Cerca:the double x

This new album compiles several songs made in the years following Black To Comm's classic "Alphabet 1968" album. Originally released on the seminal Type label in 2009 (and to be reissued on Cellule 75 this year) "Alphabet 1968" combined the sound of vintage shellac and vinyl loops with broken electronics and field recordings, the press release mentioning disparate influences "ranging from Moondog to Basic Channel by way of Bernard Herrmann". In a beautiful one-page review in The Wire magazine (later reprinted in his book Ghosts Of My Life) Mark Fisher compared Richter's music to JF Sebastian’s miniature automata in Blade Runner ("with their bizarre mixture of the clockwork and the computerised, the antique and the ultramodern, the playful and the sinister"), ETA Hoffmann's inventor-magicians and Auguste Villiers de l'Isle-Adam's 1886 tale of Thomas Edison's (fictitious) construction of an artificial human.

Now titled "Coh Bâle" (inspired by a strange dream) these recordings were supposed to become a follow-up to said album but for reasons unknown it never materialized and the album seemed forever lost. At the time Richter started to dive deeper into several strains of (so-called) world music aka the folk music of Southeast Asia and Eastern Europe as well as liturgical and medieval music, the Kraut-Electronica of Harmonia and several certain Mediterranean experimentalists from the 1980's who started to merge their mostly electronic and field recording based compositions with traditional musics from all over the world by way of new sampling technology.

Many of the songs for the album were recorded while travelling and at various residencies around Europe: a detuned piano in a Thessaloniki basement (Richter played at a children's birthday party there), vintage synthesizers in the GRM studios in Paris, decaying acoustic instruments found in an old Black Forest mansion, childrens' voices at a workshop in Karlsruhe's ZKM Institute; then mixed on headphones in the ICE trains running between these places and his hometown Hamburg.

"Coh Bâle" is taking inspirations from old Nonesuch Explorer and Ocora LP's, Crammed Records, 80s Mediterranean Ambient (Nuno Canavarro, Roberto Musci) combined with the DIY spirit of Deux Filles and Flaming Tunes and the playfulness of Asa Chang & Junray. The songs are both mysterious and transparent, intricate and frugal, vibrant and patient. One of the album's unexpected climaxes is a gorgeous (artificial) berimbau version of the Welsh traditional "Iechyd o Gylch".

No two songs feature the same instrumentation and many acoustic sources (pianos, flutes, wood percussion, viola, tablas, autoharp) were disassembled and later coalesced into new configurations or used as virtual instruments; later combined with samples, field recordings, electronics and (on a few tracks) autotuned vocals reminding of recent works by the likes of Claire Rousay or More Eaze.

We had to wait for a worldwide pandemic for Richter to dig deep into the vaults and finally bring these recordings to light. This is the 2nd release from his archives after the "Diode, Triode" LP which presented Musique Concrète/Acousmatic recordings made at INA/GRM and ZKM. Another massive Double-CD (MM∞XX Vol. 1 & 2) was released last year featuring collaborations with 33 artists such as Andrew Pekler, Richard Youngs, Eric Chenaux, Maja Ratkje, Radwan Ghazi Moumneh of Jerusalem In my Heart, GRM boss François Bonnet (Kassel Jaeger), Felix Kubin, Timo van Luijk (In Camera, Af Ursin), Luke Fowler and many others, showing Richter's versatility and his willingness to reinvent himself for every new release.

Marc Richter is widely known under his Black To Comm moniker, having released (at least) 12 albums under this alias in the last 20 years. He is currently signed to the Thrill Jockey label. Richter composes soundtracks for film and has worked with visual artists such as Mike Kelley and Ho Tzu Nyen. He also records as Jemh Circs and Mouchoir Étanche for his own Cellule 75 label (named in tribute to the late Luc Ferrari).

"Moon River” & "How Could We Know" is a double A-side single featuring two newly recorded songs by Eric Clapton. The first song, "Moon River," is a cover by Eric and Jeff Beck, which was recorded shortly before Jeff’s passing. The second song, "How Could We Know," is a new original song featuring Judith Hill (vocals), Simon Climie (vocals) and Daniel Santiago (acoustic guitar).

Having announced that Snapper Music will be representing Porcupine
Tree’s Transmission label worldwide, new CD and LP reissues of the band’s catalogue continue to be rolled out throughout 2021.

