and driven by new drummer Mike Albanese (Cinemechanica), whose dexterity and stamina prove a perfect fit for Maserati's trademark relentless, driving rhythms and epic song lengths, anchored by bass badass, Chris "Coach" McNeal. To celebrate Maserati's 20th anniversary, we have finally made Maserati VII available again on vinyl for the first time in over five years, packaged in the original heavyweight, full-color old-style tip-on gatefold jacket with custom matte and spot gloss varnishes
'Good Time' is the debut album from Austin, TX noise-pop band DAIISTAR, due out September 8th via Fuzz Club. Creating a narcotic blend of noise and melody, the band takes their inspiration from the neo-psychedelic era of the 80s and 90s and pull it into the future with modulating synthesisers, heavy guitars, bouncing bass lines, and spiralling hooks. 'Good Time' was produced by The Black Angels' Alex Maas and engineered by James Petralli of White Denim. Made up of Alex Capistran (guitar/vocals), Nick Cornetti (drums), Misti Hamrick (bass) and Derek Strahan (keys), DAIISTAR formed in the spring of 2020, just weeks before the pandemic started. "To us, these songs were a glimmer of light", Capistran says: "Starting a band at the peak of the pandemic to some might seem ill-timed, but to us it was a way to escape for a moment. There was something to look forward to and we kept our heads in the future. These songs guided us through some dark times and hopefully they can do the same for you. GOOD TIME is here." Pressing info for LP: 180g neon orange vinyl, printed inner-sleeve, download card included
Mit "The Machine in the Ghost" erreichen HAUJOBB den beeindruckenden Meilenstein des zehnten Studioalbums. Auch ihr neuestes Werk unterscheidet sich von all seinen Vorgängern. Das derzeit in Leipzig residierende Duo verweigert sich weiterhin standhaft jeder Wiederholung. "The Machine in the Ghost" unterscheidet sich bereits durch die Verwendung von Feldaufnahmen, um die Sounds für dieses Album zu erzeugen. Um die gewünschten Effekte zu erzielen, haben HAUJOBB bewusst auf eine Mischung aus Software und Hardware gesetzt - letzteres in Form von mit Alltagsgegenständen erzeugten Tönen. Diese symbolische Anspielung auf eine Zeit, in der es weniger Software und mehr analoges Drehen an den Reglern gab, ergänzt das Thema von "The Machine in the Ghost" um einen Hauch von Retro-Feeling - ohne jede nostalgische Verklärung. Das Album dreht sich um die spannungsgeladene Beziehung zwischen analog und digital, Geist und Materie. Als sich HAUJOBB im ostwestfälischen Bielefeld zunächst zu einem Trio formierten, kamen ihre Haupteinflüsse noch aus der Vancouver-Schule des Industrial - und speziell SKINNY PUPPY sowie FRONT LINE ASSEMBLY. Dies ist auf ihrem ersten Album "Homes & Gardens" (1993) noch hörbar, doch schon bald wurden HAUJOBB selbst als Aushängeschilder eines modernen elektronischen Industrial-Sounds angesehen. Auf den folgenden Alben "Freeze Frame Reality" (1995) und "Solutions for a Small Planet" (1996) entfernten sich die Deutschen zunehmend von den kanadischen Einflüssen, indem sie damit begannen, IDM (Intelligent Dance Music) mit Industrial und EBM zu verschmelzen. Damit katapultierten sich die Deutschen mitten in die internationale Szene und verschafften sich sogar in den USA einen Kultstatus. Auch nachdem HAUJOBB zum Duo mutiert waren, blieben sie einflussreich und insbesondere ihr 2011 in Eigenregie veröffentlichtes Album "New World March" gilt als weitere Großtat. Mit "The Machine in the Ghost" schlagen HAUJOBB ein neues spannendes Kapitel in ihrer bemerkenswerten Karriere auf. Unmittelbar zu Beginn der nächsten industriellen und kreativen Revolution, die der rasante Aufstieg der künstlichen Intelligenz auszulösen verspricht, legen HAUJOBB ihre metaphorischen musikalischen Finger erneut direkt an den Puls der Zeit.
"There was a bird Matthew Ehler had seen in his backyard before, but he’d never really stopped to look at it.
A red-headed woodpecker, a strange-looking bird. After years of more self-destructive escapes from everyone’s respective demons and traumas, Ehler started to embrace the stillness of birdwatching. “It was something to occupy my mind,” he explains. His new hobby wouldn’t just lend Cliffdiver’s sophomore album its title, but signal a spiritual overhaul rippling through the band.
The origins of Cliffdiver go all the way back to 2017. By 2021, the line-up had settled into Ehler on guitar, Joey Duffy and Briana Wright on vocals, Gilbert Erickson on guitar, Tyler Rogers on bass, Eliot Cooper on drums, and Dony Nickels on sax. All of them veterans of Tulsa’s vibrant and interconnected music scene, they kicked up steam fast — over a host of EPs, singles, and their debut album, Exercise Your Demons , they went from DIY shows to selling out Tulsa’s famed Cain’s Ballroom.
