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Beehive sisters The Contessas only experienced a fraction of what could have been. "Broken Heart" b/w "Gimme Gimme" simply describe their short lived experiences through ghostly string, soulful vocals, and funky rhythms.

Out from usual circuits init ?

A bloody crazy electrobass moment to share...

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This music unites our common love for the essence of music, which contains harmonic structures and emotionality without borders." — Musique Infinie

Musique Infinie, the new duo consisting of Noémi Büchi and Feldermelder, is rooted in a shared desire to intertwine two composing veins, and to merge them into a new, massive core. While Büchi combined her background in classical and electro-acoustic music with a bold approach to composition on her highly acclaimed debut album 'Matter' (-OUS, 2022), multi-disciplinary musician and artist Feldermelder has been expanding his artistic practice into unexplored realms for over 20 years. Mutually, they've challenged themselves to fully engage on an artistic exploration aimed at making use of the elementary forces that unfold between them.

Their debut album, simply titled 'I', is a musical hybridization. The compositions make use of simple motives that are radically transformed by expanding them into intricate structures and fantastic layerings. The overcoming of genres with eclectic elements from classical music, jazz, film music and traditional music, combined with the vocabulary of experimental electronic music, complete the vertical plunge into this thickness. The emerging pieces lead into a paradoxical world, both disturbing and euphoric. Pieces that don't give in to calculations and expectations, but progress through ruptures and repetitions. The richness of the compositions and their analog, acoustic and orchestral character reflect the density of the world with its violence, its decadence, its fragility, but also its power, its ingenuity and its beauty.

Composer and sound artist Noémi Büchi creates electronic, symphonic maximalism. Her music is defined by a delicate synthesis of textural rhythms and electroacoustic-orchestral abstraction. She explores the potential of consonance and dissonance, contrasts rhythmic physicality with disruption and playfully emphasizes irregularities, creating an expansive listening experience marked by detail and elevation.

Feldermelder is a polymathic creative whose artistry spans composition, sound design, installation and code. He is co-founder of -OUS Records and an active member of Encor.studio, a collective specialising in creating immersive audio-visual installations. Through his work, he explores the idea of secrecy and its impact on our lives, using music and sound to create a thought-provoking and immersive experience for his audience.

Japanese Jazz legend Tsuyoshi Yamamoto's new album, A Shade Of
Blue, undoubtedly reflects his love of the piano trio, a group configuration that in jazz history began in the 1940s with Nat King Cole and then was developed in the 50s by innovators like Oscar Peterson, Ahmad Jamal, and Bill Evans Yamamoto's highly experienced trio - which has a combined age of 215 years -
features bassist Hiroshi Kagawa and drummer Toshio Osumi.

A Shade Of Blue reveals the three musicians' incredible musical chemistry; listening to the ten tracks they've recorded together, it's as if they breathe, think, and feel as one person; such is the musical empathy between them.

A Shade Of Blue will be released by evosound on MQA-CD, SACD- Hybrid MultiChannel, 180g Double Vinyl LP (audiophile pressing), available on the 27th October 2023.

Tammo Hesselink debuts on Berlin’s Midgar with “Work Work Work”, showcasing 5 techno cuts in his distinct stripped-down style. He expertly links the dots within mesmerizing drum grooves, tied together by subtle imperfections. Wonky rhythms layered with loads of sub and razor sharp twitches could be seen as a blueprint for Hesselink’s productions. Excellent percussive club tools for playful DJ sets, where tools as we know them could be flat and loopy, in these jams there’s a whole lot more to explore.

Tape

Vestigios, Aeondelit’s second full length record after recently releasing an EP of shifting club music influenced by postmodern philosopher Leotard on Tel Aviv’s Sadan records, tells a lucid, captivating story of heritage, transformation, vulnerability and healing. It will be released via Berlin-based art platform and record label Unguarded as a digital and tape release with an artwork created by Petra Hermanova, and will be accompanied by limited textile pieces by Diane Esnault. Aeondelit’s music is strongly influenced by the rocky surrounding of his hometown Manizales and fuses electronic sensibilities, ambient streams and avant-percussive rhythms that build his sound identity. Aeondelit's evocative music has previously been released via the Insurgentes imprint, Vienna-based Ashida Park and was recently featured on the 'Unguarded 2 – Entangled' compilation. Cortés describes the meaning of Vestigios as such: “The memories of past generations: the lives that burn within me, are the pillars of who I am. They constitute longings and traps, sin and strength, the temple that breaks down and rebuilds. The different dimensions of consciousness converge in the mind, which constantly tells us who we are, synthesizing and projecting our contradictions. The pain that comes with getting in touch with our vulnerabilities opens the doors to healing through confrontation. This lays the foundation for a more honest relationship with our past, present and future. 'Vestigios' is the bridge between the temporal and the eternal, the crystallized remnant of pain caused by transformation and recognition of the convulsive underworld of our psyche.” Aeondelit, birth name Sergio Cortés, is a Colombian music producer who explores themes related to technology and human condition in sound. He focuses on the creative use of sample manipulation techniques and digital sound synthesis to deepen the idea of a dialogue between computer and human, and how both influence each other. Deep in Colombia's Andes, surrounded by big mountains and the sacred Nevado del Ruiz, Aeondelit has been forging his own sound identity, exploring the intersection points between sparkly experimental club music and melodic ambient electronic. His first release Editing Destiny on the Colombian label Insurgentes was well received by the public and DJs, named one of the best albums of 2020 on Mixmag. His last release on Sadan Records, Anima Minima, was reviewed and premiered on platforms like DJ Mag, THE BRVTALIST and Orb Mag. He is also the co-founder of the independent record label Nvrclose, where his debut album as Æon Series: Dualidad, was released. About Unguarded: Unguarded is a Berlin based experimental electronic music label and art platform. In 2020 long-term collaborators Tim Roth aka Sin Maldita aka 1k Flowers and Phillipp Hülsenbeck founded Unguarded to foster forward thinking artists with a focus on exploring cross-disciplinary collaboration and embarking on sonic adventures. Unguarded was founded in a time of turmoil and uncertainty for artists and music, trying to keep personal connections alive through shared personal and collective experiences between doom and destruction and glistening hope. Amongst their own contributions, Hülsenbeck and Roth gather a collection of genre-defying works by longtime collaborators as well as artists they bonded with in recent years. Their releases constantly escape from definition but through entangling their unique artistic marks, this diversity remains absorbing and compelling throughout their sprawling sonic miasmas. Combining earth-shattering club cuts, equally elegant and bouncy, Unguarded contributes to and connects the experimental music scene in and outside of Berlin. We invite the curious to a deep, tense but rewarding experience.

