Search:the wai

Aufgenommen in Berlin und auf Abstand zwischen 2020 und 2021, legt die Band ihr 19. abendfüllendes Studioalbum vor. Fire Doesn't Grow On Trees ist der Beginn einer aufregenden neuen Phase für Newcombe und seiner Band. Mit ihm im Studio und über Video/Mail haben Ricky Maymi (Gitarre), Ryan Carlson Van Kriedt (Keyboards), Hakon Adalsteinsson (Gitarre), Hallberg Dadi Hallbergsson (Bass) und Uri Rennert (Schlagzeug) an diesem Album gearbeitet. Die Band befindet im Frühling auf einer 34 Termine umfassenden Tournee in Nordamerika mit Mercury Rev, mit Festivalauftritten bei Levitation in Angers, Frankreich im Juni, Elevation in Graz, Österreich im Juli und NOX ORAE in der Schweiz im August, die Tourneen in Europa ist für September 2022 geplant plus einer weiteren im Februar 2023. Ursprünglich war Newcombe stark von der psychedelischen Phase der Rolling Stones beeinflusst - der Name stammt vom Stones-Gitarristen Brian Jones in Verbindung mit einer Anspielung auf den Sektenführer Jim Jones -, aber in den 2000er Jahren hat sich seine Arbeit in ästhetische Dimensionen ausgeweitet, die sich dem britischen Shoegazing-Genre der 1990er Jahre annähern und Einflüsse aus der Weltmusik, insbesondere aus dem Nahen Osten und Brasilien mit einbezieht. "The Real" ist der erste Vorbote des Albums.

Twice Removed From Yesterday: 50th Anniversary
Deluxe Edition
Twice Removed From Yesterday is Robin Trower's first solo album after
leaving Procol Harum in 1971 and hooking up with Frankie Miller in the
band Jude
Featuring ex-Stone The Crows bassist/ vocalist James Dewar and Reg Isidore on
drums, it was originally released in March 1973 and heralded the beginning of this
legendary power trio, paving the way for Robin to be the deserved guitar hero that
he is. A mix of hard bluesy rock, the album contains nuggets of genius
throughout, none more so than on the title track, I Can't Wait Much Longer, and
Daydream amongst others.This new deluxe version is housed in a gatefold sleeve
and is remastered for 2023. It features 3 unreleased versions of album tracks, the
B side of the "Man Of The World" single (Take A Fast Train) and 4 BBC John Peel
sessions.

Clear Vinyl. They say there's always something special about the first time and this record is that first time for the Folk Implosion. The band left the acoustic guitars and fragmentary sketch modus operandi of their earlier cassette behind to focus on an eccentric version of home studio craft, held together by a few cheap microphones (including a Radio Shack PZM) and a Tascam cassette 4-track recorder sequestered under the eaves of a 3rd floor, Cambridge Massachusetts double-decker house apartment. Wood floors and Christmas lights were as much a part of the vibe as an Ampeg VT 40 guitar amp and a small chord organ. The duo would wait until the downstairs neighbor went to work in the morning and then would play until the tunes snapped like a high-pitched snare drum. The setup would close down just before the neighbor came home from work, keeping the peace long enough to see the project through to completion.Once tracked, the band snuck into Fort Apache studios with Tim O'Heir (producer of Sebadoh's `Bakesale' LP) early one morning, freeloading off the Sebadoh sessions that were set to get going that afternoon. Tim mixed the songs through a very hi-fi Neve board in a matter of hours with the Tascam sitting right on the giant board like a tugboat keeping time with an oil tanker. The duo hoped that the spirits of ancestors like The Troggs, Devo, Al Green, and The Bee Gees would be pleased with the scent of tribute that arose from the ashes of the pyre. Today, they are pleased to see the Slaps and the Sputniks on view again nearly 30 years later.

