The eighth and latest slate of refined retro-futuristic synth-pop by Liz Wendelbo and Sean McBride aka Xeno & Oaklander is named after and inspired by "the study of what not to do, a negative image of a positive, the other side, the other:" 'Via Negativa (in the doorway light)'. Recorded in the fall of 2023 at their modernist Connecticut home fashioned into a two-story synthesizer laboratory and mixing studio, the album is uniquely visionary in spirit yet precision in execution, a contrast central to the duo’s enduring chemistry. Embryonic piano sketches were translated to nuanced modular systems, which McBride weighted with "harmonic padding," tuned percussion, and a spectral transfer device capable of "rendering spasms of rhythmic overtonal filigree." Despite the technological complexity of their craft, emotively the songs require no deciphering – these are technicolor widescreen anthems of the cybernetic age.
The eponymous opening track sets the pace, soaring sleekly over glittering synths and call-and-response vocals about arias, shattered light, and faces in stereo. From there the record expands and contracts, cycling through a gallery of moods and masks, animated by the band’s fascination with drama, "the idea of personae," and theatrical characters. Track by track, a murky, tragic backstory reveals itself: forlorn figures navigating a treacherous mercury mine, alternately poisoned by fumes or buried in collapsing caverns. The tension between Teutonic, utopian synthetic pop and lyrical narratives of ghosts in silos, ruined mills, and the traumas of mineral excavation creates a compelling friction, alternately futurist and obsolete, elevated and subterranean. Wendelbo describes the music’s polarities perfectly: "The heavy machinic din of extraction in contrast with the enchantment of the mined precious gems and metals."
From bilingual odes to bloodstones ("O Vermillion") to cosmic chrome dance floor classics ("Lost & There" "The present tense can never feel real / So many pasts conspire in the burning sun") to strutting EBM sensualities ("Actor's Foil"), Xeno & Oaklander re-prove themselves masters of the axis of technology and poetry, snaking cables and synesthesia, mining melodies and myths across 15 years of focused artistry. Theirs is a muse still gilded and gleaming, burnished red and silver, attuned to "the unobservable, the unfamiliar, that which you don’t see directly."
The eighth and latest slate of refined retro-futuristic synth-pop by Liz Wendelbo and Sean McBride aka Xeno & Oaklander is named after and inspired by "the study of what not to do, a negative image of a positive, the other side, the other:" 'Via Negativa (in the doorway light)'. Recorded in the fall of 2023 at their modernist Connecticut home fashioned into a two-story synthesizer laboratory and mixing studio, the album is uniquely visionary in spirit yet precision in execution, a contrast central to the duo’s enduring chemistry. Embryonic piano sketches were translated to nuanced modular systems, which McBride weighted with "harmonic padding," tuned percussion, and a spectral transfer device capable of "rendering spasms of rhythmic overtonal filigree." Despite the technological complexity of their craft, emotively the songs require no deciphering – these are technicolor widescreen anthems of the cybernetic age.
The eponymous opening track sets the pace, soaring sleekly over glittering synths and call-and-response vocals about arias, shattered light, and faces in stereo. From there the record expands and contracts, cycling through a gallery of moods and masks, animated by the band’s fascination with drama, "the idea of personae," and theatrical characters. Track by track, a murky, tragic backstory reveals itself: forlorn figures navigating a treacherous mercury mine, alternately poisoned by fumes or buried in collapsing caverns. The tension between Teutonic, utopian synthetic pop and lyrical narratives of ghosts in silos, ruined mills, and the traumas of mineral excavation creates a compelling friction, alternately futurist and obsolete, elevated and subterranean. Wendelbo describes the music’s polarities perfectly: "The heavy machinic din of extraction in contrast with the enchantment of the mined precious gems and metals."
From bilingual odes to bloodstones ("O Vermillion") to cosmic chrome dance floor classics ("Lost & There" "The present tense can never feel real / So many pasts conspire in the burning sun") to strutting EBM sensualities ("Actor's Foil"), Xeno & Oaklander re-prove themselves masters of the axis of technology and poetry, snaking cables and synesthesia, mining melodies and myths across 15 years of focused artistry. Theirs is a muse still gilded and gleaming, burnished red and silver, attuned to "the unobservable, the unfamiliar, that which you don’t see directly."
This re-issue faithfully replicates the original 1970 Island Records UK release in gatefold sleeve and is pressed onto high quality 180g vinyl. After their 1969 album Liege and Leif paved the way, Fairport Convention pushed further into traditional music, led by charismatic and renown fiddle-player Dave Swarbrick, who had joined the group in 1969 after making his name with Martin Carthy earlier in the decade. Vocalist Sandy Denny and bassist Ashley Hutchings left after Liege and Leif, and for the first time since the group's inception in 1967, there would be no female voice on a Fairport album.Guitarists Richard Thompson and Simon Nicol took vocal leads with Swarbrick and, with new bassist Dave Pegg joining drummer Dave Mattacks, the group made Full House, released in July 1970. Picking up where its predecessor left off, and again recorded with Joe Boyd at London's Sound Techniques, the album continued the standards set by their previous four albums. Four of the seven songs on Full House were adapted from traditional folk melodies, such as Dirty Linen and Sir Patrick Spens, while of the originals, Thompson and Swarbrick's nine-minute opus Sloth gave the group one of their all-time anthems. The sleeve sent up their new role as ambassadors of the rustic by inventing a string of traditional British games that didn't really exist.
Unter den zahlreichen Aufnahmen von Giuseppe Verdis Messa da Requiem zählt Herbert von Karajans Aufnahme von 1972 zu den am meisten bewunderten. Neben den Berliner Philharmonikern und dem Wiener
Singverein stehen ihm mit Mirella Freni, Christa Ludwig, Carlo Cossutta und Nicolai Ghiaurov vier der
besten Verdi-Interpreten seiner Zeit zur Seite.
Die neue audiophile Vinyl-Serie The Original Source präsentiert herausragende Aufnahmen der 1970er
Jahre in ganz neuer Klangqualität. Dafür haben die renommierten Emil Berliner Studios die originalen
Vierspur-Bänder mit eigens für die Produktion der Serie entwickelten Technologien in 100% analoger Qualität (AAA) neu gemastert und geschnitten.
Die klanglichen Unterschiede zu den Originalveröffentlichungen sind beträchtlich: Größere Klarheit, mehr
Feinheiten und Verbesserungen im Frequenzgang, zugleich weniger Nebengeräusche, Verzerrungen und
Komprimierungen ermöglichen ein audiophiles Hörerlebnis wie nie zuvor.
Auf 180g Vinylplatten und in einer Deluxe-Gatefold Edition mit Originalcovers und -texten werden die
Exemplare dieser Serie veröffentlicht. Begleitet werden sie von zusätzlichen Fotos und Faksimiles der Aufnahmeprotokolle und Bandkartons, außerdem erklärt ein Beitrag die genauen technischen Hintergründe.
Zwei Sitzungen benötigten Claudio Abbado und das Boston Symphony Orchestra im Februar 1970, dann
war die Aufnahme des eingespielten Teams im Kasten. Ihre Interpretation von Debussys Trois nocturnes,
Ravels Suite Daphnis et Chloé sowie seiner Pavane pour une infante défunte wurde zum Klassiker.
Die neue audiophile Vinyl-Serie The Original Source präsentiert herausragende Aufnahmen der 1970er
Jahre in ganz neuer Klangqualität. Dafür haben die renommierten Emil Berliner Studios die originalen
Vierspur-Bänder mit eigens für die Produktion der Serie entwickelten Technologien in 100% analoger Qualität (AAA) neu gemastert und geschnitten.
Die klanglichen Unterschiede zu den Originalveröffentlichungen sind beträchtlich: Größere Klarheit, mehr
Feinheiten und Verbesserungen im Frequenzgang, zugleich weniger Nebengeräusche, Verzerrungen und
Komprimierungen ermöglichen ein audiophiles Hörerlebnis wie nie zuvor.
Auf 180g Vinylplatten und in einer Deluxe-Gatefold Edition mit Originalcovers und -texten werden die
Exemplare dieser Serie veröffentlicht. Begleitet werden sie von zusätzlichen Fotos und Faksimiles der Aufnahmeprotokolle und Bandkartons, außerdem erklärt ein Beitrag die genauen technischen Hintergründe.
Nur wenige Tondokumente bezeugen die hochkarätige künstlerische Zusammenarbeit zwischen Ausnahmepianist Emil Gilels, Stardirigent Eugen Jochum und den Berliner Philharmonikern. Ihre gemeinsamen
Aufnahmen der beiden Klavierkonzerte von Johannes Brahms erreichten jedoch Kultstatus und gelten bis
heute als unübertroffen („unsurpassed pair of performances“, The Guardian).
Die neue audiophile Vinyl-Serie The Original Source präsentiert herausragende Aufnahmen der 1970er
Jahre in ganz neuer Klangqualität. Dafür haben die renommierten Emil Berliner Studios die originalen
Vierspur-Bänder mit eigens für die Produktion der Serie entwickelten Technologien in 100% analoger Qualität (AAA) neu gemastert und geschnitten.
Die klanglichen Unterschiede zu den Originalveröffentlichungen sind beträchtlich: Größere Klarheit, mehr
Feinheiten und Verbesserungen im Frequenzgang, zugleich weniger Nebengeräusche, Verzerrungen und
Komprimierungen ermöglichen ein audiophiles Hörerlebnis wie nie zuvor.
Auf 180g Vinylplatten und in einer Deluxe-Gatefold Edition mit Originalcovers und -texten werden die
Exemplare dieser Serie veröffentlicht. Begleitet werden sie von zusätzlichen Fotos und Faksimiles der Aufnahmeprotokolle und Bandkartons, außerdem erklärt ein Beitrag die genauen technischen Hintergründe.
Die Ära von Seiji Ozawa als Chefdirigent des Boston Symphony Orchestra überdauerte eindrucksvolle 29
Jahre – eine Zeitspanne voller musikalischer Höchstleistungen, die ihresgleichen sucht. Noch vor dem
offziellen Amtsantritt kreierte Ozawa mit seinem Orchester eine facettenreiche Aufnahme von Berlioz‘
Symphonie fantastique bei der Deutschen Grammophon, die von der New York Times als besonders „leicht
und quecksilbrig“ gerühmt wurde.
Die neue audiophile Vinyl-Serie The Original Source präsentiert herausragende Aufnahmen der 1970er
Jahre in ganz neuer Klangqualität. Dafür haben die renommierten Emil Berliner Studios die originalen
Vierspur-Bänder mit eigens für die Produktion der Serie entwickelten Technologien in 100% analoger Qualität (AAA) neu gemastert und geschnitten.
Die klanglichen Unterschiede zu den Originalveröffentlichungen sind beträchtlich: Größere Klarheit, mehr
Feinheiten und Verbesserungen im Frequenzgang, zugleich weniger Nebengeräusche, Verzerrungen und
Komprimierungen ermöglichen ein audiophiles Hörerlebnis wie nie zuvor.
Auf 180g Vinylplatten und in einer Deluxe-Gatefold Edition mit Originalcovers und -texten werden die
Exemplare dieser Serie veröffentlicht. Begleitet werden sie von zusätzlichen Fotos und Faksimiles der Aufnahmeprotokolle und Bandkartons, außerdem erklärt ein Beitrag die genauen technischen Hintergründe.
Ava Mendoza has never made an album quite as personal as her second solo full-length, The Circular Train. Through her decades of collaborations with Nels Cline, Carla Bozulich, William Parker, Fred Frith, Matana Roberts, and Mick Barr—plus years leading her power trio Unnatural Ways and playing in Bill Orcutt’s quartet—the guitarist’s name has become synonymous with virtuoso technique, raw passion, and visceral resonance, a player pushing the edges of the guitar’s possibilities. Along the way, from 2007 to 2023, Mendoza was writing these slow-burning, incandescent songs. The Circular Train is comprised solely of her single-tracked guitar playing and, on two songs, her corporeal singing. Her first solo LP of original material since relocating from California to New York City a decade ago, much of The Circular Train was honed amid pandemic years that clarified the virtues of slowing down. This expressive avant-rock is a definitive introduction to one of the most uncompromising and inquisitive visions in creative music. Mendoza’s thrilling melange of free jazz, blues, noise, classical training, and blazing experimental rock’n’roll all coheres with ecstatic feedback, with picking and solos that crest with shimmer. Sometimes she sounds like a one-woman Sonic Youth with guttural and poised vocals that equally evoke Patti Smith and blues greats like Jessie Mae Hemphill. Conceptually, The Circular Train is presented as a psychogeographical train ride through certain of Mendoza’s musical homelands. The songs draw on ancestral and recent familial memories, notably of her parents’ roots in mining towns—in her father’s home country of Bolivia and mother’s hometown of Butte, Montana, each country with its own history of colonialism, racism, forced labor, the eradication of culture and the subsequent excavation of it. These adventurous songs were composed in cars and planes, in the heart of the Mississippi Delta, in Los Angeles and upstate New York—which is to say in motion. “Ride to Cerro Rico,” named for the mountain and silver mine at the center of Potosi, Bolivia, was inspired by Mendoza’s great grandmother’s life there in a Quechua mining family. “Dust From the Mines” drew from that history as well as Mendoza’s familial lineage of miners in Montana, building up to stunning swaths of shredded iridescence. “Pink River Dolphins” was inspired by a visit to the Amazon rainforest, swimming with dolphins alongside her father—the pink bufeos that inhabit both Bolivia and Columbia—and the song is dedicated to the memory of Mendoza’s late friend, the Colombian-American trumpeter jaimie branch. They shared a fascination with those intelligent and agile creatures who often communicate by echolocation. “Make a sound, it comes back around,” Mendoza sings, and later, “Echo, echo/The answer in a sound,” evoking what branch knew well: through music we navigate life. The Circular Train contains one cover, “Irene, Goodnight,” composed by Gussie Lord Davis and popularized by Leadbelly; Mendoza has been performing it for over 20 years. Almost as deeply embedded in her repertoire is the penultimate track, “The Shadow Song.” “Treat your shadow kind and it might treat you good,” Mendoza sings on this song that she’s been reworking for over a decade, an emblem of devotion. “Treat your shadow kind and it might treat you right,” she repeats, becoming a blues mantra. What is a shadow self if not one’s secret world, which, once laid bare, awaits an echo, a return?
You Never End is the third album from Valentina Magaletti, Tom Halstead and Joe Andrews (Moin) out via AD 93 on the 25th October. Its title alone expresses the teetering and shifting nature of both the album and band. This record marks the Moin’s shift into a new phase with vocal collaborations across the album from Olan Monk, james K, Coby Sey and Sophia Al-Maria.
The album’s collaborators all have voices that are alluring in their own right whilst hard to pin down: from james K’s ethereal, reverb drenched vocals, Coby Sey’s words that bounce and echo across London’s concrete streets and Olan Monk’s emotive songwriting, while artist Sophie Al-Maria’s voice and thoughts are known to stretch across her multidisciplinary practice as an artist, filmmaker and writer. The unique mystique of each collaborator is maintained throughout the record while simultaneously opening Moin up to new possibilities, in a gentle shifting alchemy.
Continuing their enigmatic re-configuring of the traditional band, Moin use a mix of conventional and unique production and compositional techniques. Subtly re-framing the current conversation about what band in 2024 needs to be, Moin walk the line between what's reassuringly familiar and what's unsettling and inquisitive. You Never End is a more sensitive record in sentiment, it re-contextualises grunge, shoegaze and indie rock with a weirdly comforting melancholy while still sounding direct and alive.
Showing Moin at their most accessible, the vocal collaborations bring the most articulate moments and lucid emotion while still remaining uniquely within Moin's established world. Alongside this, the record fine tunes the elements of electronic production that have always been a feature of the band's unique sound in a deeply subtle way. Elements are simpler and more direct, offering robust functional support as well as textural and emotional resonance. Together they show the potential for both practices to intertwine.
You Never End is both produced and mixed by Tom and Joe, demonstrating the extended range of control the pair have over the band's sound, and their ability to truly hold together Moin’s intricate world.
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Known for the monolithic force of their music and their inventive production techniques, The Body"s albums are benchmarks in the expansion and evolution of heavy music. Tightly packed with deceptively nuanced arrangements and exhilarating, challenging distortion, their compositions are possessed of an unmistakably singular sound. The Crying Out of Things is no exception; a culmination of all that The Body have done before, highlighting their mastery of dynamic and monumental music that pushes toward the unmistakable sound of oblivion The Body have produced a wealth of groundbreaking collaborations with the likes of Full of Hell, Thou, Uniform, BIG|BRAVE, OAA, and Dis Fig. The duo"s benchmark albums have, over the past 2 decades, changed the perceptions and directions of heavy music. The Crying Out of Things" embrace of noise is a comprehensive display of the multitude of expressions possible with abrasive sound, a skill that The Body have pioneered and refined. "I think for us the key to the way we use noise is, it"s not the only element," says Buford. "You"ve gotta really listen if you"re into noise. But it also has to have dynamics. Where, say, BIG|BRAVE (who have a similar ethos) expresses it in this more intellectual, minimalist way, The Body comes from an instinctual, maximalist way. We"re trying to cover it ALL." The Body stand alone in their ability to connect disparate influences and collaborators into a wholly original, potent and singular work. Alongside producer/engineer Seth Manchester, the duo"s voracious and omnivorous musical appetites have pushed the studio as an instrument into new avenues to conjure profound feelings from the music. The Crying Out of Things cements The Body"s place as a leader of heavy new music, their boundless creativity, their defining ability to convey anguish, created with a visceral clarity to devastating impact.
Known for the monolithic force of their music and their inventive production techniques, The Body"s albums are benchmarks in the expansion and evolution of heavy music. Tightly packed with deceptively nuanced arrangements and exhilarating, challenging distortion, their compositions are possessed of an unmistakably singular sound. The Crying Out of Things is no exception; a culmination of all that The Body have done before, highlighting their mastery of dynamic and monumental music that pushes toward the unmistakable sound of oblivion The Body have produced a wealth of groundbreaking collaborations with the likes of Full of Hell, Thou, Uniform, BIG|BRAVE, OAA, and Dis Fig. The duo"s benchmark albums have, over the past 2 decades, changed the perceptions and directions of heavy music. The Crying Out of Things" embrace of noise is a comprehensive display of the multitude of expressions possible with abrasive sound, a skill that The Body have pioneered and refined. "I think for us the key to the way we use noise is, it"s not the only element," says Buford. "You"ve gotta really listen if you"re into noise. But it also has to have dynamics. Where, say, BIG|BRAVE (who have a similar ethos) expresses it in this more intellectual, minimalist way, The Body comes from an instinctual, maximalist way. We"re trying to cover it ALL." The Body stand alone in their ability to connect disparate influences and collaborators into a wholly original, potent and singular work. Alongside producer/engineer Seth Manchester, the duo"s voracious and omnivorous musical appetites have pushed the studio as an instrument into new avenues to conjure profound feelings from the music. The Crying Out of Things cements The Body"s place as a leader of heavy new music, their boundless creativity, their defining ability to convey anguish, created with a visceral clarity to devastating impact.
Opaque yellow vinyl in reverse board jacket.
A full four years after Chicago organ maestro Jimmy Lacy’s legendary maiden voyage as SiP, Leos Naturals, he returns with its lush, layered, long-awaited sequel: Leos Ultras.
Conceived and recorded in a corner of a large floorplan warehouse-turned-sound lab called Homan Gardens, the album radiates a rare joy and colour, projected through a technicolor slideshow of cosmic keys, clarinet, kalimba, sax, melodica, flute, tambourine, and drumbox. The songs feel warm and weathered, like familiar garments treasured through passing seasons.
Many seasons did pass while these songs took shape, spiked with seismic changes – Lacy’s first daughter was born, followed 17 months by a second. Daily routines grew denser, but he never lost faith in the melodies simmering in the periphery of his thoughts: “I knew the music would be there whenever I had the time. It felt good to stay calm about it.” Patience paid off; Leos Ultras is indeed the ultimate SiP statement to date, rich with detail, discovery, beauty, lofted improvisation, and shades of spiritual jazz. It’s music both casual and cosmic, playful and poignant, channelled from long shadows and wordless hours in celebration of life, love, and Leo.
Joel Sarakula's new album "Soft Focus" is a mid-career album spanning his many influences and genres including Soft-Rock, Funk and Indie Pop, all brought under the umbrella of his gentle gaze and a 'soft' aesthetic. "Soft Focus" is also the name of a photographic technique born out of a spherical abberation of the lens where the image is a bit blurry and undefined: it's both flattering and forgiving on the subject. It's an apt title. As a lifetime wearer of (vintage) glasses, Sarakula knows a lot about spherical abberations. Perhaps he produced these songs with his glasses off as these are abstract and warm vignettes, never overstaying their welcome and for this reason Sarakula manages to feature twelve new tracks on "Soft Focus".
Highlights include one of the two Shawn Lee produced tracks "I'll Get By Without You", the rockier, iberic beat of "King Of Spain", the soulful affirmation of "Back For Your Love" and the psychedelic-tinged "Bird Of Paradise" and "Microdosing". This is a lovingly crafted album, well polished and it feels like the culmination of Sarakula's adventures in soulful soft-rock and his defining statement in the genre. While comparisons will be made with contemporary projects like Shawn Lee's Young Gun Silver Fox, Drugdealer, Benny Sings and Prep, echoes of soft-rock icons Ned Doheny, Boz Scaggs, Todd Rundgren and Michael Franks also ripple gently through the album.
Imagine if Ray Manzarek was the frontman for the Bee Gees... It's a neat visual introduction to Joel Sarakula, a UK-based Australian artist who writes, produces and sings Soulful Pop, gazing out at a contemporary world through vintage glasses, vintage threads and long blond hair. His music is informed by a rich, 1970s-inspired palette, drawing on soft-rock, funk and disco influences: sunny, uptempo jams for darker times. Self-aware that he looks and occasionally sounds like the love child of Ray Manzarek and the Gibb brothers, his self-deprecating sense of humour is always there just below the fringe.
Born in Sydney, based in UK and international in outlook Sarakula is a songwriter who has travelled the world in search of his muse, experiencing everything from being a victim of Caribbean carjackings to performing in the remote fishing villages of Norway before finally establishing his career in the UK and Europe. Since then he has released albums such as "Island Time" (2023), "Companionship" (2020), "Love Club" (2018) and "The Imposter" (2015) that have racked up plays on rotation across national UK and European radio and got him noticed in The New York Times, The Independent (UK), The Irish Times, Rolling Stone Germany, El Pais (Spain) and Sydney Morning Herald. It's- been a long road finding his current cult status starting out at the piano from a young age in suburban Sydney, writing and singing songs by the time he was a teenager and onstage by fifteen years old playing jazz standards in his local golf club. "I came from humble beginnings, it's best not to mention" as he sings in his 70s boogie influenced song "I'm Still Winning". Joel Sarakula is a fixture on the festival and club circuit having previously performed at SXSW, Primavera Sound and Glastonbury festivals. Ever the internationalist, he tours with pickup bands sourced from each territory he plays in: a Barcelona band for Spain, a Berlin band for Germany and so forth. This cross-cultural exchange is another echo of the 1970s when world travelling soul and pop artists from the US did the same and guarantees that his live shows remain fresh, exciting and absolutely contemporary.
The man born Omar Credle is an ornate wordsmith; his tone is rough and rococo — every verse is like a boosted spool of handmade silk. There’s a meticulous rasp to every O.C. utterance, wherein his lavish darts seem composed by a Crooklyn corner-stander tickled by his technical brilliance.
O.C., on Word...Life, had to compete in this impossible climate (in which Nas was rap’s messiah, and B.I.G. squared mad circles the instant he uttered, “It was all a dream”). Against all odds, O.C.’s first LP captivated in its quiet way.
Released in December 2007, The Big Doe Rehab was a technical commercial success at the time, but it endures spiritually as an essential title in Ghostface Killah's own expansive, 13-album discography, let alone his larger body of work with other artists. While every Wu member’s solo project inevitably serves as a stage for the Clan, with The Big Doe Rehab, the spotlight never leaves Ghostface Killah in the dark, even with so many other big-name players entering and exiting — a level of artistry that could only be achieved by one of hip-hop’s top dart spitters.
