Buscar:technical j

Next up on Aris is a particularly special one - Ireland's first electronic music 12''- Carrier Frequency's Telecaster Man, a particularly Irish take on the acid house sounds of the late 80's, that still does the job 35 years later. ''A nine minute tune with two chords, it's just f-ckin' madness mostly - distortion and drum machines.'' simply put by one of the artist himself, but it's much more really. The record originally released in 1989 was a collaborative effort featuring the talents of Mr. Spring, Leo O'Kelly of 70's folk heroes Tir Na nOg, and Trevor Knight of 80s synth pop band Auto Da Fe, Mr. Spring, a veteran of pirate radio since his early teens and the local go to studio guy for dreamers and the Depeche Mode and Talk Talk clones of the time, spearheaded the project. Drawing from his extensive experience and technical prowess, Spring had already established his own studio in 1987, equipped with state-of-the-art gear including an Atari sequencer and an Akai s900 sampler. They decided to work together on it as Spring says ''We wanted to get a Cabaret Voltaire sound to it and have a bit of fun.'' Fueled by a shared passion for experimentation and sonic exploration and inspired by the dynamic energy of the club scene and the rapidly evolving sounds of electronic music, the late-night recording sessions in Spring's studio characterized by spontaneity and innovation. The result of their collaboration was ''Telecaster Man,'' a nine-minute tour de force combining distorted guitars, hypnotic rhythms, and pulsating synthesizers. The 12 inch comes with the original and Sinewave mixes plus a new Mr. Spring remix from the original multi tracks rounding it out with the replication remix and a bonus acapella. Full colour sleeve and comes with extended liner notes.

Dom Salvador, released in 1969, is a landmark album by Brazilian pianist and composer Dom Salvador. This instrumental jazz record showcases Salvador's mastery of blending Brazilian rhythms with American jazz influences. The album features a mix of samba, bossa nova, and hard bop, highlighting Salvador's innovative approach and technical prowess. Known for tracks like ""Samba do Malandrinho"" and ""Tio Macrô,"" the album stands out for its vibrant, sophisticated arrangements and improvisational flair. ""Dom Salvador"" is celebrated for its contribution to the evolution of Brazilian jazz and remains a significant work in Salvador's extensive discography. Dom Salvador is available as a limited edition of 500 copies on translucent magenta coloured vinyl.

"The Blues is a unique sound that comes from particular times, places, and people. However, that sound is universal in that it can be used to articulate every human emotion. In this album, I invite listeners from all walks of life to the world of The Blues as it is in 2024. I invite people to engage with the ups and downs we all experience, through this music.

The blues was a black-American innovation in our history that had many facets to it. There are technical components to the blues - standards and vocal phrasing. There are also components to the blues that are more abstract, such as history, geography, even intellectual movements. In this album, I endeavored to use those building blocks to articulate the humanity I see around me - past, present, and future - without compromising the quality, the foundation that the blues provides.

These fifteen original songs are my invitation to everyone out there - whether you’re a blues aficionado or just passing through the genre, I hope you find plenty to engage with."

"The Blues is a unique sound that comes from particular times, places, and people. However, that sound is universal in that it can be used to articulate every human emotion. In this album, I invite listeners from all walks of life to the world of The Blues as it is in 2024. I invite people to engage with the ups and downs we all experience, through this music.

The blues was a black-American innovation in our history that had many facets to it. There are technical components to the blues - standards and vocal phrasing. There are also components to the blues that are more abstract, such as history, geography, even intellectual movements. In this album, I endeavored to use those building blocks to articulate the humanity I see around me - past, present, and future - without compromising the quality, the foundation that the blues provides.

These fifteen original songs are my invitation to everyone out there - whether you’re a blues aficionado or just passing through the genre, I hope you find plenty to engage with."

Comprehensive, full-spectrum, sonic experiments build for clubs. Uncategorisable in all the right ways. Danny Daze and Jonny From Space team up for their joint Craigie Knowes debut. The ‘Tumbadora’ EP is a masterclass in technical production whilst retaining all the rhythm and power required to destroy dancefloors. It’s one of the listeners and the clubbers. Nick León steps in with a stripped back version of ‘Sweet Spot Radio’ that’s every bit as mind-melting as the 3 original tracks. Prepare for the freefall!

