Buscar:the real

After debut LP Lord Of The Dark Skies, London-based acid psych trio Outskirts Of Infinity released Scenes From The Dreams Of Angels on their own Infinity imprint. Heading deeper into space rock, the album had bassist Nick Saloman on keyboards in places and front man Bari Watts on synth, but his ripping is really spectacular throughout and there’s a nod to the Hendrix influence on a killer cover of ‘Spanish Castle Magic.’ Arguably their best album, it has style, grace, and hallucinogenic power, this edition reproducing the inner gatefold lyrics.

Born Samantha Owens in Liverpool, Jones began her recording career in The Vernon Girls, a female singing group affiliated with the Vernon Football Pools company; they created a popular Beatles tribute album in 1964 with producer Charles Blackwell, who launched Jones’ solo career that same year. Blackwell producer a debut solo LP for Ascot in 1968; two years later, Larry Page released sophomore set A Girl Named Sam, with Austrian wunderkind Mark Wirtz casting her in the broad realm of pop, though most of the songs describe romantic failures. The album thus has a tongue-in-cheek cover of Burt Bacharach’s “I’ll Never Fall In Love Again” and credible renditions of Aretha’s “You Make Me Feel Like A Natural Woman” and Jackie DeShannon’s “Put A Little Love In Your Heart.”

Limited green vinyl 180gr press with one bonus track for RSD 2020.

Dando Shaft’s self-titled sophomore set continued to build on the reputation established by their excellent debut, and now the arrival of female singer Polly Bolton added another textural dimension, as heard most clearly on the soaring ‘Riverboat,’ the absence of drums throughout allowing us to fully appreciate the players’ excellent musicianship, with Martin Jenkins’ masterful mandolin, flute and fiddle drawing the sound to higher realms. As it was issued on RCA’s prog sub-label Neon, which folded soon after its release, the LP is as rare as it is excellent—another must-have for fans of progressive folk and psychedelic folk rock.

In the 1971 counterculture comedy You Gotta Walk It Like You Talk It, Zalman King tries to find the meaning of life, with Richard Pryor and Robert Downey Jr among the cameos; who better to cut the soundtrack than Steely Dan? Except that the Dan had not officially formed yet! With typical tongue-in-cheek touches, Donald Fagen and Walter Becker rise to the challenge, with fellow Dan guitarist Denny Diaz and drummer John Discepolo of previous vehicle, Jay & the Americans; if you’re a Steely Dan fan, you really need to check out this one-off soundtrack, cut just before they upset the rock applecart with Can’t Buy A Thrill.

Formed in suburban Maidenhead by singer Tony Pook, guitarist/pianist Roy Apps and guitarist Robert Collins, Heron solidified when Collins was replaced by uitarist/mandolin player GT Moore. After a debut album recorded at the Pook family farm, specially priced double LP Twice As Nice And Half The Price achieved a fuller sound with guitarist Mike Cooper, bassist Mike Finesilver, drummer Terry Gittins and guitarist Willie Boazman. The epic set sounds absolutely brilliant from start to finish, with strong vocal harmonies, intricate guitar interplay and excellent musical communication. Arguably Heron at their absolute best!

Beginning in the mid-1960s as a covers band, the group that came to be Unicorn soon determined that original material was the way to go, and after being inspired by a Crosby, Stills and Nash album, their particular brand of enlightened folk rock tinged with country shades yielded a contract with Transatlantic for their 1971 debut. Fast forward to 1974 and Blue Pine Trees finds the band at their finest with sweeping harmonies and bluegrass tinges, and with Pink Floyd’s David Gilmour in the producer’s chair, all of their glorious potential is realised on this lost gem of an album that is fully ripe for rediscovery. A truly great work!

When the world's chatter is hushed to a whisper and emptiness replaces clutter, time falls away completely, exposing a vast, open canvas for the imagination fill with reflection, contemplation and abstraction. On their first collaborative album, released via Caterina Barbieri's light-year's label, Grand River and Abul Mogard gaze longingly into the abyss, capturing atemporality, splendour and tranquility with confident, impressionistic sonic strokes. Dynamic and poignant, 'In uno spazio immenso' balances on a knife-edge between booming, operatic grandeur and soft-focus simplicity, casting as much light on the subtle outlines and illusory rhythms as it does its dense, almost overpowering textures.