Still, Birdwatching feels like the work of a whole different band: an album specifically grappling with abandoning cyclical behaviors and addictions that no longer serve you. It’s pop-punk maturing into grown-ass adult travails. Birdwatching is a very real take on life: Things get better, but they also get worse again, and better again, and worse again, and nobody will ever have it all figured out. In each snapshot, Cliffdiver offers a companion for those ups and downs.
Produced by Brett Romnes (Hot Mulligan, Mom Jeans, Dogleg)
“Cliffdiver is a set of splayed ribs, a whole lot of heart, and someone you can turn to when the lights refuse to turn on” —NPR Music"
Vegyn veröffentlicht auf seinem zweiten Album 'The Road To Hell Is Paved With Good Intentions' erhaben gestaltete Songs, die menschliche Unvollkommenheit zulassen, während sie auf einem Grat zwischen Hochgefühl und Melancholie schwanken - mit Gastbeiträgen von John Glacier, Léa Sen, Matt Maltese, Lauren Auder und Ethan P. Flynn. Das formverändernde Schaffen des britischen Produzenten tendiert gerne zum Exzess, wie bei der Zusammenarbeit mit Rap- und R&B-Topstars (Frank Ocean, Travis Scott, Kali Uchis) oder seinen 70-Track-Mixtapes. Im Gegensatz dazu entstand das neue Werk aus einem Raum frei fließender Experimente mit einer leichten Note. Bisher charakteristische Schnörkel und BPM-Änderungen treten gegenüber Melodie und Struktur in den Hintergrund. Oder wie Vegyn es selbst ausdrückt: 'Ich versuche einfach, interessante Songs zu machen – und das Gefühl stand im Mittelpunkt.'
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Last delivered 2 years ago available to reorder, subject to availability
Both originating from Basel Switzerland, experimental dance outlets Amenthia Recordings and A Walking Contradiction combine forces and present their first collaborative release. Both known for their dare-to-do-different approach and proudly presenting sounds that come from their inner circle of friends they compiled the Flash Crash / Hack Crash EP with exactly this mindset.
From Agonis' heavy stepper to Konduku's whirlpool of low frequencies on the Amenthia side with Lemont continuing on this same low-end tripped-out tip to the slo-mo swamp sounds from Varuna representing A Walking Contradiction in typical fashion.
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Last delivered 20 months ago available to reorder, subject to availability
Nach fast 30 Jahren veröffentlichen Funker Vogt ihr 1996
erschienenes Debut Album „Thanks for Nothing“ erstmals,
streng limitiert, auf farbigem Doppel-Vinyl. Für die VinylProduktion wurde in einem speziellen Verfahren buntes,
recyceltes Vinyl verwendet, welches jede Platte zu einem
besonderen Unikat macht.
Alle Tracks wurden auf Basis der Originalaufnahmen aus dem
Jahr 1996 von Mastermind Gerrit Thomas für die VinylProduktion neu gemastered. Das Album erscheint dadurch in
einer noch nie dagewesen Klangqualität und zeigt nochmals
deutlich welchen Meilenstein die Band damals erschaffen hat:
Club-Hits wie „Black Hole“, „Funker Vogt“ oder „Thanks for
Nothing“ haben die EBM-Szene nachhaltig geprägt.
Als Bonus zu den original Album-Tracks sind der „Body
Rapture Remix“ von „Thanks for Nothing“ und der „In
Between Mix“ von „A New Beginning“ enthalten.
Beloved Spanish indie rockers Hinds are back with their utterly triumphant fourth album, VIVA HINDS. Written by the band’s co-founders, co-vocalists, co-guitarists and co-songwriters Carlotta Cosials and Ana Perrote, it features their first-ever fully Spanish language songs, as well as first collaborations with the likes of Beck and Fontaines D.C.’s Grian Chatten. Recorded in rural France, the album was produced by Pete Robertson (Beabadoobee), engineered by the GRAMMY-nominated Tom Roach, and mixed by GRAMMY-winning engineer Caesar Edmunds (The Killers, Wet Leg).
Shortly after the band made their debut ten years ago, they hit what felt like an insurmountable obstacle – they had to change their name from Deers to Hinds for legal reasons. But, as their fans began to greet them at shows by cheering “¡VIVA HINDS!”, the band soon realized that what initially felt like an ending was actually just the beginning. Fast forward to 2023, and VIVA HINDS was written by Cosials and Perrote after a series of endings. They hit a creative rut after releasing their 2020 album The Prettiest Curse, and their bassist and drummer devastatingly decided to leave the band. They also split with their management team, lost touring revenue due to lockdowns, and were without a label for the first time. But when Perrote and Cosials got together to write again it became clear that their connection, one so special that they call themselves “millionaires in friendship,” would be all they needed to get them through. VIVA HINDS – the most accomplished, sonically adventurous, honest and celebratory record of Hinds’ career – is only the beginning.