Attarazat Addahabia & Faradjallah's album came to us as quite a mystery. Our friends from Radio Martiko got access to the studio archive of the Boussiphone label and a reel labeled “Faradjallah” was among the items they had found there. After listening to the selection of reels they borrowed, Radio Martiko felt it was not a fit for their label and helped us licensing it from Mr. Boussiphone instead. We knew nothing about the band. We just had the reel with the music but very little information. What we knew was that the music was incredible and very unique. Gnawa sounds were combined with funky electronic guitars, very dense layers of percussions and female backing vocals more reminiscent of musical styles further south than Morocco. We started asking around whether anyone knew the band with no immediate success until we asked Tony Day, a musician from Morocco who helped us during our search for Fadoul’s family. His sharp memory came through once again, remembering all the names of the Attarazat Addahabia band members and even how to contact the bands singer and leader Abdelakabir Faradjallah. After visiting him at his home in Casablanca with our Moroccan colleague Sabrina multiple times, he shared his personal story. His father arrived in Casablanca from Aqqa at the age of six and his mother came from Essaouira. Abdelakabir was born in the neighbourhood of Benjdia in 1942. Abdelakabir Faradjallah studied fine arts in Casablanca, graduating in 1962. He also played soccer in the second team of "Jeunesse Societe One". His brother-in-law Ibrahim Sadr worked for one of the biggest football teams of the time in Morocco called "Moroco Sportive Union", which allowed him to travel to France occasionally. While Ibrahim was never part of the band he brought along a few instruments from trips.


Yet the majority of the instruments they could not afford to buy were build by Faradjallah and Abderrazak, Faradjallah's brother who passed away early. For instance they had built a Spanish guitar and a drum made of wood barrel and sheepskin by themselves.During the 1950s Faradjallah was booked as a singer for surprise parties with friends. He started to write his first songs including "L’gnawi" in 1967 and wanted to make people discover Gnawa culture, or maybe rather his take on the culture to be more exact. Faradjallah recalls his first interaction with the genre in the streets of the Dern neighbourhood, where he used to go to elementary school. Gnawa is one of the essential musical genres of Morocco. It combines ritual poetry with traditional dances and music linked with a spiritual foundation. Musically a lot of influences originated from West Africa as well as Sudan. Gnawa is usually played by a selection of specific instruments such as the qaraqab (large iron castanets centrally associated with the music), the hajhouj (a three string lute), guembri loudaâ (a three stringed bass instrument) and the tbel (large drums). People would put shells on their clothes and instruments and use incense at their parties. "Sidi darbo lalla - lala derbo khadem..." came from Gnawa verses Faradjallah used to sing when he was 14. The lyrics tackle a global (im)balance of power and the question of social status in this course. The band Attarazat Addahabia was formed in 1968. The original line-up included 14 members, all from the same family. They played their first small concerts here and there starting in 1969. Later in 1973 they performed bigger shows for instance at the Municipal Theatre followed by the "Al Massira Show" at Velodrome Stadium in downtown Casablanca. Their first album "Al Hadaoui" (the one you are listening to) was recorded at Boussiphone studios in 1972 and was never released before. Nobody seems to remember the exact reason why Boussiphone ended up deciding not to put the album out. The album's title track also served as the basis for Fadoul's "Maktoub Lah", who frequented the same circles as the band for some time.

Their shows sometimes could go as long as 12 hours, starting at 5pm in the afternoon, with an occasional break here and there. In the 1980s the band took a brief break. Faradjallah recalled the reason for that break like this: "Zaki, the bands drummer, had fallen in love with a young girl from Mohammedia. Soon after, he fell very ill. The group members were convinced that the girl had given him ‘s'hor’ (a kind of local Moroccan version of "black magic"). For four years, the whole group stopped playing. It was unthinkable to find another drummer to replace Zaki, even temporarily." So they waited four years for Zaki to "get back on his feet" before going back on stage. Apart from very few gigs here and there Faradjallah stopped playing music in the mid 1990s. Some members from the younger generations formed a new band and still play frequently to this day. Faradjallah runs a television repair shop coupled offerings beverages and snacks in the Belevedere /Ains Sbaa district of Casablanca. While Faradjallah was primarily a musician, he would work for the local cinema and paint their posters for new movies by hand and he designed all artworks and cover posters of the band.