The concept for ‘The Incident’ (the band’s much lauded 10th and most recent studio album from 2009) emerged as Porcupine Tree’s creator Steven Wilson, was caught in a motorway traffic jam whilst driving past a road accident.
“There was a sign saying ‘POLICE - INCIDENT’ and everyone was slowing down to see what had happened... Afterwards, it struck me that ‘incident’ is a very detached word for something so destructive and traumatic for the people involved. The irony of such a cold expression for such seismic events appealed to me, and I began to pick out other ‘incidents’ reported in the media and news, I wrote about the evacuation of teenage girls from a religious cult in Texas, a
family terrorising its neighbours, a body found floating in a river by some people on a fishing trip, and more.

Consisting of 18 tracks, each song is written in the first person, attempting to humanise the detached media reportage of each associated event. The first 14 tracks form part of a 55-minute song cycle, with the last 4 having been recorded later (and originally released as a second disc to stress their independence from the song cycle).

The album was nominated for a Grammy Award for Best Surround Sound Album and reached the Top 25 in the US and UK album charts. It was awarded “Album Of The Year” in Classic Rock and German magazine Eclipsed.

‘The Incident’ marked another step forward in the incredible journey of the band that began as a solo studio project and grew to a multi-Grammy nominated act and one of the world’s most revered live bands, selling out arenas across the globe and wowing fans with their incredible performances.

This new Transmission 2021 reissue of ‘The Incident’ remains faithful to the original artwork and all 18 album tracks are presented on one disc housed in a digipack with 8-page booklet or as a gatefold double LP on 140g black vinyl.

“An intriguing and truly inspiring album” - Rock Sound
“The title suite is the Tree’s finest hour: a mounting drama of memoir and realnews trauma, animated with slicing guitars, ghost-song electronics, mile-high harmonies and smart pop bait - Rolling Stone

It's a Man’s World achieved Top Ten and Gold status in the UK, and featured the singles “Walking in Memphis,” “One by One,” “Not Enough Love in the World,” “The Sun Ain’t Gonna Shine Anymore” and “Paradise Is Here”. The album was supported by numerous remixes of the singles, and a selection of these remixes are included together for the first time on new physical and digital products. None of the remixes have previously been made available physically, and only one of the remixes is available digitally in the US.

The limited-edition vinyl box contains a 2-LP set of the original album – remastered from the best available sources – plus a double album of remixes, and includes two unique, numbered lithographs for worldwide retail and the artist webstore respectively. This reissue features the original 14-track UK version.

We are delighted to announce that July 2023 is the month in which you will finally be able to know the new Apparel Wax product: Apparel Wax Mini. The Mini catalogue (dedicated to 7-inch vinyl) fits into the narrative of our masked hero as a sort of prequel, as the 'Mini' vinyl represents the 'childhood' of Apparel Wax, his life before its music started to be heard around the world. Another novelty is that the first release is double. In fact, APLWAXMINI001 and 002 will drop on the same day, both containing two tracks, one on each side. With a physical product of different size, we have also adapted the graphic design of the project, as you'll notice looking at the record. A new adventure begins in the world of the masked artist who, this time, will tell another musical story created by the now famous anonymous collective of phenomenal artists behind the project. APLWAX002's A side features a dynamic Disco/Dance touch and a vibrant funky feel while B side has a more Lo-Fi taste and a powerful rhythm section, both combining to create a burst of rhythm.

This double EP is a recognition of the Syko & Mak era and those who used to come to the shops just to hang out and listen to the latest white labels. It includes remasters of 3 of those original tracks from 1992 as well as 5 previously unreleased tracks from 95/96. The 3 original tracks on this EP spark some of those best memories. Including hearing Grooverider play the first test press of "Here & Now'' at the Fantazia Rave at Castle Donnington. Standing at the back and watching the 28,000 crowd lose their heads to our track was unforgettable ! Trading DATs with LTJ Bukem. He'd travel up to Hitchin on a Sunday just to share music, "Journey into the Nebulous" was the first track we gave him. The first play of "Rough & Dangerous"... A hazy memory of an Exodus rave in a wooded enclave somewhere near Luton. Unforgettable memories..