PRESS/ONLINE: “The track, though signaling a new era for Hinds, arrives rapturous and catchy, as Perrote and Cosials trade verses and riffs. ...'Coffee' is a sweeping first chapter of where the duo aims to
“‘Coffee’ is a a gorgeous punk-indie cross contamination, instantly memorable, grungy” - Wonderland
“They bring the energy of a thousand rock bands, entrancing the crowd with their searing indie riffs, the constant interlocking of guitars and smiles, and deeply charming banter” - Rolling Stone
“The Prettiest Curse is an evolution. It is striking, complex, uncompromising indie-pop. More than that, it makes a bold statement: it canonises Spanish indie-rock” – Loud and Quiet 9/10
“They’ve taken their sound and unashamedly experimented with it. They’re all the better for it” – NME 4/5
“The Spanish group’s second album displays the superior songcraft of the band, as vocalists Ana Perrote and Carlotta Cosials wade through love’s messy feelings with confidence and exuberance” - Pitchfork
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Secretsundaze marks a new chapter in the institution’s storied history with the foundation of imprint 9FINITY. Stemming from founder James Priestley’s daughter Ludo’s toddler-speak of ‘9FINITY’ to define something massive or huge, the label aims to run with this descriptor through no-nonsense, discerning dance records from artists at the vanguard of modern club music.
The label makes a statement with its maiden release, a V/A compiled with the considered curation synonymous with the Secretsundaze name.
9FINITY001 brings together the talents of Eoin DJ, DJ Life, Luca Attanasio, Coffintexts and E-Talking across 5 tracks and digital bonus that act as a distillation of the label’s sonic vision.
The EP kicks off with Eoin DJ’s ‘Red Rubber Roses’ (Rhythm Dub). A deep, yet driving affair that melds a subtle break with an organ bass line. Think Junior Vasquez meets Radiant Love and you’re getting close. Joining Eoin DJ on the A-side is Naarm production wizard DJ Life with ‘Aberration’. A true headspinner, Life pulls out all the stops on this one, brooding D n’ B style low end, his trademark psychedelic flourishes and a mid-track pace change for good measure. A statement of intent for the imprint on its opening stanza.
The flip opens with exciting newcomer Luca Attanasio’s ‘I Like You Mind’. Straight up intelligent modern house music to kick start the B-side with moody keys and sensual vocal samples juxtaposing a rising bassline that emphasizes groove. Next is Coffintexts’ percussive ‘Make U Sweat’. Doing exactly what is says on the tin, a bold club track with a heavy Latinx vibe that implores the listener to move. Last but certainly not least, E-Talking closes out an impressive opening outing for 9FINITY with the balearic tinged, progressive ‘Party’.
The EP also has an exclusive, Bandcamp only digital bonus with Coffintexts providing a dub wise, 140 version of ‘Make U Sweat’.
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Francesco Farias, DJ, musician and producer, began his artistic life with the group Jestofunk in 1991 together with Alessandro Staderini (aka Blade). Their first single, which also inaugurated their label Rec In Pause, was produced by Claudio Moz-art Rispoli who became the third full member of the group. They had several international successes with songs like I’m Gonna Love you, Say It Again and especially with Can We Live and Special Love, the latter two respectively sung by CeCe Rogers and Jocelyn Brown. Their first album entitled Love In A Black Dimension is still a best seller in the Funky House and Acid Jazz genre.
For the last years Jestofunk have not released new material and Francesco Farias has started to publish songs again on the label Rec In Pause. This first single printed on vinyl sees him in collaboration with Alen Sforzina in their personal Nu Funk version of Inner City Blues by Marvin Gaye where the echo of the Jestofunk project can be clearly heard. On the back an original piece by Farias contaminated as always by the Funky sound.
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It’s 2024 and Egyptian-born artist of South Sudanese origin Sam Alfred has had a monstrous 12 months. A new year means stepping in a new zone with new tunes. This is Forward Step.
First is the title track “Forward Step (Journey Mix)”, an epic cow-bell-laden house hammer that blooms into a euphoric flower. Running with a 90’s club flavour, Sam lays airy synths over punchy piano and rave stabs while an all-powerful speech plays out, celebrating the idea that we’re all in control of writing our futures. There’s a bubbling over of excitement on this one as it builds and builds and builds!
Up next is “Care 4 U” – a crunchy drum club roller paired with fuzzy bass tones and a super hooky vocal loop. A section that’s been lodged in our brains from the moment we heard it. Toss in airy pads and a key melody that’s also impossible to forget and this track’s got you hook, line and sinker. In true Sam Alfred style, “Care 4 U” is yet more proof that this lad is a wizard at writing jacked-up club cuts, each full of fizz.