»In Words« is the first solo album by the Danish musician, composer, and visual artist Alexander Tillegreen. The album represents a series of varied electronic music pieces while also carrying examples of ongoing work with psychoacoustic phenomena. Composed partly of material taken from his artistic practice as an installation artist and his ongoing interdisciplinary artistic research into psychoacoustic phenomena, Tillegreen investigates subjective sonic perception and the negotiation of language. Particularly, these investigations are done through the use of the phantom word illusion, originally discovered by music psychologist Diana Deutsch. Parts of the album were conceived when Tillegreen was the first artist ever in resident at the Max Planck Institute for Empirical Aesthetics. Triggering the brain’s tendency to interpret language-based auditory illusions as meaningful information and as words within the mind of the listener, Tillegreen’s unique sound works unfold like a kaleidoscope of phonetic mirrors which render possibilities to reflect upon the listener’s own psychological and culturally situated linguistic embeddedness. Gender-distorted voice perception, speech and language borders are all challenged and thematized throughout Tillegreen’s work. The listener’s head and bodily movement drastically affect the listening and the word interpretation. Their psychological subconsciousness, recent events, memories, and expectations as well as the listener’s motion in space all become co-creative and co- composing factors in a reactive and choreographic process of listening. The polyrhythmic seriality of spatialized syllabic structures is accompanied by elements of heavy bass drops, high-frequency tensions, undulating synth lines, and hypnotic effects. Some of the many compositional potentials of the phantom word illusions are exercised and unfolded in selected tracks throughout the album. The notion of language borders is approached from an entirely different and even more “anti-logocentric” perspective on the “eponymous” closing track »Assimilate (in Words)«, where the listener experiences the struggle and collapse of interpersonal communication through conversation. Other parts of the album represent more diverse approaches to abstract electronic music. »In Words« morphs soundscapes into glacial, spherical passages of ambient backdrops, while at other times emphasizes raw tectonic blocks of hyper-panning drones that erupt into high-velocity outlets of energetic, granular fields. Tillegreen is alternating between cyclical, minimalist, hypnotic approaches and complex, glitchy polyrhythmic melodic structures that shift and melt into evocative ambiences. The phantom words and the nature of Tillegreen’s musical visions progressively demand more of the listener’s attention and represent the artist’s ongoing artistic work and scientific research into psychoacoustics and language. While »In Words« is a highly conceptual album, the musical bandwidth is extensive.

House of Harm are proud to announce the forthcoming release of their new album Playground, out December 1st, 2023. The new record builds and expands upon the three-piece’s enthralling shadow-pop sound, a mix of midnight atmospherics, 90s era jangle pop, and contagious synth drenched hooks that further elevate the transcendent vocals of lead singer Michael Rocheford. Rounded out by Cooper Leardi (guitar / synths) and Tyler Kershaw (guitar / synth), House of Harm have amassed an impressive following as something of a best kept secret among their growing fanbase, leading to sold out shows on both coasts by the power of word of mouth alone. The band members have been drawn to music for as long as any of them can remember, and the drive to be around like-minded artists and make their own noise drew them all to Boston after high school. There they all quickly enmeshed themselves, playing in other bands before meeting each other. Ever since, House of Harm have been quietly making a name for themselves among music fans with darker pop persuasions via a steady stream of releases in single, ep and album form. That attention to detail and workmanlike approach at the expense of chasing instant gratification seems to be paying dividends after years of steady effort. The journey of their new album Playground saw House of Harm stay true to that ethos. The band painstakingly narrowed the record down to an efficient 10 tracks that they felt made the most sense, both standing on their own as well as fitting into an LP that built a cohesive world for the listener to get lost in. The album’s name also reflects the experimentation and happy accidents that came about during the writing and recording process. On “The Face of Grace” they set out to explore different dynamics by writing a song entirely without drums, but couldn't help themselves from putting emphasis on the song’s 6/8 waltz time signature. “Two Kinds” is another first for House Of Harm in that it’s predominantly driven by acoustic guitar. That aforementioned vulnerability shows up in other areas of the songwriting process as well with “Two Kinds”, one of their most revealing songs to date from a lyrical standpoint, written from a place of reflection and weakness and tackling feelings uneasy to be put on display for public consumption. Taken as a whole, the end result is an album representing a collection of the band’s most raw and expressive songs yet.

Kanaan from Oslo, Norway is back with their 2nd album in 2020. Following the impromptu Odense Sessions with Causa Sui guitarist Jonas Munk released in February, Double Sun is a different beast all together: Treading the same path as their 2018 debut Windborne, Double Sun is a studio effort in the best sense of the word. Perfectly balanced on the edge of dynamic improv, throbbing beats sizzled in scorching fuzz and topped off with deeply layered soundscapes. This album sees Kanaan reach a new plateau. Kanaan presents a unique perspective to psychedelic rock, painting with a wide palette that includes jazz and post-rock. Double Sun devotes as much energy to sonic colour as it does to groove and energy. The spirit of experimentation is everywhere: From the savory, pastoral sounds of opening track Worlds Together, to the soaring exploratory paths of the two-part title track. In the creative process, Kanaan dived deep into the possibilities of the studio, adding intricate layers and twists and turns to these tunes: acoustic guitars, percussions & synthesizers embrace and enhance the Norwegian modern day version of a power-trio.

Gallery is back, and this time they're unleashing a one-sided wonder just in time for the party season! Brace yourself for the ultimate sonic experience as two massive anthems collide, giving birth to a new and priceless piece of musical art.

This masterpiece has been exclusively hammered by the dynamic duo, the keepers of the coveted copies—none other than the legendary DJs, Harvey and Artwork. Get ready to be swept away on a musical journey that's set to elevate your party vibes to a whole new level!

Berlin-based artist Avilynn fuses electro, breaks, rave and IDM on modular driven '6' EP for her own Taisha Records this October.

Avilynn has been slowly unveiling releases via her fledgling Taisha imprint, showcasing her unique sound which encapsulates a variety of influences, always laced with a dynamic feel, sonic hypnotism and gritty drive. Following on from 2021's acclaimed 'Five Million Sunsets', Avilynn returns to Taisha Records with her new '6' EP. Blending sonic experiences from the Berlin cityscape and coupling them with provocative and sophisticated instrumentation.

'Air and Bubbles' leads the release and lays down cinematic strings, tension building atmospherics, a vacillating rhythmic groove and murky bass grooves. '66 33'48.8' follows next, coordinates possibly, a hidden destination, a journey complete. This one sees Avilynn shift focus towards textural soundscapes layered with ethereal, billowing voices atop intricate off-kilter drums and swirling synth flutters.

Title-cut '6' then opens the flip-side, embracing a brighter aesthetic with cosseting pads and resonant bubbling synths delicately intertwined with a winding low-end groove and a combination of electronic and acoustic drums to create the composition's bumpy
breaks. 'Fobias' then rounds out the EP, edging back into darker realms bringing crunchy saturated bass stabs and shuffled percussion into the forefront while sweeping strings, intricate melodies and voice-like textures unfurl as the composition progresses.

Orphax & PONI (person of no importance) is a collaboration between the two Dutch brothers, Sietse (Orphax) and Tjeerd (PONI) van Erve. Since their early years they share a broad interest in music, fed mostly from their fathers’ record collection, ranging from early blues to Pink Floyd or Beethoven. But also listening to Belgian radio channel Studio Brussels (which during the late 80s and early 90s was a common listening close to the borders between The Netherlands and Belgium), and the late night Dutch radio inspired them in exploring the rough edges of underground music.

An exploration that gave them a common interest in indie and noise rock, but soon enough both followed their own path in music. Tjeerd moving more into underground guitar music, whilst Sietse developed a wider interest in (experimental) electronic and contemporary music. Both as listeners, but also exploring their own interests as musicians.

Now many years later these musical paths cross again in this album Inheritance (with a slight imagination, a translation of their last name van Erve). An album where Tjeerd brings in his dark and noisy lo-fi guitar songs and Sietse brings in his drones and electro-acoustic composition styles.

