Buscar:the tube

Desiderii Marginis, Troum, Martin Bladh & Karolina Urbaniak and Anemone Tube, who have gathered to pay homage to the first four novels of British writer J.G. Ballard: »The Wind from Nowhere«, »The Drowned World«, »The Drought and The Crystal World«, which are often seen as disaster novels. Each of the four projects presents a very unique take on the chosen work, using the respective text as a starting point to offer sonic representations of and (further) perspectives on these books, using drones, field recordings, words and much more to create evocative and richly layered soundscapes.

Adorned by a painting of German artist Alex Tennigkeit depicting a sphinx-like hybrid creature, a phoenix rising from the ashes of our civilization, the double album also includes an in-depth essay by Michael Göttert (African Paper) on Ballard's works in which he argues that the novels can best be understood as texts of transformation, as well as texts by the sound artists.

The double album starts with Desiderii Marginis' track “The Wind From Nowhere”, on which field recordings and intense drones suck the listener into a stormy vortex. Troum interpret The Drowned World, and their two dynamic tracks illustrate both the changes happening to the (outer) landscape and the (inner) world of the protagonists. Martin Bladh & Karolina Urbaniak make use of sound and words on “The Poisoned Well”, their interpretation of The Drought, referring to Shakespeare, the Bible and scorched earth policy amongst other points of reference. The album closes with Anemone Tube's take on The Crystal World, using field recordings made in Japan’s Mount Fuji forest. “Sea Of Trees” aims to show a devolutionary process, in which man gains access to his actual spiritual home – a primordial wisdom, which lets him discover an internal non-dual space, allowing to ultimately becoming one with the earth as body-being consciousness – the ‘perfect dream’ landscape.

The Sub Pop debut by ever-evolving art-punk band Guerilla Toss, who have done prior releases with DFA, Tzadik, NNA Tapes and Feeding Tube Records. This album follows a 2020 Sub Pop Singles Club release.

Past releases have received great reviews, including acclaim from The Needledrop, Stereogum (Best EPs Of 2019) and more.

Dig deep enough inside yourself - start treating your body as your sanctuary rather than your enemy - and eventually you’ll find yourself blooming right back out into the sun. That’s the transformation Guerilla Toss trace on their newest album ‘Famously Alive’, their effervescent Sub Pop debut. After a decade sprinkling glitter into grit, building a reputation as one of the most ferociously creative art-rock groups working, the upstate New York band have eased fully into their light. This is Guerilla Toss at their most luminescent - awake, alive and extending an open invitation to anyone who wants to soak it all up beside them.

Singer and lyricist Kassie Carlson, multi-instrumentalist Peter Negroponte and guitarist Arian Shafiee wrote ‘Famously Alive’ at home in the Catskills during the pervading quiet of the pandemic year. The uncertainty of COVID-19 lockdowns and the total disruption of routine forced Carlson to negotiate with herself in new and challenging ways. “You have to be with yourself all the time during the pandemic,” she says. “I had to figure out a way to manage my anxiety. The pandemic was hard, but it helped me get comfortable inside my own body. My peace of mind came out of being thrust into the deepest shit. This album is all about being happy, being alive, and strength. It’s meant to inspire people.”

‘Famously Alive’ finds Guerilla Toss coming into the fullness of their power, celebrating their prismatic idiosyncrasies from a place of optimism and abundance. It is a joyous album, equal parts bizarre, accessible and fun.

The Sub Pop debut by ever-evolving art-punk band Guerilla Toss, who have done prior releases with DFA, Tzadik, NNA Tapes and Feeding Tube Records. This album follows a 2020 Sub Pop Singles Club release.

Past releases have received great reviews, including acclaim from The Needledrop, Stereogum (Best EPs Of 2019) and more.

Dig deep enough inside yourself - start treating your body as your sanctuary rather than your enemy - and eventually you’ll find yourself blooming right back out into the sun. That’s the transformation Guerilla Toss trace on their newest album ‘Famously Alive’, their effervescent Sub Pop debut. After a decade sprinkling glitter into grit, building a reputation as one of the most ferociously creative art-rock groups working, the upstate New York band have eased fully into their light. This is Guerilla Toss at their most luminescent - awake, alive and extending an open invitation to anyone who wants to soak it all up beside them.

Singer and lyricist Kassie Carlson, multi-instrumentalist Peter Negroponte and guitarist Arian Shafiee wrote ‘Famously Alive’ at home in the Catskills during the pervading quiet of the pandemic year. The uncertainty of COVID-19 lockdowns and the total disruption of routine forced Carlson to negotiate with herself in new and challenging ways. “You have to be with yourself all the time during the pandemic,” she says. “I had to figure out a way to manage my anxiety. The pandemic was hard, but it helped me get comfortable inside my own body. My peace of mind came out of being thrust into the deepest shit. This album is all about being happy, being alive, and strength. It’s meant to inspire people.”