And this eventually led to him participating actively in our first exhibition dealing with Habibi Funk’s work in Dubai 2018. He helped us by creating calligraphic complementations on large photo prints for that show.

Audiences who were lucky enough to have seen the film during its special theatrical sneak preview have already discovered that this highly anticipated sequel is nothing short of epic - and much of that is due to the gorgeous, sweeping score by Nathan Johnson. Johnson keeps intact the delicate balance that made KNIVES OUT such a clever score, never undermining the danger that is around every corner, but also brings an intoxicating romanticism to every gorgeous landscape. It’s playful, and sinister all at once.
“I’m thrilled to announce the release of my score for Glass Onion on vinyl, but more specifically, I’m over the moon to be able to join forces again with the wonderful folks at Mondo,” says Johnson. “Everything they do is one-of-a-kind, but with this release they’ve gone above and beyond. We’ve mastered this version specifically for vinyl so that it retains all the orchestral dynamics I’ve written into the score, and I can’t wait for people to get their hands on the artwork and peel back all of the beautiful layers. I know we live in a world of digital ephemera, but I’ll say it again and again: thank God for Mondo.”

"To kick off the yearlong celebration and provide the perfect summer soundtrack, Capitol Records and UMe will release a newly remastered and expanded edition of The Beach Boys career-spanning greatest hits collection, Sounds Of Summer: The Very Best Of The Beach Boys, on June 17. Originally released in 2003, the album soared to no. 16 in the US and stayed on the chart for 104 weeks. Now certified 4x platinum for sales of nearly four and a half million albums, the collection has been updated in both number of songs and audio quality, expanding the original 30-track best of with 50 more of the band’s most beloved songs for a total of 80 tracks that span their earliest hits to deeper fan-favorite cuts and from their 1962 debut album, Surfin’ Safari through to 1989’s Still Cruisin’.
Assembled by Mark Linett and Alan Boyd, the team behind 2013's GRAMMY® Award-winning SMiLE Sessions and last year’s acclaimed boxed set, Feel Flows – The Sunflower and Surf's Up Sessions 1969-1971, Sounds Of Summer features nearly every US Top 40 hit of The Beach Boys’ incredible career, including “California Girls,” “I Get Around,” “Surfer Girl,” “Surfin’ U.S.A.,” “Fun, Fun, Fun,” “God Only Knows,” “Good Vibrations,” “Be True To Your School,” “Wouldn’t It Be Nice,” “Kokomo,” “Barbara Ann,” “Help Me, Rhonda,” “In My Room,” and many others. Fifty additional tracks showcase a broad mix of songs from across their wide-ranging catalog with some of the many highlights including “All Summer Long,” “Disney Girls,” “Forever,” “Feel Flows,” “Friends,” “Roll Plymouth Rock,” “Sail on Sailor,” “Surf’s Up,” and “Wind Chimes.”
The collection boasts 24 new mixes including two first-time stereo mixes, plus 22 new-and-improved stereo mixes, which in some cases feature the latest in digital stereo extraction technology, allowing for the team to separate the original mono backing tracks for the first time.
The expanded edition of Sounds Of Summer will be available in a variety of formats, including a 3CD softpack, and as a Super Deluxe Edition 6LP vinyl boxed set on 180-gram black vinyl in two options – a standard set or a numbered, limited edition version featuring a rainbow foil slipcase and four collectible lithographs. Both versions will feature color printed sleeves that replicate the original “Capitol Catalog” sleeves that highlight the entire Beach Boys discography, and all formats will include a booklet with new liner notes and updated photos. The original 30-track version will also be available in its newly remastered and upgraded form on single CD or double gatefold LP on standard weight vinyl or as a higher-end limited edition numbered version pressed on 180-gram vinyl with a tip-on jacket and a lithograph. "