Throughout the 1960s, Canadian composer Bruce Haack was as ubiquitous on children’s and variety shows as were exotic animals from the San Diego Zoo. But he wasn’t there to perform so much as demonstrate. In his formative compositions for theatre and ballet, he had experimented with tape loops and musique concrète techniques; by the early ’60s, he wasn’t just playing around with electronic sounds, but also making the very gizmos that generated them. By day, Haack would eke out a living as a composer for commercials and a series of instructive, interactive children’s records made with collaborator Esther Nelson.
But by night, Haack was making music that was decidedly adults-only.
Originally released in 1970, The Electric Lucifer was Haack’s first work pitched to a contemporary rock audience, released by Columbia Records in the dying days of a post-hippie moment when bizarro outsider-psych could still find a home on a major label. If it was not the first rock record to feature electronics, it was certainly among the first to give them a starring role—both musically and conceptually.
arottenbit is an electronic music project born in 2008 by Alessandro 'Otto' Galli (FOH Sound Engineer for Messa, Deafheaven, Pallbearer, Truckfighters, Bongzilla, Fuoco Fatuo). Playing solo with a 1989 NINTENDO GAME BOY or accompanied by hardcore punk drummer Guido Montanarini (PARADISE LOST, IMPLORE, THE SECRET), he soon found himself opening for some of his favorite bands like MELVINS, ATARI TEENAGE RIOT, THE BODY, MELT BANANA, AUTHOR & PUNISHER, FULL OF HELL and performing at major international festivals like ROADBURN 2022, HELLFEST 2022. "You Don't Know What Chiptune Is" is a bold exploration of the chiptune genre, pushing the boundaries of 8-bit music with an experimental and innovative approach. Each track on the album is a unique specimen, meticulously crafted to showcase the versatility and depth of chiptune sounds. The album is characterized by its inventive use of 8-bit sound chips, evoking the essence of vintage gaming consoles like Game Boy. arottenbit skillfully manipulates these sounds to create a wide range of textures and atmospheres. The lo-fi, raw quality of the 8-bit era is preserved, while contemporary production techniques enhance the overall listening experience.
We are proud to present “Shores Of Acheron”, an opus of the technical death and melodic black metal band Kharon, and a product from experienced musicians with roots in the Norwegian early 90’s extreme metal scene including artists from bands as Mork, Dauden, Infernal, Skjoge and Ragnarok. Kharon hails from the town Sarpsborg, Norway, and was basically founded already in 1989 by guitarist Rigor and bass-player Kull, but was originally formed under the name of Padox, and later re-named as Immortal Enemy and Potency. In 1992 the official and current band-name Kharon was established, when Thyme aka General Hymer joined the band. In 2001 they recorded their first 3 song-demo “The Fullmoon Curse” at Haunted House Studio, followed up two years later with their first official release: the EP “Raised By Hellish Demons”, which also marked the end of the first era of Kharon. Until the plague struck and 20 years later Kharon resurfaced under the banner of Hellstain Productions, recording brand-new material with vocalist Malignant. The band's debut album “Shores Of Acheron” is finally unveiled, and constitutes Kharon's journey through more than 30 years of Norwegian extreme metal music history. It contains remixed and remastered tracks of “The Fullmoon Curse” and “Raised By Hellish Demons”, finalized with the new material. Vinyl: gold & red edition.
Amandra, half head honcho behind Ahrpe Records, goes for subtly evolving and droning atmospheres. With releases spanning electronic genres and record labels: Nous klaer Audio, AD 93, Tikita or Semantica, just to name a few; the French producer ba with coherence his own vision of acid and tribal rhythms that can be presented with either bright and soft feelings or through a
Brera Som Som EP
As always with Amandra, there is a blend of poetic and soft hidden touch given to the music through carefully crafted personal Som is a 4 tracker EP, recorded back when he lived in Warsaw Poland, showcasing the artists ability to navigate through nich double 12 package cherry topped with four intelligent and eclectic remixes from artists with their own unique identity: Shieldin Brainwaltzera.
Amandra on disc 1
Brera Som Som
I want my music to breathe dirty so its alive to my ears, trying to stay away from surgical, clean, electronic music. The Prophet recorded by hand, with assumed offbeat imperfections, as always. I wanted to get a naive Asian mood out of it, just to try and c track. I tend to think a lot about my tracks and their meaning more in terms of feelings, art and techniques than in terms of dee
dance floors or whatever. Brera Som Som is a try at using the chiaroscuro technique depicted in classical paintings for instance interesting focus on some very specific elements.
Cyborg Pelikana
Recorded out of a jam on a Soma Pulsar 23 and some heavy distorted synths, it ended up sounding like no other recordings bit different as I wanted to have a more composed like approach here.
Fanfaron
Here is a try at going jungle... with a Moog DFAM and a 303 processed through a Sherman Filterbank.
Prorokini
This one belongs to a phase where I was exploring the sampling side of electronic music. Until that moment I was building 100 based on raw drum machines and some processing, then started feeling how it would feel to sample some raw external beats and process them my way. I didnt pursue that sampling lead much afterward because it felt like a boring approach to me that
stood out anyway, like this one, which Im very proud of. The synths are clearly programmed on the Prophet 08, it cant go any Instruments than that, if you like them, go grab that synth
Remixers on disc 2
Cyborg Pelikana Shielding Remix
I liked the dry and direct qualities of the original track and wanted to maintain that feeling while collaging it using my own proc Recorded in my old home studio in Stockholm.
Brera Som Som Brainwaltzera Remix
no comment.
Fanfaron Whylie Remix
The remix was made using resampling techniques, the rhythmic noises were transformed into driving percussive layers pushi character. A more emotional overlay was added to the track based on the sentimental and personal approach I built through.
Brera Som Som Martinou Remix
Interpreting Amandras work has been on my bucket list for a while. Theres something in it that is innately humanizing and raw capture in my remix. The melody line from the remix is just a snapshot of a small part of the full original track, but it stuck with my improvisation to what you see before you today. With this remix I wanted to make something that would swell slowly and ring o
All original tracks written and produced by Amandra.
Remixes written and produced by Brainwaltzera, Whylie, Martinou and Shielding.
Mastered by Amandra.
Artwork by Neurotypique.
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Psych-rock band Longheads are set to release their debut album, Layers of Wax, after recently signing with Stolen Body Records. This seven-track album delves deep into the realms of stoner and doom, all while retaining the signature psychedelic sound that fans have come to love from their first two EPs. Following the success of their acclaimed second EP, Mars Doesn’t Feel Like Home Anymore, Layers of Wax marks a significant evolution in the band's sound. Listeners can expect a more polished and mature sound that still captures the energy that propelled their previous EP to prominence within the London psych scene. The first single from the album, "Deathcap Farmer Part Two," will be released alongside a psychedelic, space-faring music video. This track showcases the band's continued experimentation with a 9/4 time signature, a technique they began exploring on the title track of their previous EP, Mars Doesn’t Feel Like Home Anymore.
Auf seinem Sony Classical Debut-Album "Human Universe" zeigt der außergewöhnliche japanische Pianist und Komponist Hayato Sumino seine facettenreichen musikalischen Einflüsse in einer vielfältigen Auswahl an Stücken klassischer Komponisten wie Bach, Händel, Purcell, Chopin, Fauré und Debussy, ikonischer Filmmusik von Hans Zimmer und Ryūichi Sakamoto sowie seinen eigenen Kompositionen und Arrangements.Die Besonderheit an Hayato Suminos Klavierspiel ist sein einzigartiger, souverän-virtuoser Stil, bei dem er eine präzise klassische Technik mit dem feinen Gespür eines Arrangeurs und ausgeprägten Improvisationsfähigkeiten verbindet. So lässt er beständig Eindrücke aus Genres wie dem Jazz oder der Popmusik, in denen er ebenso aktiv ist, in seine fundierten klassischen Interpretationen einfließen."Für `Human Univers' habe ich mich von den antiken Vorstellungen des Universums und dem Zusammenhang zwischen Kunst und Wissenschaft inspirieren lassen. Die alten Griechen glaubten, dass Himmelskörper im Universum Töne aussenden und dass das gesamte Universum Harmonie und Musik erzeugt, die sogenannte 'Musik der Sphären'."Hayato Sumino ist ein außergewöhnliches Phänomen: Bereits als Teenager begeisterte der 1995 in Tokio geborene Pianist und Komponist unter dem Namen "Cateen" mit virtuosen Videos klassischer Klavierdarbietungen und emotionalen Klavierarrangements von Anime- und Games-Soundtracks ein Millionen Publikum bei YouTube. Bis heute hat über 200 Millionen Aufrufe erzielt und über 1,5 Millionen Follower bei YouTube und Instagram gewonnen. Wenngleich Hayato Sumino bereits seit seinem 2. Lebensjahr Klavier spielte und Unterricht erhielt, studierte er bis zu seinem ausgezeichneten Master-Abschluss im Jahr 2020 Informationswissenschaft und -technologie an der Universität Tokio. Noch vor Abschluss seines Studiums gewann er 2018 als Außenseiter völlig überraschend den Grand Prix bei einem der wichtigsten Klavierwettbewerbe Japan - dem PTNA-Wettbewerb. Der Gewinn war der Startpunkt seiner Karriere als professioneller Pianist. Im Anschluss nahm er für ein halbes Jahr Klavierunterricht bei Jean-Marc Luisada in Paris und avancierte seitdem auf einer Welle der Begeisterung zum Klavier-Superstar in Japan. So spielt er am 14. Juli 2024, seinem 29. Geburtstag, ein Klavierrecital vor 14.000 Menschen in der ausverkauften Tokioter Konzerthalle Nippon Budōkan.Internationale Aufmerksamkeit erregte er 2021 beim Internationalen Chopin-Wettbewerb, wo er mit seiner hervorstechenden Interpretationen das Halbfinale erreichte. Im April 2024 feierte Hayato Sumino sein spektakuläres Debüt in der Royal Albert Hall mit seiner Aufführung von Gershwins "Rhapsody in Blue", die sowohl online als auch im Konzertsaal für Aufsehen sorgte. Als Solist tritt er mit zahlreichen Orchestern auf der ganzen Welt auf, darunter die Hamburger Symphoniker, das NHK Symphony Orchestra, das Boston Pops Orchestra, das Chicago Symphony Orchestra, das Baltimore Symphony Orchestra, das Tokyo Philharmonic Orchestra, das Japan Philharmonic Orchestra und das Polish National Radio Symphony Orchestra. Sein Debüt in der Elbphilharmonie gibt Hayato Sumino im Januar 2025.
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Special limited edition "10 years of 22a" repress of Ed "Tenderlonious" Cawthorne"s debut LP - a cornerstone recording in the new wave of UK jazz. One-off pressing of 300 numbered copies, double transparent orange vinyl housed in a gatefold sleeve. "The Shakedown" features a dream team of top talent Tenderlonious named the 22archestra, who he leads seamlessly throughout. Listeners are exposed to the full breadth of Cawthorne"s technical and compositional skills, ranging from subtly meandering jazz, to hip hop, Afrobeat, Latin and exhilarating free form jazz.
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"No Input" is the debut eponymous EP by the electronic duo composed by the Palestinian modular synthesis artist Karim Atari, and the Italian electronic music producer and co-founder of Abu Recordings, boyjayne.
The 20-minute EP features an eclectic mix of acid, electro and downtempo dub techno inspired by the likes of Drexciya, Filmmaker, and E.R.P. With this EP, No Input sought out to make distinctive high-energy tracks for the dance floor. Their approach combines modular synthesis and sample manipulation techniques, creating a sound that is at once reminiscent of classic techno and electro and unpredictable in its novel reinterpretation.
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Seth Troxler’s Slacker 85 imprint prepares to expand its repertoire of ne’er do wells and inspired outsiders, with two new singles shining a flashlight on talent at the characteristically esoteric producers on the fringes of Troxler’s always increasing circles.
American-Ecuadorian sound engineer and musician Andre Salmon has already left his fingerprints on underground dance music’s global scene, developing the current iteration of Inner City with Kevin Saunderson, as well as collaborating with house icons Paul Johnson and K’Alexi Shelby. Having already made a fixture of his supremely effective ‘Heartless’ mashup of Saint Etienne’s classic ‘Only Love Can Break Your Heart’, Slacker now welcomes Salmon to the family to exercise his studio technique and ‘sacred resonance’ deepness. The result is ‘La Mano de Dios’, a voluminous dance on the edge of house and techno, as smooth and impressive as the jets descending above the Terrace at DC10.
From Detroit to the East Coast, TB-203 delivers a contrasting energy on ‘Movin’. A fresh alias of NYC DJ, producer & label owner Tommy Bones, this bubbling, raw acid workout finds fresh heat at the intersection of jackin’ hip house and latin freestyle, driven by loose and lively vocals from DannyP. Underscoring Slacker 85’s commitment to party over posture, ‘Movin’ has been tried and tested to deliver on its old-school promise.
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“Reflex” is Gábor Lázár’s debut album on raster. His new record is a collection of seven tracks, featuring an extended sound palette of percussions and synthesizers drawing our attention towards the essential soundscapes of techno while maintaining his distinct, uncompromising and meticulously detailed style. While the tracks do not follow traditional narratives, the album has an evolution: it gently builds up from challenging, unpredictable, and organically composed structures to linear yet playful forms of techno-infused tracks, taking us on a journey from home listening environments to club contexts.
Our senses are stimulated by micro-variations of textures and patterns, leading us to the feeling of here and now, allowing us to observe our own reactions and thoughts evoked by the listening experience. Gábor’s consistent production techniques and intuitive compositional approach work together coherently, addressing the listener’s cognition from different angles simultaneously, offering a variety of ways for the listener to get immersed.
“Reflex” will be released on raster in September 2024 on vinyl and CD.
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Transparent Blue Vinyl. After years of preparation, Marcus Drake emerges from the basement networks of the resistance underground to claim the first save point along his quest ahead. Welcome to Save Point 1, a universe where popular forms of the past collide at warp speed with Marcus's mutant inspirations to produce sounds and genres hitherto unknown. Save Point 1 is a visionary and singular Debut work of Avant Rock & Pop Alchemy, blown apart and reassembled under the laws of Quantum Musical Mechanics. Written, Produced & Performed by Marcus Drake, the album eludes classification, but sounds like a sci-fi fusion of musical DNA from Nine Inch Nails, Prefab Sprout, Nobuo Uematsu (the Final Fantasy video game composer), Animal Collective, Prince, Mr. Bungle, Liars, The Mars Volta, and Lil Ugly Mane. The album marks the first release under Drake's own name, and the latest since his 2017 release as Anthony Fremont's Garden Solutions_his idiosyncratic side-project with Water From Your Eyes' Nate Amos, Options' Seth Engel, and NNAMDI. He has also since scored for film and video, including the Adult Swim short Thoron the Conqueror. Save Point 1 isn't just a new beginning, but a reintroduction to Marcus Drake the artist and composer. Drake experimented with new techniques and approaches for many years while recording Save Point 1, a process that transformed his sound, voice, and artistic identity. The resulting oeuvre is giddy and dreamy, an Olympic-height diving board from which to descend through indie rock and videogame soundtracks, thrilling math-rock riffs that turn experimental, and synths that glow in rainbow hues. Just turn to the glitchpop of "Heaven's in the Rot" or the slow-motion acoustic glitter that is "Dragon It Out" to hear it in motion. And note the two-part "Haunted" suite that funnels his unpredictable experimentation into darker, weirder directions.
Nachdem er 2022 "The Consistent Brutal Bullshit Gong" schrieb, hat sich Nate Mendelsohn immer mehr in seiner Musikgemeinde in Brooklyn, NY, verwurzelt. Er produzierte die letzten FRANKIE COSMOS- und DOUGIE POOLE-Alben, trat bei VAGABON und SAM EVIAN auf und machte Aufnahmen mit YAEJI und LADY LAMB. Diese Erfahrungen mit abenteuerlichen Künstler*innen sind in Mendelsohns Songwriting eingeflossen und haben, zusätzlich zu seinen frühen Jahren in der Jazz- und Avantgarde-Welt, ein Album hervorgebracht, das so manchem wahrscheinlich den Kopf verdrehen wird, wenn man Alben namens "Pet Sounds", "Fantasma", "Insignificance", "Blonde" oder "XO" mag. Wie auf einigen der genannten Alben verschmilzt auch auf "Well I Asked You A Question" das Physische mit dem Synthetischen: gesampelte Orchester duellieren sich mit echten Orchestern ("Fantasy"), die gesprochenen Worte eines Roboters duettieren sich mit einem menschlichen Chor ("Around"), und Geräuschexplosionen üben sich in Soli über traditionelle Rockinstrumente ("Rachel's Getting Married"). Obwohl viele der Sounds auf dem Album erweitert und gebrochen sind, arbeitete Mendelsohn mit der vollen MARKET-Band - Stephen Becker, Natasha Bergman und Duncan Standish - zusammen, um die Songs zu entwickeln. Er wollte "musikalische Unfälle mit ausgefransten Rändern - immer noch eine Gruppe von Leuten, die in einem Raum sind und Songs spielen". Neben der Kernband leisteten Katie von Schleicher, Mike Haldeman (MOSES SUMNEY, ALTO PALO), Justin Felton (L'RAIN, BIG THIEF), Rose Droll (FEIST, ART FEYNMAN) und Helen Newby mit der Technik von Adam Hirsch (Sam Amidon, Stephen Steinbrink) weltumspannende Beiträge.
"Since 2017, Thirdface has intrigued their audiences and peers alike with their raw, intense technicality. The Nashville quartet consisting of drummer Shibby Poole, guitarist David Reichley, bassist Maddy Madeira, and vocalist Kathryn Edwards bring an atypically musical approach to hardcore with release after invigorating release. Thirdface takes the most harrowing elements of punk, grindcore, and death metal and fuses them into a ferocious sound that is quite considerably their own. From their inception, Thirdface has developed consistently, culminating in their new release Ministerial Cafeteria, due through stalwart unconventional rock label Exploding in Sound Records.
Thirdface is decidedly remarkable in their dedication to Nashville DIY. Edwards runs the beloved all ages venue Drkmttr; Poole is a go-to recording engineer for local bands; and all four members have played in various other projects over the years. Within the constellation of Nashville’s DIY scene, Poole, Reichley, and Madeira were already well acquainted with each other’s playing styles through a previous band. Starting as a side project in 2017, the three shifted gears and began leaning toward a more intense sound requiring a vocal presence unburdened by an instrument. Since then, the release of 2021’s self-recorded Do It With A Smile led Thirdface to regional tours with the likes of Touché Amoré and City of Caterpillar.
On Ministerial Cafeteria, Thirdface loosens the reins only a little more than on Do It With A Smile, but the small change makes a profound difference. Thirdface’s onslaught of blasts and D-beats are no less present than ever, but now ‘grooves’ are allowed a little more life, stretching for an extra measure or for a full repetition before they’re snatched away. Simply, Ministerial Cafeteria gives more space for the dancers, but their faces will still be on the ground as they try to process what they’re hearing."
“Commencement/Mineral Blend” delivers a fusion of rough and ready dub-adjacent bass music compositions from the London based trio Damos Room. Also featured are eclectic remixes from artists Gonjasufi, Lewi Boome, Dome Zero, and Nudibranch residents Polyop.
The bulk of the EP came from a rare in-person collaboration at Elijah Minnelli’s loft. The Horse Militia laid belly to the ground, endlessly feeding an effects chain like a battery hen with noises from multiple contrasting sources. It was particularly hot that day and the windows were wide open, so if you listen closely you can hear the humid Selhurst skyline bleeding into the recordings. This long weekend was punctuated by visits to the local swamp and an outing to see Channel One Soundsystem.
"Commencement," the EP's inaugural offering, unfolds with a hypnotic, droning bass groove, providing the floor for a paranoid stream of consciousness.
"Mineral Blend" takes a lazier dancehall-esque approach. Littered with unloved sounds from previous sessions and repurposing the lyrics ("I want to be a vessel") from Damos Room's DR Viewings #2 release with Polyop, this track weaves in and out of consciousness without ever truly bubbling over.
Remixers Lewi Boome and Dome Zero contribute imaginative 150bpm takes on both "Commencement" and "Mineral Blend” respectively, drawing inspiration from their backgrounds in bass, techno and experimental electronic music.
Polyop's remix of "Mineral Blend" leans further into dub techno stylings, infusing a refreshing and spacious perspective that echoes their acid roots.
The LA-based artist Gonjasufi transforms "Commencement" into a foggy and mysterious rendition, using his unique production techniques to transcend the dancefloor and immerse listeners in a misty sonic landscape.
Ryan James Ford's Fuzz Gathering is a five-tracker that delves into the artist's personal exploration of sound and texture. Centered around the concept of ''fuzz gathering,'' Ford collects, analyses, and manipulates various sonic elements using innovative techniques and processes. Each track offers a fresh perspective of his sound, blending intricacies with experiments to create a unique auditory experience. Complementing the music is Ford's own artwork, which visually mirrors the EP's theme of exploring and deconstructing textures, adding another dimension to this creative expression.
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All My Heroes Are Cornballs is the third studio album by renowned Baltimore rapper JPEGMafia, released on September 13, 2019, follow-up to the album that really launched his career, Veteran (2018). JPEGMAFIA handled the production, mixing and mastering in his home studio. The album features guest appearances from Abdu Ali, Helena Deland and Buzzy Lee, as well as additional vocals by Refined Sugar, Vegyn and Young Emoji. All My Heroes are cornballs is an avant-garde, experimental hip hop, and punk rap album, and draws influences from experimental pop, glitch hop, ambient, noise and industrial music. It has a smoother and more melodic sound than its predecessor, employing uncommon song structures, extensive sampling, and a variety of vocal techniques such as rapping, screaming and singing. Thematically, the album is personal, introspective, and presented in a stream of consciousness form, touching on the Internet culture, prejudice, political issues and JPEGMafia's newfound fame.
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Das neue Soloalbum der einen Hälfte des Duos WILDBIRDS & PEACEDRUMS, MARIAM THE BELIEVER, vermittelt uns richtig zu Atmen (und genau Zuzuhören)! Es gibt einen Hauch von Jazz, einen Hauch von Soul, die Empfänglichkeit und den Zauber spiritueller Musik und den großen Reichtum der Improvisation. Der Sound auf "Breathing Techniques" ist dicht und doch atmosphärisch, eine musikalische Landschaft, die sich im Laufe der Musik durch subtile Progressionen, Wiederholungen und manchmal scheinbar sporadische Arrangements entfaltet. Ein Setting, das an ein modernisiertes klassisches Kammerorchester erinnert, mit Mariams Gesang an der Spitze. Das Album lässt Einflüsse von Frauen in der Musik der Vergangenheit und der Gegenwart anklingen. Es gibt einen Hauch von ALICE COLTRANEs zurückhaltenden spirituellen Aufnahmen, den rhythmischen Improvisationen VON MEREDITH MONK, der Leichtigkeit von STINA NORDENSTAM und den erforschenden stimmlichen Qualitäten von SHEILA CHANDRA und GAL COSTA. Das neue Album folgt auf die beiden von der Kritik hochgelobten Vorgängeralben von MARIAM THE BELIEVER: "Love Everything" von 2017 und das Debütalbum "Blood Donation" von 2013.
Weval (consisting of Harm Coolen and Merijn Scholte Albers) are an Amsterdam-based duo who have established a solid reputation across the globe for crafting highly textured and sophisticated electronic music. They announce a new EP called ‘Night Versions’ which contains brand new, club-focused alternatives to key tracks from their recent critically acclaimed album, ‘Remember’. ‘Night Versions’ is set to release on Ninja Tune imprint Technicolour on 4th October. With the announcement Weval share a Night Version reimagining for title track “Remember".
Speaking about these new versions, Weval say, "It was so much fun to return to the material and make some bold moves. Just to see how far we could push the tracks with the dance floor in mind. We've been road-testing a few of these in our DJ sets lately, and it's so rewarding to watch people dance and hear the tracks blasting on the dance floor. It's addictively fun to experience and see the second life of the songs from the LP."
‘Remember’ embarked on a high energy journey of nostalgic memories and euphoric emotions, with elements of pop, dance and every genre in between being thrown in and whittled down to make an intense, spontaneous and substantial work. PopMatters noted the album as "a kaleidoscopic, gut-turning, jaw-dropping wondrous journey" while it received additional support from the likes of Cool Hunting, Clash Magazine and Stereogum among others.