‘Famously Alive’ finds Guerilla Toss coming into the fullness of their power, celebrating their prismatic idiosyncrasies from a place of optimism and abundance. It is a joyous album, equal parts bizarre, accessible and fun.

“hi leaves” is the new full-length record from soft tissue, the duo of Glasgow-based artists Feronia Wennborg and Simon Weins. Following their self-titled debut for Penultimate Press in 2019, this collection examines microsound by way of extended amplification technique, bone conduction, domestic recordings, and digital feedback. Tracks like “plant pot” and “kettle” appear to disclose their source material, presenting wonderfully tactile environments of highly articulate sound. Wennborg and Weins prove themselves to be masterful arrangers of discrete, organic material, weaving together knotty and immersive compositions from these sharp, prickly sounds. Ultimately, soft tissue inhabits an intoxicating soundworld somewhere in between the patient abstractions of composerly EAI music, the haptic indulgences of ASMR, and the diffuse digital pastorals of the 90’s a-musik/Cologne scene.

FFO Comets on Fire / VU / 60s garage / early Flaming Lips, new band from Leeds/Glasgow - you'll know some of the people involved, we couldn't help but fall in love with it. Here's some words from T House (Sweet Williams/Charlottefield): “Ostrich tuned and chronically distressed, The Web Of Lies is Neil Robinson (Buffet Lunch) and Edwin Stevens (Irma Vep, Yerba Mansa). Having played together years back in Robert Sotelo’s band and forged a singular connection, the pair have been biding their time, waiting for the perfect moment Nude With Demon, their first LP, lurches from the incendiary to the world-weary, like a drunk alternately haranguing and commiserating on the rush hour tube. Drafted quickly in a handful of hungover early morning sessions, fleshed out with a few carefully chosen collaborators - Kathryn Gray (Mia La Metta, Nape Neck), Dylan Hughes (The Birth Marks), Ruari Maclean and Jess Higgins (Vital Idles), Neil Campbell (Astral Social Club) and Dan Bridgewood Hill (d bh) - it’s one long dribbling lunge at the grab strap, regret seeping from the pores, mitigated by wry humour and, when the rage momentarily subsides, the suggestion of humanity"

A Letter from TreeTops is the debut album from Pneumatic Tubes, the solo project of multi-instrumentalist Jesse Chandler. Grounded here in his own bucolic makings, Chandler opens his imagination to the world with this very personal and contemplative album. It’s a kind of American Kosmiche Music, a paean to the wild landscapes of the Adirondacks and Catskills of Upstate New York where he grew up. (TreeTops is the name of a summer camp, fondly remembered by several generations of the Chandler family.)

The album came to Chandler almost as an automatic transmission. Shortly after the death of his father, he holed up alone in the old family home with a few synths, a couple of vintage keyboards, percussion instruments and of course his beloved flutes and clarinets - the “pneumatic tubes” of his nom de plume. Channelling raw memory and landscape, Chandler laid down most of the material for this mystical and elegiac suite of music in just a few days. He later called on some talented friends to flesh out the final recordings; Paul Alexander on bass, Bill Campbell on drums, Marissa Nadler backing vocals and Robert Gomez on electric guitar.

The result is a series of beautifully faded musical photographs. Gentle melodies are propelled along by synth arpeggiators or laidback sidestick and felt beater drums. Chandler’s wind instruments are woven throughout like wild vines binding the elements together. Towards the end of the album an underlying note of melancholy swells into grief during the very moving Witch Water, which is subtly underpinned with Marissa Nadler’s haunting voice. The clouds soon clear, the mountains reappear, and the wheel of the year and of the generations turns again as A Letter from TreeTops signs off with the same lilting melody on which it began.

Originally hailing from Woodstock, New York and now living in Denton, Texas, Jesse Chandler is the keyboard and woodwinds player for the bands Midlake and Mercury Rev. His particular warmth as a composer and improviser is informed by a childhood ensconced in the mystical Catskill mountains, where he absorbed the area’s rich musical history and developed a fascination with keyboard and woodwind instruments.

A Letter from TreeTops is not his first appearance on Ghost Box, he also contributed organ and flute on the Soundcarriers’ incredible Entropicalia album.

Evocative liner notes are provided by Justin Hopper, author of Old Weird Albion and writer of the Ghost Box spoken word album Chanctonbury Rings. By happy coincidence Hopper also grew up in New York State and has his own deep connection to the landscapes there.

Magic spells, time-traveling futurists, sword-bearing horse riders, mountain-residing sorcerers, possessed journeyman,

ominous warnings: Demons and Wizards lives up to its title as a collection of fantasy-based narratives rooted in dreamy,

gothic-minded arrangements. Universally recognized as the finest effort of Uriah Heep's four-decade-plus career, the 1972

LP also perseveres as a prog-rock landmark that influenced countless of bands ranging from Metallica to Styx. And now, it

sounds better than ever on this extremely cool green-vinyl gatefold pressing from Wax Cathedral.