Robag Wruhme isn’t just a producer; he’s a sonic storyteller. His tracks are known for their emotional depth and technical brilliance – the perfect blend of minimal techno, deep house, and ambient music—each track a meticulously crafted journey through sound. With influences ranging from classical to jazz to world music, Robag’s music is as diverse as it is enchanting.
His latest offering on the trailblazing Speicher series is no exception. True to his unmistakable style, “Naila” meanders between heartwarming positivity and menacing darkness induced by one of those bass lines only Robag can deliver. In short: He nail(a)ed it!
On the flip side, he joins forces with the ominous Bruno Pronsato – an elusive character that has a string of cult releases on Perlon, Musique Risquée and Foom under his belt. “CDV” was initially released on his album “Live At Club Der Visionäre” on Logistic Records. Robag’s slick re-rub is pushing things decisively in an afterhour-ish direction. Mental music for mental times!

Specially prepared liner notes by renowned music writer Brian Morton.
Canadian pianist Glenn Gould (1932-1982) became one of the best- known and
most celebrated classical pianists of the 20th century and particularly renowned
as an interpreter of the keyboard music of Johann Sebastian Bach. Gould's
playing was distinguished by his remarkable technical proficiency and his
capacity to articulate the polyphonic texture of Bach's music.
This release presents Gould's complete original 1955 rendition of Bach's Goldberg
Variations (Columbia, ML-5060). The work launched the pianist's career as a
renowned international player and became one of the most well- known piano
recordings. Sales were astonishing for a classical album at that time - 40,000
copies by 1960, and more than 100,000 by the time of Gould's death in 1982.

Visionary engineer, producer and dub experimentalist, Scientist returns to his roots to mix new album direct-to-disc for latest Night Dreamer session. With over 60,000 recordings to his name, Scientist (born Hopeton Overton Brown) is one of the most influential figures in dub. From Studio One to King Tubby"s, Channel One to Tuff Gong, he worked at Kingston"s premier studios, pioneering recording techniques and elevating the dub mix into an rt form in his own right. Known as the "Dub Chemist" for both his technical expertise and forwardthinking ideas, Scientist"s Night Dreamer session brings together musicians from across the London reggae scene, including The Instigators" rhythm section Mafia (bass) and Fluxy (drums), Creation Rebel guitarist Tony Ruffcut, vocalist Donovan Kingjay, Jah Shaka keyboardist Greg Assing and saxophonist Finn Peters.

YESYESPEAKERSYES is the first vinyl release of the remarkable collaboration between Chicago foot-work founder Kavain Wayne Space (aka RPBoo) and London duo experiment XT (drummer Paul Abbott and saxophonist Seymour Wright). The trio’s synthesis of rhythms, sounds, strategies, technologies and traditions collapse genre, distance, boundaries and preconceptions into a total, and totally unique, brain-body music.

Its two 15-minute vinyl sides are cut from a 60-minute live set at Cafe OTO, London on Friday 8th October, 2021 also available as digital download. This was the fourth meeting of the trio followed, instead of being followed by*, an RPBoo DJ set.

Each time the trio play it pushes further into new technical, emotional and creative space. The collaboration needs ears, instruments, imaginations and bodies to be used in new ways. This need is transformative. Together they – and we – learn. This unique trio combination is rooted in deep conceptual foundations, that push into real and imaginary spaces of innovation and learning in a creative practice of 'interruption' far beyond genres or what is supposed to be. And what emerges each time is a trio technology - a total dance technology for any and all bodies.

Kavain, Paul and Seymour share a fascination with the musical history of Chicago – a source of which is of continual nourishment to their ongoing practice. While Kavain’s pioneering footwork work develops the rhythmic structures of Chicago house and the samples, grooves and melodies of 60’s/70’s Chicago soul, disco and R&B, Seymour and Paul share a fascination with these musics, and bring to this lineage a long-term engagement with Chicago’s jazz traditions, from Baby Dodds to the AACM through their unique prism of club, dance, free-jazz and improvised club structures, technologies and musics.

The LP was expertly mixed by Billy Steiger and mastered by Amir Shoat. Every purchase comes with a bonus download of the full, unedited live set from Cafe OTO.

The album includes artwork by Benedict Drew and text by Edward George.

Transparent yellow with black and red splatter, limited to 700 copies. SUMMONING THE LICH return this summer with the latest installment in their fantasy universe of technical death metal. The St. Louis, Missouri band's forthcoming second album, Under the Reviled Throne, is set for release via Prosthetic Records on July 26. Following the events of their established world of Arrias on their debut album, United In Chaos, Under the Reviled Throne sees the next chapter of the Lich come to life through tales of isolationist kingdoms, malevolent mages, witch queens and cannibalistic armies hellbent on destruction. After three years of extensive US touring and shows with the likes of Allageon, Gorod and Inferi among others, as well as headline stints, SUMMONING THE LICH set about bringing Under the Reviled Throne to life. Intended as a death metal equivalent of sorts to The Empire Strikes Back in scope, the group set their sights on raising the stakes in both story and songwriting. Recorded throughout 2023 at Sicktones Studio with Jack Daniels, SUMMONING THE LICH took the considered approach of eschewing superfluous technicality in favor of a leaner and more streamlined focus on song structure. Each of the tracks on Under the Reviled Throne were written with the purpose of guiding the listener through the eponymous Lich's descent into misanthropy and tyranny, without sacrificing their idiosyncratic sound.