Experimental hip-hop/jazz quartet Bokoya team up with Colognebased producer / guitarist Gianni Brezzo (Jakarta Records) for collabo album on Melting Pot Music. Bokoya describe themselves as a four-headed human drum machine that play improvised beat music.

You can call it jazz if you like (all four members are graduated jazz musicians btw) but be ready to stumble over some Dilla, kraut rock, ambient or dub in the mix. We recommed their their doublealbum “Hausensession” (MPM, 2022) as a reference point.

Gianni Brezzo's music is a bit easier to access but not less leftfield. Jazz is a major influence too but it goes way further. On his album “Tutto Grosso” (Jakarta, 2022) Brezzo rides a sonic wave similar to Matthew Halsall, Surprise Chef, El Michels Affair and BadBadNotGood.
The recording sessions for “Minari” took place at the Gottesweg Studios in Cologne where Bokoya and Gianni Brezzo jammed for three days and nights based on some basic sketches and beats. The sessions were edited and arranged after by Bokoya and Brezzo but no overdubs added.

Improvised & produced by Bokoya & Gianni Brezzo.
Mixed & mastered by Roe Beardie.
Artwork by Jens Roth & Jeremias Diekmann.
Leon Raum - Drums
Darius Heid - Fender Rhodes, Synth
Lukas Wilmsmeyer - Guitars, Bass
Ferdinand Schwarz - Trumpet, Synth
Gianni Brezzo - Guitars, Sampler, Effects

The Kings Of House NYC (AKA Louie Vega & David Morales) team up with Julie McKnight for a double pack of mixes of "Still Here".

Tre D'ambrocia - vibraphonist and first tenor with Ben Pirani & The Means Of Production- steps to the lead microphone to deliver this charming, funky, ultra smooth two stepper. Closer & Love Is Gonna Let You Down were recorded by Pirani's former iteration Benjamin but Here they are reimagined and rearranged at a late night cool down tempo. Backed by The Means Of Production Tre draws on his deep knowledge and musical experience, tapping into Jazz, Disco and even Musical Theater. on Closer D'ambrosia captures an innocent yet sophisticated mood, beckoning a love interest, gently, to come closer. Love Is Gonna Let You Down, a song of consolation pulses with a mighty heavy rhythm track while Tre's falsetto soars above. altogether a double sider for a night in or a night out

Spaceman, otherwise known as Stephen Munson or Stephan James, is the former lead singer of English cult glam punk band Living In Texas, one of the very first bands to play an MTV Europe session when MTV was in its infancy, one of the last bands to play at the legendary Elixir Festival in France, once #3 in the Italian charts (1985.),...

At the end of Living In Texas, Munson continued to form other projects without such conviction and to write songs, until meeting Christelle Canot aka Confused, a moment which he describes as his epiphany. He entrusted her with the production of his first (double) solo album.

This follows during the pandemic by the production of a double album featuring 9 songs already recorded in 2000 and the composition of 16 others with musicians from all over the world, carried by the same punk and DIY spirit that has always lived with him.

Poet, director, an artist touching everything and a great lyricist, his songs are personal and universal, love letters to his children, to nature, to our addictions, confessions of weakness, regrets, his life passes through these 25 songs that range from the folk lo-fi masterpiece "frEND" to pure postpunk sound straight out of the 80s "Everybody's Hooked On Something", to folk-rock ballads like Martin's Garden, eternal songs with "Loving Ways" or ballads of Lynchian love... As many universes as eras crossed with the greatest sincerity through the eyes of an eternal child.

FEVR is a post-punk trio from L.A. that delivers what surely could be described as the best American post-punk album in years, the simplicity and quality of the arrangements and the very unexpected vocal works vocals transports immediately to the best of the best of the genre, not being at any time encapsulated in it, very surprising changes of style happens all the time making the listening a truly musical journey.

No doubts; this one will become a sure future jewel in the collectors market. Comes presented on deluxe DOUBLE GATED edition including lyrics in a one-off truly limited edition of 300 copies lacquered pressed on 180gr.

High quality solid black vinyl. All tracks have been specially remastered for long cut vinyl by Daniel Hallhuber at Young and Cold Studios.

N8noface is globally acclaimed as one of the most fresh and raw acts of the United States. For his debut in Oráculo N8noface presents an album where reviews some of his classic tracks exploring his most dark and minimal side, but not forgetting his unique new-punk sound for the likes of Sleaford Mods.