The first album on which founding members Mick Box, Ken Hensley, and David Byron are joined by staple drummer Lee

Kerslake, Demons and Wizards captivates by way of taut songwriting and instrumental execution. Rather than function

as the primary attraction, make-believe lyrical themes augment a formidable assembly of folk-derived melodies, sharp

medleys, and powerful hooks. Acoustic guitars weave webs of finite textures through which crackling, church-like organ

passages and space-conscious bass lines maneuver. Songs come across with an ethereal, powerful feel.

Glowing with old-fashioned tube-amp warmth, concise and punchy fare like 'The Wizard,' 'Traveler In Time,' and the hit

'Easy Livin'' touch upon garage-rock basics. Epics such as 'Circle of Hands' and 'Paradise/The Spell'—a multi-part sonic

excursion whose choral grace and spiritual glide evoke distant lands, misty cloud forests, and peaceful eternities—cling to

a sensitivity underscored by deft piano touches. No wonder Uriah Heep spent the remainder of its lifespan trying to again

capture such a balance.

Words have a force of their own: a life generated by their meaning and by the imaginary world they refer to; a power increased by the dynamic interplay with other words. Just put 'Moon' and 'Apollo' together, and you'll be almost inevitably transported to mankind's greatest adventure: the Moon landing and, before that, the space race between the US and USSR, the early missions, and the incredible technological challenges faced at the time by astronauts and engineers.

It is against this imaginative background that beat-maker and bass player Moonbrew and organist and keyboardist Paolo Apollo Negri conceived The LEM Tales project. Their collaboration, too, is the coming together of 'Moon' and 'Apollo', and of their two worlds: a sonic universe where hip hop meets funk, pop merges with jazz, old school interacts with new possibilities, and urban and space blend into something new.

The LEM Tales - Chapter One narrates the space race from the American point of view. This vinyl edition, which includes two exclusive tracks (*) not on the digital release, takes us on a journey from "Project Gemini" - NASA's second human spaceflight program - to "Tranquillity Base" (*) (the site on the Moon where Armstrong and Aldrin landed and walked in July 1969) , through tracks titled "Capsule Communicator" (the individual in the mission control center who maintained communication with the astronauts in space), "EMU" (Extravehicular Mobility Unit, better known as the spacesuit), "Saturn V" (a threestage, liquid-fuelled rocket used between 1967 and 1973), and "Mercury Seven" (*) (the group of seven astronauts chosen for the Mercury Program in 1959).

Inspired by iconic images that are part of our collective visual memory, Moonbrew and Apollo's first collaborative effort tries to provide a contemporary sonic representation of what the past means to us today – and, perhaps, will mean to future generations. It does so through a feast of vintage synthesizers, transistor and tonewheel organs, string machines, electric pianos, tube amplifiers, obscure analogue devices, electric bass, and modern samplers.

An old-school hip hop approach was used in the first stages of writing the album: individual drums hits from old, dusty records were first sampled and then physically played on real instruments to create patterns and build up the rhythm section. Moonbrew then laid down the electric bass grooves and Apollo layered his dreamy, evocative vintage keyboards on top. The result is a combination of different styles, sounds and genres that is fresh, original and contemporary while being clearly influenced by many musical legends of the past.

The LEM Tales - Chapter One is released by Four Flies in partnership with Record Kicks.

One concerned with illness (no, not that one) and recovery. Inside to outside. Darkness into light. A way through the woods. The Doozer aka Simon Loynes is now seven LPs into a subterranean solo voyage begun in 2007, and to those of us who have followed it, the songs that make up Convalescence could be seen to embody a kind of late style - ultra-lucid, pared-down, precise; seemingly simple in form, richly complex in effect. Where The Doozer’s last outing, 2018’s Figurines (FTR360), showcased his songs at their most propulsive and and electrified, Convalescence is a more hushed, hermitic, even claustrophobic affair - dispensing with percussion almost entirely, the focus is tight on Loynes’ voice and plangent acoustic guitar, with occasional daubings and interludes of wheezing keyboard, all recorded to Tascam 246 4-track cassette in Edinburgh, Summer 2019. For a considerable chunk of time, health issues had left Loynes unable to sing. On this record you can hear him rediscovering his voice: its unique grain, its responsiveness, its capacity for creating and sustaining emotional ambiguity, for oscillating elegantly between whimsy and woundedness. As with previous Doozer albums, there’s an arcadian impulse at the heart of Convalescence: a sense of exile, or withdrawal, from ‘The Garden’ - and the need to return. The idea that, in your lowest ebb, you might recover your sense of self somewhere in the pastoral landscape of your memories. We're told the shadow of Malcolm Lowry looms large over the record – Lowry the void-chaser, the great misadventurer. Does Convalescence report from the abyss? If so then it's with a coolness and control, a lightness of touch, that conceals as much as it reveals. But beyond the neurosis, the ironic deflections, the flashes of matter-of-fact bleakness (“there isn’t time / there isn’t love”), there lies a deep, Lowry-ish romanticism, and a rejection of pessimism: even at its lowest ebb, Convalescence gestures towards an immense and loving truth – and knows that the possibility of that truth is far more interesting than the numerous ways in which it might be denied. A co-release with Feeding Tube Records USA.