Berlin-based Dutch-Italian composer and sound designer Aimée Portioli, aka Grand River, has been evolving her unique musical language since she released 'Crescente' on Donato Dozzy and Neel's Spazio Disponibile imprint in 2017. A trained linguist, she uses her instrumentation and advanced processes to challenge cultural perceptions, portraying emotions and moods rather than fixed, visual images. Abul Mogard meanwhile is just one of veteran Italian producer Guido Zen's many aliases, and over a series of acclaimed albums for labels like Ecstatic, Houndstooth and VCO, he's muddled fiction with stark reality, shaking kosmische synth fantasies into post-industrial ambience and blissful shoegaze memories.

For the fourth time now Jaqee introduces herself to the World with her impressive voice and her unique attitude. Born in Kampala, the Capital of Uganda, she began her vagabond like life the moment she was born. During her childhood, she travelled the rural areas of her home country with her parents. This is where she collected her first impressions of the life as a nomad. From birth on, wandering the earth became a part of her destiny. In the early nineties she undertook a huge step and immigrated to Sweden. The City of Gothenburg would become her adopted home from where she was able to access all the different destinies and directions, which were on offer to her. Through all the borders Jaqee crossed, music has always been her steady companion whereas it never was a stereotype thing that let her get down with any special genre, than more like a special feeling. “To do what I want in a particular moment is my motivation. I like to express myself in all kind of sounds.” So above all, she became a true nomad in the world of music. After several successful co-operations with numerous artists, in 2005 Jaqee made an impact with her debut album “Blaqalixious”, which was mainly a Soul and R&B album. “That was my direct contact to the music that a rural community in the Diaspora plays” she explains. But it did not end up there because a nomad like Jaqee does not settle anywhere. After further creative and fruitful collaborations, Jaqee released her second long player “Nouvelle d´ amour” in 2007. This time, the sound was more of a rocking, bluesy vibe. It seemed to be the total opposite to her debut album but for Jaqee it was only the next step on her path in the circle of life. “Everything is possible as long as it is real. I never wonder about things like genre as long as the vibe fits.” One step further on, she encountered the songs of Billie Holiday, which lead to the album “A letter to Billie” recorded together with Bohuslänbigband, a lovely homage to the great American Jazz Singer. Both of her first two albums each received a Swedish Grammy nomination and several appearances in the Swedish national television increased her standing as a passionate and soulful Singer. So Teka, producer and creator of many successful riddims for his co-found German label, Rootdown Records considered her to be part of his new project “Koala Desperados“, which link Caribbean vibes like Cumbia to Reggae, and while working on it a totally new idea was born. Jaqee and Teka decided to combine both their talents into one album. The results of which you can now hear on “Kokoo Girl” a refreshing mix of Old School Reggae sounds from the seventies combined with up-to-date Beats, electronic twists and turns and of course the amazing voice of Jaqee. For her, this means that she has achieved some of her ambitions. “I grew up with African Gospel, in sad and turbulent environment, so for me, this means I grasp and totally understand the reggae and its non ending struggle for the common man.” No sooner said than done and “Kokoo Girl” will become Jaqee’s fourth and newest release. All the paths she followed, countries she crossed and influences she absorbed are a part of this album. She sings with the freedom of spirit of the travelling people. The word “Kokoo” is the only memory that remains everlasting. It is just a word but its impact is so huge that Jaqee does not really like to explain it. “It implies irony and seriousness as well as sarcasm and fun.” It is more than a gimmick. “Kokoo” is a very special feeling and a clear view of the world from an artist who has seen more of it than all the people that have settled down.

Repressed for the first time in 2 years, Note price change. Sermonizing Black Nationalism, Pan-Africanism and the benefits of a healthy and just lifestyle during the height of the Bad Boy/Roc-AFella era of nihilistic excess in the late 90's, Dead Prez also signed to a major label (Loud/Columbia) despite leaning much more towards the burgeoning indie aesthetics of the day. But this was a good thing – using major label muscle to wake up righteous hip-hop fans who might have fallen asleep at the wheel. The group itself – consisting of MCs stic.man and M-1, who produced or co-produced most of the duo’s music – was formed in Tallahassee, Florida in the early 1990's.