His proposal is extremely minimalistic but effective at the same time with that classic 90’s west-coast attitude that could remind even to the best era of Cypress Hill.

The whole thing surely deserves a place in the best vinyl collections. Presented in a one-off truly limited edition of 300 copies, lacquered pressed on 180gr. high quality solid black vinyl. All tracks have been specially restored and remastered for long cut vinyl by Daniel Hallhuber at Young and Cold Studios.

DJ Clear X DJ Kurtiss Featuring Alicia Keys DJ Clear and DJ Kurtiss (Curtis Vodka) team-up for a double dose of fresh remixes of this soulful slept on classic interlude. Taken from the multi-platinum sophomore album The Diary of Alicia Keys released back in '03, these remixes breathe new life into this incredible Alicia Keys production.

La Escuela Moderna launches with a retrospective revisiting the UK electro and breaks scene at the turn of the millennium. A double album featuring eight tracks, Tactical Shifts covers the years 1995 - 2003, presenting a vibrant era celebrating the creativity and innovation that characterised this pivotal era in British electronic music.

The compilation opens with the starry-eyed Ayemooth, an early transmission from The Wee Paton (The Wee Djs, Distorto). Followed up by The Illistines channelling the free spirited Castlemorton. Re-Incarnated sees the trio on a percussive funk roll. Opening the B-side, System UCS (Neil Keating and Harold Slater) provide a growling electro track with Memory Trace, first released on Break/Flow. The first record closes with a rugged breakbeat number by Milo Smee AKA Kruton.

Rag and Bone co-founder NoYeahNo opens the B-side with the rollicking Pushing Percussion, an early entry in the seminal label. Nick Philphin and John O'Donnell's Orphic project brings the relentless beat science of Obvious Intruder. Lunar builds momentum with the bleepy breaks of Orbiting Ganymede and Phil Holmberg AKA Schematix wraps up the comp with the sinuous pads of Magnum Six.

A seismic, cinematic double dose from two sonic veterans with previous in Wire, Electrelane, and Better Corners. MEMORIALS’ kaleidoscopic debut covers broad musical territory, encompassing protest songs, fuzz-flooded pop, searing drone, and psychedelic freakouts whilst carving out a sound that is uniquely their own.

Both halves of this dynamic double album were originally conceived as individual film soundtracks but once the multi-instrumental duo of Verity Susan & Matthew Simms brought ‘Music For Film’ into a live space, the desire to shape it into a cohesive whole was more than they could resist. The resulting, intoxicating, musical odyssey can be viewed independently from the associated films and stands proudly as an ambitious artistic statement.

“The music we like and admire ranges from challenging to really tuneful, and we try to bring all that together in a way that sounds natural.” - MEMORIALS

‘Music For Film: Tramps! & Women Against The Bomb’ – is scheduled for release on May 12th 2023 via The state51 Conspiracy. The limited double LP (500 only) comes in an embossed reverse board sleeve and indie shop editions will also include an exclusive poster.

“Session Victim debut on Rhythm Section Intl with an EP of understated but highly effective jazzy house rollers“

Having cemented themselves as firm favourites on the Rhythm Section dance-floor over the years, the German duo step forward to present their debut EP on the South London label: “ Basic Instinct”.

Known for their unparalleled energy when performing live or DJing, Hauke and Matthias fly the flag for sample based, soulful house music and a commitment to the art of vinyl DJing. With the never- ending search for the perfect beat at the core of what they do, it was no surprise they found a deep affinity with Rhythm Section INTL over years of playing for each other, jamming in the studio and crossing paths at festivals and airports around the world. In short, this record was an inevitable culmination of two passionate, like minded groups, a match made in Heaven and a long time coming!

Despite hailing from the techno meccas of Berlin and Hamburg, Session Victim are direct descendants of the German Jazzy House masters, tracing inspiration from the likes of Jazzanova, Soulphiction & Compost Records - the likes of which have gone on to inspire a renaissance of this more soulful sound in German clubs, spearheaded by labels like Tartelet and Toy Tonics - the latter of which the duo recently released an EP with.