Emerging like and ornate relic, Austin-based power trio Grivo combine
slow, methodical hooks and warm tube amplifers to artfully re-establish
the line between heavy guitars and downtempo pop
Grivo's tones and effects are utilised as active compositional elements, crafting
and pacing their infectious riffs to allow the saturated guitars and bruising lowend to fully bloom. Within the tidal sound waves and bleak timbre, Grivo forges a
distinctive personal connection that challenges the modern defnitions of doom
metal and shoegaze.Shipping on or around 28th January 2022.

Cardinal Fuzz are pleased to announce the new LP from Mienakunaru – ‘Blood Sun’. After Mienakunaru's debut brain crusher 'Lost Bones Of The Holy Butterfly' that came via esteemed label Drone Rock Records (and reissued in the USA via Echodelick) - Cardinal Fuzz and Feeding Tube Records bring you 'Blood Sun' - A ferocious throb of of 3 people losing themselves in the beauty of fuzz, sizzle and noise.
Mienakunaru are a throbbing face melting power trio made up of Mike Vest, Junzo Suzuki and Dave Sneddon and if we were to write up the list of bands these artists have been involved with there would be no room to write more – Just believe me when I say that the list reads like a who’s who of cult underground hardcore and psychedelic bands. For those that may not have been listening to anything associated with these leviathans of heady, psychedelic noise – What we have here is fuzz drenched, waster infused and pounding like jack hammer freak-outs. Over four tracks of which the title track takes up the whole of one side you are treated to forty minutes of heavy cosmic amplifier worship, where the hypnotic nature of the music created within, unfolds and time and space begins to distort. Prepare to have your body shaken as Mienakunaru lay waste.

NOW Music is delighted to introduce our new sub-brand ‘NOW Presents…’. This new series starts with ‘NOW Presents… The 1970s’, the first-ever NOW vinyl boxset featuring 5 LPs uniquely designed to reflect the era.

The boxset is a musical time capsule of the decade that saw so many different genres find chart success. Across its 74 tracks over 10 sides of vinyl, the massive hits sit alongside enduring classics from each year. The set not only includes 5 beautifully designed front covers on the individual albums (that slot into a rigid slip case), but also features track by track annotations with chart positions and facts about the artists and songs.

Each year, 1970-1979 is presented as 1 side of each LP… Kicking off with the iconic ‘Bridge Over Troubled Water’ by Simon & Garfunkel from the biggest selling album of the year, and of the decade. 1970 also includes Motown classics from Stevie Wonder, Smokey Robinson & The Miracles, and the debut hit ‘I Want You Back’ from the Jackson 5.

1971 includes the seminal ‘What’s Going On’ from Marvin Gaye, alongside Elton John’s breakthrough – the timeless ‘Your Song’, Rod Stewart’s breakthrough ‘Maggie May’, and The Who’s defining rock anthem ‘Baba O’Riley’.

The charts in 1972 began to reflect the popularity of ‘Glam Rock’ – and ‘Virginia Plain’ by Roxy Music, and ‘Metal Guru’ by T. Rex are included, as is the David Bowie-produced ‘Perfect Day’ from Lou Reed.

‘Killing Me Softly With His Song’ – one of the most beautiful songs, and vocals ever from Roberta Flack opens 1973’s side – and is joined by, amongst others, Billy Joel’s signature song ‘Piano Man’ and Bob Dylan’s ‘Knockin’ On Heaven’s Door’.

1974 celebrates Queen having their first Top 5 single with ‘Killer Queen’, and title tracks from two of the decades’ biggest selling albums: Paul McCartney & Wings with ‘Band On The Run’, and ‘Tubular Bells’ from Mike Oldfield.

John Lennon released ‘Imagine’ in 1971 – but it became a UK hit in 1975, and so, starts this side… and finds space for some of the year’s perfect pop from Steve Harley & Cockney Rebel, David Essex, 10cc, and the biggest hit ‘Bye Bye Baby’ from Bay City Rollers, at the peak of their popularity.

ABBA enjoyed 7 UK Number 1’s in the 1970s, and their biggest was the enduringly popular ‘Dancing Queen’ which leads into 1976. Electric Light Orchestra had a huge hit with ‘Livin’ Thing’, as did Thin Lizzy with ‘The Boys Are Back In Town’ – plus Joan Armatrading emerged with ‘Love And Affection’.

1977 saw Fleetwood Mac release their mega-selling album ‘Rumours’, and from it ‘Don’t Stop’ is here, as is Donna Summer’s ‘I Feel Love’ – one of the most influential dance tracks of all time – and one of 1977’s favourite TV stars, David Soul, enjoyed a #1 single with ‘Don’t Give Up On Us’.