By later that decade, the duo had started making significant waves, having their music heard on the soundtracks to “Soul In The Hole” and “Slam,” as well as appearing on albums by Big Pun and The Beatnuts. By 1998, they released their first official single, the serious, stark “Police State,” on Loud, appropriately brought to the label by Lord Jamar of Brand Nubian. After building a solid rep over the next two years with fiery live performances, in 2000 they unleashed their debut album, Let’s Get Free.

The album was a welcome return to provocative and often radically political rhetoric that hearkened back to hip-hop forebears including The Coup, Public Enemy and KRS-One (as well as poetic descendants like the Last Poets and Watts Prophets). Let’s Get Free was critically acclaimed and benefited from multiple singles, including the infectious, thick analog drive of “Hip-Hop” “It’s Bigger Than Hip-Hop,” with a remix co-produced by a young Kanye West; “Mind Sex” (with Abiodun Oyewole of the Last Poets); and the poignant “I’m An African.”

But the singles weren’t the only worthy songs, as just about every cut here has deeper meaning than most full albums by their early 2000's peers. Highlights: the thought-provoking, anti-drug album opener “Wolves”; “We Want Freedom” “They Schools” and “Propaganda” . All in all, this is one of the more underrated and possibly Top 5 fully-realized political hip-hop albums of all time.

Jaqee – is rhythm and life ”Places becoming journeys in themselves… Different places where I have lived and learned, places that have made my heart beat, the emotional realms that I have experienced. This is where it all starts, every time. Where I am is where it happens, because I am, there. Here.” She sings. She laughs! And she cries, too. Jaqee cannot tell when music and singing became her life, it has ”just always been there, in my head” she says. Now with the fourth album she has taken a closer look at herself, from every possible angle. No hiding. Different phases, different sides of her personality and musical creativity are all there. All as one. ”I am a diaspora kid, I fell in love with all kinds of music, I let myself embrace it all, because good music, is good music. All the way from Uganda at age 13 to the new home and culture in Sweden, then leaving Sweden as an adult for Berlin – has made me the Jaqee that I am”, says the Ugandan /Swedish artist who also received a Swedish Grammy nomination for her past work. Being on the move is without a doubt an important part of her life. “For me travelling is about being exposed to different perceptions, situations, cultures and extreme emotions, it has always made me grow. How many times have I not thought that: I wouldn’t have experienced this or that, if hadn’t been here. I love that feeling!” Jaqee’s music reflects this constant movement and progress. The album is inspired by places like Berlin, South Africa and Jamaica. The trip to Jamaica resulted in the only collaboration track on “Yes I am” recorded in Kingston with reggae artist Anthony B. Teka, the “Kokoo Girl” and “Yes I am” Producer says: ”This time around, like on the last album, we have worked with our colleagues in different countries. Musicians we love and musicians that are inspiring like Martin Hederos (The Soundtrack of our lives) who arranged the strings on the album. We also had New York drummer Daru Jones of Rusic Records play on some tracks. All these talents enhance the idea and expression that we wanted for “Yes I am”. With the album done, it is again time to hit the road and tour for Jaqee. “Getting out there and meeting the crowd is a high. We laugh, we dance and we get loud together. This is the best part of working with music – having a good time together. Music is a universal language.” On composing music, she admits that this time, more than ever, the words matter. Newly found motherhood has made this album in particular a significant legacy. Every song has a life punctuation of its own she has not limited herself by thinking in genres. Making the tone very straightforward. “The melodies and lyrics are closely intertwined, how I sing a word makes all the difference. Even though I love word play, it has to be very clear. Since I am not educated in reading music, I instead visualize and hear it, it seems to be the way my system works. It is all about rhythm and life, it is “YES I AM“.

