Suche:the restitution

Describing herself simply as a ' modern English musician', Eliza Carthy is
one of the most recognisable faces in British folk
From the purest unaccompanied traditional songs to original music incorporating
myriad influences, she has moved through English folk music like a force of
nature, both stirring it up & putting it back on the map, and as a member of big
bands The Imagined Village, and the musical force- of- nature that was The
Wayward Band she has headlined main stages at festivals around the world. With
a wealth of musical & life experience under her belt, Eliza's talent has matured
and is flourishing. She continues to bring new audiences to English folk through
well- judged recordings, performances, and collaborations with the likes of Paul
Weller, Jools Holland, Patrick Wolf, and Kae Tempest. 2022 sees Eliza celebrating
an incredible 30 years in the music business with album Queen Of The Whirl,
featuring new interpretations of fan- selected favourites from her previous
albums, recorded with her band Eliza Carthy & The Restitution.

Late Bush presents “Hoarses” on the label Vlek Records, an original repertoire in which he blends electronic music - power ambient, IDM, avant-pop - and early music, which share the same affective intensity, a taste for ornamentation and a form of sonic excess.

At the heart of this material, AI-cloned voices, both human and spectral, extend the idea that any baroque interpretation is a reconstruction of the unknown. They contrast with organic strings recorded with Echo Collective, in a temporal and radical hybridization, creating a fluid and unstable material, between memory and simulation.

One of the conceptual starting points is essential: we have no sonic trace of baroque music as it was played. Only scores remain, and sometimes contradictory indications, a sensitive archaeology, even an imaginary projection.

Everything that is played today is therefore, in fact, a reconstruction, an interpretation of a vanished material. According to this logic and to pursue this reflection, the cloned voices, transformed by AI, are not a rupture but propose a natural continuation of this chain of reinvention, of this relationship to the invisible, to the indefinite. They do not aim to replace a human voice, but rather to embody the fact that any baroque restitution is already a fiction.

The project does not seek to imitate the real, but to play with the thresholds of the plausible, of the spectral. The music then becomes a fluid material, manipulable, alterable, and the performers, musicians or machines, are its vehicles.

The strings, carried by the sensitive and expressive interpretation of Echo Collective, breathe into the project a vibrant authenticity. Their presence brings an organic and tactile dimension that contrasts with the fluid and intangible aspect of the voices and the electronics.

Eclection’s lack of commercial success remains a mystery to this day. This selection of BBC Top Gear recordings demonstrates their song-writing strength and musical prowess. Only three tracks appeared on the band’s sole studio LP: the remaining nine songs suggest what a second LP might have sounded like. Highly recommended to fans of Fairport Convention, with whom Eclection share some musical DNA.
Comes with full recording credits and extensive sleeve notes.
Recording Quality Very Good/Excellent throughout.

"Visual artist, musician and composer Satch Hoyt will release a new 10” vinyl album, Un- Muting, on 3 October 2025 on newly minted record label traza, run by Andrea Zarza Canova and distributed by Honest Jon’s Records. This album is the first to document Hoyt’s ongoing, long-term project of un-muting historical African instruments held in Western museum collections and includes his composition: Un-Muting Beyond Misspelt Borders.
Originally commissioned by Nottingham Contemporary for the exhibition Your Ears Later Will Know to Listen, Hoyt’s composition invites listeners to engage with what he calls ‘sonic restitution’, a performative challenge to the silent confinement of instruments within Western conservation standards and ethnographic museums, awakening and celebrating the hybridity, resilience and creativity of the transnational African diaspora.
The composition began with a recording session in October 2023 at the British Museum in London, where Hoyt was granted access to a selection of African instruments held by the British Museum’s Department of Africa, Oceania and the Americas. In the presence of curators and conservation staff, he played the instruments without written scores, responding instead to their physical and sonic presence.
The recordings were then further developed in Hoyt’s studio, combined with additional performances on both African and Western instruments from his own collection."

For Hoyt, un-muting is both a creative and political act:
"To Un-Mute is to gain access into ethnographic museum collections where I play and simultaneously record the abandoned ancient African musical instruments. These restituted recorded motifs and rhythms accompany my live concerts and recordings. Un-Muting is also concerned with the chapters of patriarchal and racist supremacy which accompany the instruments’ abductions, vehemently opposing the current continuum of this supremacy, its ongoing colonial expansion and continued capital extractivism. It remains focused on the retention of spiritual belief and stalwart visions of liberation leading to eventual global emancipation and self-realisation."
- Satch Hoyt, June 2025

The 10” vinyl record includes a newly commissioned text by critic and scholar Tavia Nyong’o.
The album will be released on vinyl and digital formats on 3 October to coincide with the opening of Satch Hoyt’s solo exhibition Satch Hoyt: Afro-Sonic Mapping Chapter 4 at KARST Plymouth.