With ‘Wuthering Heights’, Kate Bush not only had 4 weeks at number 1 in 1978, but became the first female artist to achieve this with a self-written song. The Jam, The Boomtown Rats and Siouxsie And The Banshees all found consistent success as Punk & New Wave established new chart stars.

1979 concludes the set and opens with the iconic ‘London Calling’ from The Clash, and includes two of the biggest bands of the era, The Police and Blondie. A couple of years later the first video played on MTV would be ‘Video Killed The Radio Star’ from The Buggles – and it’s fitting that this is the final track on the collection, a #1 in late 1979 – it signposted the synth-pop wave that would define the early 80s…. (but that’s a different box set).

Third Man Records is proud to announce the 20th anniversary expanded edition of Kelley Stoltz’s defining album Antique Glow, due November 19, 2021. The announcement is heralded by the release of bonus track "Too Beck". Limited-edition "rainy nights" UK exclusive vinyl will be available on release day.

Originally self-released in minuscule vinyl-only quantities in 2001, Antique Glow has served not only as a template for the length of Kelley Stoltz’s twenty-plus year career, but has also served as a compass for other Anglophile, TASCAM 388 home recording acolytes. Original copies featured Stoltz’s clever, wry and fanciful hand-painted adornments overtop reclaimed thrift store LP jackets, Third Man’s release here utilizes some of those original unused images for a die-cut sleeve that ultimately gives the listener six different possible album covers.

The songs are by-and-large masterpieces of bedroom pop magic. From the whispering “Here Comes the Sun”-adjacent acoustic underpinnings of album opener “Perpetual Night” through the fuzz-threaded leads of “Are You Electric?” Stoltz’s inspirations are impeccable and clear. Sixties Davies British Invasion through 80’s British Bunnymen post-punk, with appropriate off-shoots into West Coast American pop-psych, Velvets-indebted hooliganism and Drake/CSNY acoustic attenuations, the end result is pure joy.

On the expanded version, standout tracks previously relegated to an Australian tour-only CD (like the breathlessly cinematic “Old Pictures”) see their first-ever vinyl and digital release while there’s an additional 10 songs from the Antique Glow-era seeing their first ever release in any format. The cutting room floor quality here is second-to-none, Stoltz clearly gifted with the curse of writing too many indelible songs, so the newly released “Too Beck” (originally cast off by Kelley because he thought “it sounded too much like Beck”) and “Umbrella” stand firm as some of the best, most timeless music Stoltz has ever released... a full two decades after he recorded them!

IMPORTANT NOTE: UNFORTUNATELY THE SIDES ARE REVERSED ON THE VINYL, I.E. THE A-SIDE IS THE B-SIDE AND VICE VERSA. WITH THE PURCHASE OF THE VINYL OR THE CD YOU WILL GET THE SINGLE MP3 FILES AS WELL AS A CONTINOUS MIX VIA E-MAIL.

With the cover artwork for Pop Ambient 2022, longtime KOMPAKT graphic artist Veronika Unland has once again outdone herself. Following the almost baroque, blood-red and jet-black, extremely physical sculptures of Pop Ambient 2021, which emerged from a dark, floral sea like bodies erect for dancing, the front of 2022 is adorned with a pastel-white form, intertwined, folded many times and crisscrossed with delicate shading, which seems to float on a pale pink background; soft, gentle waves woven from Venetian colors that leave the viewer puzzled: Is it a flower, a coral, a mollusk?

Again, the current edition of the tradition-steeped compilation series curated by Wolfgang Voigt is about the persistent and ever-necessary definition of beauty, of reduction, of electronic music of heavy lightness and light heaviness, of ambient's eternal promise of a state of physical and acoustic weightlessness and Pop's of redemption. And about the question why a never arbitrary combination of soundscape, drones, samples and loops, put together in a certain way, can create this feeling of warmth, depth and space, - something three-dimensional, where the imagination feels at home as a fish in the water or a bird in the sky. A key aesthetic stimulus that sends all the senses into a slow glide and drift, after which your synapses feel like they've been bathed in essential oil. Next to Soul, Ambient is probably the most effective musical healing plant of mankind.

Behind the aural test tubes, the who's who of Pop Ambient is once again at work, led for the first time by the highly trafficked Californian duo Blank Gloss, whose debut album "Melt" this year was certified by The Guardian as nothing less than "heartaching beauty". Yui Onodera's "Chrome" as well as "Kari", a cooperation of Markus Guentner and Joachim Spieth, could also be imagined in the score of Denis Villeneuve's new film version of DUNE - however, colleague Hans Zimmer managed that quite well without the three. After such wonderful and stylish contributions by Reich & Würden, Triola and Thomas Fehlmann, the ear then lingers a bit longer on the ghostly "Weiht" by Morgen Wurde feat. Maria Estrella, a track like a temple of sound, a deep electronic immersion in a Japanese onsen. In this sea of unnameable time you could sink forever, but with the tracks of Andrew Thomas, Thore Pfeiffer and Max Würden & Pepo Galán the journey slowly comes to an end.