For their fifth collaboration Marc Barreca and Kerry Leimer set aside their more abstract creative approaches to composition in favor of basing the music of Arrhythmian on beats. Using rhythm as texture, the tracks gravitate to concussive and bass voices, high bpm rates, and constantly evolving timbres shaped by granular synthesis, sampling, heavy processing, audio manipulation, rich distortion, with the maximum dynamic range vinyl can offer. “We’re always thinking about sound quality, about what’s possible in a recording for vinyl demands a very specific approach. Pitch, dynamics, layering, density all play a more significant role in analog recording and reproduction,” says Leimer, as Barreca continues, “Let’s just say it’s not music you can dance to...” Arrhythmian is released as a double disc vinyl set, produced to safely allow the grooves their maximum possible excursion while giving one’s stylus a rewarding and demanding workout. Marc Barreca and Kerry Leimer have worked on a nearly parallel musical course for more than forty years. Nearly parallel because their musical paths do occasionally cross. First in 1980 with “Four Pages From An Unfinished Novel” on K. Leimer’s first solo album Closed System Potentials. Again during the live performance of Music For Land And Water and for the massive loop piece “Heart Of Stillness” from The Neo-Realist (At Risk) by the virtual group Savant. K. Leimer founded Palace Of Lights in 1979 and has been actively producing music since the mid 1970s. Marc Barreca has created and performed electronic music since the mid-1970s. His 1980 vinyl album, Twilight, was among the first releases for Palace of Lights Records. Their work is part of the Collection of the British Library. With Steve Peters, Leimer and Barreca form the collaborative trio Three Point Circle

"Learn To Die is a bold new step for a group of musicians, artists, and writers that has at least nominally been considered a punk band. A stylistic overhaul. For those who have been following along, it’ll carry some surprises. Slender began over a decade ago as a semi-improvisational cassette recording project, a casual collaboration between a few friends that was initially documented by two self-titled cassette-only releases released in 2014 and 2015 respectively, now both unavailable and out of print. Most fans, however, will know Slender for their two most recent releases, Walled Garden (2017) and Time On Earth (2019), both released on the tastemaking London art-punk label La Vida Es Un Mus. "Their prior work has earned them comparisons to anarcho-punks Crass and The Snipers, lo-fi flagbearers Swell Maps and Pink Reason, and artrockers Cromagnon and Amon Düül. Here, however, such comparisons feel largely unfounded and the band feels somewhat peerless. Moments of artpunk brutalism, lo-fi experimentalism, and kosmiche detours grace the fabric of Learn To Die, but the album reaches for more than pastiche. Teasing the rarified worlds of chamber music and musique concrete, Slender manages something intangible and strange. A vocoded voice intones multi-lingual poems alongside tinny guitars and sampled strings and flutes. Three chord janglepunk anthems arise suddenly out of a cosmic mist crafted by analogue synths reciting the poetry of machines. The album moves in ways reminiscent of works by artists as varied and singular as Nobukazu Takemura, Chuquimamani-Condori, Coil, and Robert Wyatt, but it doesn’t necessarily occupy the same realm as any of them.” – Leah B. Levinson

Jaqee's last album with the promising title "Fly High" leads the inclined listener into a sometimes idiosyncratic fermentation of street-ready R'n'B, pop aesthetics, jazz intellect, world music earthiness, chanting Afro soul and sensitivity and softness of classical music and orchestral warmth, which is defined by Jaqee's voice throughout all tracks, but never overridden. Thilo "Teka" Jacks, who produced "Fly High", is looking for musical salvation and the courage to change things up in order to illustrate unity, also in busy, heated, African sub-currents like High Life, but also in European dancefloor stereotypes and even traces of soca and merengue, all of course always only thought of, because the real main actor is and remains Jaqee's sustained singing, her unique intonation and her voice, which sometimes sounds clear and angry, other times fragile and sensitive - that's the way it should be. Despite or precisely because of this immensely expressive character of the album, it is advisable to listen to the work several times: Jaqee makes music with sophistication and expression and a look that also allows for sheer black music entertainment, "Fly High" proves this with lasting effect. "Fly High" is now available on vinyl for the first time.

Love, Love, Love, Love will make you walk a thousandcmiles to be with her. She is the wisdomcyou long to have, the courage you nevercthought you had. Love is peace, she is patient, she is Kind. Love will heal that infected wound that you long gave up on to heal, more powerful than any weapon of mass destruction. Cuddled up in her grasp, her tears will roll down your face. She’s the real deal. She will fight for you, she will carry the sword for you, She will walk a thousand miles for you. She is sweet, very sweet. Welcome to Jaqee 6th and final album, a closure of a chapter in my artistry so far. This is not the end, it’s just a crossroad that is proudly and lovingly directing me into an unpredictable future. I felt a strong need for healing on this album, so I made way for Vulnerability. I have opened doors that are to be obediently followed as I dig deeper in the understanding of the one thing that we humans yearn so much for. Love is King.