The album opens with its longest track, “As Received”. This combination results in a slow developing drone, with the intensity and tension of a well build-up post-rock track, that slowly unfolds Tjeerd his guitar layers and vocals. The title of the song refers to one of the PONI projects, where Tjeerd would send rough recordings to befriended musicians who than would rework those recordings without any restrictions which then would be released side by side with the original rough recordings. A project which actually sparked the idea of this collaboration (and that can still be listened to on PONI’s bandcamp-page).

On the flip side of the record, three shorter works give more room for regular song structures. In “Sunburns” this results in slowcore with subdued vocals, melancholic guitars and nasty synth and organ drones. When Tjeerd wrote the basis for the song, he actually had been listening to a lot of Codeine and Bedhead. One does not need much fantasy to recognize the influences of these bands.

“The Tears Are Necessary” is build up around various broken up piano tracks accompanied by moody drones to develop a fragile song.

The album closes with “Lockdown”, opening with silence as a moment of contemplation after the previous work but then quickly develops in a playful song where improvised play on piano, guitar and modular synthesizer create a lo-fi gem that clearly shows that both brothers still haven’t lost their love for Sentridoh or Guided By Voices.
All together resulting in an album that is an ode to the love of music, experiment, and creativity and a celebration of brotherhood.

Those familiar with the sound and style of the DIY scene in Chicago's Logan Square may be surprised to find out that it was the birthplace of psych pop quintet Lucille Furs. They are a little surprised themselves.

At the time it wasn't exactly the place to hear harmonies and harpsichords so much as songs about sniffing glue. This isn't to say they didn't like the raucous power of Magik Milk, on the contrary. But, as the people who would come to make up the band began to talk, it became clear that they wanted to make something different entirely. They wanted to make something with the heartbeat of sweaty city basement shows but with the unrestrained imagination of places and times where they had never been.

Bassist Patrick Tsotsos will tell you about the music of post-war Greece where his grandparents grew up. Guitarist Nick Dehmlow will tell you about the garage bands of LA. Drummer Brendan Peleo-Lazar can fill you in on a late 60s London studio session as though he was running the tape machine. Mellotron/organ player Constantine Hastalis can show you a record by some long-forgotten folk singer who writes so earnestly you won't forgive the world for forgetting it. Singer Trevor Newton Pritchett is unapologetic about what they borrow. "You might hear the Zombies for their kind of haunting and contemplative quality, the Kinks kind-of casual criticism, the West Coast Pop Art Experimental Band for their distant romantic quality, Temples, Love, Diane Coffee, Charles Bradley or our Chicago people Post Animal, Jude Shuma and Whitney." Now that half of the band is located in Los Angeles you'll be likely to hear those influences, too.

And that's what becomes crystal clear when listening to the upcoming album Another Land. It's an immersive listen, the kind of record you can get lost in on a cross-country drive from the midwest to the west coast. A record with warm blood running through its veins. Music where thought can be abandoned.

The whole record is dressed up in surreal and esoteric terms, in exchange for being topical. Think Dylan lyrics from the late 60s. "Paint Euphrosyne Blue" is kind of a meta-level example of that. The song is a reference to the goddess of mirth, about the human need to adapt to the point of becoming unoriginal. It's about chasing Van Gogh's depression because it makes you feel like a better painter.

The album was written through September 2017 and was recorded following the release of the self-titled Lucille Furs album later that year. It was recorded direct to tape before being completed at Treehouse Records in Chicago.

For fans of: The Kinks, The Zombies, Love, West Coast Pop Art Experimental Band, The Byrds, The Beatles, Foxygen, Triptides, Temples, Mystic Braves, Levitation Room

Those familiar with the sound and style of the DIY scene in Chicago's Logan Square may be surprised to find out that it was the birthplace of psych pop quintet Lucille Furs. They are a little surprised themselves.

At the time it wasn't exactly the place to hear harmonies and harpsichords so much as songs about sniffing glue. This isn't to say they didn't like the raucous power of Magik Milk, on the contrary. But, as the people who would come to make up the band began to talk, it became clear that they wanted to make something different entirely. They wanted to make something with the heartbeat of sweaty city basement shows but with the unrestrained imagination of places and times where they had never been.

Bassist Patrick Tsotsos will tell you about the music of post-war Greece where his grandparents grew up. Guitarist Nick Dehmlow will tell you about the garage bands of LA. Drummer Brendan Peleo-Lazar can fill you in on a late 60s London studio session as though he was running the tape machine. Mellotron/organ player Constantine Hastalis can show you a record by some long-forgotten folk singer who writes so earnestly you won't forgive the world for forgetting it. Singer Trevor Newton Pritchett is unapologetic about what they borrow. "You might hear the Zombies for their kind of haunting and contemplative quality, the Kinks kind-of casual criticism, the West Coast Pop Art Experimental Band for their distant romantic quality, Temples, Love, Diane Coffee, Charles Bradley or our Chicago people Post Animal, Jude Shuma and Whitney." Now that half of the band is located in Los Angeles you'll be likely to hear those influences, too.

And that's what becomes crystal clear when listening to the upcoming album Another Land. It's an immersive listen, the kind of record you can get lost in on a cross-country drive from the midwest to the west coast. A record with warm blood running through its veins. Music where thought can be abandoned.

The whole record is dressed up in surreal and esoteric terms, in exchange for being topical. Think Dylan lyrics from the late 60s. "Paint Euphrosyne Blue" is kind of a meta-level example of that. The song is a reference to the goddess of mirth, about the human need to adapt to the point of becoming unoriginal. It's about chasing Van Gogh's depression because it makes you feel like a better painter.

The album was written through September 2017 and was recorded following the release of the self-titled Lucille Furs album later that year. It was recorded direct to tape before being completed at Treehouse Records in Chicago.

For fans of: The Kinks, The Zombies, Love, West Coast Pop Art Experimental Band, The Byrds, The Beatles, Foxygen, Triptides, Temples, Mystic Braves, Levitation Room

If you made music the way you cook, what would it sound like? For this tape compilation, we invited artists to consider the connection between food and sound, music and cooking. We envisioned an assorted mixtape—an auditory cookbook, of sorts—of songs, poems, field recordings, and aural experiments, inspired by recipes, food preparation processes, dishes, and the experience of eating. We asked: How does attention to sound—the sputtering of the oil, the popping of the kernels, the hum of a rolling boil, the repetitive thump of a mixer—help you to be a better cook? Consider how these rhythmic, arhythmic, polyrhythmic, and droning sounds might inspire your recording. What would an audio recipe sound like? Can you set a rhyming recipe to music? How is a recipe like a musical score? Where do you find space for improvisation between the notes and instructions? What is “jazz baking”? Could the multivocality of a community cookbook be translated by a choir? What food or dish or process is deserving of an ode? What do you like to listen to when you’re in the kitchen? Write a benediction song that can be sung by a group before a meal. After over a year in which dining together en masse was not possible, what is it about the experience of collective eating that you want to express gratitude for? What is your food hymn? Together the compiled tracks–or ingredients, if you will–deepened and expanded our original vision, mixing, cooking, and baking together in a hearty, warm, and inventive aural menu for the most nourishing of communal meals.

The band quickly garnered attention with their explosive live performances and a unique sound that effortlessly blends elements of hardcore punk and metal.