Mit dem Cover-Artwork für Pop Ambient 2022 hat sich die langjährige KOMPAKT-Grafikerin Veronika Unland einmal mehr selbst übertroffen. Nach den geradezu barocken, in blutrot und tiefschwarz gehaltenen, äußerst physischen Formationen von Pop Ambient 2021, die wie zum Tanz aufgerichtete Körper aus einem dunklen, floralen Meer auftauchten, ziert die Vorderseite von 2022 eine pastell-weiße Skulptur, in sich verschlungen, vielfach gefaltet und von zarten Schattierungen durchzogen, die auf einem blass-rosa Hintergrund zu schweben scheint; weiche, sanfte Wellen aus venezianischen Farben gewebt, die dem Betrachter Rätsel aufgeben: Ist es eine Blüte, eine Koralle, eine Molluske?

Natürlich geht es auch in der aktuellen Ausgabe der traditionsreichen, von Wolfgang Voigt kuratierten Compilation-Reihe um die beharrliche und immer wieder notwendige Definition von Schönheit, von Reduktion, um elektronische Musik von schwerer Leichtigkeit und leichter Schwere, vom ewigen Versprechen des Ambient auf einen Zustand körperlicher und akustischer Schwerelosigkeit und dem von Pop auf Erlösung. Und um die Frage, warum eine nie beliebige Kombination aus Klangfläche, Drones, Samples und Loops, auf eine bestimmte Art zusammengefügt, dieses Gefühl von Wärme, Tiefe und Raum entstehen lassen kann, - etwas dreidimensionales, in dem die Fantasie sich so zuhause fühlt wie ein Fisch im Wasser oder ein Vogel in der Luft. Ein ästhetischer Schlüsselreiz, der alle Sinne in ein langsames Gleiten und Driften versetzt, wonach sich deine Synapsen wieder anfühlen, als habe man sie in ätherischem Öl gebadet. Neben Soul ist Ambient die wahrscheinlich wirksamste musikalische Heilpflanze der Menschheit.

Hinter den auralen Reagenzgläsern hantiert einmal mehr das Who-is-Who der kompaktschen Pop Ambient-Riege, erstmals angeführt vom hoch gehandelten kalifornischen Duo Blank Gloss, deren diesjähriges Debüt-Album “Melt” der englische Guardian nichts weniger als “herzergreifende Schönheit” bescheinigte. Yui Onodera’s “Chrome” sowie “Kari”, eine Kooperation von Markus Guentner und Joachim Spieth, könnte man sich auch gut im Score von Denis Villeneuve’s Neuverfilmung von DUNE vorstellen, - das hat der Kollege Hans Zimmer allerdings auch ohne die drei ganz gut hinbekommen. Nach so wundervollen wie stilsicheren Beiträgen von Reich & Würden, Triola und Thomas Fehlmann verharrt das Ohr dann etwas länger beim geisterhaften “Weiht” von Morgen Wurde feat. Maria Estrella-Weiht, ein Track wie ein Tempel aus Klang, ein tiefes elektronisches Eintauchen in einen japanischen Onsen. In diesem Meer aus unnennbarer Zeit könnte man ewig versinken, doch mit den Tracks von Andrew Thomas, Thore Pfeiffer und Max Würden & Pepo Galán geht die Reise langsam zu Ende.

Cardinal Fuzz and Feeding Tube Records are at long last ecstatic to bring to you for your listening pleasure “Nudity - Is God’s Creation” 2xLP . A retrospective release of recordings dating from 2005 to 2010 of orgasmic interstellar mayhem . Reissued and for the first time available domestically in the USA

In 2004, a commune named NUDITY, formed by four travellers from the astral plane, appeared in Olympia, Washington. The founding members were Dave HARVEY (guitar) and Jon Quitty QUITTNER (bass - though Josh Haynes of the mighty guitar fuzz scorchers Feral Ohms plays bass on the majority of the tracks featured here), both of whom were former guitarists of Tight Bros From Way Back When and Eryn ROSS (drums) from Growling, A couple of self-distributed Cdrs and a 12” on Discourage were a visual akin to coloured liquid sloshing around on a transparency machine and were a pure drip feed for psych /kraut and Jap Rock fiends around the world as Julian Cope and Terrascope raved about them. Alas for whatever reason no full length LP arrived from the original line up - something that at last has been rectified as now all these tracks have been brought together (along with some unreleased gems and a couple of live bonus download tracks). The sonic ear candy contained within the 4 sides of vinyl presented here go From Detroit fuzz blazing face melters to acid trippin' head swirling raga’s via The Flower Travelin’ Band and Hawkwind. Nudity were the masters and for those that missed out the first time this double album was released - Don't make the same mistake a second time.