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The sea has long been central to Japanese culture, symbolizing both sustenance and spiritual depth. Charles A.D.'s Deep Diver draws inspiration from this, channeling the ancient traditions of diving and fishing into his music. Historically, the sea has influenced everything from Shinto rituals to the livelihoods of coastal communities. In Deep Diver, this reverence flows through aquatic soundscapes, where rhythmic waves of 90s house and Detroit techno meet Japanese minimal production techniques, New Age and Pacific Jazz. Like the tides, the album ebbs and flows, creating a serene yet dynamic homage to the timeless connection between Japan and the sea.
The opening track 'Deep Diver' plunges into the depths, its abstract sound design capturing the sensation of deep-sea propulsion. Rhythmic bubbles pulse gently alongside slow-moving chords, creating an otherworldly atmosphere. The textures are lush yet restrained, setting a tranquil stage that pulls the listener into a submerged world. 'Underwater Ruins' builds on this aquatic theme, introducing rhythmic layers and bass-heavy notes reminiscent of mid-90s Japanese ambient techno. The smooth, melodic flow nods to pioneers like Mr.YT and Susumu Yokota, while subtly incorporating the Detroit techno influence through soulful, deep basslines.
The track feels like a fusion of ambient and techno, balancing serene tones with a rolling groove, emblematic of Japanese techno soul. As the album progresses into 'Bubble Ring', it becomes clear that Charles A.D. is a master of minimalism. The production is timeless, leaning
on analog techniques where echo-drenched chords and carefully layered soundscapes take on an addictive, hypnotic quality. The simplicity of the composition is deceptive, as each element carries weight, drawing the listener deeper into the rhythm and space between the notes.
'Merperson' is where organic rhythms truly come into play. Charles A.D. gently evolves the patterns, allowing each percussive hit to flow naturally into the next. Soothing melodies emerge from within the track’s structure, eventually reaching an emotional peak without ever feeling forced. The organic nature of the arrangement creates an effortless progression that feels deeply connected to the natural movement of water.Starting the second half with 'Deep Exploration', the theme of underwater excursions becomes even more pronounced. Light, steady drumming anchors the track, allowing the melodic layers
to develop gradually. It unfolds with a calm, measured pace, before ending softly, almost as if the sounds are drifting off into the oceanic depths. 'Diffuse Reflection' stands out as the most dub house-influenced on the album, with rolling rhythms and hypnotic elements reminiscent of Maurizio's deep, pulsing sound. Yet here, the production feels submerged, with aquatic effects swirling around the rhythmic core, blending dub house with a fluid, oceanic touch. 'Traitors' delves even deeper into dub-inspired territory. Deep, resonant bass hits combine with wooden drums, while static-like sounds evoke the image of a radio tuning through static to find clarity.
Chords shimmer briefly before fading back into the liquid depths, evoking the ebb and flow of the tide. The final track on Deep Diver 'Levitation', is a fitting conclusion, as the rhythms merge and overlap like waves gently lapping the shore. The minimalistic arrangement allows each element to blend effortlessly into the next, creating a sense of unity and closure. The sounds move with the gentle grace of water, ending the album in a way that feels both complete and
open-ended, like the infinite motion of the sea.
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Ruthven - alias Sean Nelson - hatte schon immer einen gewissen Eifer und einen inneren Antrieb in sich. Der Musiker aus dem Süden Londons tauchte 2017 zum ersten Mal auf der Bildfläche auf, als er bei Paul Institute, dem von A.K und Jai Paul gegründeten Label, unter Vertrag genommen wurde. Zu dieser Zeit war er Mitglied der Londoner Feuerwehr und nahm seine Songs in der Feuerwache zwischen den Einsätzen auf. Nachdem er seine einzigartige Mischung aus R&B-beeinflusstem Future-Funk behutsam und mit Bedacht entwickelt hatte, erregte Ruthven die Aufmerksamkeit der Kritiker ("kreiert Prince-ähnliche Jams mit den Konturen und der Geschmeidigkeit von Sportwagen" - The FADER) und ging erst kürzlich mit Sampha auf Tour. Dieses Jahr wartete Ruthvan schon mit Koops mit Sampha und Little Simz auf "Satellite Business 2.0" sowie der Zusammenarbeit mit Overmono auf ihrem Club-Banger "Gem Lingo (ovr now)" auf. Auf seinem am 25. Oktober erscheinendem Debütalbum "Rough & Ready" führt Ruthven die Hörer*innen in seine intime Welt ein. In den 12 Tracks lehnt er sich an klassisches Songwriting an, während er die üppige Instrumentierung beibehält, um ein Portal zu schaffen, das Jahrzehnte überspannt. "Es ist vom Jazz beeinflusst, aber auch von so vielen anderen Genres", sagt er, "sogar Yacht-Rock-Künstler wie Michael McDonald und Steely Dan haben mich tief beeinflusst." Das Ergebnis ist ein Album, das all die scharfen Kanten der frühen Prince-B-Seiten wie "17 Days" mit der Rauchigkeit von D"Angelos "Africa" aus der Voodoo-Ära verbindet. Die Entstehung von "Rough & Ready" brachte einige Herausforderungen mit sich, darunter auch technische Pannen - aber Ruthven blieb dem Ziel treu, sehr persönliche und nachvollziehbare Musik zu machen. Das Ergebnis ist ein Album, das man gehört haben muss.
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In seinem kommenden Album präsentiert der israelische Bassist, Sänger, Komponist und nicht zuletzt Arrangeur seine vielseitigen Talente zusammen mit einem herausragenden Ensemble von Musikern. Darunter sind einige der vielversprechendsten Nachwuchstalente der neuen Jazzszene, darunter Ausnahme-Drummerin Roni Kaspi und Pianist Guy Moskovich, ergänzt durch Saxophonist Yuval Drabkin und vielen anderen talentierten Künstlern. Roni Kaspi bringt jugendliche Energie in das Album und verleiht der Musik ein Gefühl von Spontanität und Schwung. Nach mehr als drei Jahren Tournee mit Avishai Cohen hat sie auf dieser Aufnahme sogar einen eigenen Titel ('Roni's Swing'), den Cohen als Hommage an ihr dynamisches und energiegeladenes Schlagzeugspiel geschrieben hat. Guy Moskovich, ein Pianist, dessen harmonisches Gespür und technisches Können ihm viel Anerkennung als aufsteigender Stern im Jazz eingebracht haben, ist die perfekte Ergänzung zu Cohens Basslinien. Yuval Drabkin am Saxophon verleiht dem umfangreichen Ensemble eine weitere Ebene. Sein gefühlvolles Spiel und seine nuancierten Interpretationen verleihen dem Projekt eine überzeugende Stimme und steigern die Gesamttiefe des Albums, das als schwarze Vinyl sowie CD-Digipak erscheint.
Am 03.11. tritt Avishai Cohen bei den Leverkusener Jazztagen auf.
Die Musiker:
Avishai Cohen (Bass & Vocals), Guy Moskovich & Eden Giat (Piano), Roni Kaspi & Noam David (Drums), Yuval Drabkin (Saxophone), Yosi Ben Tovim (Guitar), Lars Nilsson (Trumpet), Hilel Salem (Flugelhorn), Jakob Sollerman (Trombone), Ilan Salem (Flutes), Jenny Nilsson (Vocals)
Psych, space, kraut and drones from songwriter Julius Lind and his trio with members from Action & Tension & Space, The Megaphonic Thrift and Gold Celeste. Arising from the Norwegian alternative scene they experiment with a vibrant mix of genres and refer to many golden eras on the history of pop and rock music! The album was recorded in Studio Paradiso with Christian Engfelt (Cato Salsa Experience) as technician and co-producer in 2023.
REISSUE of the Sun and Sail Club debut album with brand new artwork. Sun and Sail Club's debut album "Mannequin" embarks on territory that is both new and exciting. Not surprisingly, "Mannequin" spearheads the obvious future and progression of hard rock fury, bringing to the table the true professionalism and mastery, and dynamic musicianship that has been on full display from Fu Manchu, Kyuss and The Obsessed in years past, but also adds a completely new level of precision, technicality and accuracy to make an album that is almost completely flawless from start to finish. "Overall, this record is heavy and dark. It's Inspired by DEVO, VOIVOD, KRAFTWERK, TORCHE, SLAYER as much as it's inspired by ASWAD, JOE PASS and WES MONTGOMERY. I wanted a super heavy groove that would support angelic vocal harmonies. I think we achieved that." - Bob Balch New artwork made by Mirkow Gastow.
REISSUE of the Sun and Sail Club debut album with brand new artwork. Sun and Sail Club's debut album "Mannequin" embarks on territory that is both new and exciting. Not surprisingly, "Mannequin" spearheads the obvious future and progression of hard rock fury, bringing to the table the true professionalism and mastery, and dynamic musicianship that has been on full display from Fu Manchu, Kyuss and The Obsessed in years past, but also adds a completely new level of precision, technicality and accuracy to make an album that is almost completely flawless from start to finish. "Overall, this record is heavy and dark. It's Inspired by DEVO, VOIVOD, KRAFTWERK, TORCHE, SLAYER as much as it's inspired by ASWAD, JOE PASS and WES MONTGOMERY. I wanted a super heavy groove that would support angelic vocal harmonies. I think we achieved that." - Bob Balch New artwork made by Mirkow Gastow.
Lake Mary is the moniker of Chaz Prymek, a guitarist, composer, free improvisor and painter currently based in the US. Through spacious personal hymns exploring the wilderness of deep emotional narrative, Prymek’s long-form compositions and improvisations are boundless meditations on the landscapes, river ways, and wildlife, both external and personal. Perhaps most widely known as a founding member of the group Fuubutsushi, Prymek's work as Lake Mary leans sometimes more slow, open and pastoral, sometimes more visceral with prepared guitar and synthesizers, but can always be characterized by patience. A board member of Dismal Niche Arts, and founder of Yardwork Presents, Prymek's focus on curation and community for exploratory and expansive music and arts spills over into all his sonic works.
Daniel Wyche is a Chicago-based guitarist, composer, and improviser. Working with a wide range of physical preparations, extended techniques, and pedal instruments, his solo recordings and live performances are characterized by long-form structured improvisations and multichannel guitar. He has been a curator with the Elastic Arts Foundation in Chicago since 2013, where is work has been described as “crucial” by Dusted and “vital” by the Chicago Reader. In March of 2020, Daniel co-founded The Quarantine Concerts in collaboration with Chicago’s Experimental Sound Studio. The series has been widely praised as a model for online/streaming live music. Along with his solo guitar work, Daniel is involved in several ongoing collaborations, most notably the trio of Wyche, Mark Shippy (US Maple), and Ben Baker Billington, as well as new work with longtime collaborators like Patrick Shiroishi, Lake Mary, and many others.
The debut recording from the duo of multi-award-winning Scottish author David Keenan and Bruce Russell, the guitarist from the greatest underground rock band of the late 20th century, New Zealand’s The Dead C, was recorded live in Christchurch, NZ, as part of the WORD festival in August 2023. A series of live improvised settings that pair readings from Keenan’s monolithic and critically-acclaimed modernist masterpiece, Monument Maker (White Rabbit 2021), with guitar and electronics from Russell, the music takes off on the kind of post-VU fantasy of punk-primitive free music posited by Russell in projects like A Handful of Dust while expanding on Russell’s no-technique blues w/scalpel sharp riffs and aformal blats of pure electricity that match the religious eroto-mania of the text. Keenan reads w/shamanistic intensity and with a sonorous, incantatory rhythm, while Russell conjures the very ghost of the book straight out of the air. Think the early Patti Smith/Lenny Kaye spoken word/guitar jams informed by religious painting, Bach cantatas, Pierre Reverdy, Goya, Charles Olson, Arthur Doyle and Rudolph Grey. Features full colour photography by musician and artist Heather Leigh taken in-situ during the writing of Monument Maker in France in 2018. Bruce Russell is a practitioner in sound, who for forty years has been a member of The Dead C and A Handful of Dust. He mixes rock, electro-acoustics, noise and improvisation in equal measures. Also directed two of New Zealand’s vanguard independent labels, Xpressway and Corpus Hermeticum. His solo guitar practice reconfigures the blues as a form of improvisational auto-destruction. He is also a writer and his next book is titled ‘Rock’n’roll: my part in its downfall’. David Keenan is the author of six novels; This is Memorial Device (Faber & Faber) which won the London Magazine Prize for Debut Fiction and was shortlisted for the Gordon Burn Prize; For the Good Times (Faber & Faber), which won the Gordon Burn Prize and was shortlisted for the Encore Award for Second Novels; Xstabeth (White Rabbit), which was shortlisted for the Dublin Literary Prize; The Towers The Fields The Transmitters (White Rabbit); Monument Maker (White Rabbit), which was a Rough Trade Book of the Year; and Industry of Magic & Light (White Rabbit). Edna O’Brien has said of him “I sometimes think David Keenan dreams aloud. His prose has the effortless, enigmatic, unsettling quality of dreams… reading him feels like being cut open to the accompanying sound of ecstatic music.”
"Revisit the impactful debut album Moving Backwards by Finnish progressive metal band, Wheel, now available in a special reissue. This edition is pressed on transparent natural vinyl, offering a fresh take on the original release.
Including the hit singles Vultures, Wheel and Where The Pieces Lie, Moving Backwards guides listeners through complex melodies, powerful riffs, and thoughtful lyrics. Each track highlights Wheel's skill in blending technical ability with deep emotion, marking a strong entry in the progressive metal scene.
Praised by fans and critics for its creativity and execution, Moving Backwards has made a notable mark in metal."
Das dänische Hardrock-Quartett BLACK OAK COUNTY veröffentlicht sein drittes Album, das sie zu neuen musikalischen Horizonten führt, mit einer
breiten Mischung aus donnernden Breakdowns, eingängigeren Refrains als je zuvor, einer massiven Wand aus stampfenden Gitarrenriffs und einer
gefühlvollen Klavierballade. „III“ wurde gemeinsam mit dem dänischen Metal-Schwergewicht Nicklas Sonne (Defecto, Aries Descendant, dänische
Eurovisions-Vorentscheidungen) geschrieben und produziert, was sich als fruchtbare kreative Beziehung zwischen den beiden Parteien erwies. Das
Album markiert eine Rückkehr zur alten Form für die Band, die auf den Singles „Back For Blood“ und „It's On You“ von 2022 wieder mit
Gitarrist/Sänger Niels Beier zusammenkommt, der von dem ehemaligen Grammy-Nominierten Jacob Hansen (Volbeat, Asinhell) produziert und
zusammen mit Soren Andersen (Glenn Hughes, Mike Tramp) geschrieben wurde. Jetzt, wo sowohl Beier als auch Sänger/Bassist René Kristensen in
der Band singen, haben sich für die Rocker aus Esbjerg neue musikalische Türen geöffnet. Black Oak County haben tief in ihrem musikalischen
Ideenfundus gegraben, um eine breitere Palette von Songs als je zuvor zu entwickeln und dabei brandneue Ideen mit älterem Material aus den
Anfangstagen ihrer Karriere zu verbinden. „III“ ist ein energiegeladenes Album mit der bekannten Mischung aus hochintensiven, tief gestimmten
Riffs, die eine Hommage an ihre Metal- und Hardrock-Helden darstellen, gemischt mit modernen Mixing-Techniken, Synthesizern und einer frischen
Interpretation des vertrauten Sounds der Band
Das dänische Hardrock-Quartett BLACK OAK COUNTY veröffentlicht sein drittes Album, das sie zu neuen musikalischen Horizonten führt, mit einer
breiten Mischung aus donnernden Breakdowns, eingängigeren Refrains als je zuvor, einer massiven Wand aus stampfenden Gitarrenriffs und einer
gefühlvollen Klavierballade. „III“ wurde gemeinsam mit dem dänischen Metal-Schwergewicht Nicklas Sonne (Defecto, Aries Descendant, dänische
Eurovisions-Vorentscheidungen) geschrieben und produziert, was sich als fruchtbare kreative Beziehung zwischen den beiden Parteien erwies. Das
Album markiert eine Rückkehr zur alten Form für die Band, die auf den Singles „Back For Blood“ und „It's On You“ von 2022 wieder mit
Gitarrist/Sänger Niels Beier zusammenkommt, der von dem ehemaligen Grammy-Nominierten Jacob Hansen (Volbeat, Asinhell) produziert und
zusammen mit Soren Andersen (Glenn Hughes, Mike Tramp) geschrieben wurde. Jetzt, wo sowohl Beier als auch Sänger/Bassist René Kristensen in
der Band singen, haben sich für die Rocker aus Esbjerg neue musikalische Türen geöffnet. Black Oak County haben tief in ihrem musikalischen
Ideenfundus gegraben, um eine breitere Palette von Songs als je zuvor zu entwickeln und dabei brandneue Ideen mit älterem Material aus den
Anfangstagen ihrer Karriere zu verbinden. „III“ ist ein energiegeladenes Album mit der bekannten Mischung aus hochintensiven, tief gestimmten
Riffs, die eine Hommage an ihre Metal- und Hardrock-Helden darstellen, gemischt mit modernen Mixing-Techniken, Synthesizern und einer frischen
Interpretation des vertrauten Sounds der Band
GǼG, the production unit of Tokyo's leading club sound Monkey Timers and Okayama-based maverick producer Keita Sano, is proud to present this heavyweight, alternative, and leftfield release on the "Sound of Vast."
Over a powerful and mysterious bassline, the hypnotic A1 'Jack' builds up with sharp synth stabs, dark pads, and ACID voices taken from Ron Hardy's open reel soundtrack series Jackmaster Hater.
AA1 is followed by the obscure percussion track 'Yamato.' It is a reinterpretation of the drumming of legendary drummer Curt Cress from the German jazz-rock scene of the 80s in the context of dance music.
AA2, 'Central' takes the funky bassline of The S.O.S. Band's 1982 album 'High Hopes' and infuses it with roaring feedback, cutting guitars, and spacy synth sounds, giving it a fresh, modern twist and elevating it to the realm of cosmic disco.
Monkey Timers' love for the classics of disco, krautrock, and Chicago house, the intensity and immersion of current club music created by their real-life experience in the field, and Keita Sano's unique free-form outlandish sound techniques coexist on this 12" EP.
東京のクラブサウンドをレペゼンしてきたMonkey Timersと岡山の奇才プロデューサーKeita SanoによるプロダクションユニットGǼGが〈Sound of Vast〉より満を持して放つ超重量級オルタナティブ・レフトフィールド・ストンパー！
Die schwedische Produzentin und DJ La Fleur bricht drei Jahre musikalischer Stille mit ihrem bevorstehenden und lang erwarteten Debütalbum 'Väsen', das am 18. Oktober bei PIAS Électronique erscheint. Ihr unverkennbarer Stil ist technisch hervorragend ausgearbeitet und zu gleich hochemotional. Ihre neuen Songs, die ständig überarbeitet wurden, haben eine optimistische, positive Kraft und melodische Schönheit über komplexen Perkussionsschichten, die so mit Hooks geschmückt sind, dass man die Ohren nicht davon abwenden kann.
Während der Pandemiejahre zog La Fleur von Berlin zurück nach Schweden und arbeitete als leitende Angestellte in einem Stockholmer Krankenhaus. Eine krasse Veränderung nach einem Jahrzehnt mit ihrem eigenen Label Power Plant, zahlreichen Kollaborationen und gefeierten DJ Set und Auftritten. Die gezwungene Pause nutzte sie, weiter an ihrem Debütalbum zu feilen, das 2020 eigentlich schon fertig war, doch ihre geänderten Lebensumstände sollten noch einen Einfluss darauf haben: „I’ve always drawn inspiration not only from music, but changing elements in my life. It’s only now I feel I have the tracks ready for the world to hear.“
- Col. LP: (Green Bio-Vinyl)
out of Stock
Last delivered 23 months ago available to reorder, subject to availability
"Clouds In The Sky They Will Always Be There For Me", das vierte Album von Porridge Radio, wurde Anfang 2024 in Somerset vom langjährigen Big Thief- und Laura Marling-Tontechniker Dom Monks aufgenommen und ist ein Moment des Erwachsenwerdens, inspiriert von Burnout, der Musikindustrie, Herzschmerz und der zunehmenden Vertiefung der Bandleaderin Dana Margolin in ihr eigenes Handwerk als Künstlerin. Margolins rücksichtsloser, sich selbst hinterfragender Schreibstil wird auf dem gesamten Album durch die bisher ergreifendste Musik der Band ergänzt, die sich geduldig aufbaut und tragisch intensiv ist. "Alle Songs begannen als Gedichte, ich wollte mich selbst herausfordern", sagt Dana Margolin über das Werk, aus dem "Clouds In The Sky They Will Always Be There For Me" wurde. "In einem Song kann sich der Autor immer hinter den Tricks der Musik und altbekannten Techniken wie Wiederholungen verstecken. In einem Gedicht hingegen sind es nur Worte und das war's." "Vieles auf diesem Album handelt von einer frenetischen und verzweifelten Art von Liebe, es geht um den völligen Verlust meines Selbstbewusstseins in einer Beziehung und um den tiefen Rest von Unsicherheit und Schmerz, der eine neue Beziehung trübte." Lieder, die als Liebeslieder geschrieben wurden - wie "In A Dream I'm A Painting" - bekamen neue Bedeutungen, als Margolin die Lieder mit einer neuen Distanz betrachtete. "Es gab eine Menge Liebe und Verwirrung, alles durchsetzt mit Erschöpfung und Schmerz." Die Clouds-Sessions fanden in Frome statt, als der Winter zu Beginn des Jahres 2024 in den Frühling überging. "Es gab ein paar Zusammenbrüche", grinst Dana, eine faire Einschätzung der Aufnahme solch intimer und persönlicher Songs, "nach einigen Takes brach ich einfach auf dem Boden zusammen, so aufgebracht war ich." Es wurde ein Umfeld geschaffen, in dem Dana sich ausdrücken konnte und in dem sie gefördert wurde. "Wir hatten jeden Abend diese großen gemeinsamen Mahlzeiten", sagt sie, "es fühlte sich sehr eng und fürsorglich und warm und besonders an. Unser kleines Haus lag auf einem großen Hügel, ein Fluss floss hindurch, es war groß und hell und schön", erinnert sich Dana. Das Studio selbst war hell - voller strahlendem natürlichem Licht aus den großen Fenstern, ein Segen für Musiker, die an die abgeschottete Welt der meisten Aufnahmestudios gewöhnt sind, und zum ersten Mal konnten alle im selben Raum wie der Produzent aufnehmen. "Es fühlt sich an, als hätten wir zum ersten Mal etwas gemacht", erklärt sie und freut sich hörbar über das Album, "es hat etwas von unserer Freundschaft eingefangen und von der Art und Weise, wie wir gelernt haben, zusammen zu spielen. Ich liebe die Songs, ich liebe es, sie zu spielen, sie sind nicht alt geworden und es fühlt sich an, als wäre es etwas Besonderes." Eine Pause. "Es hat mich so viel gelehrt. Deinem Bauchgefühl zu folgen, auf deine Freunde und ihre Loyalität zu vertrauen, darauf zu vertrauen, dass du mit Leuten richtig kämpfen kannst. So will ich leben, so will ich Platten machen, denn Platten machen ist mein Leben, denn meine Arbeit ist mein Spiel, mein Job ist mein Leben. Alles ist in dieser Sache miteinander verbunden, und es gibt Wege darin, die mich nicht umbringen."