PAURA explores the horror repertoire from the precious CAM Sugar archives taking us on a hypnotic journey into the labyrinths of fear, through the different variations that Italian horror took on from the esoteric and supernatural to the slasher films of the early 1970s; to reinterpretations of Romantic literature and gothic fiction to the splatter films of the ‘80s; and from witchcraft to metropolitan horror. This is not a real “best of” but an eclectic menu full of mysterious voices, childlike lullabies, sweet melodies, obsessive music boxes, obstinate harpsichords, crazy distortions and threatening synthesizers, conceived as a succession of sequences, as if a film edit. The new collection includes some of the most creative music ever written and strives to do justice not only to some of the best known composers in this genre, but also to many great unsung composers: From celebrated composers like Ennio Morricone, Riz Ortolani & Stelvio Cipriani to long-forgotten personalities who fed the industrial backbone of Italian cinema such as Daniele Patucchi, Marcelo Giombini & Berto Pisano. The collection includes 6 previously unreleased tracks plus 3 tracks released on vinyl for the first time and 5 tracks available commercially for the first time (originally released only as a limited promo item).

Factory Benelux presents a limited (500 copies only) 180g black vinyl edition of Part-Primitiv, the fifth studio album from post-punk trailblazers Section 25, originally released in 2007.

Recorded after a hiatus lasting almost two decades, Part-Primitiv saw founder members Larry and Vin Cassidy joined by former Tunnelvision guitarist Ian Butterworth, as well as multi-instrumentalist Roger Wikeley. Combining raw postpunk power and retro-futurist electro, the album marked a convincing return to form and drew praise from reviewers.

"Haunting, melancholic beauty - part post-rock, part trance" (Plan B)

"A vibrant, fierce collection of songs played with all the intense, live-wire energy one could want. Well worth the wait" (All Music Guide)

"The music on Part-Primitiv is informed by all phases of the band's back-catalogue, incorporating their early post-punk impulse alongside their later disposition towards electronic music. She's So Pretty is one of the band's closest brushes with pop music, while Power Base is a surprisingly straight-forward venture into techno, with its rampaging drum machine" (Boomkat)

Two tracks, Dream and Better Make Your Mind Up, were written and sung by Jenny Cassidy before she lost her battle with cancer in 2004. Best known for her beguiling vocal on 1984 club hit Looking From A Hilltop, on subsequent SXXV projects Jenny would be replaced by her daughter Beth.

Black Truffle is pleased to welcome free jazz legend Joe McPhee back to the fold with Oblique Strategies, a wild trio recorded in Antwerp in 2018 in the company of Mette Rasmussen’s fire-breathing alto saxophone and Dennis Tyfus’s post-Fluxus antics on tape, voice, and percussion. Rasmussen and Tyfus have previously recorded together as Bazuinschal, and some similar strategies are on display here: mysterious metallic scrapes, extended tones in which voice and sax become indistinguishable, comic explosions of varispeed tape. With McPhee on board, however, proceedings are more sumptuous, with the two horns moving fluidly from expeditions into the extremes of their instruments’ registers to pointillistic note-splatter and Ayler-esque folk melodies; we even get to bask in some of the slow-motion free blues that McPhee has now been playing for half a century. McPhee is heard primarily on tenor, Rasmussen mainly on alto, but with Rasmussen doubling on sundry objects, and the whole trio contributing vocals, certainty about who is doing what becomes nigh impossible.