The band's lineup features members from the renowned group Cult Leader, bringing a wealth of experience and a collective passion for creating music that resonates with listeners on a visceral level. With their debut album, 'Pessimist', set to release on October 27th via Church Road Records, RILE is poised to make a resounding impact on the music world.

Pessimist is a cathartic journey through the depths of human emotion, delving into themes of inner turmoil, existential struggles, and the darker aspects of the human psyche. From start to finish, the album showcases RILE's exceptional musicianship and their ability to craft songs that are both haunting and sonically crushing.

Drawing influences from bands like Converge and Trap Them,
essimist delivers a relentless onslaught of churning riffs, blistering drums, and gut- wrenching vocals. The band's tight- knit chemistry and artistic cohesion shine through on tracks like lead single 'Climb Out', where they seamlessly weave together melody and aggression to create an unforgettable sonic experience.

With their heartfelt and thought- provoking lyrics, RILE lays bare their
vulnerabilities and fears, inviting listeners to confront their own inner demons. The album's dynamic production enhances the intensity of each track, immersing the audience in a maelstrom of sound that leaves a lasting impact

Temple, Bassey, MacLaine and now, Hurt; in a world of Shirleys, the name Sophia Ruby Katz has chosen for her music is perhaps prophetic as it captures her stunningly emotive vocal approach. And whilst Shirley Hurt might be the perfect nom de plume for the creative Toronto-based artist, it’s her self-titled debut album which positions her as protagonist of her own universe.

Traversing sonic landscapes, Shirley Hurt’s vocals ebb and flow like lyrical Ley lines tracking the contours of her own well-travelled map. By the age of 18, Hurt had travelled extensively, having lived in upwards of 20 different apartments and houses, as a result never really feeling “at home” anywhere. At this age was when Hurt found herself in New York, dipping her toes into various scenes and musical realms. The first and only place she ever felt at home, and a partial home-base for her, she travelled between Toronto and New York until the age of 26.When the project she was working on in New York reached a dead-end she returned West, moving in with musicians Harrison Forman (Hieronymus Harry, Zones) and Patrick Lefler (Roy, Possum). Being surrounded by their improvising at all hours, a new approach emerged. “Harrison is a virtuosic guitar player, and I hadn't picked up a guitar in any serious way since I was 16,” she says, “by osmosis I started playing again for fun.” Without agenda, the process grew organically from there.

Hurt and Forman decided to travel across the US and Canada in a trailer for half a year, with the entire album written in the final months of their trip. Hurt had been writing loose ideas here and there but felt blocked creatively. When the pair reached Berkley, they wound up house-sitting for a tuned-in friend who recommended she pray, in a very direct way, to remove the block. “I took her advice and to my surprise it worked. The album was conceptualized and finished within a couple of months.” Shapeshifting in tone and phrasing, Hurt’s music alchemizes the furthest corners of experimental indie folk, pop, and country into a singular sound with elegant unpredictability.

Whilst Shirley Hurt’s lyrical and structural ideas may have emerged on the road, the album was self-produced and recorded at Joseph Shabason (The War on Drugs)’s Aytche studio in Toronto’s West End. It was engineered by Nathan Vanderwielen and Chris Shannon (Bart), and Hurt enlisted collaborators Jason Bhattacharya, Nick Dourado, Patrick Lefler, and Harrison Forman to hone her vision. “I wasn’t sure what was going to happen with the songs until we returned to Toronto,” she recalls. “Joseph and I had been talking about working together after sending across some demos and Jason happened to recommend his studio at the exact same time, so everything came together naturally at that point.”

Whilst her most recent adventures may have seen Shirley Hurt bound for Texas as an official SXSW artist (hand-picked by Gorilla Vs Bear to perform at their own showcase), she currently resides in her native Canada, more specifically rural Ontario, close to friends and family, and is already working on her second album. The ties to lineage are interwoven in the fabric of the music. Hurt’s mother, artist Leala Hewak, instilled a lust for life and innate value of creativity in her from a young age as she explored the role of gallery owner, vintage jewellery show host, mid-century modern furniture expert, real estate agent, painter. Hurt’s father, a civil litigation lawyer and new-wave obsessed music lover with an extensive vinyl collection, introduced Hurt to a wide-range of artists at a young age such as Nina Hagen, Laurie Anderson, Tom Tom Club, and endless others.

In her video for ‘Problem Child’ Hurt’s grandmother walks her through a generationally revered pie-making process. One would be tempted to hear this, and other songs, as autobiographical. Yet, Hurt’s lyrics are rarely pulled from her relationships or personal history––at least not consciously. Rather, they arise from somewhere less tangible or defined. “Lyrics tend to come to me when I am doing non-musical things - washing dishes, brushing my dogs, walking to the grocery store. I have a lot of voice memos on my phone and half-filled notebooks and when I hear something, I have to stop what I'm doing to get the idea down. Usually it’s bits and pieces. It's rare a full song comes to me in one go, but it's great when they do, and those are often my favourites.”

Carving out a space of her own in an all-encompassing universe, Shirley Hurt is the introduction to a long artistic story, and if the journey so far is anything to go by, it will be stippled with evermore unpredictable chapters.

Javier Jiménez Rolo surprises with Saint Malo, a project that explores the intersections of neoclassicism, folk, ambient and electronic textures.

That Saint-Malo is a town in Brittany is the least of it. Even the fact that it exists is unimportant. Javier has never been there. Similarly, his album takes us to remote or not so remote places without moving from where we are. Javier composed these twelve songs between 2019 and 2021 from his room: "One of the problems with recording at home rather than in a studio is that when you move, your recording space changes too. In the case of this album, I was involved in three moves during its whole process. Trying to see the positive side of this situation, I realised that, as well as a collection of songs, it was a testimonial to the different places where I had lived during those years and their respective views: 'Promenade' is an imagined walk from an interior flat; 'Picture In A Frame' is a sunny afternoon in a park in Ciudad Lineal, Madrid, and 'Bells Of Nowhere' is a stroll through the neighbourhood that was once my grandparents' and is now mine."

It's an eminently evocative album but also powerfully narrative, which moves through different emotional states. Along the way, references as heterogeneous as Javier's own tastes come up. From the inevitable Arvo Pärt, Max Richter and Steve Reich to the more unsuspected Thom Yorke, Burial, Caribou, Vulfpeck or even Dua Lipa. Stéphane Grappelli, Andrew Bird, Nils Frahm, Olafur Arnalds or Rene Aubry are other names Javier mentions when he talks about something similar to influences.

The journey, during which the songs miraculously fit with magical precision to the landscapes we are travelling through, begins with the promising 'Beware Of The Dogs' and 'Maltravieso'. It is followed by the obsessive arpeggios of 'Le Havre' that give way to the luminous 'Fields Of Gold', the emotion of 'Cais do Sodré' and the passionate 'Le pont roulant', reminiscent of a restrained Alexandre Desplat. Along the way, dogs will bark, rain will fall on the 'Promenade' and the sun will come out with the perfectly playful 'Dolce Far Niente' ("a mix between elevator music and a song announcing the arrival of summer" according to Javier) in which echoes of Isao Tomita and Raymond Scott resound.

The result of this captivating, unexpected and suggestive mixture is Saint Malo, Javier Jiménez's first album and the empirical demonstration that he does not have, despite his classical training, any red lines. "I've always flirted with jazz, with swing... Then I moved on to messing around with loops, to doing more ambient and experimental things. I also had my folkie phase with the klezmer group Barrunto Bellota Band..."