Ancient African instruments: Trumpets (Kuba), Sanzas (Chokwe, Lega, Kongo, Yao), Ilimba (Nyamwezi), Whistles (Chokwe, Luba, Pende, Bambara), Talking Drum (Yoruba), Slit Drum (Kuba, Yaka, Tetela, Songye), Bell (Tetela), Rattles (Yoruba, Luba, Bamileke, Pende) and Flutes (Kuba, Kongo, Mossi, Bambara)

Western instruments: Flute, Electric Flute, Roland Handsonic, Synthesizers, Glockenspiel, Wooden Xylophone and assorted hand percussion

Composed, arranged, produced and performed by Satch Hoyt
Engineered and co-produced by Dirk Leyers
Recordings of musical instruments held by the Department of Africa, Oceania and the Americas at the British Museum by Adam Laschinger
Studio recordings of African instruments from Satch Hoyt's collection by Dirk Leyers
Uncredited Female Chant on wax cylinder recording by Karl Edvard Laman (c. 1910), held by the Berlin Phonogramm-Archiv
Additional sound design and production by Call & Response Studios
Mixed by Hendrick Valera (Cali, Colombia)
Mastering and lacquer cut by Kassian Troyer at Dubplates & Mastering
Cover art: Satch Hoyt, Score #1, 2020
Design by Elisabeth Klement
Direction by Andrea Zarza Canova

Bed Maker's origins date back to summer 2019, when bassist Arthur Noll (Light Beams, Kid Congo Powers) and drummer Vin Novara (The Crownhate Ruin, 1.6 Band), each having played in Alarms & Controls, invited guitarist Jeff Barsky (Insect Factory, Time Is Fire) to collaborate and see what might happen. By autumn, they invited Amanda MacKaye (Desiderata, Routineers) to join them, and the chemistry was immediate. In February 2020 at DC's Rhizome, Bed Maker played their first show and then paused their activities the follow- ing month, as did most people.
Due to the state of the world in 2020 and 2021, they continued writing music through sharing recordings. Mike Schleibaum assisted by assembling home recordings of their individual parts into working demos. This allowed them to keep momentum, and by the time in-person rehearsals resumed, a handful of songs and new ideas were close to fruition. Bed Maker resumed playing shows in November 2022.
Following a self-released digital single ("Miss Dickens") and an EP (Three on the Tree) -- each recorded with Schleibaum and Matt Michel at Viva Studios -- Bed Maker began work on their self-titled LP in May 2023 with Ian MacKaye and Don Zientara at the original Inner Ear Studio in his basement in Arlington, VA, and with Mike Schleibaum at his home studio in Maryland.
That their debut LP even exists is only possible thanks to the support of family and many friends, and also serves as an act of defiance to the horrors of the last four-plus years.

Anyone that cut their metal teeth with The Big Four, and then dug a little deeper into the indie scene, should receive a major endorphin rush when they discover that speed and thrash masters RAZOR are about to release their first studio offering in 25 years. The album, Cycle of Contempt, is a direct, cutthroat record that pulls no punches and takes no prisoners. From the catchy, concise riffs and insistent beats of album opener “Flames of Hatred” to the double-barreled assault, muted power chord chugging and combative gang vocal of album closer “King Shit,” Cycle of Contempt is a trenchant reminder of a time when clubs around the world were packed with long-haired bands that played as fast as they could and mosh pits that spun and tumbled like clothes in a short-circuiting dryer. As energetic and exciting as Evil Invaders and as urgent and powerful as RAZOR’s 1989 speed-fest Violent Restitution, Cycle of Contempt showcases a band that never stopped spewing venom. “I tried to write songs that everybody could listen to and say, “Yeah, I know a guy who's done that to me or done this, or I know that situation. I can relate to that,” band founder Dave Carlo says. “And I didn’t want to make everything specifically about me because when you do that, you exclude people. I wanted to include everyone that’s ever felt pissed off about anything.” An unrelenting slab of old-school thrash that showcases RAZOR's encyclopedic knowledge of the past along with Carlo’s growth as a songwriter, player, and lyricist, Cycle of Contempt is here to show that RAZOR are as dominating as ever.