The recording and production add to this hazy unclarity. Where much contemporary improvised music aims at dryly clinical hi-fi, the lively reverberant space of Oblique Strategies calls to mind the less-than-pristine sonics of classic free jazz artefacts like John Tchicai’s Afrodisiaca or McPhee’s own Underground Railroad. A further dimension of oblique unpredictability is added by subtle changes in the sense of space: at times merely a reverb tail glimpsed between phrases, at other points the whole mix seems to be momentarily swallowed up in slap-back, blurring the lines between acoustic instruments and the decayed fidelity of Tyfus’ tape playback. Spread across four pieces ranging from four to nineteen minutes in length, Oblique Strategies moves with anarchic swagger from explosions of clattering cymbals and bellowing horns to near-silent episodes of mysterious rumble and clunk. ‘Death or Dinner?’ opens the record with a lovely duet of climbing melodic patterns shared between the two saxophones, played with a buzzing oboe-like tone. A long, wavering note sung by Tyfus cues the first of countless changes of direction, eventually leading to a crescendo of watery splutters and duelling saxes. At points Tyfus’ keening resemble the signature moves of his friend and collaborator, Ghédelia Tazartès; at others, his tape-sped huffs and puffs possess a rawness reminiscent of Henri Chopin or Gil Wolman. The dialogue between wailing saxophones and vocal cries, punctuated by percussive thuds and crashes, can at times feel less like a musical performance and more like the calls of some mysterious forest creatures, possessing a primordial energy that might remind some listeners of the outdoor antics of Brötzmann and Bennink’s Schwarzwaldfahrt.

Oblique Strategies can also be delicate at times, as on the beautiful third piece, ‘Destilled Edible’, dominated by a slow, microtonal melody played with a breathy tone resembling a shakuhachi. The closing side-long ‘Light My Fire’ ranges across classic improv call and response, skittering trumpet blurts, inept cymbal clatter, mock-operatic vocals, and crude tape manoeuvres. Momentarily pausing at the ten-minute mark for an interlude of ghostly room sound and crackling texture, its closing moments unfurl a glorious dual saxophone finale, the almost epic tone subtly undermined by Tyfus quietly tapping out swing rhythms. Arriving in a striking sleeve adorned with Tyfus’ drawings, Oblique Strategies is an invigoratingly free-spirited blast of improvisation.
Downloads

Das vom Komponisten und Perkussionisten Vincent Montana Jr. gegründete SALSOUL ORCHESTRA war eine Big Band mit einer Besonderheit: Sie spielten Disco.

Das Orchester war von 1974 bis in die frühen 1980er Jahre aktiv und diente als Begleitband für mehrere Sänger von Salsoul Records und nahm eigenes an Material auf, darunter elf LPs mit knallhartem Philly Soul, Latin Percussion und Funk. Mit bis zu 50 Mitgliedern prägte das Orchester den Sound einer ganzen Ära.

Extravagante Streicherarrangements, funkige Gitarren und frecher Gesang, gekrönt von einem unbeugsamen Bläsersatz, sorgten für unvergessliche Hits wie "Tangerine" und "Salsoul Hustle". Die atemberaubenden Interpretationen von legendären Weihnachtsliedern wie "Little Drummer Boy" brachten der Band sogar einen Platz in den Charts ein: Ihr drittes Album, Christmas Jollies, wurde 1976 und 1977 zum meistverkauften Weihnachtsalbum. Obwohl Montana die Gruppe 1982 auflöste, hat ihr Vermächtnis bis in die Gegenwart Bestand: Sie prägten die House- und Dance-Musik und wurden von vielen bekannten Künstler:innen gesampelt.

Santilli returns to Mad Habitat after a European sojourn on Growing Bin! The Eora-based multi-instrumentalist is one half of Angophora, but his solo work exists in the lineage of electro-acoustic visionaries like Steve Tibbetts. With each subsequent release, Santilli strikes the balance between mining his well-defined personal aesthetic and expanding his vision.

The instrumental palette of this record is centered around guitar and synthesizer, bolstered by an incredible array of idiophones and membranophones. There is no shortage of spellbinding moments, like the glacial synths that pan across “Mirrors”, the cascading beauty of “Colours” or the woodland symphony of “Hollow” - the latter even recalls the environmentally-focused work of Waak Waak Djungi’s Peter Mumme.

There’s a common thread across this album in the way it evokes the expanse of nature that Santilli spends much of his time in. All 9 tracks feel like a glimpse into an exquisitely realized scene and across all of them, Santilli's music is suffused with an unhurried sense of ease. The music here feels immersive and panoramic as a result, and we’re grateful to share a glimpse into the worlds Santilli captures.