Third in line comes “Keep It” a relentless hypnotic piece of techno. Outer space synths drone while shuddering percussion rumbles beneath. It’s here where the EP takes a darker turn. The curtain closer and focus track for the EP drop is “Distance” – an acidic house track to seriously lock and load to. Characterised by sharp hi-hats and lively keys, as its name suggests this one goes and goes and goes.
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Mike Paradinas, veteran producer and Planet Mu label owner has written a new album called 'Grush' and it's full of weird bangers that reclaim the 'dance' part of the woeful term IDM. A back-to-first-principles record, inspired in part by the group of artists IDM was coined for; melodic dance music that didn't come out of urban scenes, but interpreted them from a distance. The tracks on 'Grush' are all road-tested live favorites developed with feedback from Mike's touring partner and visuals guy Mora (Jan Moravec). It's a detailed and energetic journey which replicates the flow of a live gig. A lot of the tracks have been made in hotel rooms in response to shows, 'Imperial Crescent' is named after a Japanese Hotel, as is 'Belvedere' in Prague, while some tracks such as 'Hyper Daddy' were created specifically to play live. Drums are confidently at the fore here and the album feels like it traces Mike's musical history and interests neatly around his sweetly nostalgic melodies, with atmospheres and structures which twist and turn with a charming softness which contrasts with the tension in the drums. Take 'Hyper Daddy's' spiralling notes and twinkling piano which remind one of early Black Dog or Omni Trio rushing alongside splashy jungle drums, or the aquatic acid footwork of the title track with its drums softly bubbling and kicking. Elsewhere there's territory which harks back to his Tusken Raiders pseudonym, like the heads down Drexciyan funk of 'Windsor Safari Park,' which transforms from moody electro into a sunny hardcore track midway. The album is interspersed with Reticulum A, B and C at the start middle and end of the album which suggest a theme which carries across the music in an effortless and joyful way. 'Grush' is a strong album that works both for listening and DJing and a great snapshot of where Mike Paradinas musical head is at in 2024.Tracklist Vinyl A: 1/Reticulum A 2/Hyper Daddy 3/Fogou B: 1/Magic Pony Ride (Pt.4) 2/Imperial Crescent 3/Reticulum B 4/Grush C: 1/Belvedere 2/Raver 3/Windsor Safari Park 4/Hastings D: 1/Manscape 2/Metaphonk 3/Reticulum C
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They say you should never meet your heroes, but for Mike, meeting the legendary Adrian Sherwood has been a transformative experience, leading to creative collaborations that have benefited both of them.
Nearly 30 years after first being mesmerized by OnU Sound’s releases, a cheeky bit of radio ripping serendipitously led to Mike helping Pats Dokter, the label’s official archivist, with his work restoring master tapes, and eventually to him creating visual content for Adrian’s live shows.
A while after this collaboration began, Adrian offered to remix some of Mike’s music, either by his solo project @misledconvoy or our tunes, and it’s four cuts by us that grace this heavyweight platter.
From the dreamy dub of Transient Transmission to the rolling rhythms of A Doubtful Sound, our originals have been re-arranged and dubbed to $%># in Adrian’s signature style, with fluid melodies, pounding basslines and vocal samples awash in a wall of effects.
Trumpets by David “Ital Horns” Fullwood bookend the release, haunting in the first track and celebratory in the last, while Doug Wimbish (Tackhead) added an extra bassline to the heaving version of 1000 Mile Drift, which also features the voice of the iconic Lee “Scratch” Perry.
Reflecting on the collaboration, Mike says, “the whole experience has been slightly unreal, from working on Adrian’s videos to being in the OnU studio and watching him dub-mixing the tracks I’ve made, something I could never have imagined happening!”
Mike isn’t the only OnU fan, as a pivotal moment for Paddy was “watching Adrian mixing Tack>head at the Powerstation in 1995 and seeing the cause-and-effect of what he was doing and hearing the unbelievable sounds coming out of the speakers. It was the first time I’d ever seen somebody dub mix like that.”
The cover of Echoes of the Night is based upon an original artwork by Hamish Macaulay, while the vinyl has been pressed using a 100% recycled compound known as eco-mix, making each record totally unique as the colours subtly change across the pressing run.
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After Prince Istari finished the Dub Encounter with Erik Satie, he
immediately set to work on expelling the evil curse of artificial intelligence. While the encounter with Satie was guided by the original
compositions, this album delves deeper into dub science.
The opening track is "Curse Of Machine Learning," a grinding cumbia dub track that sucks you into the curse of machine learning. It's followed by "Artificial Neural Network," arguably the album's most nerve-wracking track, with wild snare rolls colliding with offbeat echoed riddim sections. "Large Language Models" offers a more relaxed, arabesque one-drop riddim with speech synthesis vocals. "Fake Image" closes the first side with a full trombone solo contributed by Eugene Rosebud.
Side B starts with the one-drop killer tune "Haunted By Delusion,"
featuring an organ solo by Prince Istari. Drum and bass in your face.