"Clouds In The Sky They Will Always Be There For Me", das vierte Album von Porridge Radio, wurde Anfang 2024 in Somerset vom langjährigen Big Thief- und Laura Marling-Tontechniker Dom Monks aufgenommen und ist ein Moment des Erwachsenwerdens, inspiriert von Burnout, der Musikindustrie, Herzschmerz und der zunehmenden Vertiefung der Bandleaderin Dana Margolin in ihr eigenes Handwerk als Künstlerin. Margolins rücksichtsloser, sich selbst hinterfragender Schreibstil wird auf dem gesamten Album durch die bisher ergreifendste Musik der Band ergänzt, die sich geduldig aufbaut und tragisch intensiv ist. "Alle Songs begannen als Gedichte, ich wollte mich selbst herausfordern", sagt Dana Margolin über das Werk, aus dem "Clouds In The Sky They Will Always Be There For Me" wurde. "In einem Song kann sich der Autor immer hinter den Tricks der Musik und altbekannten Techniken wie Wiederholungen verstecken. In einem Gedicht hingegen sind es nur Worte und das war's." "Vieles auf diesem Album handelt von einer frenetischen und verzweifelten Art von Liebe, es geht um den völligen Verlust meines Selbstbewusstseins in einer Beziehung und um den tiefen Rest von Unsicherheit und Schmerz, der eine neue Beziehung trübte." Lieder, die als Liebeslieder geschrieben wurden - wie "In A Dream I'm A Painting" - bekamen neue Bedeutungen, als Margolin die Lieder mit einer neuen Distanz betrachtete. "Es gab eine Menge Liebe und Verwirrung, alles durchsetzt mit Erschöpfung und Schmerz." Die Clouds-Sessions fanden in Frome statt, als der Winter zu Beginn des Jahres 2024 in den Frühling überging. "Es gab ein paar Zusammenbrüche", grinst Dana, eine faire Einschätzung der Aufnahme solch intimer und persönlicher Songs, "nach einigen Takes brach ich einfach auf dem Boden zusammen, so aufgebracht war ich." Es wurde ein Umfeld geschaffen, in dem Dana sich ausdrücken konnte und in dem sie gefördert wurde. "Wir hatten jeden Abend diese großen gemeinsamen Mahlzeiten", sagt sie, "es fühlte sich sehr eng und fürsorglich und warm und besonders an. Unser kleines Haus lag auf einem großen Hügel, ein Fluss floss hindurch, es war groß und hell und schön", erinnert sich Dana. Das Studio selbst war hell - voller strahlendem natürlichem Licht aus den großen Fenstern, ein Segen für Musiker, die an die abgeschottete Welt der meisten Aufnahmestudios gewöhnt sind, und zum ersten Mal konnten alle im selben Raum wie der Produzent aufnehmen. "Es fühlt sich an, als hätten wir zum ersten Mal etwas gemacht", erklärt sie und freut sich hörbar über das Album, "es hat etwas von unserer Freundschaft eingefangen und von der Art und Weise, wie wir gelernt haben, zusammen zu spielen. Ich liebe die Songs, ich liebe es, sie zu spielen, sie sind nicht alt geworden und es fühlt sich an, als wäre es etwas Besonderes." Eine Pause. "Es hat mich so viel gelehrt. Deinem Bauchgefühl zu folgen, auf deine Freunde und ihre Loyalität zu vertrauen, darauf zu vertrauen, dass du mit Leuten richtig kämpfen kannst. So will ich leben, so will ich Platten machen, denn Platten machen ist mein Leben, denn meine Arbeit ist mein Spiel, mein Job ist mein Leben. Alles ist in dieser Sache miteinander verbunden, und es gibt Wege darin, die mich nicht umbringen."
The Well is the second album by the duo So Sner, composed of Susanna Gartmayer (bass clarinet) and Stefan Schneider (electronics). Recorded over nearly two years in various studios and spaces, the album reflects So Sner's extensive touring across Europe. The final mixing took place in Vienna at the studio of Martin Siewert, who served as both co-producer and mastering engineer. Known for his meticulous attention to sonic detail, Siewert brings his unique techniques and distinctive sound enhancements to the album, resulting in a work that is both stylistically cohesive and daringly uncompromising.
So Sner’s critically acclaimed debut album REIME (TAL26, 2021) was celebrated for its innovative fusion of bass clarinet and electronic sounds in unexpected and surprising ways. With The Well, the duo explores both fluid and dissonant sonic landscapes, embracing different structural and sonic challenges. The result is a quieter, more introspective set of compositions than many might have anticipated. The album is a statement of two confident collaborators crafting complex, spatial musical moments in their own distinct manner.
The music on The Well generates a multiplicity of effects that transcend conventional oppositions such as hand-played versus programmed, composition versus improvisation, or analog versus digital. The album suggests a re-articulation of these categories, allowing the ten tracks to gradually blend one musical idea into another, and one musician into another, in a circular and complementary fashion. The polymetric permutations and exploratory reed components create a soundscape where all elements coexist harmoniously, without compromising or diminishing each other’s presence.
With its sparse sound architecture, The Well invites listeners into a space of effective emptiness, offering room for the mind and body to explore—a sonic island where one can develop sensuality through patient movement.
For So Sner, live performance is a passion of the mind, and since they began working together in 2020, their music has taken them to many different places. The live experience has deeply influenced the recorded music on this album, with the interplay between live performance and studio work informing their creative process. The Well captures the genuine act of exploring new territories, serving as a storage place for the time and space shared by the duo, re-filtering their experiences of performing and traveling together.
The Well is a lucidly playful and ambitious album by two contemporary musicians who are continually learning to create and respond to the subtle and significant changes in their music, maintaining momentum throughout the entire work.
In addition to her work with So Sner, Susanna Gartmayer has recently collaborated with artists such as Joe McPhee and Maria Portugal, and remains a member of her long-running band, the Vegetable Orchestra. Stefan Schneider, founder of the label TAL, has recently performed with Garth Erasmus from Cape Town and fine art luminary Katharina Grosse.
. By his early 20s, Kurious was already an in-demand voice on the mic. His 1994 major label debut album, A Constipated Monkey, is a classic of its style, marked by heavy beats and nimble rhymes that are razor-sharp yet frequently hilarious. Despite being hailed as one of hip-hop's most compelling lyricists, he didn't release another solo IP for the rest of that decade, but he continued to be sought after. Rap fans the world over know him for his verse on "?," one of the standout songs from his longtime friend and collaborator MF DOOM's heralded Operation: Doomsday. As he prepares for the release of his new album, Majician-the nickname his peers blessed him with a generation ago-Kurious is well on his way to establishing the legacy he's long deserved. The LP, which was executive produced by MF DOOM before his passing, is a mesmerizing blend of technical wizardry and personal introspection. Take "Eye of Horus," where the pulsing drums convey an urgency that borders on panic; Kurious weaves a complex tapestry of history and insight, but does so while ducking through and under each pocket in the beat. Produced in its entirety by Mono En Stereo, Majician is filled with songs like "Eye of Horus," which dance on the line between confession and confrontation. "Separation Anxiety" is a personal bloodletting in the form of lyrical exercise; "Par For the Course," which features the elusive Mr. Fantastik, makes drum breaks from the early Reagan era sound totally revitalized. Through the radical amount of work Kurious put into the writing and recording of this material, he's removed all ambiguity from the question of whether he can stand as one of the premier MCs of his time.
Oliver Coates' Throb, shiver, arrow of time is a portal into somatic chiaroscuro, aglow with the embers of imperfect memories and smudged with the plumes of internal echoes, which augment in vast, mercurial dimensions. For his third album on RVNG Intl., the British cellist, composer and producer offers a capsule of personal resonance and remembrance, assembled over the past six years. Throb, shiver, arrow of time traces the familiar metallic anatomy and viscous string modulations of his 2020 release skins n slime, while recentering his inner compulsions following a procession of lauded score writing projects, including the films Aftersun (Charlotte Wells, 2022), The Stranger (Thomas M Wright, 2022) and Occupied City (Steve McQueen, 2023). While working on Aftersun, Wells asked Coates how music could signal that someone is going on a trawl through their memory_a question that has stayed with him ever since and fosters a heartbeat running through the record. Throb, shiver, arrow of time is "all about inaccurate transmissions from our memories, overlaid with emotions from other sources," says Coates. The release is imbued with the ache and glow of recollections mulched together, where the guttural dissonance of misremembering is shrouded by strange orbs of sentiment. At the record's inner core is "Shopping centre curfew," a swift yet cavernous track that emerged five years ago when two real world events, both occurring in South London during the pandemic lockdowns, became fused in a dream: the demolition of Elephant and Castle shopping center, and the discussion of a curfew as a real possibility for all men following a violent crime. A strange simultaneity occurred with this piece of music and Coates built the album out from there, a sense of temporal entropy refracting shimmers of lurking convulsions into lucid sonic topologies. The ten compositions of Throb, shiver, arrow of time find weightless melodies soaring across after-image gradients, magnified and compressed. Misted tones within "Please be normal" and "90" soften drone-soaked shudders of inner acoustics messing up. Vocal invocations appear from long-term collaborators Malibu and chrysanthemum bear, as well as drifting synth radiance from Faten Kanaan. Throb, shiver, arrow of time furthers Coates' reach in collapsing the digital into the analogue and vice versa, allowing serendipity to reorganize the material and push out against the confines of flatness. This sculptural approach to sound is deeply influenced by the intricate installations of artist Sarah Sze, whose permutations of visual matter with its own after-image form kaleidoscopic epitaphs for ephemera and emotion. Coates' thinking about Sze's work and processes flowed together with his own playing and editing techniques, superimposing the textural relief of a live take back into a composition, and allowing the sound to succumb to a dream of itself. As Coates expands, "The cello is a kind of melancholic instrument with a light ethereal spirit. When the sound is flattened into digital processes, with shifted frequencies and time stretching I'm trying to give it even more of those qualities. Sometimes I'm distancing myself from it, so it becomes a piece of discarded debris that has soul in it, a down-sampling. Or other times, it's trying to maximize the present tense in the act of playing, and collapse that vivid color into a burnished, photocopied kind of sound. So the music acts like weather, weathering the listener, or as flames licking at the sides of objects." As the record unfurls, the compositions swell in duration, until the granular glimmers of its finale "Make it happen" persist in almost violent delight. "There's a feeling of not wanting to let this album go, trying to defy the extinguishing sound at the end of the music, trying to push the colors beyond the confines of the structure, to defeat the silence." In the scramble to resist denouement, Coates suspends the arrow of time in its eternal flight, just for a moment, to reveal the solace of the dust settling in the afterglow. Oliver Coates' Throb, shiver, arrow of time will be released on vinyl, Japanese import CD, and digital editions on October 18, 2024. On behalf of Oliver and RVNG Intl., a portion of the proceeds from this release will benefit The Traditional Music and Song Association of Scotland, an organization fostering opportunities for people of all ages to participate in the traditional music and culture of Scotland.
Chicagos einzigartig erschütternde und technisch grausame Chaos-Einheit Immortal Bird ist zurück mit ihrem mit Spannung erwarteten dritten Album. Auf dem 2019er Album "Thrive on Neglect" manövrierte sich die Band durch ein Amalgam von Klängen, das sich zu einer verzerrten und kantigen Darbietung von vielschichtigen Ängsten entwickelte und nun als Sprungbrett für die weitere Entwicklung auf dem neuen Album "Sin Querencia" dient.
Immortal Bird vereinen Elemente aus Death und Black Metal, Hardcore-Tumult, eine Dosis Noise Rock aus ihrer Stadt und eine kompositorische Komplexität, die an Grenzgänger wie Gorguts und Ulcerate erinnert.
- Nachfolgealbum zu 'Thrive On Neglect' von 2019
- US-Tournee für Ende 2024 und bis 2025 geplant
- Ausgewählt, um für Emperor in Chicago 2023 zu eröffnen
- FFO: Pig Destroyer, Cattle Decapitation, Krallice, Oathbreaker, Converge, Full Of Hell, Cretin, Tombs, Cult Leader
Chicagos einzigartig erschütternde und technisch grausame Chaos-Einheit Immortal Bird ist zurück mit ihrem mit Spannung erwarteten dritten Album. Auf dem 2019er Album "Thrive on Neglect" manövrierte sich die Band durch ein Amalgam von Klängen, das sich zu einer verzerrten und kantigen Darbietung von vielschichtigen Ängsten entwickelte und nun als Sprungbrett für die weitere Entwicklung auf dem neuen Album "Sin Querencia" dient.
Immortal Bird vereinen Elemente aus Death und Black Metal, Hardcore-Tumult, eine Dosis Noise Rock aus ihrer Stadt und eine kompositorische Komplexität, die an Grenzgänger wie Gorguts und Ulcerate erinnert.
- Nachfolgealbum zu 'Thrive On Neglect' von 2019
- US-Tournee für Ende 2024 und bis 2025 geplant
- Ausgewählt, um für Emperor in Chicago 2023 zu eröffnen
- FFO: Pig Destroyer, Cattle Decapitation, Krallice, Oathbreaker, Converge, Full Of Hell, Cretin, Tombs, Cult Leader
In vielen nordischen Mythen verfügen Stimmen über magische Kräfte. Unter dem Namen WHISPERING VOID erforscht und verkörpert ein Kollektiv renommierter Musiker von Norwegens Westküste auf ihrem Debütalbum "At the Sound of the Heart" diese alten Traditionen. Alle Bandmitglieder brachten einen Teil ihres musikalischen Hintergrunds in WHISPERING VOID ein: Die unverwechselbaren Stimmen von WARDRUNAs Lindy-Fay Hella und ihrem männlichen Gegenpart Kristian "Gaahl" Espedal ziehen Zuhörer mit einer enormen Bandbreite an Techniken und Tönen unwiderstehlich in ihren Bann. Gitarrist Ronny Stavestrand und ENSLAVED-Schlagzeuger Iver Sandøy kombinieren auf "At the Sound of the Heart" unter anderem Ambient, psychedelischen Prog und Rock mit Klängen aus dunklem Folk und Metal zu etwas, das im Kern nordisch klingt, aber über die vielen bereits erforschten Sounds hinausgeht. Der kreative Funke, der das Feuer von WHISPERING VOID entfachte, kam aus einer langen Zeit musikalischer Experimente von Ronny Stavestrand. Der Gitarrist hatte viele Jahre in der legendären Underground Black Metal Band TRELLDOM des herausragenden Sängers Kristian "Gaahl" Espedal verbracht. Espedal war mit GORGOROTH zu notorischem Ruhm gelangt und hat inzwischen mit GAAHLS WYRD einen weiteren eigenen Kanal für seine Kreativität etabliert. Daher lag es für Stavestrand nah, Espedal um dessen Mitwirkung bei WHISPERING VOID zu bitten. Der Sänger stimmte zu und als bei der gemeinsamen Erkundung neuer Klangdimensionen der Bedarf nach einer weiblichen Stimme aufkam, war Gaahl aufgrund seines früheren Mitwirkens bei WARDRUNA sofort bewusst, dass die charakteristische, kraftvolle Stimme von deren Frontfrau Lindy-Fay Hella, die sie auch in ihren eigenen Projekten einbrachte, perfekt zu WHISPERING VOID passen würde. Zum Glück folgte die Sängerin gerne dem Ruf des Duos. Das Quartett wurde schließlich durch Iver Sandøy als Schlagzeuger und Bassist komplettiert, der sein makelloses musikalisches Feingefühl und Timing schon vor einigen Jahren in den Dienst von ENSLAVED stellte, und sich zuvor bereits mit der progressiven Band EMMERHOFF & THE MELANCHOLY BABIES einen Namen gemacht hatte. Das Ergebnis ihrer kollektiven Studioexperimente und ihres kontinuierlichen Austauschs ist eine einzigartige Mischung aus den diversen Einflüssen, welche die Bandmitglieder repräsentieren.
The Well is the second album by the duo So Sner, composed of Susanna Gartmayer (bass clarinet) and Stefan Schneider (electronics). Recorded over nearly two years in various studios and spaces, the album reflects So Sner"s extensive touring across Europe. The final mixing took place in Vienna at the studio of Martin Siewert, who served as both co-producer and mastering engineer. Known for his meticulous attention to sonic detail, Siewert brings his unique techniques and distinctive sound enhancements to the album, resulting in a work that is both stylistically cohesive and daringly uncompromising.
Toy Tonics sublabel Kryptox comes with a new album by Greekharpist SISSI RADA. "Demeter in Aexone" is a 45" pure soloimprovisation on harp. Using no post production techniques and nooverdubs, the album was recorded one afternoon in her studio inVoula, Athens, overlooking the ancient demos of "Aexone". It is atribute to the ancient myth of Persephone, the daughter of thegoddess Demeter, to whom the Eleusinian Mysteries were dedicated.
Psychoderelict wurde von Pete Townshend geschrieben und produziert. Einige Charaktere und Themen,
die in diesem Werk vorgestellt werden, wurden in Townshends späterem Werk The Boy Who Heard Music
weitergeführt, das erstmals auf dem elften Studioalbum Endless Wire (2006) der Who vorgestellt und dann
als Rockmusical adaptiert wurde.
Diese Version ist ohne Dialog und wurde zum ersten Mal auf Vinyl veröffentlicht.
Psychoderelict ist Townshends sechstes und bisher letztes Solo-Studioalbum.
Diese schwarze Vinylversion wurde von Miles Showell in den Abbey Road Studios mit einer Half-SpeedMastering-Technik erstellt, die einen hervorragenden Vinylschnitt erzeugt.
In vielen nordischen Mythen verfügen Stimmen über magische Kräfte. Unter dem Namen WHISPERING VOID erforscht und verkörpert ein Kollektiv renommierter Musiker von Norwegens Westküste auf ihrem Debütalbum "At the Sound of the Heart" diese alten Traditionen. Alle Bandmitglieder brachten einen Teil ihres musikalischen Hintergrunds in WHISPERING VOID ein: Die unverwechselbaren Stimmen von WARDRUNAs Lindy-Fay Hella und ihrem männlichen Gegenpart Kristian "Gaahl" Espedal ziehen Zuhörer mit einer enormen Bandbreite an Techniken und Tönen unwiderstehlich in ihren Bann. Gitarrist Ronny Stavestrand und ENSLAVED-Schlagzeuger Iver Sandøy kombinieren auf "At the Sound of the Heart" unter anderem Ambient, psychedelischen Prog und Rock mit Klängen aus dunklem Folk und Metal zu etwas, das im Kern nordisch klingt, aber über die vielen bereits erforschten Sounds hinausgeht. Der kreative Funke, der das Feuer von WHISPERING VOID entfachte, kam aus einer langen Zeit musikalischer Experimente von Ronny Stavestrand. Der Gitarrist hatte viele Jahre in der legendären Underground Black Metal Band TRELLDOM des herausragenden Sängers Kristian "Gaahl" Espedal verbracht. Espedal war mit GORGOROTH zu notorischem Ruhm gelangt und hat inzwischen mit GAAHLS WYRD einen weiteren eigenen Kanal für seine Kreativität etabliert. Daher lag es für Stavestrand nah, Espedal um dessen Mitwirkung bei WHISPERING VOID zu bitten. Der Sänger stimmte zu und als bei der gemeinsamen Erkundung neuer Klangdimensionen der Bedarf nach einer weiblichen Stimme aufkam, war Gaahl aufgrund seines früheren Mitwirkens bei WARDRUNA sofort bewusst, dass die charakteristische, kraftvolle Stimme von deren Frontfrau Lindy-Fay Hella, die sie auch in ihren eigenen Projekten einbrachte, perfekt zu WHISPERING VOID passen würde. Zum Glück folgte die Sängerin gerne dem Ruf des Duos. Das Quartett wurde schließlich durch Iver Sandøy als Schlagzeuger und Bassist komplettiert, der sein makelloses musikalisches Feingefühl und Timing schon vor einigen Jahren in den Dienst von ENSLAVED stellte, und sich zuvor bereits mit der progressiven Band EMMERHOFF & THE MELANCHOLY BABIES einen Namen gemacht hatte. Das Ergebnis ihrer kollektiven Studioexperimente und ihres kontinuierlichen Austauschs ist eine einzigartige Mischung aus den diversen Einflüssen, welche die Bandmitglieder repräsentieren.
Fables of the future fuel the present. Lisel (Eliza Bagg) draws from this tradition on The Vanishing Point, a daring musical odyssey of altered singing, experimental pop, broken melodies, and striking electronics. A culmination of her continual dissemblance of genre, Lisel’s new album is an epic composed of allegorical tales, forming a dystopian storybook of life in the shadow of impending catastrophe. It’s a high-concept work of contemporary pop sounds, hyperpop motifs and tropes. Every song reflects the shared psycho-emotional experience of moving towards unsettling futures and looking beyond these outcomes, to the point where the horizons vanish. Evolving the sonic toolkit she employed on Patterns For Autotuned Voices And Delay (2023), Lisel transforms pop into a canvas for operatic storytelling. Along with making her own work, Bagg is a classical singer working in baroque and contemporary experimental opera, and with her project Lisel, she seeks to develop new, expressive qualities out of ancient vocal techniques from the Baroque and Renaissance periods. Her opera experience has infused her with a desire for a big, cinematic sound and holistic world-building, creating a “total artwork,” and she fits that medium into the form of a solo project. From haunting whispers to soaring melodies, she reaches back towards ancient musical traditions while incorporating futuristic sounds in order to imagine how a possible future might look back at contemporary existence. Dystopic stories melt into pop songs, hammered to ruin. Both through sonics and lyrics, the album recounts urgent narratives as ancient mythological fables, chronicling in operatic density the deepening awareness of the world’s looming, inevitable vanishing point. Photographer Carla Rossi further builds Lisel’s world through a series of photographs that similarly draw on Renaissance and Medieval painting, while placing them aesthetically in a digital realm. In these dramatic, hyper-stylized photos, Lisel takes up classical poses and yields iconographic symbols, further exploring the dissonance in her work as these manufactured “paintings” recall storytelling of the past while depicting images from an imagined future.
For the first time this century, two missed masterpieces are coming available on vinyl. The band Souled American formed in Chicago in 1986 and recorded a total of sixty-six songs between 1988 and 1996. Though not ever popular themselves, their evolving hybrid of roots / rock music heavily influenced many more popular bands to come, among them Wilco, The Jayhawks, The Feelies, Califone, Counting Crows, The Mountain Goats, and Cracker. Their records became legendary, unavailable for decades. Some got to the Internet in 2023. Their last two albums Frozen and Notes Campfire will now be re-issued in limited, hand-crafted, 30th Anniversary Editions with a fresh abundance of stories, technical information, musician credits, and cartoons that detail the unexpected origins surrounding these two early classics of “ambient Americana.” These records sound at once both old and new with brilliant melodies and profound performances stacked in unusual patterns like soft-hued bricks.
The Blessed Madonna began with three magic words, scrawled in shoe polish on a broken - down box and hung on the wall at a small sweaty party: We Still Believe. “I think you have to give up completely to really understand what hope is. It was like 2011? I had spectacularly, monumentally failed. I left the label. I wasn’t DJing. I wasn’t putting out records. I was divorced and living on my Dad’s couch so naturally my friends and I decided to throw an illegal rave. We didn’t have any decorations, so I took a box and wrote, ‘We Still Believe’ on it. I needed to believe that something better was possible and that’s how it all started.” After years of $50 gigs, strung together by gas money and surfed couches, The Blessed Madonna cemented her reputation as a sublime technician behind the decks with a legacy of fluent and dynamic sets, spanning from disco to techno to house and back. One room sweatboxes, circus tents, theatres, massive festival stages and entire city blocks have all served as the canvas for her shows. After a jam packed 2023, from Glastonbury to Sonar to Boiler Room Bali, The Blessed Madonna has been filling the dance floor everywhere she goes and is now releasing her debut album.
15 years onwards from the original release in October 2009, "This Is …" by Gizelle Smith & The Mighty Mocambos remains a classic in its genre. Upfront, raw and melodic, this super sister funk album has not aged at all. Now, in 2024, it is time for a proper re-release with unreleased bonus tracks, rare remixes and a limited edition double vinyl album. Welcome to the deluxe version of "This Is …" by Gizelle Smith & The Mighty Mocambos.