New one from French DJ / compiler, GUTS.

The label say "We've been waiting for it! GUTS' Straight From The Decks compilation is back, with Volume 3 still packed the classic tracks played in his DJ set. Musical discoveries from all over the world. Different genres, different cultures. GUTS invites you to follow him on his musical journey from your living room or your local club!"

Third Man Records is delighted to present Michael Kiwanuka's contribution to the TMR Blue Series of releases. Kiwanuka, a 25 year-old UK native of Ugandan heritage, was raised in north London where he split his time between session work and local gigs. Along the way, having found footing as a solo artist, he was signed to Communion Records, then Polydor, and has since performed throughout Europe and North America too—touring in direct support of Adele. He made his way through Nashville this past summer with just enough pause and aplomb to commit these morsels to tape. The A-side "You've Got Nothing to Lose" is an original composition, featuring The Buzzards' Dominic Davis on upright bass and Cory Younts on piano, joined also by fellow balladeer Lillie Mae Rische on fiddle. Their contributions transform his work into a stone-cold groove with almost orchestral underpinnings, making it a fitting extension of their previous Blue Series. PRODUCED by Jack White (not collaborated with, so please fight your every urge to put "collaborator" in your headline!), the single also features a chilling rendition of Townes Van Zandt's infamous "Waitin' 'Round to Die" on the B-side, the perfect compliment to the timbre and mood of the A-side.

Bekannt für seine ultrapersönlichen Texte und umwerfendes Songwriting auf der Schnittstelle zwischen tiefschürfenden Balladen und stadiongroßem Pop, ist Cian Ducrot aus Irland in den letzten zwei Jahren zu einem der wichtigsten UK-Newcomer avanciert, indem er erst TikTok, Insta & Co. und dann auch noch die offiziellen Charts auf den Kopf gestellt hat. Ein überraschend nahbares Songwriting-Genie, das nicht nur musikalisch kein Blatt vor den Mund nimmt – und in seinen Socials auch mal mit Chorverstärkung die Londoner U-Bahn per Flashmob zum Implodieren bringt: Jetzt steht der für seine „erfrischende Ehrlichkeit“ (Clash) gefeierte Singer-Songwriter mit dem ersten offiziellen Albumstatement in den Startlöchern: „Victory“ erscheint auf Vinyl und CD am 04. August. Darauf vertreten sind auch die jüngsten Singlehits „I’ll Be Waiting“, „All For You“, ”Part Of Me” und die aktuelle Single „Heaven“.

"Hi there, I'm really happy to present my new EP "Kernel Panic" released on one of my favorite labels "Yuku". I've been discovering a lot of great music and new artists thanks to Yuku and I'm really happy to join the family.

My first release ever was a footwork release 8 years ago, and I wanted to experiment with this 160 bpm vibe again and merge it with a lot of different personal influences. I've been experimenting a lot with crazy polyrhythm sequencers and Euclidean algorithms for this EP. It was a lot of fun but my laptop didn't like it at all. During the whole process, I experimented a huge amount and experienced loads of bugs and laptop freezes, so I decided to dedicate this EP to "Kernel Panics".

It might be the most hybrid EP I've done. You can hear breaks, electro, footwork, grime, percussive, and dub ingredient within. I also had the pleasure to collaborate with the very talented Kenyan rapper, Nah Eeto, for Piga Makofi, and I can't wait to play this one live with her.

I asked my friend Vica Pacheco to create the artwork and she built this psychedelic 3d world based on "the hypnotic and dynamic energy" of the EP.

Big thanks to Yuku for following me into these new areas of experimentation."
- Le Motel

Reissue

The Staples Jr. Singers were part of a vanguard of soul gospel artists in the 1970s that broke from tradition to testify with the groove. They found their inspiration in the secular music they heard on the radio, and wrote songs that were nothing but stone cold soul.