In Saint Malo the melodies grow, become small, return and intertwine with loops and improbable aromas, to form an album that describes a journey through emotions. From melancholy to joy and the surprise of first discoveries.

Renowned Berlin-based music discovery platform COLORSxSTUDIOS will release their new vinyl compilation album, ‘MOVE:FEEL1’, just in time for the holidays.

The limited-edition double disc gatefold vinyl will feature 16 beloved A COLORS SHOW tracks, both recent and from the archive, including London-based rapper Kwengface’s ‘Freedom’ that was released earlier this year, critically-acclaimed Malian artist Fatoumata Diawara’s ‘Nterini’ from 2019, and Dominican-Italian star YEИDRY’s breakout 2020 hit ‘Nena’.

The album is truly international—it will feature songs sung in six different languages (including English, Swedish, German, Bambara, French, Vietnamese, and Spanish) and represent artists from 15 different countries across the world.

‘MOVE:FEEL1’ reflects and celebrates the launch of COLORS’ new ‘MOVE’ and ‘FEEL’ playlists that are now available across all DSPs. Updated monthly, these playlists will curate COLORS’ genre fluid output into cohesive listening experiences that cater for varying emotional states.

The songs on the ‘MOVE’ playlist—and hence on the ‘MOVE’ sides of the vinyl—are uptempo, bold, sexy and energetic, and aim to set the tone for daring and unapologetic enjoyment. In contrast, the tracks on the ‘FEEL’ playlist and discs are downtempo and emotive. They are for relaxation, and to help listeners contemplate their internal and external environments

Designed by COLORS’ in-house creative team, the vinyl cover is mirrored, meaning its appearance adapts depending on the light and colors it reflects. This was an important decision to ensure the cover represents all of the featured artists, who all performed their A COLORS SHOWS against different colored backdrops. The mirrored material also enables the audience to literally (and hopefully metaphorically) see themselves in the album.

Each side of the mirrored cover is adorned differently: while the “MOVE” side features embossed lines, stripes and slashes indicative of motion, the more introverted “FEEL” side is debossed with goosebump-like grooves. Even with their eyes closed, people will be able to feel which side of the album is which, adding an extra sensory layer to the listening experience.
MOVE:FEEL1’s design also prioritizes sustainability, using no single-use plastics for its packaging.

Coltrane, Shorter, Hubbard, Davis & Perkins from a Latin perspective! The Mantecas represent one of the finest concentrations of experience and talent in Latin and Jazz music ever to be based in the UK. A pure uplifting Latin Jazz music celebration. NOT-TO-BE-MISSED!! Recorded at different locations in London during 2022/23. Mixed at Abbey Road Studios in March 2023. The Mantecas (formerly known as "Manteca") is an eight piece, London-based, Latin Jazz, Soul and Boogaloo band well known for creating a party mood at festivals and gigs everywhere they go, from Glastonbury, Ealing Festival and Tropical Pressure Festival to The 606 Club and The Jazz Café in London. They have a particular ability for bridging the culture gap with any audience getting all crowds up hitting the dance floor in a jive. The Mantecas will blow your mind with a mesmerising mix of salsa, Cumbia, Funk, Latin jazz and Boogaloo. For this new release album, the band is exploring the legacy of some of the Jazz giants through a Latin lens, reworking timeless pieces by Coltrane, Shorter, Davis, Hubbard and Perkins, giving them the infusion of Latin rhythms while remaining true to the Jazz language. The band is made up of some of the best musicians in the Latin, Jazz and Pop scenes in London: TRYPL HORNS: Paul Booth (Incognito/Brand New Heavies), Trevor Mires (Jamiroquai/Incognito), Ryan Quigley (Gregory Porter/Beverly Knight) Dave Oliver: Keys (Lisa Stansfield/Snowboy) Satin Singh: Percussion (Jazz Jamaica/Roberto Pla/Pucho and the Latin Brothers) Javier Fioramonti: Bass and arrangements, MD (Alex Wilson/Jack Costanzo/Joe Bataan/Salsa Celtica) Flavio Correa: Vocals (Omar Puente/New Regency Orchestra) Will Fry: Percussion (Tom Misch, Tony Allen) Rob Luft: Guitar (Dave O'Higgins, Byron Wallen) "Expect loads of hard-hitting salsa, exploding drums and outrageously funky boogaloo". Time Out * "Ripping new Latin Jazz band from the finest musicians of London". Fact Magazine * "One of the best Latin Jazz-funk bands working the scene today". The Jazz Café, London Ltd Ed.

Robert Hood's techno and Femi Kuti's Afrobeat intertwine in a new form where jazz-grooves reign supreme. For the fourth season of La Compagnie des Indes & Sourdoreille "Variations" live series of creations for France TV, the duo were united around the singer and producer James Brown, performing a tribute to the legendary Godfather of Soul who passed away in 2006. This "Variations" album is the live recording of this unique collaboration and performance, capturing a very special moment in time.

The evening witnessed a meeting of two icons in their own genres: one with synths and drum machines, the other on saxophone: Robert Hood and Femi Kuti embody excellence in their respective fields and the pair combined to make something truly unique, soulful, funky and spontaneous. Recorded in one 30+ minute take, "Variations" is embellished by Femi's exquisitely free-flowing yet restrained saxophone, whilst Hood anchors the groove with layers of pads and kicks with the long-time mastery of a true DJ.

Alongside Jeff Mills and Mad Mike, Hood is one of the original members of Detroit techno group Underground Resistance. His style is characterised by minimalist and experimental tones with an assertive groove. Throughout the '90s, he helped pave the way for techno to flourish - giving birth to minimal techno with his seminal album "Minimal Nation". Since then, he has been consistently forwarding electronic music culture with ground-breaking productions, sensational performances and his M-Plant label.

Alongside him, Femi Kuti takes on every musical style with his saxophone, which he plays with a virtuoso touch: pop, soul, electronic music and Afrobeat, of which he is one of the leading exponents. The son of Afrobeat singer and political activist Fela Kuti, he has inherited his father's zeal for both music and activism, where he continues to highlight the plight of most Nigerians living conditions in the oil rich state.

With "Variations" the duo capture an explosive combination on a special night in Paris 4 years ago, November 2019, filmed at the ADP Group headquarters (Paris Aéroport - Charles de Gaulle (CDG) - Roissy).

"It is so amazing when a vision comes to fruition. I enjoyed collaborating with the legendary Femi Kuti for this special project." Robert Hood

Denovali presents the second cooperation album of Italian composer, arranger, producer and guitarist ERALDO BERNOCCHI with Berlin-based Japanese violinist, composer, electronic producer and TANGERINE DREAM member HOSHIKO YAMANE.

Eraldo Bernocchi and Hoshiko Yamane have come together again to create their second album - inspired by the Japanese concept of "Sabi". The record is a unique blend of electronic and acoustic music - with Bernocchi’s pulsating textures and Yamane's haunting treated violin melodies weaving together to create a captivating and emotional sonic landscape.

"Sabi" is a Japanese aesthetic that celebrates the beauty of impermanence and decay. It is often associated with the simplicity, austerity, and solitude found in nature, and is said to evoke a sense of melancholy, nostalgia, and reverence for the passage of time. Bernocchi and Yamane's "Sabi" explores these themes through a collection of minimalist compositions that combine electronic and acoustic instruments immersing the listener in a deeply cinematic experience.