Read here what the original release sheet said about the album:
"Strong album – packs a serious punch" Craig Charles Funk and Soul Show, BBC 6 Music
"A breath of fresh air" Keb Darge
"Really amazing stuff, full of killers" Nick / Record Kicks
"Definitely recommended" Peter Wermelinger, Funky & Groovy Music Records Lexicon
"What a fantastic album – this is proper funk" Tobias Kirmayer, Tramp Records
Ever since their first collaboration on the "Mocambo Funk Forty Fives" compilation, things have gained momentum for Gizelle Smith, the "Golden Girl of Funk", and the much respected Hamburg-based label and live band The Mighty Mocambos. Their first single "Working Woman" became an overnight smash and a prime-time club favourite of funk & soul DJs from all over the world. Initially released on the Finnish private press label Old Capital, producer legend and Grammy nominee Kenny Dope (Masters at Work, Bucketheads) picked up and remixed the song for his own label Kay Dee Records. Gizelle Smith & Mocambo now step up with a full-length album of bonafide sister funk. In the days of digital recording and Pro Tools editing, they show true exception to modern techniques and create their highly regarded, unique and raw soul sound, by making use of simple dynamic microphones and reel-to-reel tape machines. In a genre which is often littered with overused clichés of the past, the charismatic Gizelle Smith adds a lot of her own flavour rather than slavishly copying icons of bygone decades. The result is a refreshing alternative to post-millenium plastic pop without being a mere retro rip-off. From the heavy and determined "Gonna Get You" to vulnerable, gospel-tinged laments such as "Coffee High", "This Is Gizelle Smith & The Mighty Mocambos" is just as deeply rooted in the music from the golden era of soul as it is a modern masterpiece in its own right. Blazing horns, soulful guitars, driving drums and basslines combined with Gizelle's gripping and powerful voice all weave together to create a long player that is varied and coherent at the same time.
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Following releases on Sähkö Recordings and The Trilogy Tapes, "Fever of the World" is the Soda Gong debut by Memotone, the nom de plume of UK-based multi-instrumentalist Will Yates. As a collection, it is both intimate and expansive, like the feeling of gathering one's thoughts before setting off on a long journey or committing to an irrevocable course of action. Throughout, Yates' talents as both player and sound designer are on full display, as are the sonic signatures that have come to characterize the Memotone catalog: low-lit, ECM-inflected noir; evasive and evolving loop-based accretions; and mellifluous mosaics of keys, guitar, reeds, and percussion. It is patient and focused music, built around production techniques and compositional ideas that have been perfected both in studio and in live performance over a period of several years. "Catherine, On Fire" sets the scene, one of two languid, longform selections, and develops slowly from a spare, harmonic-laden guitar loop into a bed of rippling textural ambience and woozy clarinet filigree. Later, "The Bus" and "When the Bakery Has What You Want and It's Cheap" conjure images of rain-streaked windows, fanciful baked confections, and grey skies broken finally by sunlight. Warm, generous, and comfortable in its own skin, this is music that reminds us that when it feels easy to resign ourselves to world weariness, we should pause for a moment and listen to the rustle of the leaves. The wind knows not to linger.
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Both tracks were written and produced by Lee Perry. This is the first time these two complementary tracks have been released together.
The A side is the first ever reissue of the gorgeous SINNER MAN by ANNETTE CLARKE. This rare track was initially released as the B side of JUST ONE LOOK, also performed by ANNETTE CLARKE on the Technics label in the UK in 1973. It seems it was never released in Jamaica.
The B side SINNER MAN DUB is a very rare Lee Perry Dub version of the A side. It was released only as a single for a Lee Perry box of 8 very rare singles by Trojan in 2005. This box is now also rare.
ABOUT LEE SCRATCH PERRY:
Lee "Scratch" Perry was born Rainford Hugh Perry on the 20 March 1936 in Kendal Jamaica. An eccentric Reggae artist and a genius producer, Lee has written, sung and/or produced unique tracks for himself and everybody else worldwide from Bob Marley and Junior Murvin to the Clash and many more… Under his own name, he recorded over 80 albums, countless singles and covered every musical style from Ska, Rocksteady and early Reggae to Dub, Roots Reggae and their electronic variations... His influence on Jamaican music and Reggae is just immense.
Perry died on 29 August 2021 in Lucea, Jamaica, during the Covid outbreak, aged 85.
ABOUT ANNETTE CLARKE:
Unfortunately, very little is known about Annette Clarke besides the fact there was a Jamaican singer that recorded Rhythm’ n Blues and Ska duets with Shenley Dufus in 1961 and with Charley Organaire in 1964. She also recorded this gorgeous duet with Roy Pantone “My Baby” in 1963.
Then nothing until this session with Lee Perry in 1973 where she aparently recorded just two songs, the lovely cover of the 1963 Doris Troy’s “Just One Look” and “Sinner Man”, a gorgeous song penned by Lee Perry and unrelated to the Nina Simone’s hit. Then there is no trace of further recordings after these. A real shame considering the outstanding talent she showcased with these two superb songs…
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The band was formed in 2019 from an idea of musicians who at the time were part of acts such as Black Rage, In-sight, Atlas Pain and Sojourner. After a debut show supporting Asphyx and some line-up changes, the band entered the studio to record their debut album "Front: Toward Enemy" in 2020. After its release in 2021, HUSQWARNAH kept themselves busy on the live front, sharing the stage with acts such as Mortuary Drape, Baest, Discharge, High On Fire and Voivod. The latter show was recorded and then independently released under the title "Live At Bloom" in 2023. HUSQWARNAH's death metal is as genuine and convincing as it can possibly get, paying homage to certain traditional formulas dating back to the early nineties, with songs that are particularly compact in structure and dynamics, ideal for being performed live and thus reminiscent of bands such as Asphyx, Bolt Thrower and Benediction. "Purification Through Sacrifice" is a title that reflects the intent of the band to evolve musically, the themes range, as in the previous chapter, from films to crime news stories through visionary and bloody episodes. This time the sound is further enriched with technique and violence while remaining faithful to old school death metal.
Weißes Vinyl, limitiert auf 300 Exemplare. Unwiederbringlich dem Credo ,born too late" verfallen, loten Traum in ihrer Musik die technischen Grenzen des Zeitreisens neu aus und kreieren dabei einen naiven Gegenentwurf zum Hier und Jetzt in oszillierendem Technicolor. Der Sound des Trios entfacht Reminiszenzen an die Ursprünge von Psychedelia, Acid Rock und Glam, getragen von einem eskapistischen Tunnelblick auf längst vergangene Dekaden des bewusstseinserweiternden Hedonismus. Die ersten Aufnahmen der Band weckten prompt das Interesse des kalifornischen, in Los Angeles ansässigen Psychedelic-Connaisseur-Labels Hypnotic Bridge, welches Anfang 2024 zwei Traum-Songs auf 7" Vinyl veröffentlichte und dazu schrieb: ,Traum präsentieren eine Ode an den mystischen Rausch eines Technicolor-Traums. Aufgeladen durch Vintage-Tape Echos und Ausbrüche von Fuzz-Gitarren, sind ihre Songs dazu gemacht, sich tief in die Doppelhelix-Matrix von mehrfach gespiegelten Gedankenströmen zu winden." Das renomierte englische Musikmagazin ,Shindig!" schrieb dazu: ,Das Debütalbum der drei deutschen Musiker von Traum lässt keinen Zweifel daran, wo ihr Herz schlägt. (...) Der Gesang ist verträumt und distanziert, die Gitarren schlängelnd und kurvenreich." und zog zahlreiche Vergleiche zu obskuren Vertretern des Psychedelic-Pop der späten 1960er Jahre in Großbritannien wie Fire, Tintern Abbey, The Smoke, u.ä. Im Frühjahr 2024 begab sich die Band erneut ins eigene Studio um vier weitere Stücke aufzunehmen, die von Frontmann Helen Lichter komplett analog abgemischt wurden und mit ihrem puristisch verträumten Sound nahtlos an die Erstveröffentlichung anschließen.
Boudica is proud to present their first record of 2024, featuring an artist who holds a special place within the platform - none other than DJ and producer Wallis.
DJ, live-act and former mastering engineer, Wallis speaks for a generation searching for novelty and emotion in the electronic music realm.
Sharp engineering skills coupled with a unique approach to sound design allowed her to develop a trademark sound. Using an array of synthesisers, effects units, and experimental studio techniques, Wallis produces melancholic electronic music rapidly shifting between different patterns and atmospheres.
She tours as a DJ and Live Act around the world, having played large festivals such as DGTL or renowned clubs like Berghain, and will happily play at a large stage one day but at a small intimate sweaty basement the next.
In 2024, she started producing music for fashion shows and debuted that project by creating the music for the entire Natasha Zinko runway show at London Fashion Week February 2024.
The EP's opening track, "Hell is a Girl from Before (Rainy Summer Mix)," introduces a stirring blend of emotions. Starting with an emotional melody, accompanied by synths and a plucked instrument, it swiftly transitions into energetic segments driven by the drums. Vocals emerge, their words almost imperceptible, adding an intimate layer to the experience. The track maintains a steady pace, evoking the ambience of a rainy summer day. This creates a melancholic yet hopeful mood, transporting listeners through a journey of introspection.
As "Protect Me From My Friends" unfolds, it feels like being whisked away to a new dimension, greeted by otherworldly, robotic sounds. The introspective journey of the previous track mutates into raw emotions, driven forward by a relentless bassline. Clear vocals take the forefront, guiding the listener through the sonic landscape, only to be interrupted by the commanding presence of the bassline, which assumes the main character role.
In "Sleeping Pills Are Gone," an atmospheric and gloomy introduction is abruptly interrupted by an acid and hefty bassline that dynamically evolves throughout the track, plunging the listener into an eyes-open dream born of a sleepless night. The vocals echo the track's title, creating a haunting repetition. Wallis strategically grants brief breaks, constructing a powerful crescendo that heightens the experience. These are momentary escapes before immersing the listener once more into the hypnotic trance induced by the solid four-to-the-floor march.
Closing the EP with a striking finale, "Teenage Apocalypse" introduces a clunky melody that encapsulates the signature sound of the record. Characteristic vocals weave throughout, guiding the listener towards the track's crescendo. Driven by a flawless fusion of drums, the song transitions seamlessly into a powerful breakbeat moment, accompanied by yet another impeccable bassline. True to its title, it evokes the intensity of a day of judgment, leaving a lasting impact as the EP draws to a close.
This EP is a testament to Wallis's growth as a producer and her fantastic storytelling ability through sound.
In the artist's words: "Sometimes life takes a weird turn. Angry, confused and dealing with moral: this EP targets the pain and absurdity of attachment and strongly themes Gregg Araki's teenage apocalypse trilogy. The artwork poem plastered on the wall was written by wallis."
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Forgetting You Is Like Breathing Water, the self-titled debut from the duo of trumpeter Will Evans and guitarist, synthesist, producer and multi-instrumentalist Theo Trump, arrives like a vault revelation. It feels like a decades-old yet newly unearthed masterwork of gorgeous ambient improvisation, the sort of thing scholars live to research and shepherd into deluxe reissue.
The patient, crystalline chords that swell and resonate like a series of confessions; the textured brass murmurs that suggest a ’60s or ’70s Fire Music master at their most poignant. Provocative found-sound experiments threading arcane religious recordings through dystopian soundscapes. Ear-shattering free-noise tumult. Where and when did this music come from? Who are these voices?
As it turns out, Forgetting You Is Like Breathing Water springs from an engrossing human story, though it isn’t necessarily the one you’d expect. This work of stunning maturity is in fact an entrance by two little-known explorers in their early 20s, who grew up together in Virginia, in the shadow of the Blue Ridge Mountains. It documents one of those perfect, sparkling moments in post-adolescence when big decisions and responsibilities are right around the corner, but for a spell, two young artists are able to create among the comforts and nostalgia of their shared past.
It also represents a reunion of sorts, as Evans and Trump connected as toddlers, became inseparable as boys, then pursued independent lives and creative paths as young adults. “Theo is my oldest friend,” Evans says, “and I feel like that’s what this band is — us meeting right in the middle of our interests.”
Now, having conjured this magic, they’ve detached once again: Evans, whose other works include the indie/avant-jazz unit Angelica X, is currently based in New York City. Trump recently moved to England, where he’d participated in his family’s theatre company, to go to school and further his solo ambient project. “This album didn’t start out as something super ambitious,” Evans explains. “It was more just an excuse to spend time together again and make music.”
***
In conversation, Evans and Trump are a delight, especially for cynics who might think that Gen-Z is only capable of doomscrolling. They come across as kindly young intellectuals who grew up using the internet as it was intended, for exposure to ideas and art across genres and generations. Trump points to indie-folk and the oracular post-rock of late Talk Talk, Bark Psychosis and Gastr del Sol. Pressed for his guitar heroes, he cites Bill Orcutt, Mary Halvorson and Marc Ribot, and mentions his devotion to alt-country. Heyday electro-industrial stuff like Skinny Puppy and Nine Inch Nails also meant a lot to him.
Evans is equally intrepid, though his background has a greater jazz focus. Ambrose Akinmusire, among today’s most thoughtfully commanding trumpeters, is a favorite. As for the soulful murmur he offers throughout Forgetting You, Pharoah Sanders’ wistful and lyrical contributions to Floating Points’ work is a touchstone.
The two grew up down the street from each other in the northern Piedmont town of Batesville, Virginia. Their families were friends, holidays were celebrated together and they became the most loyal of pals. As children they had a pretend band.
Then life unfolded, they attended different schools and their paths diverged. Evans discovered John Coltrane and became a jazz obsessive, as Trump found punk and hardcore and later began making ambient music. As a dedicated jazz trumpeter, Evans studied formally and widely; Trump was an autodidact, teaching himself guitar and absorbing synthesis and production techniques. The late teens and very early 20s brought moves away from home and back to home, as well as plenty of listening and learning. The Covid pandemic meant an opportunity to reconnect on long walks. Through it all, together and apart, they remained reverent of each other.
By early 2023, they found themselves living again among the Blue Ridge Mountains. In the evening, after giving trumpet lessons in Charlottesville, Evans would make the eerily beautiful trek “over the mountain” to Trump’s home in Staunton, Virginia. They’d talk and eat and begin to improvise, deep into the night. Evans played trumpet and sometimes drums. (Given the wee-hours recording schedule, the neighbors didn’t appreciate the latter.) Trump plugged a rickety, junk-store Telecaster-style guitar into a cheap solid-state amp and explored open tunings; he also layered on lap steel, electric bass, synths and electronics.
They locked in and relished each other’s gifts. In Trump, those include patience and intentionality and sonic decision-making; for Evans, a distinctive trumpet sound that both musicians think of as a singer’s voice. “Will’s playing is so thoughtful and well placed,” Trump says. “My goal from a producer’s mindset is that the trumpet will occupy the space that vocals would take.”
Often, they got lost in the best way. “The thing I look for most when I’m playing is that feeling of disappearing into what you’re doing,” Evans says. “Usually when that happens, the music is good.”
By the same token, they didn’t pursue free improvisation as an ethic, or as a pure process. Their goal was something closer to spontaneous composition. “We were trying to make good songs,” Evans says simply. Later, Trump did brilliant post-production work, expanding a modest setup into an enthralling soundworld. Under his judicious editorship, music that was wholly improvised sounds at times like a carefully composed new-music commission.
The results speak for themselves. “A Happy Death” summons up a swath of American desolation through the viewfinder of Wim Wenders. “Flesh of Lost Summers” and “Partings” are highlights from an essential ECM LP that never was. “A Collapse of Horses” infuses those seminal post-rock influences with the plod of doom metal or slowcore. The album’s final track, “The Mountains Are a Dream That Calls to Me,” was in fact the first thing the duo recorded, as an evocation of those twilit drives across the Blue Ridge Mountains. “Looking back at what we chose to name the songs,” Evans says, “and some of the sounds and how they make me feel, there is an air of impermanence and loss to this album.”
“I’m excited for everything that’s to come,” he adds, “but I recently thought, ‘Damn — that’s not going to happen again.’ It was a privilege for us to have that time together.”
There are cult bands and then there's Souled American. In 1988, the Illinois group arguably invented "alternative country" with the album Fe. While the alt-country sound is widely recognized as Southern roots rock with an indie-punk sensibility largely defined by Uncle Tupelo's No Depression released two years later — Souled American's early music feels as if it was formed in a vacuum, inspired by the timestretching space of reggae. But over the course of the following decade, Souled American's music grew increasingly slow, insular and esoteric. Although Fe, Flubber and Around the Horn are inarguably more accessible, upbeat and even sometimes fun, if you've never heard this music before, it actually makes sense to start at the end.
Their last two albums Frozen and Notes Campfire will now be re-issued in limited, 30th Anniversary Editions with a fresh abundance of stories, technical information, musician credits, and cartoons that detail the unexpected origins surrounding these two early classics of “ambient Americana.” These records sound at once both old and new with brilliant melodies and profound performances stacked in unusual patterns like soft-hued bricks.
There are cult bands and then there's Souled American. In 1988, the Illinois group arguably invented "alternative country" with the album Fe. While the alt-country sound is widely recognized as Southern roots rock with an indie-punk sensibility largely defined by Uncle Tupelo's No Depression released two years later — Souled American's early music feels as if it was formed in a vacuum, inspired by the timestretching space of reggae. But over the course of the following decade, Souled American's music grew increasingly slow, insular and esoteric. Although Fe, Flubber and Around the Horn are inarguably more accessible, upbeat and even sometimes fun, if you've never heard this music before, it actually makes sense to start at the end.
Their last two albums Frozen and Notes Campfire will now be re-issued in limited, 30th Anniversary Editions with a fresh abundance of stories, technical information, musician credits, and cartoons that detail the unexpected origins surrounding these two early classics of “ambient Americana.” These records sound at once both old and new with brilliant melodies and profound performances stacked in unusual patterns like soft-hued bricks.
LP - 180 Gram Vinyl Alex Rossi`s third solo album `Buenos Aires Sessions' , is a vibrant and soulful exploration of funky jazz, recorded in May 2023. He came upon the Harmonica in his childhood when passing a harmonica factory. The young musician developed his own technique by profiting of his basic musical knowledge, technical information given at the factory and by his musical experiments. Since then, he is traveling the world, giving courses and performing on stages with great names of the Blues circuit like Buddy Guy, Magic Slim, Koko Taylor, Smokin' Joe Kubek, Tutu Jones, Lucky Peterson, Texas Slim, Sam Meyers, Robert Ealey, and John Primer, Jeff Healey, the saxophonist Joshua Redman.
LP - 180 Gram Vinyl Alex Rossi`s third solo album `Buenos Aires Sessions' , is a vibrant and soulful exploration of funky jazz, recorded in May 2023. He came upon the Harmonica in his childhood when passing a harmonica factory. The young musician developed his own technique by profiting of his basic musical knowledge, technical information given at the factory and by his musical experiments. Since then, he is traveling the world, giving courses and performing on stages with great names of the Blues circuit like Buddy Guy, Magic Slim, Koko Taylor, Smokin' Joe Kubek, Tutu Jones, Lucky Peterson, Texas Slim, Sam Meyers, Robert Ealey, and John Primer, Jeff Healey, the saxophonist Joshua Redman.
The thirteenth drop from Curtis Electronix comes courtesy of veteran of the electronic music scene. Edward Upton has been producing music since 1994 and much has changed since he unveiled his debut release under the DMX Krew alias. Warp Zone LP showcases the great mastery of his studio, his technical expertise and his exceptional ability to create monolithic soundscapes using very few elements. Each layer contributes to a rich, immersive experience, each element resonates with depth, highlighting his deep understanding of club music, sonic texture and space.
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»lacuna and parlor« is anchored in the left-field chamber music and incidental recordings that have long accented more eaze’s roving sound. Composed with one ear pressed to the rich textures of instrumental recording environments, this is a resonant and tactile collection tinged in rephrased space and skewed time.
Taking the rudiments of tonal music theory as her conceptual base, more eaze formed the compositions around her own manipulations of these core principles. Simple chord progressions stretch over minutes rather than seconds, for example, while elsewhere specific tonal signifiers were deleted from harmonic progressions, altering the expectations of these tropes.
These and many other bespoke techniques underpin compositions that span Americana-inflected ambient ballads and jaunty string recitals. With wistful vocals, bursts of improvisatory noise, loose chatter and overdubbed room sounds flowing in and out of the mix, more eaze invites us to lounge and linger in these lacunate moments, at once heard, felt and imagined.
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You may not have heard of Long Beach O.G. Greg Royal aka Pür Royale, but you're definitely familiar with his work. With a resume of remix, production, engineering, and editing work ranging from Dr Dre's "The Chronic" to Bobby Brown's "My Prerogative", to the dub version of Patrice Rushen's "Feels So Real", Greg left an indelible mark on contemporary black music from the mid-80's to mid-90s.
In 1993 however, a one off 100 copy house 12" self titled as "Royal Phenomena" on the surface didn't seem to quite fit with the more traditional hip-hop and r&b output of his extensive discography. I only found out it existed through connecting with another unsung west coast pioneer, Aaron Paar, for Must Have's 2016 Teflon Dons compilation. Greg is credited as a mixing and recording engineer on practically every release on Aaron's own consistently excellent label Worldship. After listening to Aaron tell his story, it was clear Greg's studio experience and mentorship were key elements in the development of Aaron's signature tough SP-1200 house sound. "Royal Phenomena" remains an elusive connecting point for LA hip-hop and underground deep house, and Greg and Aaron remain friends and frequent collaborators.
Aaron put me in touch with Greg, who miraculously kept his original DAT tape recordings of these unique house excursions and was happy to finally share them with a wider audience. Blending hip-hop production techniques, west coast Latin sleaze, midwestern minimalism, and a dash of UK bleep, the LA underground house sound remains singular.
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The Concealed Club Manifesto project pays homage to the mid 2000s underground UK club music scene, an era of music which acts as well of inspiration and creativity for the Nouveau Monica, and has no doubt helped shaped his sound. For the French producer, the UK club scene holds a special allure and mystique, especially since he observed this phenomenon from afar, and was idealized as one of the most “pivotal” moments in underground club culture, making it seem intangible, hence concealed. Nouveau Monica’s sound palette is deeply rooted in the UK scene, which he combines with his own personal musical background. This mid 2000s UK club sound is what the producer defines as his “Golden Era” and the genres created during that time are the building blocks of the Concealed Club Manifesto EP.
“See the Light” closes the EP as a triptyque. First with the OG version, cut out to be the straightforward, grimy, clean, and uncluttered bass track the producer always seeks for when going for the uncompromisingly strong raw material.
The second version conducted by Nouveau Monica as an alternate 4/4 version of the same title, harmonizes the repetitive chopped vocals with a technically syncopated drum loop designed for a new mental perspective, an after-hours sensation that blurs the line between euphoria and melancholy.
The last iteration of “See The Light” comes from none other than Hodge himself. A club tailored cut with a heavy groove, pattered with percussive elements, followed by sun drenched melody and sweltering pads that unleash into a a bellowing bass track, perfectly suited for peak sunset hours at a day rave an unforgiving Soundsystem.
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Speckled Dragon Egg Color Vinyl. Being Dead knows how to make an entrance - within the first several seconds of EELS, the duo's new record, the bright, hard-strummed guitar line on "Godzilla Rises" conjures cinematic immediacy, a creature emerging from the depths of the ocean in campy, freaky stop motion, fittingly so. Being Dead's records are mosaics, technicolor incantations, each song its own self-contained little universe. And while the dreamlike EELS probes further into the depths of the duo Being Dead's psyche, it is, most importantly, in the year of our lord 2024, a 16-track record that is genuinely unpredictable from one track to the next: a joyous and unexpected trip helmed by two true-blue freak bitch besties holed up in a lil' house in the heart of Austin, Texas. They decamped to Los Angeles for two weeks to record with GRAMMY-winning producer John Congleton, writing songs for the record until days before they left. The radical shift in process was welcome - a good balance and a challenge, Congleton helping them find new ways to work and helping peel back the layers on the core of their songwriting. Being Dead has grown from a duo to a trio live, including bassist Ricky Motto (who is immortalized finally on record here, particularly in the giggles on "Rock n' Roll Hurts") The resulting EELS is a darker record, tapped more into the devilishness within, but it's also a more raucous, rougher ride sonically. There's heartbreak, excitement, enchantment, dancing - we move through it all at a high-octane pace. Falcon Bitch and Smoofy never want to do the same thing twice on any song, and they don't. From the pummeling garage rock distortion of "Firefighters" to "Dragons II," which appears in its demo form taped on a hand recorder, it's unexpected but intuitive, and, most importantly, singularly Being Dead. Like its animal namesake suggests, the songs on EELS are malleable, the record like slithering through murky waters or strange half dreams, mysterious and beautiful in how it moves, reflective in a wavering sheen. Dipping into each song feels like uncovering a new cavern, plunging into depths unknown but fully open to what will be revealed. On the album artwork, an illustration by the artist Julia Soboleva, there are some weird disparate spectral creatures, a stark glimmer against a cloudy darkness. It's a fitting encapsulation of Being Dead, exuding a welcoming, playful energy even if something foreboding lurks just beyond the pale - more out of frame that's left to uncover, no path unexplored, strange and beautiful in the light.