Duke Pearson’s 1967 album The Right Touch is perhaps the finest of his career and a showcase for the breadth of his talents as a pianist, composer, and arranger. Six memorable Pearson original are performed by a dynamic 8-piece band including Freddie Hubbard, Stanley Turrentine, and James Spaulding.

This stereo Tone Poet Vinyl Edition was produced by Joe Harley, mastered by Kevin Gray from the original analog master tapes, pressed on 180g vinyl at RTI, and packaged in a deluxe gatefold tip-on jacket.

With his solo band Mammoth WVH, Wolfgang Van Halen consistently challenges himself as a songwriter, vocalist, multi-instrumentalist, and producer. After a monumental breakthrough-with a GRAMMY® Award nomination for his first-ever single, #1 debuts on multiple charts, television performances, and sold out shows over a two-year span-it would’ve been easy to settle. Instead, he consciously tested himself to further develop his sound from every angle on his second full-length offering, Mammoth II.

Das Album Bob Marley mit dem Titel ”Africa Unite” ist das Ergebnis von den besten afrikanischen Künstlern, um die größten Hits von Bob Marley neu zu interpretieren. Auf dem Album sind Künstler wie Davido, Rema, Sarkodie, Ayra Starr, Tiwa Savage, Fireboy DML, Oxlade & Tems zu hören, die jeweils einen Klassiker von Bob Marley neu interpretieren. Dieses verbindende Projekt symbolisiert den Einfluss, den Bob Marley auf das moderne Afrika hatte. Africa Unite für die Welt!

Ab dem 04.08 als CD und auf roten und schwarzem Vinyl verfügbar.

The tenth volume of Numero's elaborately packaged Cabinet of Curiosities series, L80s finds the group exploring the far-flung corners of the global downtempo underground. This 12-song mix tape weaves icy hot coldwave, Sausalito seafood jazz, Glaswegian goth, makeshift Madonna, Sade spoofs, and Brat Pack balearic into a high-waisted, party-ready pair of danceable denim.

Seminal NYC multi-reedist Doug Wieselman announces arresting new album of birdsong arranged for clarinet, flute, banjo and piano WA-Zoh, released on Shahzad Ismaily’s figureight records.

Wieselman has performed with superlative greats (including the Lounge Lizards, Lou Reed, Yoko Ono, Bill Frisell, Iron & Wine, Laurie Anderson, Tricky, Martha Wainwright, Antony and the Johnsons, CocoRosie) and contributed significantly to the NYC Downtown scene over the past three decades. He is described, by NYC Jazz Record, as “a vital force in the New York music scene”.

Over the years, Wieselman has taken hours of recordings of birds both from his world travels and outside his window in Brooklyn. His beautiful new album WA-Zoh uses the recorded bird songs and phrases - slowed down and processed - as source material for original compositions, reflecting the astonishing beauty and inherent musicality of the natural world in a wholly unique take on field recording. Incorporating clarinets, flutes, banjo, piano and percussion, all played by Wieselman himself, the new album is marked step forward from his previous solo outings as a clarinet player, though no less accomplished in its composition, dexterity and skill.


The minimalism, patience, and subtlety here is delicately formed from featherlight interweaving lines of soft, virtuosic instrumentation, resulting in an album that sits somewhere between avian chirrup, rainforest prettiness, the refined intelligence of American minimalism, and the undecorated purity of ambient music.