"Evil Forces," on the other hand, is a fusion of jazz and dub; after the
brass section breakdown, it rolls into a crazy synth solo. Then next „I
Want Your Data" pulls your data into the AI's guts with a vibraphone.
This is maybe the ambitious tune on the record speaking of chord
progressions. The final track sees Eugene Rosebud return with a double trombone solo in "Transhuman Feedback Rock" assisted by a saz cooling the blues pattern with a hookline. Here we have beautifull springreverb and harmonizer dub effects on the snare twirrling around the trombone solos.
All tunes composed, arranged, conducted and engineered by Prince Istari and played by his house band The Virtualistics. Trombone Solos by Eugene Rosebud. Packaged in a nice cover drawn by Markus Schäfer and frequency shift and cut by LXC.
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Alice Taylor was a popular session singer who sang background vocals for several local Philly groups including The Delfonics during the height of the Philly Soul boom of the early to mid-1970’s.
In 1974 Alice under the auspice of producer Emanuel ‘Manny’ Campbell Jr and fellow Philadelphian musician/composer Charles R. Bowen entered the famed Sound Room Studios in Upper Dardy PA, to record a session of her own. This session yielded two songs. The more commercial pop soul orientated “(I’m In Love With A) Rock ‘n’ Roll Singin’ Superstar”. A song which took influences from other popular songs of the time that mentioned one’s love for Rock ‘n’ Roll singers and taking road trips to L.A (Los Angeles) in an attempt to cash in. Although the elongated song title may at first be a tad off-putting the recording showcases Alice’s vocal talents to the full and in itself is a very good record. The second song “Sounds Ridiculous” is based around the theme of a girl falling in love with a guy who spends most of his time daydreaming rather than getting a regular 9-5 job. An excellent record that should find favour with 70’s/crossover soul fans alike.
Manny Campbell Jr used some of Philadelphia’s finest musicians on Alice’s session, notably session drummer Earl Young, reputedly the first exponent of the hi-hat cymbal a style of drumming used extensively throughout the disco period. Young had honed his skills during the 1960’s with his band The Volcanos, recording sessions for the Arctic and Harthon Record Labels. The Volcanos later became The Moods before morphing into The Trammps who Young recorded on his Golden Fleece Label with the group recording several further disco hits for Buddah Records prior to their worldwide hit “Disco Inferno” for Atlantic Records. Young’s strumming can be found on many other Philadelphia International, Sal Soul and MFSB recordings. The string and horn arrangements on the session were provided by another MFSB (Mother Father Sister Brother) pool of musician’s member, Don Renaldo.
“I’m In Love With A) Rock ’n’ Roll Superstar/Sounds Ridiculous” came out in November of 1975 as an initial pressing run of 500 copies for promotional use which sadly were not of the best quality with some background noise being present in the introduction on both sides of the single, a possible detrimental factor in the release gaining any significant airplay. It’s was the second and final release on Emandolynn Music’s short lived, Stage-Art label. The first release being another of Manny Campbell’s acts The Nu-Rons & Co “Disco Hustle/Can’t Do Enough Girl” (Stage-Art 1001). Sadly, Alice Taylor passed away sometime during the 1980’s. Soul Junction through its ongoing relationship with Emandolynn Music have taken the opportunity to license these now very sort after Alice Taylor songs, which have been remastered to remove the aforementioned sound problems present on the original release. Which are now presented to you as a 3 track EP which also includes a previously unissued alternative mix of “(I’m In Love With A) Rock ’n’ Roll Singin’ Superstar, a recent master tape discovery.
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Picture disc vinyl release of Binary Pair, which was previously released digitally on Umek's 1605 label. Now available on 12" with five new remixes from Human Rebellion, Code Rising, Robodroid, Spectrums Data Forces and DVS NME.
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Legendary electro explorer Emile Facey aka Plant 43 is back on his Plant43 Recordings imprint. Despite being hugely prolific, the artist always managed to find fresh new creative ground with each new outing and Concrete Echo is no different. The title cut is a high-speed opener with shimmering lines, fizzing static electricity and drama in the chords that make you take note. 'Emerald Shift' is a broken beat kicker with raw claps and scintillating liquid metal leads while 'Raw Vectors' layers up acid wobbliness and textbook electro rhythms. 'Mist Memory' closes down with a melancholic vibe and heady synths that take you into the cosmos.
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The Album “Prawda Cel Przeslanie” (which translates to “Truth Purpose Message”) by the polish duo Trials X, which officialy came out in the year 1995, was the first ever hip hop album that was released in Poland. 30 year after its recording The Very Polish Cut Outs are reissuing this obscure gem for the first time on vinyl (the original album was a cassette only release). It is often said that pioneers don’t have an easy life. Being a protoplast in a given field, you lay the foundation for the fruits that others will reap, often forgetting your achievements. This is not entirely the case with Trials X, as the band's contribution to the history of the Polish hip-hop scene is widely known and appreciated, but mainly only among raps biggest enthusiasts and diggers. This special 30th aniversary vinyl edition will hopefully introduce this pionieering album to a wider audience which will apprieciate its strong points but also shortcomings as it is a big piece of eatern european hip hop history.