This latest effort on Rhythm Section INTL is a masterclass in restraint, demonstrating a deep understanding of dancefloor dynamics, putting the maxim ‘less is more’ to great effect. The
opening track, ‘Trying To Make it Home’ is the most immediately engaging cut: a double bass riff drives along a Kerri Chandler-esque filtered piano pattern which gives way to a soaring Gospel

Vocal , allowing the groove to take control as flutes, strings and occasional guitar licks meander in and out of the mix to create a real ‘heads down, arms up’ moment for the dancefloor.

On their sophomore effort Tusky, surrealist duet Robbie & Mona ascend beyond the lo-fi scrawlings of their debut album to something altogether more grandiose. Between the lights down drama of sprawling opener ‘Sensation’, to the ‘roll credits’ coda of closer ‘Always Gonna Be A Dead Man’, Tusky exists as a glitzy, lucid journey playing out before the listener.
While debut album EW captured William Carkeet and Ellie Gray as they were finding their feet with one another, creating Tusky was a wholly symbiotic process from day one. “We got better at knowing what each other wanted,” William offers. “This was the album that we were trying to make from the beginning.”

Simultaneously evoking multiple eras of music, the album drifts through worlds of synth pop, jazz, trap, drill, ballroom waltz and leftfield electronica, with the scatterbrain sound palette melded by a peppering of instrumental motifs and William’s addiction to sampling sounds across multiple tracks. “I wanted there to be this weird dimensional thing going on,” William explains, “where songs from the album are playing in multiple places.”

The record sees an expansive cast of musicians assembled, with a much heavier focus on live instrumentation than previous outings. Alongside the expected fare of crackly synths, samplers and drum machines, Tusky gets its glossy sheen from a rich tapestry of jazz drums, double bass, grand piano and saxophone.

Most of the tracks are laden with improvised saxophone from Campbell Baum (Sorry, Broadside Hacks) and Ben Vince (Housewives, Joy Orbison), much of which was scrambled by William in post-production, lifting scraps from one song and layering them atop an entirely different track. Elsewhere, session musicians were cherry picked, including Bingo Fury, his drummer Henry Terrett, and a string ensemble led by Caelia Lunniss and Jo Silverston (Spindle Ensemble).

Most surprising is a rap feature from Monika (of South-East London collective Nukuluk), who brings album centrepiece ‘Mildred’ to new heights with a fiery verse on pain. Aside from being the most unlikely addendum to a sombre piano ballad, it demonstrates Robbie & Mona’s natural state of playfulness, forever following emotions and sensuality over any notion of traditional compositional boundaries.
Many of Tusky's tracks owe their inception to cinema, be it the soundtrack to Betty Blue, the glowing films of Wim Wenders, or the surprising parallels between La Belle Et La Bete and Bad Boys. Equally, much of Robbie & Mona's new-found sense of tension and spectacle comes from William’s recent work soundtracking independent filmmakers, while Ellie gave greater priority to threading a narrative through her stream of consciousness writing style.

In all its majesty, Tusky celebrates creativity with creation. “If you begin to see fiction as real, you can reincarnate and become different things. You can grow,” Ellie implores. “Nothing stays the same. You can shed old characters in yourself. There’s great joy in that.”

RNT welcomes Amy Douglas to their ever-growing lineup of illustrious talent with a double A-side 7" of pulsating, Rough-N-Tumble NYC Disco.

Known to the heads as a voice and pen behind Horse Meat Disco, Roisín Murphy, and as the face of HARD FEELINGS (her project with Hot Chip’s Joe Goddard), Amy’s distinctive vocal swagger and songwriting talent are on full display on this EP. Co-written with and produced by RNT co-honcho JKriv, both tracks are bass heavy instant earworms, and wickedly naughty party starters.

Grab this pair of future modern disco classics, conceived by a pair of experienced dance-floor auteurs.