The album takes the listener on a journey through a series of atmospheric tracks, sometimes melancholic pieces that evokes the sense of solitude and simplicity often associated with the concept, other times more energetic and uplifting, optimistic ones that celebrates the beauty of transience.

Throughout the record, Bernocchi's electronics work provides a powerful, quite physical, backdrop for Yamane's violin melodies and harmonies , which are at once mournful and hopeful. Together, they again created a sound that is both beautiful and haunting, evoking the sense of nostalgia and reverence that is at the heart of the "Sabi" aesthetic. "Sabi" is a unique and powerful work of art that explores the beauty of impermanence and the passage of time. With its blend of electronic and acoustic elements, it is a record that is both modern and timeless, and is sure to appeal to a wide range of fans of electronic, ambient and experimental music. The artwork again was created by the renowned designer Petulia Mattioli.

Some Songs Of A Dumb World

'The light at sunset is mysteriously pinkish.'

After Trip Trap, TRIP's sub-label GALAXIID releases the debut album by the Species Of Fishes duo. The record, originally released by the Dutch experimental label Korm Plastics in 1994, has influenced two generations of post-Soviet musicians. 'Some Songs of a Dumb World' is like a quest that you can either take up or appreciate as a mosaic of different music styles.

Igor Kolyadny and Vitaly Stern initially worked separately but later shared ideas during home sessions to build their own psychedelic world. They used a large number of cassette samples, including the voices of physicists, paranormal researchers, astronomers, and wildlife TV show hosts, combining them with pulsating rhythms inspired by various electronic music genres. The result, as the duo
described it in an Inverted Audio interview, is 'a sort of alienated, extraterrestrial, studying view on the sound component of human activity.'

For the very first time, the tracks from the debut album by Species Of Fishes are now available on vinyl. The double LP reissue with the refreshed version of the original artwork includes the original tracks, mixed between 1993 and 1994, but re-edited and remastered by Igor Kolyadny in 2021. Two tracks were released on the lesser-known follow-up 'Songs of a Dumb World Part 2', while "Salmon Hunting/Kaluga-Mars" is being released for the first time.

2023 Repress!
Since 2009’s critically acclaimed Machine Dreams they have not sat still, touring the globe and making some high profile friends along the way.
No one in their right mind would have expected the future of soul music to come from Gothenburg, Sweden. But there it is in the dreamy, rhythmical, shifting, moody rainbow creature that is Little Dragon. It is easy to see why some of the world’s top musical luminaries are falling over themselves to work with them. Stylishly seductive in their own right, their 2007 selftitled debut was filled with classy songwriting and cool production, with the stunning track ‘Twice’ getting played on Grey’s Anatomy and countless adverts since it’s release. Machine Dreams showed a bouncier side, as they flexed their dancing nous and came up with an album that would turn Prince’s head.
Damon Albarn invited them to collaborate on two tracks for last year’s Gorillaz record Plastic Beach, which became album highlights for the critics with Pitchfork describing the songs ‘Empire Ants’ and ‘To Binge’ as “two of the most arresting things here; they’re airy, elusive and amazingly beautiful”.
Little Dragon started 2011 with a headlining tour of the U.S. and a performance on Late Night with Jimmy Fallon in March, thanks to a recommendation from super-fan Questlove of The Roots. In May, the band appeared on the track ‘Just Don’t’ from Raphael Saadiq’s Stone Rollin’, a record some are already calling the album of the year. Then Big Boi and DJ Shadow called to invite the group to work on new music.

Limited Edition of 3,000 on Opaque Blue vinyl. - Includes 4 Bonus Tracks from the "Commitment" sessions. - Includes 12 Page Booklet with Liner Notes by Critically Acclaimed Writer, Michael Krugman. // Bobby Darin was, by any definition, a superstar - a chart-topping, multimillion-selling, Grammy Award-winning singer-songwriter, a Golden Globe-winning actor, visionary entrepreneur, and committed political activist. Restless and daring, his refusal to be constrained by genre, resulting in an endless string of top 10 hits, including "Splish Splash," "Queen of the Hop," "Dream Lover," "Beyond the Sea," and "If I Were a Carpenter." While his public persona was all bright lights and glamour, Darin was driven and inspired by the generational shifts and social upheaval of the 1960s. Despite his weakened health, Darin devoted nearly all of his free time towards multiple causes, tirelessly campaigning for his friend Robert F. Kennedy until his assassination in June 1968, after which Darin withdrew from the spotlight and embarked on an unlikely personal journey. He swapped his crooner's tuxedo for folk singer denim, his toupee for an outlaw mustache, a Beverly Hills mansion for a secluded trailer at Pfeiffer Beach in Big Sur. Commitment is grittier and more audacious than Darin's previous work. From the counterculture anthem "Me and My Hohner" (with its ironic reference to "The Star-Spangled Banner") and the soul-searching "Sausalito" to the wryly autobiographical "Distractions (Part 1)" and the tense funk of "Light Blue," the album's experimentation and free-wheeling songcraft affirm Darin as a generational talent uniquely capable of crossing the borders of age and politics.

Somebody somewhere once said that music doesn't mean anything; it is meaningful.

The Czecho-slovakian instrumental trio, Inheritance, invite you to rediscover their sonic journey with the reissue of their previous EPs, "Frames" (2014) and "Saturate" (2016), now elegantly entwined into a single captivating package released for the first time on vinyl, on Weltschmerzen. Comprising of the trio Jakub Volovár (guitar), Alex Strapková (piano), and Peter Kušnírik (drums), Inheritance was active in the mid 2010s in Brno, later unfortunately disbanding due to own personal pursuits.

Frames // Saturate embodies the melancholic and melodic tension characteristic of contemporary post-rock, complemented by the whimsy of piano-led instrumentals with a tint of indie-playfulness and a very slight yet powerful grain of sludge heaviness that can be traced back to Volovár's and Kušnirik's earlier post-metal project, Dawn to Come.

"Frames // Saturate" is first and foremost a compact sonic voyage. Volovár's evocative yet precise guitar work builds complex yet airy scaffolding, while Strapková's piano melodies create a tapestry of moods around it. Both EPs showcase Strapková's piano prowess, transforming each composition into a living organism. Kušnírik's drumming then acts as the steady pulse, guiding you through. These songs encapsulate the kind of mutualism and appreciation for (musical) interdependence that you can only develop throughout the years of practice and playing live.

You can hear how much fun it was for the band to play these songs, and that sense of joy translates directly into your own listening experience. It's the kind of music that makes you pick up an air guitar, (piano, or drums) - and sometimes everything all at once. It is music serious and poetic, yet fun and moving and complex at the same time.

Norwegian act Ulver rose to prominence from a blacker metal-rooted background in their early years, to becoming widely known for high- calibre soundscapes & exquisite experimental & electronic art as part of their continual & ever- shifting evolution.

With a penchant for folklore- laced black metal in their formative years & with what could be considered even then to be eclectic & unconventional compositions compared to the more raw & primitive offerings from other arising acts in the scene at the time, Ulver made a big mark on the genre since their formation in the early 90's, spawning a unique & celebrated trilogy of early works which arrived in quick succession, starting with their monumental 1995 debut, 'Bergtatt', before the more serene acoustic- driven experience of 'Kveldssanger'
the following year & completed by the more feral & ferocious
utpouring of #Nattens Madrigal' in 1997.