SWE is back with another NOLA gem, this time around with Lokee and his album Voodoo Gangsta Funk originally released in 1996. Production by DJ Tee, Ice Mike, Lokee, and Real Roc, and a guest feature by the late great Soulja Slim.

SABÏRE has now returned in 2024 with a 15 track epic, self-styled "half-concept" album, "Jätt", 5 years in the making. SABÏRE began at the tail end of 2010 as an idea to have a band that played simply what came naturally on guitar to Scarlett Monastyrski with no set genre or category. Simply the natural music. Shortly thereafter, the concept grew to accompany that sound with a big show and distinctive stylisation. The biting and sharp sound production, along with their personal lyrics, birthed for them a label for their music: ACID METAL. Not to be confused with the mind altering substance, Acid Metal took its name from the concentrated corrosive fluid not unlike the blood of the Xenomorph in the Alien films. The instruments are awash with acidic modulation, "like a drop of acid in the dark." The lyrics all hold a tinge of biting realism that once realised by the listener, stings them like a droplet of acid resting upon their skin. To take their metaphor further, their distinctive production style let's stand apart from the rest of the "modern" sound that degrades the potentcy of many new bands. They call it "brick culture," because it all sounds the same. Concentrated acid burns all the way through anything solid leaving a hot trail behind it, like the band continues to do so with garnering the attention of the world of heavy music. Band leader Scarlett Monastyrski comments : " 'Jätt' is meant to be THE sound of SABÏRE. A monolith to what we stand for artistically. We wanted this album to be its own art piece rather than simply a collection of arbitrary songs, a really 'blue' coloured sound. The physical copies hold beautifully styled texts detailing the concept for those chosen songs, as well as small epistles to accompany each track," says . “ 'Jätt' is a “blue” sounding album; the colour. You may understand that more when listening to the album yourself. The cover of 'Jätt', “Dante and Virgil in the Ninth Circle of Hell” - Gustav Doré, 1861, could be seen through a symbolic lense in which the listener is symbolised as Dante, the artist as Virgil, and the bodies locked within the ice of frozen lake as the music surrounding them; we as the artist are shepherding the listener through the mire. This could be perceived like this, or you may just see it as an attractive album cover. “ "We put our heart and soul into this one and can't wait to give our Wild Ones and Acid Fiends what they've been so patiently waiting for

Enjoy The Ride Records in conjunction with WaterTower Music, Warner Bros. Games, and NetherRealm Studios proudly presents the Mortal Kombat 1 (Original Video Game Soundtrack).

It's In Our Blood. Mortal Kombat 1 is the latest title in the acclaimed Mortal Kombat video game franchise developed by award-winning NetherRealm Studios. The game introduces a reborn Mortal Kombat Universe that has been created by the Fire God Liu Kang, featuring reimagined versions of iconic characters as they’ve never been seen before, along with a new fighting system, game modes, bone krushing finishing moves, and more.

Mortal Kombat 1 (Original Video Game Soundtrack) showcases the game's music by Wilbert Roget, II and features stage music composed by Dan Forden, Stephanie Economou, Nathan Grigg, Dan Negovan, Dean Grinsfelder, Casey Edwards, and Joel Corelitz.

Wilbert Roget, II is a veteran composer in the video game and film industries. He joined LucasArts as a staff composer in 2008, where he scored several games in the Star Wars universe, including Star Wars: The Old Republic and Star Wars: First Assault. He later became a freelance writer, scoring Mortal Kombat 1, Star Wars: Outlaws, Call of Duty: WWII, the Emmy Award-winning Star Wars: Vader Immortal, and many other high-profile game scores. He has also written for Japanese anime, scoring the upcoming Gundam: Requiem for Vengeance. His work has earned him several awards and nominations from ASCAP, the Game Audio Network Guild, the Academy of Interactive Arts and Sciences (D.I.C.E. Awards), and others.