2023er LP Nachpressung auf schwarzem Vinyl! Nach eigenen Angaben verbrachten Gitarrist Mike Sullivan und Drummer Daniel Turncrantz eine gewisse Zeit in amerikanischen Nationalparks und fuhren durch Berglandschaften, als sie "Station" aufnahmen. Ihr Album klingt auch entsprechend episch, monumental und besitzt eine unglaubliche Tiefe. Sullivan und Turncrantz bekamen prominente Unterstützung vom THESE ARMS ARE SNAKES/BOTCH Bassisten Brian Cook, während sich Morgan Henderson von den BLOOD BROTHERS (R.I.P.) auf "Xavii" dem Kontrabass annimmt. Aufgenommen in Seattle von Mastermind Matt Bayles (ISIS, MASTODON, MINUS THE BEAR), verpasste er der Band diesen intensiven und beeindruckenden Klang und achtete gleichzeitig darauf, dass "Station" den Namen Album auch wirklich verdiente: ein kohärentes Werk, vom ersten Lied Campaign bis zum letzten Lied mit Double Bass Xavii. Insgesamt sechs Stücke befinden sich auf "Station" und es ist ohne Untertreibung instrumentaler Postrock at its best! Ein echtes Kunstwerk. Gegründet 2004 haben RUSSIAN CIRCLES von Anfang an mit Versatzstücken des Metal, Elementen des Minimal Jazz und kryptischen Riffs, die so klangen, als sei ein Komet in einer Großstadt eingeschlagen, verwirrt, polarisiert und unendlich verzückt. Ihre Musik verwebt einen Teppich aus intensivsten cinematischen Eindrücken, der einem auf der einen Seite mit seiner Härte den Boden unter den Füßen wegzieht, es auf der anderen Seite aber auch versteht, den Aufprall zu bremsen und für Kopfkino ohne Gleichen sorgt. "Enter", ihr Debüt von 2006, bescherte RUSSIAN CIRCLES Shows mit Größen wie TOOL, DALEK, DAUGHTERS und PELICAN. RUSSIAN CIRCLES setzen mit "Station" genau dort an, wo sie mit "Enter" aufhörten, erschließen sich aber gleichzeitig einen neuen Weg in die musikalische Tundra, um Kopf und Körper mitzuziehen und nicht nur dem Jahre 2008, sondern der ganzen Musikgeschichte ihren Stempel aufzudrücken.

2023er LP Nachpressung auf schwarzem Vinyl! Nach eigenen Angaben verbrachten Gitarrist Mike Sullivan und Drummer Daniel Turncrantz eine gewisse Zeit in amerikanischen Nationalparks und fuhren durch Berglandschaften, als sie "Station" aufnahmen. Ihr Album klingt auch entsprechend episch, monumental und besitzt eine unglaubliche Tiefe. Sullivan und Turncrantz bekamen prominente Unterstützung vom THESE ARMS ARE SNAKES/BOTCH Bassisten Brian Cook, während sich Morgan Henderson von den BLOOD BROTHERS (R.I.P.) auf "Xavii" dem Kontrabass annimmt. Aufgenommen in Seattle von Mastermind Matt Bayles (ISIS, MASTODON, MINUS THE BEAR), verpasste er der Band diesen intensiven und beeindruckenden Klang und achtete gleichzeitig darauf, dass "Station" den Namen Album auch wirklich verdiente: ein kohärentes Werk, vom ersten Lied Campaign bis zum letzten Lied mit Double Bass Xavii. Insgesamt sechs Stücke befinden sich auf "Station" und es ist ohne Untertreibung instrumentaler Postrock at its best! Ein echtes Kunstwerk. Gegründet 2004 haben RUSSIAN CIRCLES von Anfang an mit Versatzstücken des Metal, Elementen des Minimal Jazz und kryptischen Riffs, die so klangen, als sei ein Komet in einer Großstadt eingeschlagen, verwirrt, polarisiert und unendlich verzückt. Ihre Musik verwebt einen Teppich aus intensivsten cinematischen Eindrücken, der einem auf der einen Seite mit seiner Härte den Boden unter den Füßen wegzieht, es auf der anderen Seite aber auch versteht, den Aufprall zu bremsen und für Kopfkino ohne Gleichen sorgt. "Enter", ihr Debüt von 2006, bescherte RUSSIAN CIRCLES Shows mit Größen wie TOOL, DALEK, DAUGHTERS und PELICAN. RUSSIAN CIRCLES setzen mit "Station" genau dort an, wo sie mit "Enter" aufhörten, erschließen sich aber gleichzeitig einen neuen Weg in die musikalische Tundra, um Kopf und Körper mitzuziehen und nicht nur dem Jahre 2008, sondern der ganzen Musikgeschichte ihren Stempel aufzudrücken.