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Classic 1981 Roots Radics dub album, reissued after 35 years - a must for all King Tubby's fans. Produced By Joseph Jackson aka Ranking Joe, recorded at Channel One by Solgie, and mixed at King Tubby's.
Few jazz funk classics have been as iconic as 'Life On Mars' by keyboard legend, songwriter, producer and architect of the 'Philly Sound' Dexter Wansel. First released in 1976 it became an immediate fixture on the dance floor and remains an evergreen to this day with a generation of disco, soul and jazz funkateers.
Now comes an extremely special exclusive release for Record Store Day. This is the first ever remix of the track, all parts taken from the original masters tapes and added to courtesy of remixer Paul Simpson (Paul Simpson Connection, Serious Intention, Adeva etc). Dexter Wansel himself contributes on an exclusive extended mix of 'Theme From The Planets' which includes an extra monologue section with the man himself telling the story of these tracks.
This 12' released on original Philadelphia International Records label artwork through Expansion.
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Imaginative re-workings and improvisations by Andrew Tuttle of the late great Michael Chapman's unfinished instrumental album. Sonic explorations that bridge the Southern and Northern Hemisphere via the Caribbean, remote Northumberland and sub-tropical Australia. Navigating calm seas and turbulent waters of ambient corals, new-age pirates, waves of lapping banjos and drifting eroding guitars.
When Michael Chapman passed away in September of 2021, at the age of 80, he did so – as he spent much of his life – as both a pioneer and a legend. A veteran of the British blues/folk/jazz scene, Chapman emerged in 1966 and continued working throughout his life, always pushing the boundaries of his creations while collaborating with a slew of similarly heralded musicians along the way: Bert Jansch, Mick Ronson, Elton John, Thurston Moore, Steve Gunn; to name just a smattering of those he worked alongside over the years.
It's the latter of those – Brooklyn guitarist and songwriter Steve Gunn – who Chapman flourished alongside in recent years, the two collaborating on 50 and True North, two of Chapman’s final and finest records. It was through that friendship that Chapman’s music found Andrew Tuttle, the Brisbane-based multi-instrumentalist who has toured Australia several times alongside Gunn.
In the aftermath of Chapman’s passing, his partner Andru discovered Tuttle’s Fleeting Adventure LP, describing it as “one of the albums that kept me sane during that first brutal winter on my own.” The pair met in Australia shortly after, and before Andru had even made it back home to the north of England, Tuttle had begun working on the recordings she shared with him at that time. Those recordings were part of a project Chapman was working on at the time of his death, called Another Fish – what would have been a companion piece to his previously-released LP, simply called Fish.
Though Chapman had spent time in his local studio playing all the guitars, layering the different sounds and effects, he’d always intended to do much more work on the songs, however fate had its way and he never got to ribbon-bow those ideas and bring the album to its conclusion.
Though there was little intention in terms of how to finalise the project, Tuttle spent valuable time with those recordings. What materialised, eventually - with time, care, and diligent attention - is a two-disc set Another Tide, Another Fish, something both unusual and completely distinctive. The first disc, Another Tide is centred around Tuttle’s own work, which shaped all seven of Michael’s songs and ideas into new songs of their own, and the second disc which simply incorporates the recordings that Michael left behind.
“On all of the tracks I also ‘played along’ on banjo to the originals several times until I learned an approximation,” Tuttle continues. “This ended up resulting in a ‘hybrid’, where some works are easily identifiable to those who know Michael’s originals, and some took that inspiration to head altogether elsewhere. Each of the tracks, even where not obvious, does have at the very least a trace element sample of the original recordings so that it’s a true collaboration.”
What we’re left with is indeed a hybrid: part remix album, part cover album, both a solo work and a collaboration, of sorts. Inspired by Chapman’s original ideas and with new track titles directly referencing the numbered but otherwise untitled source material, Tuttle adds his own flashes of colours throughout, including editing, sampling, MIDI transposing and signal processing that twists these songs into beautiful new shapes. Perhaps Tuttle’s greatest achievement here then is that Another Tide sounds so effortlessly free of all this context.
Whether you know Michael’s, Andrew’s or even Andru’s story or not, these recordings will bristle with enchantment and intrigue, worlds are built, and while some thrive and grow, others fizzle out in a burst of light, such is the way. “It's been a long, long road but we got there and I think it's been more than worth it,” Andru says in the record’s liner notes. “I really hope you think the journey was worth it too.”
Guitars and effects by Michael Chapman recorded by Alex Warnes at Phoenix Studio, Brampton, Cumbria, 2017 Banjo, effects and edits by Andrew Tuttle at Bella Vista, Brisbane / Meanjin, 2023-2024
Polido has been fantasizing with the idea of free music throughout his artistic career. Free from restraints, logos, musical genres, but also from this modern obsession with narratives, plans, business plans, algorithms and bubble wrapped ideas for comfort of those of you that can’t breathe without everything making sense.