Terrascope gushed about Nudity - "This is seriously fucking good; one of those quite literally extra-ordinary LPs that come along every once in a while which you just know instinctively are going to be dug out and played, sniffed and caressed for years"

Nantais by adoption, the Australian Will Guthrie is a discreet star of the international scene of free, experimental and improvised music; over the past fteen years, he has developed an open and personal approach to drums and percussion, skillfully blurring the lines between his brilliant jazz upbringing, his passion for traditional musics, and his inexhaustible interest in experimental and noise creation, with a pronounced taste for a physical and raw approach to sound. With thousands of performances and some fty albums to his credit, the Australian regularly dispenses his vibratory art solo or alongside the best of improvisation; From Oren Ambarchi to Roscoe Mitchell via Jérôme Noetinger, Anthony Pateras, David Maranha, Ava Mendoza, Jean-Luc Guionnet, Keith Rowe or even Mark Fell. In recent months Guthrie has performed with Tunisian singer Ghassen Chiba, toured as part of “All Around”, a performance with Danish dancer choreographer Mette Ingvarsten and founded the Ensemble Nist-Nah, a gamelan orchestra, in the company of eight other percussionists, out of which Black Truf e published an album, with a second on the way. He also found the time to put in shape a second volume of “People Pleaser”, a discographic act between an autographical assessment, the parenthesis and the musical UFO. A singular exercise in Guthrie's discography, “People Pleaser”, a series initiated in 2017, sees the Australian partially put down his drumsticks and wear a producer cap for a result offering a resolutely singular perspective of / on his work with a very personal dimension. On the rst volume, with a cover signed Stephen O'Malley sets the tone by diverting the chamaré Warhol infulenced visual of the album “Unit Structures” by Cecil Taylor. The portrait of the free jazz pianist has been replaced by passport photos of Guthrie. The result is a diversion into a fairly “Pop” aesthetic whose musical content works in a fairly similar way. Four years later, the cover art's undertones are slightly darker and Guthrie hasn't aged a bit on his new passport photo. The twelve tracks of this second “People Pleaser” combine and arrange eld recordings, heady loops, twists, musical quotes stuck on bedside records, recorded moments captured during travels, ghosty voices from low- lands, a police interview tape and imagined exotic sounds ... Guthrie could walk us for hours on his hard drive like looking at a photo album but he chose to build pieces based on this very personal sound material, much like a mixtape, with special care given to how sounds articulate, overlap and collide. He thus invites his heroes and his friends to join him in skilfully chiseled and nely edited imaginary jams. The rst to take pleasure in this “People Pleaser” is undoubtedly its author as some of his nds are enjoyably playful; we are there embarked in an addictive sound patchwork at high speed where a Balinese Squarepusher is propelled via a defective cathode ray tube in a temple where the happy marriage of the saxophone and the gong is celebrated before this too short respite is interrupted by a sustained hip hop rhythm. The multiplicity and variety of sources give the whole a very pop format and the way in which Guthrie combines sounds, textures, rhythms and vocal elements quickly takes on a narrative dimension and poses this exercise between hip hop and a very personal plunderphonic, evoking as much J Dilla or RZA as the irreverent inventiveness of People Like Us or Wobbly. Will Guthrie has never been in as good company as on a solo album, he also lists on the cover the list of friends, heroes, members of his family and countries who inspired him and to whom he pays homage / collage on this new disc; An aesthetic exercise apart in his discography, both in nitely personal and self-centered and resolutely turned towards what animates him, the aptly named “People Pleaser” reveals the music DNA of the Australian and can be listened to on repeat.

Truly, the luscious, soulful new album from Manchester singer-songwriter Caoilfhionn Rose (pronounced Keelin) moves through a tapestry of curious musical inflections; nods towards folk, jazz, ambient, electronica and even a subtle influence of psychedelia, it never stands still to take a breath, despite its ethereal and delicate core. Out April 9th on Gondwana Records (Mammal Hands, Portico Quartet, Matthew Halsall, Hania Rani), in Truly, the young singer-songwriter has accomplished a body of work that is both sonically and lyrically wise beyond her years.

Co-produced by Kier Stewart of The Durutti Column following Rose's collaborative endeavours with them on their album Chronicle LX:XL, the musician's song writing draws from a diverse palette of influences, including Building Instrument, Rachel Sermanni, Alabaster dePlume and Broadcast. Rose also professes to a love for beautiful, stripped back, piano based music, such as Dustin O'Halloran and label mate Hania Rani.