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Returning for his third release on UFO Inc., DJ Europarking conjures up four cuts of high-spirits rave hedonism on The Legend of the Princess. Following on from two unhinged standout EPs on UFO Inc., the Dutchman lays down a mischievous package of the weird and unexpected, fusing references to all sorts with a spring in his step and a donk on his drums. Never one to shy away from experimentation, his belief in the power of playfulness is balanced with a sincere appreciation for sound and a rigorous knowledge of technical production skill, and the results are, as always, complete bangers.
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Seitdem sie sich 1992 ihren Weg aus der düsteren Unterwelt Tokios gebahnt haben, haben DEFILED mit ihrer knochenbrechenden Aggression und komplexen Kunstfertigkeit eine blutige Schneise in die globale Death Metal-Szene geschlagen. Sie haben ihr Vermächtnis als Vertreter der Grausamkeit zementiert und ihre unerbittlichen Angriffe sind so unerbittlich wie immer geblieben.
Willkommen in den Abgründen von Horror Beyond Horror, DEFILEDs katastrophalem neuesten Werk, das mit der Bosheit veredelt ist, die nur erfahrene Dämonen des Todes beschwören können. Jeder Track ist eine weitere groteske Erkundung der Tiefen menschlicher Verderbtheit, und das Album verschmilzt auf bösartige Weise die Grausamkeit des Death Metal alter Schule mit Strängen von technischem Thrash und progressiver Psychose.
Schalt DEFILEDs Horror Beyond Horror ein und lass dich vom Wahnsinn befreien - das einzige, was brutaler ist als die Realität, ist dieses Album.
Modern progressive rock band DILEMMA presents its third full length album, ‘The Purpose Paradox’. This concept album, spanning over 60 minutes, is released on CD, double LP and via all streaming platforms, and distributed internationally by Butler Records, a division of V2 Records.
It features 9 brand new tracks ranging in length from 4 to nearly 16 minutes. The sound showcases a broader side of DILEMMA — louder, faster, more technical, more progressive. With new frontman Jermain van der Bogt (Wudstik), the vocals have become rawer and more varied. Almost six years after the previous record ‘Random Acts of Liberation’ the band sounds reborn.
Like its predecessor, ‘The Purpose Paradox’ was produced by drummer Collin Leijenaar, who, together with the famed music wizard Rich Mouser (The Mouse House, LA), was also responsible for the mix and mastering. Thanks to their unmatched ears, the result is an audio experience that DILEMMA has worked on with great pride over the past years.
As said, ‘The Purpose Paradox’ was written and produced like a concept album. Because let’s face it, you’re either a progressive rock band or you’re not. But seriously: the story of ‘The Purpose Paradox’ revolves around a man named Neon. Someone like us in the here and now. During his quest for connection and fulfilment, he finds support from an unconventional guide named Electra. She points out to him that sometimes the things we look for are the things that found us first. Will Neon’s heart glow again when he discovers the outer light? Or does the greed of the corporate machine known as The Hand succeed in extinguishing his inner fire? Can Neon’s secrets be deleted? And will he, in the end, arrive in the comfort zone of allies in the raw, rainy city he once left behind?
Carla Boregas is a Brazilian musician, composer and sound artist. By merging synthetic and acoustic instrumentation and techniques, Boregas builds up sonic scenarios driven by an invisible force, where the sensation of presence and discovery lies between density and delicacy. Her work spans composition, improvisation, performance, sound installation and radio art, and aims to transport the listener to different subjective perspectives of time and space, to invoke memories and to reflect about the nature-human relationship.
Carla Boregas writes: "Using a Tascam Portastudio 4-track cassette recorder, I invited three musicians to improvise alone with the sound recording of the sea that I did in Massaguaçu, the place where I used to live in Brasil. The recorder that I used had a defect in one of its tracks, therefore I could only invite two musicians – Vinicius Cajado (double bass) and Réka Csiszér (cello), plus the sea in another track. While listening to the tracks together, I felt a deep sense of absence ("ausência" in Portuguese). Perhaps due to their sonorous answers surrounded by the tape hiss? Because that's one of the symbolic meanings of the ocean? Maybe "saudades do mar, de estar ao seu outro lado"? Who knows – listening can be something very mysterious. Afterwards I played with and interweaved them all: the sonorous sea, Vinicius Cajado, Réka Csiszér and the absence - "Absência Tape" is the final result." – Carla Boregas, Berlin, 8 August 2024.
Vier Klavierkonzerte von Mozart legten Friedrich Gulda, Claudio Abbado und die Wiener Philharmoniker
in den 1970er Jahren bei der Deutschen Grammophon vor – alle genießen heute Kultstatus. Nachdem die
Konzerte Nr. 25 & 27 bereits im Rahmen von The Original Source Series veröffentlicht wurden und auf
überwältigende Resonanz stießen, folgen nun die Konzerte Nr. 20 & 21, zur Verbesserung der Audioqualität
neu verteilt auf 2 LPs.
Anlässlich ihres 125. Geburtstag startete die Deutsche Grammophon die Wiederveröffentlichung legendärer
Aufnahmen in höchster Klangkultur: Die audiophile Vinyl-Serie The Original Source präsentiert herausragende Aufnahmen der 1970er Jahre in ganz neuer Klangqualität. Dafür haben die renommierten Emil
Berliner Studios die originalen Vierspur-Bänder mit eigens für die Produktion der Serie entwickelten Technologien in 100% analoger Qualität (AAA) neu gemastert und geschnitten. Die klanglichen Unterschiede
zu den Originalveröffentlichungen sind beträchtlich: Größere Klarheit, mehr Feinheiten und Verbesserungen
im Frequenzgang, zugleich weniger Nebengeräusche, Verzerrungen und Komprimierungen ermöglichen ein
audiophiles Hörerlebnis wie nie zuvor. Auf 180g Vinylplatten und in einer Deluxe-Gatefold Edition mit
Originalcovers und -texten werden die Exemplare dieser Serie limitiert und nummeriert veröffentlicht, begleitet von zusätzlichen Fotos und Faksimiles der Aufnahmeprotokolle und Bandkartons, außerdem erklärt
ein Beitrag die genauen technischen Hintergründe
Er galt als einer der besten Pianisten unserer Zeit: der kürzlich verstorbene Maurizio Pollini. Auch seine
Chopin-Interpretationen setzten Maßstäbe, so auch die Einspielung der 24 Préludes, die seit ihrem ersten
Erscheinen 1975 Kult ist. Im Rahmen der Original Source Series erscheint das Album nun wieder auf Vinyl;
aus Gründen der Audioqualität wurde der Seitenumbruch gegenüber der Originalveröffentlichung anders
gesetzt.
Anlässlich ihres 125. Geburtstag startete die Deutsche Grammophon die Wiederveröffentlichung legendärer
Aufnahmen in höchster Klangkultur: Die audiophile Vinyl-Serie The Original Source präsentiert herausragende Aufnahmen der 1970er Jahre in ganz neuer Klangqualität. Dafür haben die renommierten Emil
Berliner Studios die originalen Vierspur-Bänder mit eigens für die Produktion der Serie entwickelten Technologien in 100% analoger Qualität (AAA) neu gemastert und geschnitten. Die klanglichen Unterschiede
zu den Originalveröffentlichungen sind beträchtlich: Größere Klarheit, mehr Feinheiten und Verbesserungen
im Frequenzgang, zugleich weniger Nebengeräusche, Verzerrungen und Komprimierungen ermöglichen ein
audiophiles Hörerlebnis wie nie zuvor.
Auf 180g Vinylplatten und in einer Deluxe-Gatefold Edition mit Originalcovers und -texten werden die
Exemplare dieser Serie limitiert und nummeriert veröffentlicht, begleitet von zusätzlichen Fotos und Faksimiles der Aufnahmeprotokolle und Bandkartons, außerdem erklärt ein Beitrag die genauen technischen
Hintergründe.
Unter den hochgerühmten Aufnahmen der Berliner Philharmoniker mit Herbert von Karajan nimmt auch
die Interpretation der Peer Gynt-Suiten von Edvard Grieg, kombiniert mit Orchesterstücken aus Sigurd
Jorsalfar, eine wichtige Stellung ein. Mit ihrer brillianten und ausdrucksstarken Interpretation beweisen die
Musiker ein enormes Feingefühl für die einzigartige atmosphärische Klangsprache des norwegischen Komponisten.
Anlässlich ihres 125. Geburtstag startete die Deutsche Grammophon die Wiederveröffentlichung legendärer
Aufnahmen in höchster Klangkultur: Die audiophile Vinyl-Serie The Original Source präsentiert herausragende Aufnahmen der 1970er Jahre in ganz neuer Klangqualität. Dafür haben die renommierten Emil
Berliner Studios die originalen Vierspur-Bänder mit eigens für die Produktion der Serie entwickelten Technologien in 100% analoger Qualität (AAA) neu gemastert und geschnitten. Die klanglichen Unterschiede
zu den Originalveröffentlichungen sind beträchtlich: Größere Klarheit, mehr Feinheiten und Verbesserungen
im Frequenzgang, zugleich weniger Nebengeräusche, Verzerrungen und Komprimierungen ermöglichen ein
audiophiles Hörerlebnis wie nie zuvor.
Auf 180g Vinylplatten und in einer Deluxe-Gatefold Edition mit Originalcovers und -texten werden die
Exemplare dieser Serie limitiert und nummeriert veröffentlicht, begleitet von zusätzlichen Fotos und Faksimiles der Aufnahmeprotokolle und Bandkartons, außerdem erklärt ein Beitrag die genauen technischen
Hintergründe.
Im vielseitigen Repertoire von Stardirigent Rafael Kubelík nahmen die großen tschechischen Komponisten
einen wichtigen Platz ein. Viele seiner Interpretationen wurden Kult, so auch die Aufnahme von Antonín
Dvořáks 9. Symphonie „Aus der Neuen Welt“ mit den Berliner Philharmonikern von 1972: Der Maestro
hat darin „die Begeisterung seiner Spieler eingefangen und erzeugt ein Gefühl von Spannung und Poesie“
(Gramophone).
Anlässlich ihres 125. Geburtstag startete die Deutsche Grammophon die Wiederveröffentlichung legendärer
Aufnahmen in höchster Klangkultur: Die audiophile Vinyl-Serie The Original Source präsentiert herausragende Aufnahmen der 1970er Jahre in ganz neuer Klangqualität. Dafür haben die renommierten Emil
Berliner Studios die originalen Vierspur-Bänder mit eigens für die Produktion der Serie entwickelten Technologien in 100% analoger Qualität (AAA) neu gemastert und geschnitten. Die klanglichen Unterschiede
zu den Originalveröffentlichungen sind beträchtlich: Größere Klarheit, mehr Feinheiten und Verbesserungen
im Frequenzgang, zugleich weniger Nebengeräusche, Verzerrungen und Komprimierungen ermöglichen ein
audiophiles Hörerlebnis wie nie zuvor.
Auf 180g Vinylplatten und in einer Deluxe-Gatefold Edition mit Originalcovers und -texten werden die
Exemplare dieser Serie limitiert und nummeriert veröffentlicht, begleitet von zusätzlichen Fotos und Faksimiles der Aufnahmeprotokolle und Bandkartons, außerdem erklärt ein Beitrag die genauen technischen
Hintergründe
Amputechture Beneath the technical flash, the fury, the fearless creative brinkmanship of the first two Mars Volta albums lay a potent seam of the blues, an existential vexation that powered every twist and turn of Omar and Cedric’s imaginations. That mournful vibe would come to the surface of the group’s third full-length Amputechture, a simmering/blistering set that was unquestionably the group’s darkest yet. There was no overarching theme here, no interlinking concept binding the songs together, though Cedric concedes that, lyrically, the album was influenced “by a lot of stuff I was going through, a really bad break-up and a lot of other crazy stuff, and trying to put that feeling into the record.” But Amputechture – its name another of the late Jeremy Michael Ward’s invented words – was no downbeat bummer. Opener Vicarious Atonement might’ve been a deliciously gloomy, slow-burning thing, capturing Cedric in delirious duet with Omar’s swooning guitar lines, accompanied by squalling saxophone by Adrian Terrazas-Gonzales and dream-frequency fuckery by the group’s new sonic manipulator, former At The Drive- In member Paul Hinojos. But second track Tetragrammaton swiftly set pulses racing, an epic-in-miniature and containing more ideas within its 16 minutes than most bands manage over an entire career, its proggy, complex guitar figures tessellating in infinite configurations and converging as if conforming to mathematical formulae from another reality. The raw material Amputechture was hewn from started life on the road. Omar now travelled with his own mobile recording studio – a little Neve ten-channel tape recorder and an array of microphones – and was able to work on new ideas on tourbuses, in hotel rooms and during soundcheck (and, occasionally, after the show was done). After touring for Frances The Mute was complete, Omar relocated to Amsterdam, staying with his photographer friend Danielle Van Ark and her partner, Nils Post. It’s here that he demoed Amputechture, flying in engineer Jon DeBaun, drummer Jon Theodore and his brother, Chino, to work on these raw sketches. He later returned to Los Angeles, where the album was finally recorded. Omar ceded guitar duties to his dear friend and kindred spirit John Frusciante, instead assuming the role of musical director. “I wanted to hear the sound of the band,” he says. “I thought, I’ll be able to sit at the console, feel the air of the speakers moving, the unified sound of everything, and not feel distant from it. It was fun, but it was also challenging.” Part of Omar’s new method was to teach the musicians their parts only moments before the tapes rolled. “To keep things fresh, and to keep everyone on edge,” he says, before chuckling. “No, not on edge – on their toes. Amputechture would prove The Mars Volta’s most diverse set yet, drawing into the group’s tornado of influences moments of fiery jazz spirituality and esoteric folk introspection, finding space for passages of devastating subtlety and also their most fierce and full-on moments to date. The aforementioned Vicarious Atonement found its meditative mood echoed by Asilos Magdalena, an intimate, acoustic piece that invoked traditional Latin folk music, as Cedric sang in Spanish a sorrowful tale of a lost soul’s quest for sanctuary within a Magdalen Asylum, a refuge set up by the Catholic church for “fallen women”. The shadowy, sinister closer El Ciervo Vulnerado, meanwhile, tapped into the darker side of spiritual jazz to further explore the album’s themes of redemption and religious myth and magick. Elsewhere, the interplay between guitar and clarinet on Viscera Eyes created complex, unsettling counter-melodies, while the coiling, ornate Meccamputechture – Cedric’s wild fusion of sacred texts, occultism and dystopian science fiction – proved a great showcase for Ikey Owens’ swarming, infernal organ runs, in concert with Frusciante’s arcane guitar-play. But it was Day Of The Baphomets that would prove Amputechture’s most ambitious and most defining epic. Cedric’s lyrics tore into the hypocrisy of religious cant and myths of sin and punishment. “I wanted to make a song that was like the movie The Believers, where this cabal stole kids and did some occult shit with them,” he explains. “But I wanted it to be like, ‘What if the people you hire to do jobs you don’t wanna do rise up one day and then pull some shit like that?’ Like it was the guerrilla warfare, them taking over – wouldn’t that be some fucked up shit? And the music just lent itself to that – the big intro, the bass solo, and all of the ruckus that occurs.” That ruckus was some of the most thrilling Mars Volta music yet, as Omar directed his musicians to rumble through fiery modes of wild tribal groove, ransack-the-palaces riot- rock and supreme progressive experimentalism. Amputechture, then, is the sound of The Mars Volta in imperial mode: fearless, insatiable, unstoppable.
Sergej Rachmaninoff war ein russischer Komponist, Pianist und Dirigent, der für seine gefühlvolle und virtuose Musik bekannt ist. Zu seinen berühmtesten Werken gehören das 2. Klavierkonzert sowie die ergreifend schöne Rhapsodie über ein Thema von Paganini. Trotz persönlicher und politischer Umwälzungen, einschließlich der Emigration nach der Russischen Revolution, behielt Rachmaninoffs Musik ihren ursprünglichen Charakter.
Rachmaninoffs Kunst verkörpert den Höhepunkt der Spätromantik, indem sie technische Brillanz mit tiefer emotionaler Tiefe verbindet. Künstler:innen wie Hélène Grimaud, Nikolai Lugansky, Leif Ove Andsnes und André Previn, die auf dieser Doppel-LP zu hören sind, gehören zu den herausragenden Künstlern für dieses Repertoire.
Originally released on KLIK Records, in 1975, Dread Locks Dread became one of the new Front Line label’s first key releases when reissued in 1978.
One of reggae’s best and most recognizable ‘toasters’, Big Youth broke new ground as a DJ in the early ’70s with a flowing, chant-like cadence that was equal parts melodic and invigorating, applying his infectious vocal approach to heavy social and political lyrics.
A huge favourite of the punk and new wave artists at the time of release, Big Youth was embraced by The Clash, via Don Letts, and PiL, amongst others. John Lydon was part of Richard Branson’s A&R envoy to Jamaica, helping sign credible artists to his new Front Line reggae label.
Featuring the legendary Skin, Flesh & Bones band, formed around Lloyd Parks (bass), drummer Sly Dunbar (before he started working with Robbie Shakespeare), Ansel Collins on keyboards, and trombonist Vin Gordon. The album was produced by Tony Robinson and Errol Thompson and mixed at the famous Joe Gibb’s studio.
Dread Locks Dread skanks from punchy, rhythm-heavy reggae to the deepest, dubbiest roots. The hypnotic Some Like It Dread reworks Dennis Brown’s “Some Like It Hot”, where the DJ’s toast is entwined with a bluesy harmonica (the dub version re-titled (Black Man Message). Also features a fiery version of Burning Spear’s “Marcus Garvey” (Marcus Garvey Dread), a tasty take on the John Holt classic “Keep on Moving” – Moving On and a scintillating dub of the Techniques’ rocksteady masterpiece You Don’t Care.
Not your typical DJ album by any means, the music equals the toasts and vice versa – an essential release for a dub fan or a Big Youth supporter.
Maelstrom returns to Central Processing Unit for the fourth time, and it's the one born Joan-Mael Péneau's lengthiest drop on the Sheffield label yet. The French artist has been a mainstay in the European electro game since the 2000s, and Malestrom brings that experience to bear on new LP The FM Tapes. He goes about this album with the assurance of a seasoned pro, combining his mastery of electro production techniques with a trademark guile to craft an expertly-paced eleven-track affair.
The first section of The FM Tapes sets out the album's stall with style and aplomb - listeners are in store for a rich feast of off-kilter machine-funk which will feature no shortage of intriguing detours. On opener 'Ondes Courtes' the mix throbs with all manner of strange electronic gristle: a distorted bass hum rattles the monitors; wisps of distortion float across the mix; eerily pretty keys wax and wane before giving way to a radar pulse.
'Ondes Courtes' is an ominous slouch of a scene-setter, and it lines things up perfectly for following cut 'Alt50ser' to lock in. This track's churning, gurgling mid-tempo rattle brings to mind the wacky insistence of Modeselektor. Maelstrom repeats the slow-fast one-two again directly afterwards - 'La Vie Sociale Des', a strange nugget that sounds like an early Eski instrumental stripped for parts and blasted into the cosmos, is an ideal prelude to the twitchy space-funk of 'My Digitone'.
Maelstrom's staying power in the electro world comes, in no small part, from his ability to apply his delightfully idiosyncratic choices to some of the genre's staple production tropes. On The FM Tapes, he marks himself out once more as a pleasingly unorthodox talent by taking tracks in unexpected directions to produce surprising - and often rather moving - results.
There are multiple cuts here which channel the more cerebral end of Richard D. James' AFX/Analord output: 'My Digitone' may be a quicksilver techno-electro number, but there's still something cinematic about the synth treatment here which softens the edges; 'Suede's minor-key oscillations bring other CPU veterans like Cygnus and Bochum Welt into view; 'Res 06', one of two Fasme collaborations on the record, is full of pathos even as the beat programming bangs and whirrs throughout.
While there's a deep emotional undercurrent to The FM Tapes, though, Maelstrom's commitment to bringing the thrills surfaces time and again. If 'Res 06' had Maelstrom and Fasme getting wistful, the album's other Fasme link-up 'Trempo' is one of the hardest club joints here, a piece of old-school Detroit energy replete with some great cascading drum production. Indeed, 'Trempo' comes in the middle of a run towards the album's end where Maelstrom takes the handbrake off - there's a wild-eyed sense of fun to 'The Operator' and 'Upside Down DX7' which has one thinking of the zany cut-and-thrust of KiNK's best work.
Maelstrom's latest drop for Sheffield's Central Processing Unit label is an album of leftfield electro numbers that bring both pounding beats and poignant production.
‘Lead You To Water’ marks a new chapter for Quinn Oulton, built around the foundations of 90s and 2000s RnB, whilst carving room for his unconventional production techniques and distinctive songwriting voice. Sitting somewhere in between Sampha, Mk.gee and Nick Hakim, a central thread to his approach on the project is simplicity – rather than relying overtly on production elements to embellish the sound of the songs, Quinn instead sought to create spacious pieces that stand on their own, stripping the core of his creativity down to voice and acoustic guitar.
Over the past year, the prolific multi-instrumentalist and songwriter has been refining his sound and production style. Collaborating with artists including Linden Jay, Reuben James and Col3trane, and relocating from his London base to LA and Berlin, he’s been on a creative drive, pushing his forward-thinking RnB to new places and amassing millions of streams in the process.
The South London-born and bred multi-instrumentalist, vocalist & producer has always been a musical explorer. With a foundation deeply rooted in jazz, he possesses a profound understanding of complex musical concepts which he translates seamlessly into the more mainstream genres of contemporary RnB and alt-pop. With Quinn’s music, you can expect to hear beautifully constructed, classic-sounding tracks with hidden layers for appreciators of depth and detail.
Analog Mutants consist of Phill Most Chill on the vocals, DJ Snafu of Bankrupt Europeans fame on production and the inimitable DJ Grazzhoppa on the cuts.
Vocals: Phill Most Chill
Phill Most Chill grew up in Conecticut half hour away from Boogie Down Bronx and by the late 80s had already established himself in the hip hop scene, having released a very strongly received (and eventually highly collectible fetching amounts in the high three digits) single (On Tempo Jack/ That Girl), the preccedent setting left field Baritone Tiplove releases and writing for the seminal Rap Sheet magazine. The Arcahaelogists' Classics and Soulman's World of Beats tape series and column further established him as an elite beatmaker and sample collector, with highly acclaimed producers seeking him out to purchase records in conventions. The random rap craze brought renewed attention to Phill Most's releases in the late 90s, leading to reissues of On Tempo, the release of previously unissued Baritone Tiplove records, his return with the Lo-Fi EP, and then the highly influential Fast Rap EP on Nobody Buys Records which led to a flurry of funky uptempo releases across the globe again. The interest in Phill Most records over the whole 2010s was rabid, with further releases produced by Bankrupt Europeans, Mr. Fantastic and Chris Read flying off the shelves, and two full length albums produced by 90s stalwarts Paul Nice and DJ Format, as well as the recent Jorun-PMC album being now considered classics in the boom bap scene. Having now signed with Chuck D's Spitslam label, Phill Most continues his journey in stepping all over MC conventions, and these first two Analog Mutants release are a perfect example of this.
Produced by DJ Snafu
DJ Snafu has been part of the Bankrupt Europeans crew since 2004, co-founding Nobody Buys Records in 2012 with the other two Bankrupt Euros members. Huge collector of vinyl from the 50s ad 60s primarily, and with an interest in modular production, FM synthesis and marrying modern techniques with the love of sampling old records, the Analog Mutants project is his first without the Bankrupt Euros crew. Having produced among others for Chill Rob G on his seminal return to music with the classic Tell 'Em on the Chilled Not Frozen EP, Roc Marciano on the Goodfelons label, DITC legend AG on The 21st Day and Chicago legend MC Juice's return to vinyl after 15 years, this is Snafu's first whole album to produce since Rise of Demigodz' debut album The Cornerstone in 2006 (released in 2013). Snafu shows he's honed his skills and developed an even crazier side to his production in the 5 year that passed between the last Bankrupt Euros project and the Analog Mutants album and the first three Analog Mutants singles are a sign of things to come in the post Bankrupt Euros years.