Before this much revered trilogy, though, came 1993's 'Vargnatt'. This was Ulver's
first foray into the wilds & an exceptional debut demo, utilising what was to
become a staple acoustic guitar implementation amid melodic & often complex &
obtuse arrangements, conjured & delivered with an already advanced degree of
musicianship, with vocals appearing courtesy of longstanding frontman Kristoffer
"Garm" Rygg. This early incarnation of Ulver also notably featured Carl- Michael
Eide of Aura Noir/Ved Buens Ende fame on drums, plus this recording featured
Robin "Mean" Malmberg on bass guitar, from fellow Norwegian pioneers
Mysticum.
This edition of 'Vargnatt' marks 30 years since its original release. The audio itself
is sourced from the original DAT, plus this release contains the bonus track
'Vargnatt', captured live at Bootleg TV in Oslo, 1993 & sourced from the original UMatic, courtesy of the National Library of Norway.

Big Thief's music, rooted in the songs of Adrianne Lenker, paints in vivid tones "the process of harnessing pain, loss, and love, while simultaneously letting go, looking into your own eyes through someone else's, and being okay with the inevitability of death," says Adrianne.

Masterpiece, Big Thief's debut album, is -lled with characters and visceral narratives, songs that pivot in the space of a few words. Adrianne's voice and guitar playing speak of rich emotional territory with grace and insight. In her words, the record tracks "the masterpiece of existence, which is always folding into itself, people attempting to connect, to both shake themselves awake and to shake o­ the numbness of certain points in their life. The interpretations might be impressionistic or surrealistic, but they're grounded in simple things.'

Adrianne met her longtime musical partner, guitarist and singer, Buck Meek, in Brooklyn a few years ago, and they quickly formed a creative bond tempered by the experience of traveling and performing for months on end in old dive bars, yards, barns, and basements together. They recorded a pair of duo albums (A-Sides and B-Sides), and Adrianne showcased her songs on a solo album, Hours Were The Birds.

Now, as a full rock and roll band, with Buck on guitar, Max Oleartchik on bass, and James Krivchenia on drums, they bring a steady wildness, giving the songs an even deeper layer of nostalgia. "These guys feel like a pack of wolves at my back," says Adrianne, "they make the songs howl and bark with a fierce tenderness that gives me courage."
After spending last July in an old house that they turned into a studio on Lake Champlain with producer Andrew Sarlo, the resulting collection soars on what Big Thief fan Sharon Van Etten calls "...a real journey, with intelligent stories and twist-and-turn melodies.

2023 repress on Translucent Purple double vinyl! A Brand You Can Trust is the classic 2009 debut album from hip-hop supergroup La Coka Nostra feturing House of Pain's Everlast alongside Danny Boy & DJ Lethal with Ill Bill (Non Phixion), and Slaine (Special Teamz). Additional contributions come from such hip hop elite as Snoop Dogg, Cypress Hill, Immortal Technique, Bun B and The Alchemist. A breath of fresh air in the days of contrived airbrushed rap music, Ill Bill explained that, "This record is a no holds barred burst of hardcore hip-hop to the fullest, representing everything we love about this art form but feel is missing from the game right now." "This shit bangs," Slaine added. "We set out to make a boom bap hip-hop record and we did that, but to stop there would be selling it short, because lyrically, musically, and sonically this album doesn't fit in a box." Though similar stylistically to the group's prior 2009 online releases, the debut album features songs grounded more in reality. Subjects touched upon include politics, death, drug addiction, raising a child and terrorism. AllMusic gave four out of five stars. Andrew Kameka of HipHopDX wrote that "the album is a mostly solid effort and exactly what someone would expect from a supergroup of like-minded members known for high-energy music". Adam Kennedy of the BBC while praising some the moments of the album said "it's a tantalising parting taste of potential capabilities, yet until they improve a customer satisfaction hit rate that barely troubles one in three tunes here". Steve Juon of RapReviews gave it a seven out of ten. Thomas Quinlan of Exclaim! said "La Coka Nostra are an interesting collection of collaborators that live up to the hype".

As we continue the five part journey to say goodbye to the Telomere Plastic series we have Telomere 020.3 now available for preorder!
This five tracker VA, features producers, Hiroyuki Kato, Six Dreams, Ty Senrna Sherman C & Konerytmi!

We begin off the record with ‘Black from Hiroyuki Kato. This long play is over 9 minutes and is a beautifully structured deep & house tune. Perfect for your summer day time sets!

Next on the A2 we have ‘Static Es’ by Six Dreams, This moody minimal breakbeat tune is filled with heavy bass & lush chords, the perfect track to slow things down for a few minutes during your sets!

On the B1 we have Ty Senrna who delivers a whacky groover! This acidic tech tune will work wonders and bring the spooky & trippy energy to the dance floor!

B2 is a tripped out phat acidic break beat tune from the mighty Sherman C. With some tripped out vocals & classic Sherman breaks & bass, this one will get the dance floor rockin’ full speed!

Lastly, we close out the release with a classic tune from Konerytmi. As expected we are gifted with his signature electro & bass beats!

Very limited black copies with a few colored copies available via the Wex bandcamp, be quick!

EVOLV is a visionary window into the mind of Dubfire, the journey of the ‘hybrid’ being and its evolution. Last year in October, an 11-track debut album was released on his long-standing SCI+TEC imprint. And now, just over a year later, Grammy award winning producer Dubfire returns to that sonic discourse, drafting in an impressive array of names to re-interpret the material, and accompanied by Dubfire's new audio-visual EVOLV show which picked up where the critically acclaimed electronic performance experience HYBRID had left off.

The eclectic package will include such notables as Glaskin, Arjun Vagale, Nadia Struiwigh, Mathimidori (dub alias of Mathias Kaden), Maral, Decka, Carl Craig, Truncate, Drumcell, Chris Liebing, Radio Slave and Luke Slater who have all given the original music in their own unique style.

With a career spanning over 3 decades, Dubfire has achieved global success as an artist with relentless drive, talent, and intuition. Pioneering commercial notoriety came initially as one half of the Grammy Award-winning (2001) duo Deep Dish, before embarking on a truly groundbreaking solo career in 2007. A career filled with timeless tracks include his early works, ‘RibCage’ (2007), ‘Emissions' (2007), ‘Roadkill’ (2007) and the highly acclaimed ‘Grindhouse’ (2009) remix from Radio Slave which led to a host of other notable projects over the years.
Collaborative work highlights include projects with Miss Kitten, Luke Slater, Flug, and Oliver Huntemann, as well as co-producing two songs on Underworld’s Barking album. A true artist, he has always been heavily invested in exploring performance technology, unveiled to wide praise with his HYBRID live show. A two-year world tour commenced in 2015 and was followed by his retrospective album, A Decade Of Dubfire (2017), a celebration of his immense output during the first 10 years of solo artist stardom. EVOLV is Dubfire’s debut solo artist album.

In 2020, Pali Meursault and Thomas Tilly collaborated to create Radio Glaces, a fourteen-part sound collection featuring recordings of glaciers in the Alps and testimonies from people who have a close relationship with this environment: glaciologists, geomorphologists, hut wardens, mountaineers and high-mountain guides.