Roget also co-founded Impact Soundworks, a successful music software company, and is an accomplished lecturer on game music. He frequently gives online masterclasses and tutorials on music composition and production and has a passion for teaching the craft. He is an avid multi-instrumentalist, performing solo flute, keyboards, world instruments, and guitar on many of his scores.

Available on vinyl for the first time, Mortal Kombat 1 (Original Video Game Soundtrack) is a 3xLP, housed in a soft touch gatefold jacket with spot gloss accents. It includes a full-color double-sided 12" x 24" poster.

The Flenser is pleased to announce the release of Living Is Easy, the latest EP from ecstatic black metal band Agriculture. Ecstatic black metal from Los Angeles. Follows up 2023's critically acclaimed debut. A new EP plus first vinyl release of their first EP. Appearing prominently at the 2024 edition of Roadburn. US and European tour dates in the works through 2024. Video for title track featuring Flenser goons, Chat Pile. This new EP will be paired with the band's debut EP, The Circle Chant. For the first time, both EPs will be pressed together on a single 12-inch vinyl record as well as a cassette format Living Is Easy represents a significant new statement from the band. With their debut self-titled, Agriculture embarked on a journey to explore how heavy music can provide insights into the joys of life, both everyday and divine. Their extensive touring with this material led to a profound experience of ecstasy, surpassing expectations as they shared the intensity and joy of these songs with audiences worldwide. This experience was a catalyst for the band, inspiring them to delve even deeper into the realm of "ecstatic black metal" music. They believes that with this release they have pushed this concept to its limit, resulting in a transformative explosion of sound and meaning. The record delves into themes of community connection, holiness, violence, and the cycles of life. The title track is especially notable, featuring a retelling of a story from one of the Buddha's past lives. In this narrative, the Buddha encounters a starving family of tigers and sacrifices himself to save them, a tale of serenity and selflessness. This story resonates deeply with the band, reflecting the humility and inspiration they find in their collaboration and echoing the generosity and interconnection they strive to explore through their music. Touring holds a special place in the heart of Agriculture. It brings them immense joy to share their music, visit new places, and meet new people in cities around the world. This constant interaction with diverse audiences serves as a continuous source of inspiration for this work. Agriculture is eager and excited to share Living Is Easy as well as give new life to the first vinyl pressing of The Circle Chant. Black Vinyl!

The Flenser is pleased to announce the release of Living Is Easy, the latest EP from ecstatic black metal band Agriculture. Ecstatic black metal from Los Angeles. Follows up 2023's critically acclaimed debut. A new EP plus first vinyl release of their first EP. Appearing prominently at the 2024 edition of Roadburn. US and European tour dates in the works through 2024. Video for title track featuring Flenser goons, Chat Pile. This new EP will be paired with the band's debut EP, The Circle Chant. For the first time, both EPs will be pressed together on a single 12-inch vinyl record as well as a cassette format Living Is Easy represents a significant new statement from the band. With their debut self-titled, Agriculture embarked on a journey to explore how heavy music can provide insights into the joys of life, both everyday and divine. Their extensive touring with this material led to a profound experience of ecstasy, surpassing expectations as they shared the intensity and joy of these songs with audiences worldwide. This experience was a catalyst for the band, inspiring them to delve even deeper into the realm of "ecstatic black metal" music. They believes that with this release they have pushed this concept to its limit, resulting in a transformative explosion of sound and meaning. The record delves into themes of community connection, holiness, violence, and the cycles of life. The title track is especially notable, featuring a retelling of a story from one of the Buddha's past lives. In this narrative, the Buddha encounters a starving family of tigers and sacrifices himself to save them, a tale of serenity and selflessness. This story resonates deeply with the band, reflecting the humility and inspiration they find in their collaboration and echoing the generosity and interconnection they strive to explore through their music. Touring holds a special place in the heart of Agriculture. It brings them immense joy to share their music, visit new places, and meet new people in cities around the world. This constant interaction with diverse audiences serves as a continuous source of inspiration for this work. Agriculture is eager and excited to share Living Is Easy as well as give new life to the first vinyl pressing of The Circle Chant. Black Vinyl!