Scratches: DJ Grazzhoppa
DJ Grazzhoppa got infected in 1983 with the hip hop virus, demolishing local DJs and winning the European DMC Championships in 1991, and taking 3rd place in the ITF World Championships in 1998! His unique and immediately recognizable style was first heard on Blade's legendary 12” Clear The Way, and caught so many ears that the list of MCs and producers who queued up to work with him is seemingly endless. From MF Doom, Ruste Juxx, Guilty Simpson and Cage to Necro, Keith Murray, Big Daddy Kane, Kool G Rap and of course the Bankrupt Europeans projects with Phill Most Chill, MC Juice and Chill Rob G! This is a short list of a page of credits spanning over 4 pages long- if you have hip hop records, Grazzhoppa is already in your collection!
Analog Mutants consist of Phill Most Chill on the vocals, DJ Snafu of Bankrupt Europeans fame on production and the inimitable DJ Grazzhoppa on the cuts.
Vocals: Phill Most Chill
Phill Most Chill grew up in Conecticut half hour away from Boogie Down Bronx and by the late 80s had already established himself in the hip hop scene, having released a very strongly received (and eventually highly collectible fetching amounts in the high three digits) single (On Tempo Jack/ That Girl), the preccedent setting left field Baritone Tiplove releases and writing for the seminal Rap Sheet magazine. The Arcahaelogists' Classics and Soulman's World of Beats tape series and column further established him as an elite beatmaker and sample collector, with highly acclaimed producers seeking him out to purchase records in conventions. The random rap craze brought renewed attention to Phill Most's releases in the late 90s, leading to reissues of On Tempo, the release of previously unissued Baritone Tiplove records, his return with the Lo-Fi EP, and then the highly influential Fast Rap EP on Nobody Buys Records which led to a flurry of funky uptempo releases across the globe again. The interest in Phill Most records over the whole 2010s was rabid, with further releases produced by Bankrupt Europeans, Mr. Fantastic and Chris Read flying off the shelves, and two full length albums produced by 90s stalwarts Paul Nice and DJ Format, as well as the recent Jorun-PMC album being now considered classics in the boom bap scene. Having now signed with Chuck D's Spitslam label, Phill Most continues his journey in stepping all over MC conventions, and these first two Analog Mutants release are a perfect example of this.
Produced by DJ Snafu
DJ Snafu has been part of the Bankrupt Europeans crew since 2004, co-founding Nobody Buys Records in 2012 with the other two Bankrupt Euros members. Huge collector of vinyl from the 50s ad 60s primarily, and with an interest in modular production, FM synthesis and marrying modern techniques with the love of sampling old records, the Analog Mutants project is his first without the Bankrupt Euros crew. Having produced among others for Chill Rob G on his seminal return to music with the classic Tell 'Em on the Chilled Not Frozen EP, Roc Marciano on the Goodfelons label, DITC legend AG on The 21st Day and Chicago legend MC Juice's return to vinyl after 15 years, this is Snafu's first whole album to produce since Rise of Demigodz' debut album The Cornerstone in 2006 (released in 2013). Snafu shows he's honed his skills and developed an even crazier side to his production in the 5 year that passed between the last Bankrupt Euros project and the Analog Mutants album and the first three Analog Mutants singles are a sign of things to come in the post Bankrupt Euros years.
Scratches: DJ Grazzhoppa
DJ Grazzhoppa got infected in 1983 with the hip hop virus, demolishing local DJs and winning the European DMC Championships in 1991, and taking 3rd place in the ITF World Championships in 1998! His unique and immediately recognizable style was first heard on Blade's legendary 12” Clear The Way, and caught so many ears that the list of MCs and producers who queued up to work with him is seemingly endless. From MF Doom, Ruste Juxx, Guilty Simpson and Cage to Necro, Keith Murray, Big Daddy Kane, Kool G Rap and of course the Bankrupt Europeans projects with Phill Most Chill, MC Juice and Chill Rob G! This is a short list of a page of credits spanning over 4 pages long- if you have hip hop records, Grazzhoppa is already in your collection!
Analog Mutants consist of Phill Most Chill on the vocals, DJ Snafu of Bankrupt Europeans fame on production and the inimitable DJ Grazzhoppa on the cuts.
Vocals: Phill Most Chill
Phill Most Chill grew up in Conecticut half hour away from Boogie Down Bronx and by the late 80s had already established himself in the hip hop scene, having released a very strongly received (and eventually highly collectible fetching amounts in the high three digits) single (On Tempo Jack/ That Girl), the preccedent setting left field Baritone Tiplove releases and writing for the seminal Rap Sheet magazine. The Arcahaelogists' Classics and Soulman's World of Beats tape series and column further established him as an elite beatmaker and sample collector, with highly acclaimed producers seeking him out to purchase records in conventions. The random rap craze brought renewed attention to Phill Most's releases in the late 90s, leading to reissues of On Tempo, the release of previously unissued Baritone Tiplove records, his return with the Lo-Fi EP, and then the highly influential Fast Rap EP on Nobody Buys Records which led to a flurry of funky uptempo releases across the globe again. The interest in Phill Most records over the whole 2010s was rabid, with further releases produced by Bankrupt Europeans, Mr. Fantastic and Chris Read flying off the shelves, and two full length albums produced by 90s stalwarts Paul Nice and DJ Format, as well as the recent Jorun-PMC album being now considered classics in the boom bap scene. Having now signed with Chuck D's Spitslam label, Phill Most continues his journey in stepping all over MC conventions, and these first two Analog Mutants release are a perfect example of this.
Produced by DJ Snafu
DJ Snafu has been part of the Bankrupt Europeans crew since 2004, co-founding Nobody Buys Records in 2012 with the other two Bankrupt Euros members. Huge collector of vinyl from the 50s ad 60s primarily, and with an interest in modular production, FM synthesis and marrying modern techniques with the love of sampling old records, the Analog Mutants project is his first without the Bankrupt Euros crew. Having produced among others for Chill Rob G on his seminal return to music with the classic Tell 'Em on the Chilled Not Frozen EP, Roc Marciano on the Goodfelons label, DITC legend AG on The 21st Day and Chicago legend MC Juice's return to vinyl after 15 years, this is Snafu's first whole album to produce since Rise of Demigodz' debut album The Cornerstone in 2006 (released in 2013). Snafu shows he's honed his skills and developed an even crazier side to his production in the 5 year that passed between the last Bankrupt Euros project and the Analog Mutants album and the first three Analog Mutants singles are a sign of things to come in the post Bankrupt Euros years.
Scratches: DJ Grazzhoppa
DJ Grazzhoppa got infected in 1983 with the hip hop virus, demolishing local DJs and winning the European DMC Championships in 1991, and taking 3rd place in the ITF World Championships in 1998! His unique and immediately recognizable style was first heard on Blade's legendary 12” Clear The Way, and caught so many ears that the list of MCs and producers who queued up to work with him is seemingly endless. From MF Doom, Ruste Juxx, Guilty Simpson and Cage to Necro, Keith Murray, Big Daddy Kane, Kool G Rap and of course the Bankrupt Europeans projects with Phill Most Chill, MC Juice and Chill Rob G! This is a short list of a page of credits spanning over 4 pages long- if you have hip hop records, Grazzhoppa is already in your collection!
CACOPHONY was formed in 1986 by guitarists Marty Friedman and Jason Becker and
signed to Shrapnel Records. They released two studio albums 'Speed Metal Symphony'
(1987) and 'Go Off!' (1988) and remained active until 1989.
CACOPHONY both albums showcase unique performances of highly technical playing,
typical of the 1980s shred era, with songs featuring fast tempos, melodic solos, exotic
neoclassical scales and dual guitar harmonizations. Several tracks were entirely
instrumental, which prominently demonstrated Marty Friedman and Jason Becker's
renowned technical skills.
'Go Off !' is their second and final studio album . Both Marty Friedman and Jason Becker
released their own solo albums : 'Dragon's Kiss' and 'Perpetual Burn', respectively in 1988,
before the release of 'Go Off!’. Marty Friedman later joined the thrash metal band
Megadeth in 1990, remaining with them for nine years as well as releasing several more
solo albums, while Jason Becker enjoyed a short stint in David Lee Roth's solo band from
1989 to 1991.
THE OMEGA SWARM, eine atmosphärische Death-Metal-Band aus Deutschland, begann im Jahr 2022, sehr bescheiden, sehr zurückgezogen. T., der bereits vier großartige Alben mit Sulphur Aeon veröffentlicht hat, hatte keinen vollwertigen Live-Act im Sinn, als er frühe Demos komponierte und das Skelett seiner - damals noch namenlosen - neuen Kreatur formte. Im Herzen ein wahrer Schöpfer, umarmt T. die akribische Arbeit an Riffs, Tönen, Klängen, den abenteuerlichen Geist des Aufbaus und der Verwirklichung von Ideen, das Experimentieren mit seinen geliebten Gitarren und Synthesizern, um erstaunliche Vibes und Songs zu produzieren, die bedeutungsvoll und doch extrem, melodisch und doch hart sind und sich in THE OMEGA SWARMs Debütalbum vereinen, einer Platte, einem Zeugnis, das der Essenz der Kunst selbst gewidmet ist.
So bodenständig T. auch ist, er ist nicht der Typ Mensch, der sich an eine Klangformel hält, er sucht nach "etwas mehr", "etwas anderem". Nachdem Sulphur Aeon mit dem monumentalen "Seven Crowns and Seven Seals" von 2023 vorerst abgeschlossen haben, was sie ausdrücken wollten, sind THE OMEGA SWARM jetzt sein Hauptaugenmerk, und das Line-up der Band, das von Sänger Christian Schettler (bekannt durch seine Arbeit bei den Labelkollegen Wound) und Schlagzeuger Max Scheefeldt (ex Misanthrope Monarch) komplettiert wird, passt perfekt zusammen. Musikalisch entstanden THE OMEGA SWARM aus T.s Experimenten mit rhythmischen Mustern, übereinanderliegenden Synthesizern, ausgefeilten Leads und etwas technischeren Riffingstrukturen.
Die wohl einzigen offensichtlichen Parallelen zu Sulphur Aeon sind die Betonung einer dichten, fesselnden Atmosphäre, epische Elemente und eine übergreifende Dunkelheit sowie die Erkenntnis nach der Fertigstellung der ersten Aufnahmen, dass auch THE OMEGA SWARM die Qualität besitzen, mehr als nur ein 'Schlafzimmerprojekt' zu sein.
Aufgenommen in den Studios von Feire Records und s/w records, gemischt und produziert von Langzeitpartner Simon Werner, wurde V. Santura (Triptykon, Dark Fortress) für das Mastering angeheuert und sorgte für den letzten Schliff von "Crimson Demise", einem Album, das stolz und mühelos zwischen Death und Black Metal changiert und von einer herausragenden Gesangsleistung abgerundet wird, bei der Chris eine ähnliche Bandbreite an Growls, Screams und cleanen Parts erreicht wie Peter Tägtgren in seinen besten Zeiten.
Vom Konzept her verzichtet die Gruppe auf uralte Lovecraft'sche Schrecken und wendet sich stattdessen geradlinigen apokalyptischen Themen zu. Ob Viren, bösartige Bakterien, verrückte Diktatoren, Klimawandel, religiöse und politische Ideologien, korrupte Technologie, Terrorismus oder Krieg, die Menschheit hat sich selbst für den Untergang gezeichnet - in leuchtenden Neonfarben, damit selbst eine außerirdische Spezies, die Galaxien entfernt ist, erkennen kann, was für Narren wir wirklich sind. "Die Menschheit kann sich nicht auf eine gemeinsame Wahrheit einigen, geschweige denn auf eine Strategie zur Lösung ihrer mannigfaltigen Probleme", erklärt Chris, "und bildet somit überhaupt keine Einheit. Der einzige gemeinsame Nenner, der uns alle eint, ist unsere Zerstörungswut, die irgendwann die gesamte Existenz der Menschheit gefährden könnte. Die Utopie wurde durch dystopische Szenarien ersetzt. Welche Formen des negativen menschlichen Verhaltens uns und die Gesellschaft derzeit beeinflussen und letztlich in eine zukünftige Endzeit führen, ist Teil des lyrischen Konzepts von THE OMEGA SWARM."
Aber keine Angst, bevor die Weltuntergangsuhr zum letzten Mal schlägt, soll euch das Vergnügen vergönnt sein, ein abwechslungsreiches, intensives und fesselndes Stück Metal zu erleben, das das neu formierte Trio aus dem Schlafzimmer auf die Bühne bringen will!
Speckled Dragon Egg Color Vinyl. Being Dead knows how to make an entrance - within the first several seconds of EELS, the duo's new record, the bright, hard-strummed guitar line on "Godzilla Rises" conjures cinematic immediacy, a creature emerging from the depths of the ocean in campy, freaky stop motion, fittingly so. Being Dead's records are mosaics, technicolor incantations, each song its own self-contained little universe. And while the dreamlike EELS probes further into the depths of the duo Being Dead's psyche, it is, most importantly, in the year of our lord 2024, a 16-track record that is genuinely unpredictable from one track to the next: a joyous and unexpected trip helmed by two true-blue freak bitch besties holed up in a lil' house in the heart of Austin, Texas. They decamped to Los Angeles for two weeks to record with GRAMMY-winning producer John Congleton, writing songs for the record until days before they left. The radical shift in process was welcome - a good balance and a challenge, Congleton helping them find new ways to work and helping peel back the layers on the core of their songwriting. Being Dead has grown from a duo to a trio live, including bassist Ricky Motto (who is immortalized finally on record here, particularly in the giggles on "Rock n' Roll Hurts") The resulting EELS is a darker record, tapped more into the devilishness within, but it's also a more raucous, rougher ride sonically. There's heartbreak, excitement, enchantment, dancing - we move through it all at a high-octane pace. Falcon Bitch and Smoofy never want to do the same thing twice on any song, and they don't. From the pummeling garage rock distortion of "Firefighters" to "Dragons II," which appears in its demo form taped on a hand recorder, it's unexpected but intuitive, and, most importantly, singularly Being Dead. Like its animal namesake suggests, the songs on EELS are malleable, the record like slithering through murky waters or strange half dreams, mysterious and beautiful in how it moves, reflective in a wavering sheen. Dipping into each song feels like uncovering a new cavern, plunging into depths unknown but fully open to what will be revealed. On the album artwork, an illustration by the artist Julia Soboleva, there are some weird disparate spectral creatures, a stark glimmer against a cloudy darkness. It's a fitting encapsulation of Being Dead, exuding a welcoming, playful energy even if something foreboding lurks just beyond the pale - more out of frame that's left to uncover, no path unexplored, strange and beautiful in the light.
Ursprünglich im Jahr 2020 veröffentlicht, ist some kind of peace ein persönlicheres und introspektiveres
Album, als Ólafur es je zuvor veröffentlicht hatte.
some kind of peace handelt davon, was es bedeutet, lebendig zu sein, sich zu trauen und verletzlich zu
sein. Es ist eine persönliche Reise, die Ólafur mit seiner bisher introspektivsten Musik vor dem Hintergrund
einer ins Chaos gestürzten Welt erzählt. Auf dem Album verarbeitet er reale Teile seiner Lebensgeschichte,
wobei er meisterhafte Sampling-Techniken einsetzt, um dem Hörer ein Fenster in seine Erfahrungen zu
öffnen.
Neben Ólafur Arnalds selbst sind auch befreundete Musiker auf dem Album vertreten, wie der britische
Musiker Bonobo, der isländische Sänger und Multiinstrumentalist JFDR und die deutsche Sängerin und
Komponistin Josin. ”All diese Menschen waren zu diesem Zeitpunkt Teil meines Lebens oder haben mit
mir die Erfahrungen gemacht, die das Album beeinflusst haben”, erklärt er. ”Es wäre seltsam, ein so
persönliches Album zu schreiben und meine Freunde nicht einzubeziehen.”
Mit einer Art Stück fordert Ólafur Arnalds das Leben mit all seinen Facetten heraus, zu akzeptieren, wie
es ist, loszulassen und vor allem zu reagieren und darüber nachzudenken, um unseren persönlichen inneren
Frieden zu finden. Sein atemberaubendes Album wäre definitiv der richtige Ort, um damit zu beginnen.
September 23rd ist die erste Veröffentlichung in William Basinskis neuer Arcadia Archive-Serie. September 23rd wurde im September 1982 in seinem ersten Loft im vormodernen DUMBO-Viertel in Brooklyn, New York, aufgenommen und ist ein erst kürzlich wiederentdeckter früher Eintrag in seinem inzwischen äußerst inspirierenden und einflussreichen Katalog. Ausgehend von einem Klavierstück, das Basinski Mitte der 1970er Jahre in der High School komponierte, entwickelte sich September 23rd schnell zu einem ganz anderen Werk. Wie Basinski erklärt: ,The original piano recordings were made on on a piano belonging to my downstairs neighbor, John Epperson - later known more famously as world-renowned drag artist, Lypsinka - at 351 Jay Street aka Casa Degli Artisti, our first loft in New York. It was recoded with a little portable (probably Radio Shack) cassette deck sitting on the piano as I improvised a piece I had been working on since high school. It was pretty terrible, but when I did the John Giorno/William Burroughs cut-up technique, suddenly I had something to put through the Frippertronics loop and feedback loop tape delay system - and boy did I get results. A very prolific time for a young, wacked-out queen in NYC."
September 23rd ist die erste Veröffentlichung in William Basinskis neuer Arcadia Archive-Serie. September 23rd wurde im September 1982 in seinem ersten Loft im vormodernen DUMBO-Viertel in Brooklyn, New York, aufgenommen und ist ein erst kürzlich wiederentdeckter früher Eintrag in seinem inzwischen äußerst inspirierenden und einflussreichen Katalog. Ausgehend von einem Klavierstück, das Basinski Mitte der 1970er Jahre in der High School komponierte, entwickelte sich September 23rd schnell zu einem ganz anderen Werk. Wie Basinski erklärt: ,The original piano recordings were made on on a piano belonging to my downstairs neighbor, John Epperson - later known more famously as world-renowned drag artist, Lypsinka - at 351 Jay Street aka Casa Degli Artisti, our first loft in New York. It was recoded with a little portable (probably Radio Shack) cassette deck sitting on the piano as I improvised a piece I had been working on since high school. It was pretty terrible, but when I did the John Giorno/William Burroughs cut-up technique, suddenly I had something to put through the Frippertronics loop and feedback loop tape delay system - and boy did I get results. A very prolific time for a young, wacked-out queen in NYC."
'Liberosis', ein Album in drei Kapiteln, markiert einen bedeutenden Meilenstein in Canblasters künstlerischer Reise. Es präsentiert eine introspektive Odyssee durch 18 Tracks, fachmännisch gemischt von Steve Dub, bekannt für seine Arbeit als Tontechniker für die Chemical Brothers. Diese Platte navigiert geschickt durch die Bereiche Pop, Club, Drum'n'Bass, 2-Step und Dubstep, untergräbt ihre narrativen und stilistischen Konventionen und untersucht gleichzeitig die Natur des "Drops" und die Mensch-Maschine-Dynamik. Da es in einem Zwischenbereich operiert, dient es weder rein funktionalen Zwecken noch vertieft es sich in konzeptionelle Abstraktion. Stattdessen beschwört es Landschaften herauf, die Themen wie Apokalypse und Erneuerung, Hoffnung und Unvermeidlichkeit hervorrufen. Stimmfragmente in einer rätselhaften, aber beschwörenden Sprache unterstreichen die Klanglandschaft und erinnern an die ätherische Atmosphäre, die in Videospiel-Soundtracks wie z.B. 'Final Fantasy' zu finden ist. Es ist eine Welt, die sowohl von menschlichen Emotionen als auch von technischem Können angetrieben wird und den Geist des Yellow Magic Orchestra und des verstorbenen Ryuichi Sakamoto heraufbeschwört, wenn auch mehr in ihrer Essenz als in ihrem direkten musikalischen Einfluss. Vinyl only Release und als Gatefold 2LP-Set (Black Vinyl) erhältlich.
Originally released to a fan base and music press that were unprepared for the band to move on from the punk fury of "Crossing The Red Sea", The Adverts "Cast Of Thousands" has since been recognized as a lost classic of the time. TV Smith's cutting observational lyrics and sharp musical instincts saw his song writing grow and move in unexpected directions. The primal thumping was replaced by dynamic and driving drumming, acoustic guitars and probing solos emerged, and Tim Cross joined to add keyboards and fill out the overall sound. The one constant was the pounding throb of Gaye Advert's bass. Encouraged to experiment by surprise producer Tom Newman (Mike Oldfield "Tubular Bells") the band found themselves stretching creatively, both in song writing and recording techniques. They might agonize over the sound of recording a match being lit in the middle of one song, while doing a single take of a vocal via a microphone hung in the bathroom for another. Giant choirs were built meticulously over multiple tracks, while the sound of a rat running through the reverb room would be captured forever. The results wrapped some of TV's best songs in strange and inventive sounds to compliment his anti-pop smarts and rock and roll heart. They did not know it at the time, but the band was falling apart. Tensions would soon rise to the level that replacement players were called in to finish their final tour. Punk fans left them in droves. Critics skewered the singles from the album. Their record label had moved on to the next big thing. Feeling that they had reached a creative peak made the tumble even harder to swallow. Time has been very kind though, and fans discovering punk after the first wave have been able to hear "Cast" for what it is - a brilliant and biting collection of rock and roll. Still full of stomp and swagger even when stripped down on "My Place" or via the anthemic surge of "Television's Over", with TV's hook factory on full display on the anti-love song "Love Songs", and the band closing the album with the creeping ballad "I Will Walk You Home"; The Adverts had grown from a great punk rock band to a great rock band. Black vinyl.
At the height of the First World War, two young British soldiers, Schofield (Captain Fantastic’s George MacKay) and Blake (Game of Thrones’ Dean-Charles Chapman) are given a seemingly impossible mission. In a race against time, they must cross enemy territory and deliver a message that will stop a deadly attack on hundreds of soldiers—Blake’s own brother among them. 1917 is directed by Sam Mendes, who wrote the screenplay with Krysty Wilson-Cairns (Showtime’s Penny Dreadful). Rotten Tomatoes critical consensus reads: ""Hard-hitting, immersive, and an impressive technical achievement, 1917 captures the trench warfare of World War I with raw, startling immediacy."" The music to the movie is composed by Thomas Newman (The Shawshank Redemption, American Beauty, Road to Perdition). Newman has received a whopping 15 Oscar bids throughout his career, including one for this epic score. Since the film is designed to be told in one continuous shot from cinematographer Roger Deakins, Newman’s pulse-pounding score often serves as a unique form of editing. The music cuts off during dramatic cues, ramps up in battle scenes and, in one breathtaking moment, becomes almost operatic as MacKay runs through war ruins to escape being seen from enemy flares. 1917 is available as a limited edition of 500 individually numbered copies on translucent blue coloured vinyl. The package includes an 8-page booklet with movie stills and liner notes by Sam Mendes.
The multi-media project Kraftwerk was started in Düsseldorf, Germany 1970 by Ralf Hütter and Florian Schneider. They set up their electronic Kling Klang Studio where they conceived and produced all Kraftwerk albums.
Kraftwerk created the soundtrack for the digital age of the 21st century. AUTOBAHN 1974, RADIO-ACTIVITY 1975, TRANS EUROPE EXPRESS 1977, THE MAN-MACHINE 1978, COMPUTER WORLD 1981, TECHNO POP 1986, THE MIX 1991, TOUR DE FRANCE 2003. Their compositions, using innovative techniques, electronic sounds and synthetic voices combined with computerised rhythms, had a major musical influence on Electro, Hip Hop, Techno and Synth-Pop.
out of Stock
Last delivered 17 months ago available to reorder, subject to availability
For a final time, accompanied by her musicians, Cesária’s voice sweeps us away on yet another voyage of nostalgia. Entitled Mãe Carinhosa, meaning “Mother Tenderness”, this was the very last album by the Queen of Morna that was released posthumously. It includes 13 unused tracks, covering a period that goes from the recording sessions of the album Cabo Verde in 1997 to those of Rogamar in 2006.