As a continuation of this first project, Melt* was a series of improvised performances by the duo of sound artists, playing back the sounds and vibrations of the glaciers as they conducted a microphonic auscultation of the crevasses, rimayes and torrents of the Oisans mountain range.

The outcome of a research project that began over three years ago and is still ongoing, Melt* is based on the recording of a concert at GMEA (Albi) in early 2023, and is available as a vinyl record published by Fragment Editions.

Credits

Sound recordings made in 2020 on the glaciers of Mont-de-Lans, la Girose, Sarenne, la Pilatte and Saint-Sorlin (Oisans-Écrins, France), for the Radio Glaces project.

Field recordings, sonified ice, processing and sine waves played live by Pali Meursault & Thomas Tilly at Grand Théâtre d’Albi on February 4th, 2023, in the frame of ‘L’Expérience du Terrain’, a program by GMEA.

Recording by Benjamin Maumus. Mastering and Cut by Frédéric Alsdat/Ångström.

Two previously unreleased collages for magnetic tape, both realized at the Studio di Fonologia Muisicale RAI in Milan. These pieces are precious testimonials to Aldo Clementi's intense and ongoing interest in electronic music in the 1960s. The electronic composition »Collage 2« from 1960 was his first experiment with electronic music. »Collage 3« dates back to 1966. It's an electronic collage on »Michelle« by The Beatles.

The composer wanted to replace old concepts and clichés which had become popular and common, through the use of "natural wells of timbre, live and organic, springing from a world of symmetry and fixed blocks." This original idea underwent a drastic transformation when the RAI (the Italian radio) commissioned Clementi to write a longer work. To his initial desire to start from scratch was added the problem of a longer duration. It was only when Clementi had almost completed the piece that he gave it its final title of "Dies irae," owing to the extreme tension that accompanied its composition.

A note from Lawrence English:

Occasionally ideas present themselves in ways that no one can expect. This recording from Australia’s Eugene Carchesio and the UK’s Adam Betts is one such unexpected presentation.

A couple of years ago, Eugene passed me a collection of recordings that he explained were in the orbit of his now legendary Circle Music series. The recordings, in Eugene’s particular manner, maintained an intensely rhythmic quality rooted in a deep and unwavering sense of minimalism. Eugene has a way of making a tiny cosmos from just the barest of materials. He wondered though, about mixing it up and adding something unexpected to the pieces, and asked about some drums being added.

At almost exactly the same moment, I had been reminded of the amazing work of Adam Betts, who I have been fortunate to be in the orbit of for more than a decade now. We’d first met at Bad Bonne, sharing a bill, and then crossed paths most recently in Tbilisi where he was performing with Squarepusher.

The reason Adam was on my radar though was entirely unrelated to music and it was down to the fact that he had just participated in a welsh toss competition and done quite brilliantly. Somehow, watching Adam lug those weights made me think he’d be the perfect candidate to work with Eugene on this project. To my delight, he agreed.

What results here is a melding of two incredible musical spirits, each of whom have an unerring sense of restrained energy and rhythmic ferocity. It is a parallel reading of how minimal motion can create giant affective waves of energy. It’s also a record of careful listening and generous exploration.

It’s not everyday music can emerge from such curious orbits of thought, but when it does it is a cause for celebration. With that in heart I am so pleased to share this incredible edition with you.

S A R R A M, the ambient and post-rock vessel of Sardinian solo artist Valerio Marras, announces the release of his fifth album "Pathei Mathos" on Subsound Records, and presents the captivating title track featuring revered multi-faceted artist Lili Refrain on vocals. S A R R A M is a dark ceremony inspired by the wild, ancient landscape of Sardinia A crushing but yet graceful composition where drone, electronica, doom, postrock blend to invite the listener to an intense sound journey. Dealing with learning through suffering as a central theme,"Pathei Mathos" -- which features appearances from renowned experimentalists Lili Refrain, Dalila Kayros, Tobias Vethake (Sicker Man) -- is a deep trip in the darkness surrounded by pulsating soundwaves, crushing droning layers, ethereal voices and floating cellos. About the album, S A R R A M says: "As every record, it describes a part of my living, my existence through sound and frequencies. It's something deep and authentic, something that can be felt, something real. The experience of my last two records "Silenzio" and "Albero" brought me to "Pathei Mathos": I needed to go further once again, pushing my borders even more and doing something I've never done before: composing. Nevertheless: sometimes it's just about floating together into huge waves of sound.

Blues Deluxe is the third studio album by Joe Bonamassa and originally released on August 26, 2003. Recorded at Unique Recording Studios in New York City, it was produced by Bob Held and features nine cover versions of songs by classic blues artists, such as BB King, Jeff Beck, John Lee Hooker, Robert Johnson, Elmore James and more. The album is completed with three original tracks, including the fan favorite Woke Up Dreaming.

"If you had told me 20 years ago my career would last long enough to see the 20th anniversary of this little record called 'Blues Deluxe,' I'm sure I would have laughed," Bonamassa reflects. "Blues Deluxe was my last shot after being dropped by two major record labels and my booking agent.It was then that my manager, Roy Weisman, had his first 'all in' moment.We would go back into the studio and record. A record that would hopefully define the direction of whatever future career I might have."

With 26 #1 albums, yearly sold-out tours worldwide and custom annual cruises, he's a hard act to beat. These albums are a testament to his credentials and a toast to his longtime fans who remember them originally and new fans who can experience them for the first time. It's Joe Bonamassa at his finest, ready to rock.

Finally back in print! ACTORS' debut record, now available on splatter vinyl! One of the most exciting bands to come out of Canada recently, ACTORS delivers their debut album on Artoffact Records! The term "post-punk", like many terms with a similar prefix, is firmly planted in a time in history, and signifies an added precision and experimentation to a thrilling genre that has echoed forward in both style and attitude. The Jason Corbett-led outfit ACTORS are standing on the shoulders of titans with their brand of the style, and could almost be referred to as "post-post-punk".

Drum To Death is a collection of 11 experiments by Peter Kernel and their favourite drummers. Throughout 2020-2023 Peter Kernel invited eleven of their most esteemed drummers to send them rhythms with which they composed these eleven tracks. Each song was written and dedicated to the inherent drummer as an ode of appreciation to the beat creator. These eleven songs come together as a unique collection of an odd collaboration based on appreciation for different styles and people, a microworld made of different feelings, patterns, colours, intentions and attitudes. The album features collaborations with Bernard Trontin (The Young Gods), Cosmic Neman (Zombie Zombie), Beatrice Graf, Domi Chansorn, Ema Matis, Tam Bor, Hugo Panzer, Julian Sartorius, Kevin Shea (Storm & Stress, Lydia Lunch), Simon Berz, Simone Aubert (Hyperculte, Massicot).

So, It's Like That is the second studio album by Joe Bonamassa and originally released on August 13, 2002. Contrary to Bonamassa's 2000 debut album A New Day Yesterday, which featured a mix of original songs and cover versions, So, It's Like That is made up almost entirely of tracks written by Bonamassa and a range of collaborators.

With 27 #1 albums, yearly sold-out tours worldwide and custom nnual cruises, he's a hard act to beat. These albums are a testament to his credentials and a toast to his longtime fans who remember them originally and new fans who can experience them for the first time.

It's Joe Bonamassa at his finest, ready to rock