“Hearing Smoke” has nothing of that. It has been four years since Holuzam released the double album “A Casa e os Cães / Sabor a Terra” and for four years I have been daydreaming about what would come next. This is it, eleven new pieces about the future of the future of music. It is the result of years of study, research and sound consolidation. Sound as matter, mutating, transforming, absorbing all around, a shapeshifting entity connecting with the principles of freedom.
"Polido has been researching Portuguese contemporary composition, its very own sounds and ideas. Its origins, the web of repression, tension and censorship before the April 25th revolution in 1974; secondly, as an afterthought, freedom, equality and a unique sense of community and belonging screaming through the music. He absorbed those states of mind and made an album that listens to the current world and presents globalization as a mental trap.
If the music that inspired him somehow comes from a post-colonial world, “Hearing Smoke” questions how we can create something new in this permanent state of cultural colonization, where new trends or forms of music only thrive if they are accepted by the dominant cultures. The physical world has been transformed, but ideas like “world music” or “ghetto music” still show that dominance, the Strange can only be accepted if it incorporates the rules and codes of that dominant force. What I am saying is that it is hard for Portuguese musicians to present themselves as original. They will never have that credit unless the music relates to something that exists in another
realm. Never for their benefit, but for the power of association. I may sound arrogant here, but Polido is unique, original, one of a kind (all those words, all those redundant synonyms). I knew it four years ago when I got lost in the way “A Casa e os Cães” is assembled and how he makes something memorable out of the most commonplace conversations. “Hearing Smoke” continues the flow and puts us in the centre of these ever evolving masses of sound.
Somehow his music finds you, it starts speaking with you until it asks you to be a part of it. Polido’s beats and harmonics are combined in such a tender way that you mellow out while listening to these beats - thinking of the brilliant “Saque”. Even when he exposes you to something more harsh - “Canto D’Amorte” or the closing moments of the last track “Custa A Crer” - there’s still a cradle effect.
But what keeps me returning to this album is how it seems to transform in my ears. Not every time I listen to it, but while I am listening to it. The sound seems to move, embracing me and controlling my inner thoughts. These start to move along at the same pace, with the same feeling of cloudiness. Nothing new here, the thing is how it feels different from time to time, how the music, because of something that changes or moves, comes as a catharsis/revelation. It drives me nuts how the beats come and go in tracks like “Fogo Firme (Encomendação)” or “The More I Think, The Less I Can Speak“, leaving everything suspended and, simultaneously, relieved. When dramatic - ”Prova De Existência“ - it is sad af and gorgeously epic.
Trap, bass music, dubstep, ambient, hauntology and contemporary music flow side by side here, no pushing around, free of interpretation, and you are free to feel or listen to whatever you want in “Hearing Smoke”. That’s free music for you. Not a hard concept, something for you to enjoy, feel, reflect about. This is what the future will sound like."
Everything is out of control / from melting pots to melting poles - das aktuelle Album der Grazer Alternative-Bande The Base lässt unsere Welt abgeranzt und hässlich glänzen. So beginnt es gleich wie ein dunkler, erdiger field holler. Bei einem field holler rufen sich Sklaven, Gefangene oder Zwangsarbeiter Worte und Sätze zu, die durch ihre Wiederholung den Rhythmus zum Arbeiten angeben - und zum Überleben. Sing or die! Everything falls apart / and everyone is acting smart. Norbert Wally und seine beiden Spießgesellen starten ihre torture de force im tiefen Süden, in der Ursuppe des Rock`n`Roll, im tiefen Sumpfland des Delta-Blues. Aber The Base sind weit davon entfernt, eine Bluesplatte aus dem Schlamm und Dreck auszugraben. Bei "It's all Going South" stehen eher Bands wie Fun Lovin' Criminals, The Clash oder Pixies Pate. The Base verstehen Blues als Brandbeschleuniger: Die Stories, die Statements, die Visionen - kaum je waren Norbert Wally (Voice/Guitars), Albrecht Klinger (Bass) und Karlheinz Miklin Jr. (Drums) so politisch, so sozialkritisch, so wütend. Und nie waren sie so sarkastisch wie 2024. Blues, das heißt Tanzen auf dem Vulkan. Lachen beim eigenen Begräbnis. Und die Fäuste ballen, wenn miese Abzocker das Gute und Schöne beflecken um aus der Wahrheit eine Ware zu machen. Der Opener "High Time For Panicking" ist ein Meisterwerk für sich: Innerhalb von eineinhalb Minuten schießt er uns vom Pre-War Blues alter Lomax-Shellacs in den lärmigen Groove einer New Wave Combo, die um ihr Leben spielt. Der Titeltrack "It's All Going South" flimmert der Ferne wie ein Wüstenkaktus in, der