From 1995 on, each time Cesária Évora went into the studio, her producer José da Silva got her to record more tracks than were needed for a new album. The aim was to choose a set of songs that fitted together naturally and formed a harmonious record that would delight listeners from start to finish - one of the reasons for Cesária’s commercial success. Some of the surplus tracks were left incomplete for technical reasons or because Cesária so decided. A year after her passing, this extra material was used to produce an album of 13 previously unreleased tracks, beginning with a first, unpublished version of the morna “Sentimento”, recorded in 2003.
• 180 GRAM AUDIOPHILE VINYL
• DELUXE SLEEVE WITH GLOSS LAMINATE FINISH
• INCLUDES INSERT WITH LYRICS
• CESÁRIA ÉVORA’S POSTHUMOUS ALBUM
• AVAILABLE ON VINYL FOR THE FIRST TIME
• 10TH ANNIVERSARY EDITION OF 1000
INDIVIDUALLY NUMBERED COPIES ON BLUE
& RED MARBLED VINYL
SIDE A
1. Sentimento
2. Tchon de França
3. Mãe Carinhosa
4. Dor Di Sodade
5. Talvez
6. Dos Palavras
To celebrate its 10th anniversary, Mãe Carinhosa is available on vinyl for the very first time as a limited edition of 1000 individually numbered copies on blue & red marbled vinyl.
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"Locust Abortion Technician" was relased for the first time in 1987. Without anyone looking over their shoulders, the band really rose to the occasion with "Locust Abortion Technician." From the opening track, "Sweat Loaf," which quotes Black Sabbath with results both hilarious and bowel-stomping, to the scuzz-guitar riven "found" vocals of "22 Going on 23," "Locust" is a non-stop face-full of hallucinogenic gas. Maniacal sludge guitar figures and Gibbytronix vocals are smeared everywhere, with most "Locust..." LP OLE-2058-LP 191401205818 excellent results. For many folks. "Locust" represents the album with which the Buttholes fully fulfilled their insane potential.
Macht euch bereit für Even Flow, die progressive Metal-Sensation aus Italien. Gegründet Ende der 90er Jahre von den Brüdern Lunesu, at diese Band
seit ihrer Gründung für Aufstehen in der Metal-Szene gesorgt. Mit einer einzigartigen Mischung aus technischer Finesse und gefühlvollen Melodien
hat sich Even Flow ihren eigenen Platz in der Welt des progressive Metals geschaffen. Nachdem sie bereits zwei EP-Veröffentlichungen in der
Vergangenheit hatten, bereiten sich Even Flow nun auf die lange erwartete Veröffentlichung ihres zweiten Studioalbums vor. Aufbauend auf dem
Erfolg ihres Debütalbums können Fans eine aufregende Reise durch komplexe Kompositionen und kraftvolle Darbietungen erwarten.
Was Even Flow auszeichnet, ist nicht nur ihr musikalisches Talent, sondern auch ihre Zusammmenarbeit mit renommierten Musikern von Bands wie
Fates Warning, Symphony X und Dream Theater. Dies spricht Bände für das Können und die Anerkennung innerhalb der Branche.
Neben ihrer Studioarbeit hat sich Even Flow auch als fesselnde Live-Band etabliert. Nachdem sie Bands wie Firewind und Eluveitie auf vergangenen
Touren supportet haben, haben sie bewiesen, dass sie unvergessliche Auftritte auf der Bühne liefern können.
Für Fans des progressive Metals, die nach etwas Frischem und Aufregendem suchen, ist Even Flow eine Band, die Aufmerksamkeit verdient. Mit
ihrem bevorstehendem Album, das Grenzen überschreitet und Erwartungen trotzen wird, ist jetzt der perfekte Zeitpunkt, um sich der Reise von Even
Flow anzuschließen.
Die US Death Metal-Ikonen NILE kehren mit ihrem mit lang ersehnten, zehnten Studioalbum The Underworld Awaits Us All zurück, das via Napalm Records erscheint.
Wieder einmal verbinden sie technische Präzision mit unbarmherziger Brutalität zu einer markerschütternden Death Metal-Attacke. Dabei beweisen ausnahmslos alle Bandmitglieder – von Gründungsmitglied und Gitarrist Karl Sanders, Schlagzeuger George Kollias, bis hin zu Sänger und Gitarristen Brian Kingsland Zach Jeter, sowie Bassist Dan Vadim Von – enormes musikalisches Können an ihren Instrumenten.
Das neue Album wurde erneut in Sanders' eigenem Serpent Headed Studios in Greenville, South Carolina produziert und aufgenommen. Für das Mixing und Mastering arbeitete die Band mit dem Produzenten Mark Lewis (Dying Fetus, Whitechapel, The Black Dahlia Murder) zusammen, der auch schon am Vorgängeralbum Vile Nilotic Rites beteiligt war und die gewaltige Bildwelt des Covers wurde von Micha "Xaay" Loranc gestaltet, der sich vom Jüngsten Gericht inspirieren ließ.
Limited Edition of 1000 Opaque Pink 180 Gram Vinyl LP. Kiss Each Other Clean, Iron & Wine's fourth full length record was originally released in 2011 and came three years after his biggest selling record up to that point, The Shepherd's Dog. The bands two earlier albums had been sparse, intimate solo affairs that offered no hint of the direction he would take with records three and four. Like The Shepherd's Dog, Kiss Each Other Clean is layered with textures, poly-rhythmic sounds and a more is more approach. His lyrics sprung to life in ways initially unimaginable to early fans and critics helping each song tell its story and build to climaxes thru various sounds and editing techniques. However what remained at the core of KEOC, and what fans of the band had come to love, was the song writing and singing of principle songwriter Sam Beam. Beam's ability to invite you in with his hushed singing tone and knack for a melody remained front and center even in his drive to replicate something in the vein of Waits' Swordfishtormbones Principle recording for KEOC was at home in Dripping Springs, Texas where Beam resided at the time. After laying down the bulk of the record Beam moved recording to Chicago to work with Brian Deck. A cast of musicians helped Beam find his sound and see his vision for KEOC including Joe Adamik (Califone), Jim Becker (Califone), Thomas Bartlett (Doveman), Stuart Bogie (Antibalas), Rob Burger (Tin Hat Trio), Benny Massarella (Red Red Meat/Califone), Chad Taylor (Chicago Underground Duo) and Matt Lux (Isotope 217). With KEOC Beam and company brought in soft rock smoothness, dub reggae textures, and instruments that hadn't been featured on previous records. The vintage synths on 'Monkeys Uptown', the Stevie Wonder funk on 'Big Burned Hand,', the strum and drang of 'Walking Far From Home' all give the otherwise very organic-sounding arrangements a welcome cheesy kick. The record also produced the biggest radio single of the bands career with the vintage AM friendly vibes of 'Tree by the River.' It was an adventurous period in the career in Iron & Wine and one in which Beam was defying categorization.
The unconscious and unknown must be really nice places. In any case, if you take the second album of Menelaos Tomasides under his given name as travelogue. A trip into dreamlike territory, yet concrete enough, a journey without target yet looking forward and looking back into familiar places, „dreamhike“ both continues and departs from the style Menelaos has found earlier, in “When the Moon Comes Through”, or his more conceptual-intentional “31 Minuten” works. As the album title - which roughly translates to “dream hiking” but also hints on “walkabout” and “songlines” – suggests, we are rambling between the real and the imaginary. From the bucolic border triangle of Belgium, Germany, and the Netherlands to the buzzing streets of the capital of Cyprus, where Menelaos has lived for many years, the tracks are about real places, about real experiences and emotions yet interwoven with a dreamlike fabric. Something that is just not tangible, yet substantial and palpable. Something concrete that manifests in the genuine and special sound design of this records - basically all of Menelaos’ works - his really special treatment of dynamics and loudness. It is one of the very few records where the established language of music making, specifically Techno, House, Dub, and early 2000’ Electronica, the clicks, thumps and plops from an earlier age of electronic music, transmogrify into slow movements of something new. Something that is gentle and truly personal, looking inwards. There are four-to-the-floor beats, there is wobbly bass, and dubby chords, even sublimated clarion calls. There is an immense energy in these tracks, the sheer materiality of low frequencies of a massive sound system manifested in a tiny room. Yet it is without any aggression, stripped bare of sonic pressure. It is quiet music no matter how high you turn up the volume. A rare treat, that requires exceptional skills and exceptional restraint and control on the technical side of music making. Probably it is a result of Menelaos specific combination of instinctual, intuitive approach to making music, which meets a genuine love for sound in seemingly endless loops of refinement that can lead to such a result as „dreamhike“. The elegant floating balance of control and playful experimentation manifests for example in a track that continues the ongoing collaboration with seasoned Cologne improviser Achim Fink on bass trumpet. Not only in this respect, the album can be described as a product of openness. It comes from a lot of taking in the world, of travel, of places and people met, of friendship and conversation (not necessarily with words). The deep trip of “dreamhike” further manifests Menelaos as one of the truly independent voices of electronic Cologne and beyond. Somewhat alike in character and attitude probably to what late Pete Namlook has established for Frankfurt with his label Fax +49-69/450464 (though ultimately warmer and much less uncanny) Menelaos has found his very own sound and vision. Music that answers to no one but speaks to everyone. Uncompromising yet gentle to the core: kind sounds from a kind spirit, arguably the most extraordinary and valuable quality music can have these days.
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"A Singular Blend of Dynamic Post-Pop & Electronic Production Featuring The Vibraphonist’s Remarkable Quartet Special Guests Gerald Clayton and Marquis Hill Named One Of Downbeat's 25 For The Future
“His music is fresh, it speaks to everyone. Never heard anyone play vibes like that before.” -Herbie Hancock
“Best vibes player I’ve heard...” -Quincy Jones
In discussing Elements of Light, his fifth album as a leader, the vibraphonist-composer Simon Moullier often returns to a specific term: unfolding.
“This is an important word — the unfolding of a song,” says Moullier, who was born in France and lives in New York. “It’s something I’m very attached to, and something I’m always working on.” As he explains, many of his essential influences —Wayne Shorter, Milton Nascimento, Toninho Horta, Radiohead’s Thom Yorke, Ravel, — have been masterful unfolders in their writing. Moullier admires the movement and design in their music and harmony, the way one section of a tune leads into the next, everything flowing in a natural, beautiful, inviting way. Even the most serious intellectual musical concepts are rendered with a directness, a simplicity that can captivate a general audience. “For me, no matter how complex an idea can get,” he says, “clarity is always key.”
That’s a mature, evolved outlook for a millennial jazz musician to embrace, and it’s shared among Moullier’s youthful quartet featuring pianist Lex Korten, bassist Rick Rosato and drummer Jongkuk “JK” Kim. What’s more, these musicians of astonishing technical facility interact with the selflessness and good taste that Moullier’s song-focused music requires; to say it another way, they use their virtuosity to make the bandleader’s compositions sound as human and affecting as possible — never to preen."
GLACIAL TOMB are set to leave their mark on 2024 as they prepare for the release of their second full length studio album, Lightless Expanse. The Denver, CO trio have embraced the foundations of sludge-corrupted death and black metal from their debut album while leveling up instrumental technicality and nuanced song writing. Glacial Tomb’s unique blend of “sludge-corrupted blackened death metal” sets them apart from the bulk of modern extreme metal outfits. Featuring Ben Hutcherson of Khemmis on guitar and lead vocals, the group has made a name for itself as a devastating force whose releases have received critical acclaim. Careening from hardcore-tinged death plod to full-on D-beats to a cavernous blackened grind with a nitro tank of blasts, Denver's Glacial Tomb, deliver the goods with their Prosthetic Records Debut, Lightless Expanse.
REISSUED!!! Received an 8.1 rating from Pitchfork. "Sadly, many will hear Chris Corsano & Bill Orcutt's latest LP, Made Out of Sound, as 'not-jazz,' though it would be more aptly described as 'not-not-jazz.' In a better world, it would warrant above-the-fold reviews in Downbeat, or an appearance on David Sanborn's late-night show (if someone would only give it back to him). More likely, we can hope for a haiku review on Byron Coley's Twitter timeline to sufficiently connect the various improvised terrains trodden by this long-time duo—but if you've been able to listen past the overmodulated icepick fidelity of Harry Pussy, it should surprise you not an iota that Orcutt's style is rooted as much in the fractal melodies of Trane and Taylor as it is in Delta syrup or Tin Pan Alley glitz. As for Corsano, well, it may seem daft to call this particular record 'jazz' (because duh, it has a drummer), but to me Corsano is beyond jazz, almost beyond music, his ambidextrous, octopoid technique grappling many stylistic levers and spraying a torrent of light from every direction. Corsano's ferocity has elevated many 'mere' improv records to transcendence, but here he's crafted his polyrhythms within more narrative channels, bringing to mind his 'mannered' playing in the lamented Flower-Corsano duo. It's not 'groove' playing precisely, but it follows many grooves simultaneously, much like Orcutt's own melodic musings—which is why they're so naturally lock-in-key here. Which maybe makes it all the more surprising that Made Out of Sound was in fact recorded in different rooms on different coasts at different times, and stitched together by Orcutt on his desktop. Corsano recorded the drums in Ithaca, NY, and (as Orcutt states), 'I didn't edit them at all. I overdubbed two guitar tracks, panned left/right. I'd listen to the drums a couple times, pick a tuning, then improvise a part, thinking of the first track as backing and the second as the 'lead', though those are pretty fluid terms. I was watching the waveforms as I was recording, so I could see when a crescendo was coming or when to bring it down.' Fluidity ties the tracks together. With a little more groove and a little less around-the-beat maneuvering, one could almost hear the boiling harmonic layers as Miles-oid in 'Man Carrying Thing,' but with new-found Sharrockian modalities, Corsano accentuating the tumbling nature of the falling notes. The Sharrock vein continues with 'How to Cook a Wolf,' its Blind Willie-esque melodic simplicity and repetition extrapolated 360-style in a repetitive descending riff that falls into Cippolina-isms (by way of Verlaine ) until the end crashes upon the shore. Much like Orcutt's last solo album, Odds Against Tomorrow, there's a gentler, almost pastoral flow to some tracks ('Some Tennessee Jar,' 'A Port in Air,' 'Thirteen Ways of Looking') that calls to mind the mixolydian swamplands of Lonnie Liston Smith—but unlike Odds , other tracks ('The Thing Itself') smash that same lyricism into overdriven, multi-dimensional melodic clumps that push several vector envelopes at once in an Interstellar Space vein. With the help of Corsano, Orcutt has managed to slither even further out of the noise/improv pigeonhole lazy listeners/writers keep trying to shove him into. Looking at the back cover of Made Out of Sound , we should not see Orcutt hurling a guitar into the air with post-punk bravado, Corsano toiling behind him in the engine room—we should witness an instrument levitating from his hands, rising on invisible major-key tendrils of melody, fired by percussion, spiraling into an invisible event horizon..."—Tom Carter
“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.
PRESSED ON MYSTIC EYE COLORED VINYL HOUSED IN A GATEFOLD JACKET WITH LINER NOTES INCLUDING AN INTERVIEW WITH KRS-ONE
Last August marked the 50th anniversary of the birth of Hip-Hop and we continue to honor the artists and albums that had a significant impact on the culture. In partnership with Sony's CERTIFIED, we are following up on our RSD reissue of BDP's Edutainment and KRS-One's Return of the Boom Bap with a long overdue reissue of KRS-One's 1995 self-titled album, KRS-One. Two years after the release of Return of the Boom Bap, KRS-One got back in the studio and behind the boards and enlisted for additional production DJ Premier, Showbiz, Diamond D, Norty Cotto, and Big French Production. In August of '95 KRS-One dropped the Preemo-produced lead single "MC's Act Like They Don't Know" with "Represent The Real Hip-Hop" featuring Das EFX on the B-side of the 12-inch, boasting KRS-One's lyrical skills and backing up his status as one of the best live performers in the game. KRS-One knocked it out of the park on his second solo effort with another Premier single about the current state of Hip-Hop on "Rappers R, N. Dainja" and straight-up Boom Bap rap on the Fat Joe assisted track "De Automatic." He offers political and social commentary on "R.E.A.L.I.TY.", "Hold", and "Free Mumia" with Channel Live and continues to diss sucker MCs on "Wannabemceez" with Mad Lion. Get On Down is proud to present this deluxe reissue packaged in a gatefold jacket with a new interview by Check The Technique author Brian Coleman, complete with a foldout lyrics sheet.
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Mark Templeton is a Canadian media artist and the founder of Graphical, an audiovisual label dedicated to publishing his own musical and image based experiments. Mark’s audio compositions are constructed from reel-to-reel tape loops and sampled cassettes that are contrasted with contemporary sound techniques. In his published photobooks, he incorporates his own 35mm pictures and found images, focusing on intangible fantasies and realities. During his audiovisual performances, he utilizes digital instruments while projecting his own photographs, VHS footage, Super 8 film, and other sampled video.
Mark Templeton’s reinterpretation of outdated media as musical instruments makes him a compelling artist for the Faitiche label roster. For his debut on Faitiche, he browsed his old hard drives and invited Andrew Pekler to listen through and co-produce a selection of Mark’s unreleased works. The compositions act as a series of snapshots: a look back at a decade of archived sounds, re-envisioned and re-imaged for Faitiche. The album contains nine tracks that follow an AB song structure. Each piece begins with verse A, transitions into verse B, and then ends. This simple formula creates a dichotomy that is also present in Mark’s diptych photographs, featured in the artwork. Throughout the album, both juxtaposition and inherent connections are simultaneously at play. One way or another, Two Verses provides a beginner’s guide to Mark Templeton's highly idiosyncratic catalog.
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Will Butler, known for his work with Arcade Fire, has composed the original score for the Broadway play Stereophonic. The play, set in the 1970s, explores the dynamics of a rock band on the brink of success or collapse. Butler’s score authentically captures the era, using period-specific instruments and recording techniques to evoke the raw energy of 1970s rock. His compositions range from high-energy anthems to introspective pieces, enhancing the emotional depth of the narrative. Critics have praised Butler’s work for its authenticity and emotional impact, noting how it drives the story and deepens audience connection. He recorded the parts with the original cast from Stereophonic, including Will Brill, Andrew R. Butler, Juliana Canfield, Eli Gelb, Tom Pecinka, Sarah Pidgeon, and Chris Stack. The production received acclaim from critics and no less than 13 nominations at the 77th Tony Awards, taking home five, including Best New Play. Stereophonic now holds the record for the most Tony nominations by a play. Stereophonic is available as a limited edition of 750 copies on crystal clear vinyl and includes an insert.
Mit King Of The Mischievous South Vol. 2 präsentiert Denzel Curry eine Fortsetzung des Projekts und bringt den Sound zurück, der seine Karriere begründete. Während der erste Teil von King Of The Mischievous South aus der Perspektive seiner Raven Miyagi-Persönlichkeit entstand, einem Namen, den ihm
der Gründer des Raider Klan, SpaceGhostPurrp, gegeben hat, ist Curry in Volume 2 in seiner Big UltraPersönlichkeit zu hören - eine erweiterte Version von Raven Miyagi, die prahlerisch ist und in dem Erfolg schwelgt, den Curry in den letzten zehn Jahren seiner Karriere hatte. King Of The Mischievous South Vol. 2 zu machen, war schon seit einiger Zeit ein Ziel von Curry, obwohl seine ersten Versuche, dies zu tun, letztendlich in andere Projekte übergingen, nämlich sein Album Imperial von 2016 und 13LOOD 1N + 13LOOD OUT von 2020. Erst als er aufhörte, sich zu sehr um Volume 2 zu bemühen, entstanden die Songs von selbst.
Der Sound des Projekts ist eine Hommage an das große musikalische Erbe des Südens und enthält alte und neue Größen der Region sowie andere, deren Stil dem musikalischen Erbe des Südens verpflichtet ist. Nach all den weltfremden Abenteuern, auf die Denzel die Hörer/innen im Laufe seiner letzten konzeptionellen Alben mitgenommen hat, dient dieses Projekt als Schaufenster für den Spaß, die Spontaneität und die technische Meisterschaft, die ihn im Laufe des letzten Jahrzehnts zu einem der gefragtesten Talente
im Rap gemacht haben.
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Soul Jazz Records’ are releasing their classic release ‘Rastafari – The Dreads Enter Babylon 1955-83’ in a new one-off pressing limited edition blue coloured double vinyl edition. The album includes new tracks and is fully remastered from the original edition.
Spanning nearly 30 years of revolutionary music and featuring the music of Count Ossie, Johnny Clarke, The Mystic Revelation of Rastafari, Bongo Herman, Earth & Stone and many more, this is an in-depth look at some of the heaviest and righteous music ever made!
Soul Jazz Records' Rastafari: The Dreads Enter Babylon charts the many links between reggae music and Rastafarianism. The album comes complete with full gatefold and bespoke inner sleeves, containing stunning exclusive photography and extensive sleevenotes.
Rastafarianism had its roots at the start of the 20th century and became widespread in Jamaica following the visit of Haile Selassie, the King of Ethiopia, to Kingston in 1966. By the 1970s Rastafarianism become practically synonymous with reggae, as many roots reggae artists became known throughout the world, notably spearheaded by the success of Bob Marley and The Wailers.
As ‘roots reggae’ artists in the 1970s continued to spread the word of Jah (God) in their music, Rastafari reggae became the ultimate rebel sound throughout the world.
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Tramp Records International proudly presents: The 1975 Baltimore Colts Glenn Doughty and his All-Pro Shake & Bake Band! In 1975 Glenn "Shake & Bake" Doughty Wide Receiver for the Baltimore Colts formed the Shake & Bake Band. Glenn Doughty and his Baltimore Colts Shake and Bake Band of the 70's is the first musical group consisting of former NFL All-Pro players that Tramp Records has partnered with in its history!
Doughty is a Detroit 'Motown' native and All-American from the University of Michigan, that was recently crowned national champion and the winningest college football program in NCAA History. Doughty and his four world-class athletic teammates formed the heart of the band. The Shake & Bake Band in the mid 70s played live at Baltimore's hottest Clubs with teammates in attendance on Monday nights after Shakin' & Bakin' their opponents on Sunday at Memorial Stadium. Doughty's sports hero was Muhammad Ali. He originated the popular Shake & Bake athletic movement scoring touchdowns. He recited Shake & Bake poetry like Ali to make predictions after games on local and national TV to celebrate Colts victories. His lyrics in his music were used to fire up thousands of his Colts fans and his teammates. Many fans felt the group sounded like WAR the popular funk group from California. Members of the Shake & Bake Band were: Glenn "Dr. Shake" Doughty #7, All-Time Colts leading Wide Receiver, producer, lead singer, congas and lyrics, Ray "RC Cola" Chester, All-Pro Tight End, Super Bowl Champion, Bass, Baltimore, Maryland, David "DT" White, Wide Receiver Lead Guitar, producer, sound technician. Buffalo N.Y., Lloyd "The Bullet" Mumford, Defensive Back Harmonica, Miami Florida, Freddie "Bones" Scott, All-Pro Wide Receiver on percussion, Grady Arkansas, and Bruce "Turn it Loose" Barnett, Drummer and shoe salesman. Randallstown, Maryland. This group of talented stars lead the Colts to its first ever three consecutive Eastern Division Championships.
Between 1975 and 1977 they also became the first group of pro athletes to create two records while playing football together for a NFL team. Their debut 7-inch single from 1976 was cut at 33 1/3 RPM due to the length of the songs. "Shake and Bake Pt.1" lasts for 4:30 minutes while Part 2 stretches out to an incredible 7:00 minutes!
Additionally, "Shake and Bake Pt.1&2" will be featured on the forthcoming "Movements Vol.12" compilation album, due September this year.
Key selling points:
- limited to 500 copies!
- deluxe picture sleeve edition!
- official re-issue, done in cooperation with Glenn Doughty!
- Glenn Doughty and his Baltimore Colts Shake and Bake Band of the 70's is the first musical group consisting of former NFL All-Pro players that Tramp Records has partnered with in its history!
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