Truly came to exist due to a deep-routed need to create – even though its conception was interrupted as Caoilfhionn Rose recovered in hospital from an illness, she found strength within writing music. "In Spring 2019 I took part in a gig swap with my good friend and fellow musician Kristian Harting who is from Denmark. We played several gigs in the UK but unfortunately the Denmark part of the tour was cut short as I was taken ill. I was hospitalised for several weeks and have taken the last year out to recover" says Rose. "I gradually returned to finishing my second album" she continues. "Coming back to creating after being unwell was challenging but also therapeutic. This record marks a difficult time of my life and writing it helped get me through that. I am really grateful to have music as an outlet." It may be this tremendously challenging period that has abetted its characterising qualities.

Rose's beautifully restrained vocal is all at once soothing yet mesmerising. She demands and holds attention through her evident talent yet hypnotises the listener into a trance with her experimental tendencies. "After being unwell, getting back to recording helped me recover my voice after not singing for so long. Finishing bits of songs, writing lyrics and recording vocals helped me get back on my feet and get better."

Lead single from the album – 'Flourish' – is an intoxicating song that meditates on being present in the moment, allowing peace to come to you. "The song 'Flourish' is about looking forwards with hope and possibility, 'let it flow away, let it turn around and flourish'. It's about finding peace and feeling wonder again" says Rose about the track. "'Flourish' hints at the ideas of what could be, how things can unfold if you let go 'and just be here'."

A message of hope is instilled throughout the record, echoed again in 'Fireflies', a song inspired by a campsite in France, which became filled with fireflies at night. "To me 'Fireflies' has a nostalgic and comforting feel. It's about feeling hopeful about the future 'though there may be dark clouds the sun will always come'. There are references to older lyrics I have written. The line 'free from all the chaos' is a nod to a song I collaborated on with The Durutti Column. The song is about acknowledging the past and moving on as 'time is always healing'."

A recurring theme of reflection and being grounded in the present, acknowledging the past and looking forwards with courage is one that envelopes 'Truly', and is something that is echoed in its beautiful swelling flourishes and its tranquillity – resonating with atmosphere, the album all at once sounds so large and yet so subdued. "The line on Every Waking Minute; 'we forget what lies behind the eyes' is about remembering that everyone has their own things going on and challenges to face but we should 'feel every waking minute', become aware of what's unfolding around us outside of our own stories. It's a self-reflective song really, reminding myself that 'life can take you bysurprise', there are going to be ups and downs along the way"

Elsewhere on the album, Rose explores the connection between nature and life on single To Me. "I love going on long walks and the healing power of nature is a recurring theme in a lot of my lyrics. I have a very optimistic outlook and I find solace in the small things like being outdoors."

Caoilfhionn's debut Awaken, co-produced with label mate Matthew Halsall, saw the singer, songwriter and producer tie together remnants of Manchester's musical past with its evolving present. Prior to this, the artist collaborated with one of her biggest musical influences, Vini Reilly of The Durutti Column. The musician worked with the Manchester band on four songs on their album Chronicle LX:XL. "I've learnt a lot from collaborating with musicians like Vini Reilly, Matthew Halsall and my bandmates" says Rose. "This is reflected in my current style and approach to making music. I no longer just write as a therapeutic or reflective process; I can write more abstractly and outwardly."

Kier Stewart of The Durutti Column co-produced her latest offering, Truly, following his band's collaborations with Rose. "I befriended Kier after we worked together. Collaborating with The Durutti Column was my first experience of recording music with other people in a studio." Together, the pair have created something expansive yet fragile – and altogether unique. "He's brought so much to this project" she says. "I feel Keir has brought out the best in the songs, adding really intricate and subtle details and effects. It was inspiring getting to work with Keir and I've learnt a lot from his approach of just experimenting and seeing what works."

Vinyl reissue of this classic Oi! compilation originally released on Secret Records in 1981.

It features tracks by the biggest bands of the genre like: 4 Skins, Blitz, Red Alert, Peter & The Test Tube

Babies, Infa-Riot or The Business. This album went straight to number four of the independent charts and became probably the best Oi!

compilation ever issued. Includes original artwork inner bag.

After Dinner from Japan, embraced new wave, traditional Japanese music, free contemporary and avant-garde rock. Founded under hand of delicious female vocalist, musician and composer Haco in 1981, broaching a very interesting collective cohesion; their background, though however various, brought them together during times of recording and live performance.

1982-85 includes all their first production; the complete 1st album “Glass Tube", 2 tracks from the 1st 7” single and a bonus track track from a 1985’s compilation on Celluloid.

“A founding member of the legendary band After Dinner, Haco is one of the most versatile vocalists in the Japanese indies scene.” (John Zorn)

"Haco is capable of gallons of tenderness and melancholy." (Kurt Gottschalk)

With Pierre-Jean Guidon (Moravagine, Chute Libre) as their saxophone player, Subversion (from France) played lowkey jam-orientated Progressive Rock with prominent folk and jazz flavors. However, despite the brainy exterior, their soft music had more in common with the naivety of the 60’s Yé-yé movement and lounge-pop in general. Thus they seemed to belong to a bygone era, one far removed from the upcoming punk-rock and new-wave one.