gerade von Mr. Tarantino in einem 1967er Chevrolet Impala Sport Sedan niedergewalzt wird: dünenweise Hall auf der massiv geforderten Gitarre, die in Slow-Mo durch die Story wandert. Ein Bass, der vor Clint Eastwood den Hut zieht. Die Atmosphäre: Calexico deluxe. "Alles geht den Bach runter" so Wird die titelgebende Redewendung ins Deutsche übertragen. "Chemically Speaking Alcohol Is Still A Solution" könnte als Antwort auf alle gutgemeinten Versuche gehört werden, eine Welt voller Diktatoren, Kriegsgerät und Wahnsinn mit Vinyasa-Yoga und Lactobacillus bulgaricus im Joghurt zu retten. Waren die vorhergehenden Alben betont reduziert und puristisch, so gönnen sich The Base auf "It's All Going South" Backgroundchöre, fetten Vintagesound und lassen ausgiebige Studioeffekte. Das sitzt jedoch alles wie angegossen und zeigt die Qualität der Songs, denen knapp anliegende Taucheranzüge ebenso gut stehen wie schillernd verbrämte Kostüme. Niemand zieht aus dem Wort "happy" so viel Melancholie wie Norbert Wally und folgerichtig ist auch die Single-Auskoppelung "Waiting for June" ein Liebeslied, das gar keines ist. Aber der zwingendste Grund das Album anzuhören heißt "No One's Safe". Ein Song der sich wie ein Drillbohrer durch das Innenohr zur Großhirnrinde vorarbeitet. Soundcollagen, Voice-Over, eigenartiger Noise - immer tiefer bohrt sich der Song, bis er den Erdkern erreicht. Norbert Wally zeigt in seiner Stimme eine elegante Verletzlichkeit, die an einen David Bowie der 70er-Jahre erinnert. Die Intensität von OK Computer drängt sich auf. Niemand ist sicher. Game over! "It's All Going South" ist die bisher schmerzhafteste, politischste Platte von The Base. Wie schade, wir werden alle untergehen - und das kann zumindest verdammt sexy klingen.
Another PPU classic from 2008 back in print. PPU returns to their southern roots with South Carolina group, Initials lead by Danny Spencer. B Side features the Mastermix version by Beautiful Swimmers, Max D & Ari G.
Repress! Before he developed into a star composer and arranger, Tom Scott was an ambitious 19 year-old saxophonist looking for his big break in 1967. The opportunity came when legendary jazz label Impulse paired Scott with 9-piece vocal group The California Dreamers and allowed the young musician to take the helm as a band leader, with The Honeysuckle Breeze as the spectacular result. This rare and long out-of-print album features Scott leading a stellar lineup of sessions players—Bill Plummer (sitar), Glen Campbell (guitar) and Carol Kaye (bass) among them—through warm, smooth versions of songs by The Beatles (“She’s Leaving Home”), Donovan (“Mellow Yellow”), Joan Baez (“North”) and Jefferson Airplane (“Today”), which many will recognize from it’s sampling in the Pete Rock & CL Smooth classic “T.R.O.Y.” Resurrected, refurbished and remastered by the talented folks at Get On Down, Scott’s debut record sparkles with a high quality digital audio transfer from the original master tapes and is packaged in a gatefold paste-on case with a dust sleeve and obi strip. Don’t let this “Breeze” pass you by.
Lucila Justina Sarcines Reyes was born on July 19, 1936, in the Rímac district. Lima, which had just mourned the death of the emblematic composer Felipe Pinglo two months earlier, was a city on the verge of modernization that clung to its colonial and racist ways. Having been born black marked a difficult path in her life: after the father's premature death and a fire that left her and her 15 siblings homeless, she takes the streets to financially support her mother, and at 5 years old learns to sing in bars while begging for money in the port of Callao. After being admitted to a Franciscan convent and studying only until the third grade of primary school, now a teenager, she returns home, but suffers an attempt of rape by her new stepfather; she is forced to move to the central neighborhood of Barrios Altos, to live with her uncle, a guitarist from the legendary Guardia Vieja, also known as the founders of the Peruvian criollo waltz. This group of non-professional musicians, made up of bricklayers, merchants, artisans, marble workers and other employees, prolonged the oral traditions of their African slave ancestors in working-class neighborhoods of the capital. While the wealthy reject the music of their peons, which they associate with alcohol and disorder, it is the workers who listen carefully to the European waltzes and Aragonese jotas at the aristocratic halls, and later, back in their famous one-pipe alleys, transform their music under the spell of the night. It is in these sociability spaces that house numerous low-income families, where these criollos cheer up birthdays, weddings, anniversaries and other parties until dawn with the trill of their guitars and cajones. It is there that Reyes, at 16 years old, picks up the legacy of the Guardia Vieja and her life changes forever: she is often asked to sing in jaranas (criollo parties), and since her voice stands out immediately, she is encouraged to make her debut on a radio show called "El Sentir de los Barrios", whereshe performs the waltz "Abandonada" by Sixto Carrera.