Released in July 1963, "Impressions" is a compilation of recordings from various sessions between 1961 and 1963 of John Coltrane. The album showcases the range of Coltrane's musical interests, from modal jazz and hard bop to ballads, reflecting his evolving style during the early 1960s and received positive reviews for its adventurous spirit and technical brilliance. Critics and fans alike praise the album for capturing a pivotal moment in Coltrane's career as he moved towards more experimental and spiritual jazz. The early 1960s were a period of significant evolution for Coltrane. Having recently left Miles Davis's sextet, Coltrane was delving deeper into modal jazz, a style that focuses on scales (or modes) rather than traditional chord progressions. This period saw Coltrane pushing the boundaries of jazz with extended solos, complex improvisations, and a deeper spiritual search, which would later culminate in his iconic album "A Love Supreme."

AJ Lee & Blue Summit are an award-winning, energetic, and technically jaw-dropping bluegrass band quickly rising on the national roots music scene. Based in Santa Cruz, California, the group met as teenagers, picking together as kids at local bluegrass festivals until one day, they decided they would be a band. Their Signature Sounds debut, City of Glass is a spellbinding collection of original songs and covers that’s just as much country soul and gritty, bluesy Americana as it is rock club and festival-ready string band fare, all framed through a California folk lens. City of Glass not only focuses on AJ Lee’s songwriting and once in a generation voice, but also features the Bakersfield sound of guitarist and second lead vocalist Scott Gates on three tracks along with the guitar wizardry and indie rock influence of Sullivan Tuttle, the younger brother of Bluegrass superstar Molly Tuttle.

2024 Repress

Innercity Griots, the second album from Freestyle Fellowship, is perhaps *the* essential West Coast left-field rap album of the early ’90s. Released in 1993 on 4th & Broadway, it’s a towering, progressive hip-hop masterpiece that expanded rap’s boundaries through lyrical elevation and production innovation. Their talent was ahead of everybody else by light years. This is pure b-boy jazz.

The original single vinyl LP is now hideously scarce, and of course the sound suffers from not being officially released as a double. This Be With re-issue fixes both problems, and for completeness also includes “Pure Thought” from the CD version of the album. This incredible display of imaginative hip-hop sounds better than ever.

Freestyle Fellowship were some of the earliest technically dazzling rappers to come out of California. Mikah 9, P.E.A.C.E., Aceyalone and Self Jupiter - along with DJ Kiilu - forged their famed lyrical dexterity in the ultra-competitive crucible of the Good Life Cafe. Founded in Leimert Park, South Central LA in December 1989, this earthy health-food store and cafe was where the city’s finest microphone fiends would gather to showcase their freestyle skills at the Thursday night open-mic.

Innercity Griots has been described as the Rosetta Stone for rap styles. The group’s dense, vibrant wordplay and enviable interplay quickly earned the attention and respect of the city’s hip-hop underground. Frenetically trading acrobatic rhymes with agility and grace, the Fellowship used their voices as instruments like true virtuosos, spraying improvised raps like a Coltrane sax solo.

With the bulk of the album’s production handled by The Earthquake Brothers, and Bambawar, Daddy-O, and Edman taking over for some of the tracks, Innercity Griots dances between organic and programmed music, largely forgoing sampling and instead built around live jazz jams. The likes of Freddie Hubbard’s “Red Clay” and Miles Davis’s “Black Comedy” were used more as templates for house band The Underground Railroad Band to spiral out from. As Pitchfork noted in their recent 9.0 review of this classic album, “Freestyle Fellowship embodied the style and spirit of jazz on a molecular level. They shared the effortless cool and tough countenance of the great bebop players from the ’50s without verging into jazz-rap parody. Their innate jazziness felt tangible and hard-earned”.

The unusual approach to the music was matched by the Fellowship’s lyrics. Eschewing the tired rap tropes of the time, this multifaceted album instead explores their ruminations on greed and homelessness, weed, sex, survival, insecurity and tribalism.

Remastered by Simon Francis for double vinyl and cut by Pete Norman, we hope this long-overdue re-issue of Innercity Griots satisfies the legions of fans that have since been bewitched by the majesty of this record. It should also introduce some new listeners to yet another overlooked classic.