Brilliantly remastered (picture) LP/CD with new stunning artwork!
Lo-Fi India Abuse was recorded in 1998, some tracks are “pure” Muslimgauze and some are re-mixs of tracks from Systemwide’s “Sirius” CD (see also Systemwide meets Muslimgauze “at the City of the Dead” 12″). Nearly all of the tracks have hand percussion in varying tempos and intensities and at least 1/2 make use of electronic noise surges. The sound is very crisp and clean, extremely well produced, recorded and nicely varied throughout the length of the disc. Some track by track comments: “Antalya” is obviously from the same sessions as “Fakir Sind” seeing as it shares the same hand percussion sound, whistles, vocal wailing, cut-ups and delays. “Valencia Flames” sounds like a Systemwide remix. A dub bass line, hi-hat and background vocal of some sort are all obliterated by numerous delays, starts, stops and re-starts with an unpredictable nature in these cut-up tracks. “Al Souk Dub” injects background voices, market sounds and drones into the cut-up mix of slow hand percussion playing. “Catacomb Dub” and the final two tracks make use of twinkling synth waves, presumably a Systemwide sound source. “Dust of Saqqara” has a heavy pulsating electronic sound wave over an old beat box rhythm. “Android Cleaver” is brutal (as is “Nommos’ Afterburn”) hand percussion, jabs of noise and an oft repeated, unintelligible vocal sample. Yes, Lo-Fi India Abuse is yet another great Muslimgauze release, grab it!
All tracks recorded by Muslimgauze 1998
Some tracks are re-mixes from Systemwide’s “Sirius” album
Re-mastered by Višeslav Laboš
Sleeve by Oleg Galay
Originally released in 1999 via BSI Records (BSI 1999-3).

Limited two-colour vinyl! BENCH PRESS haven't been together as a band for as long as the relaxed aplomb of their single makes it seem. The band has only been around since March 2016, and they've been doing the live thing steadily ever since, even if their entire evening's material was just 20 minutes at the time. Since then, guitarist Morgan Griffith, bassist Lewis Waite and drummer Jordan Hicks have acted as a perfect, laid-back unit. The result is dynamic post-punk that makes a precision landing at any time - driven by the (spoken) vocals of Jack Stavrakis, who runs in circles live as if possessed and seems to think out loud into his mic, while venting his frustration with modern life. Snarling, edgy and loud, BENCH PRESS invoke the old and create something that feels very new. As if the SLEAFORD MODS were doing guitar punk with ART BRUT

To call Current Affairs a Glasgow band may initially seem misdirection. Though Joan Sweeney (ex-Rose McDowall’s Band, Aggi Doom, The Royal We) is a lifer, Sebastian Ymai (Comidillo Tapes, Pissy, Anxiety) came from Chile via York, recently relocating to Berlin in 2021, and new member Gemma Fleet (The Wharves, Order of the Toad, Dancer) alongside Andrew Milk (Shopping, Pink Pound) were persuaded to leave London for the ‘second city’ after touring through with previous bands. However, Glasgow is the heart and hub of the band’s music, musical life and the place where Off the Tongue was solidified and produced. Their current line up formed in 2020, but the four have been circling each other for years, touring and playing with their previous bands within the close UK network of DIY music. Stalwarts of their respective scenes they finally began working together through the creation of the Spitehouse collective – a project designed to promote Queer and female-fronted music through events mainly held at Transmission Gallery and Glasgow Autonomous Space, putting on many local and international acts (Sneaks, Sacred Paws, Still House Plants and Comfort amongst others). When an opening for a new bassist arrived, Gemma was the obvious compliment, the slogan of Spitehouse being the language of Current Affairs – “Everyone’s welcome, but don’t get it twisted.” Following on from 2019’s singles collection, Object & Subject, the wait for their debut full-length may belie the urgency of its sound. Songs that were written in pieces over a long time and distance, but fully formed in the instant of the recording room across just a few days by producer Ross McGowan at Chime Studio. Current Affairs’ song-writing process has always been collaborative. Songs are developed responsively, with each of the band’s members sending/bringing elements or hooks to each other, but practices being the place where the songs flesh out, structure and are fully realised. These new songs feel a little brighter than their previous offerings, yet still hold true to their propulsive and caterwauling sound. Still embryonic in the most exciting way that that can be. Current Affairs’ music straddles new-wave pop and gothic post-punk in the way that you should expect a Glasgow-Berlin band to do so: with grit and panache. Written from within the world of crumbling services, broken bonds and wounded spirits, Off the Tongue rolls off an ecstatic rage, filled with hope for you, them and everyone else. It’s a rallying cry away from hopelessness, forgiving your fears and laying them to waste. Their album holds a place for you to be angry and to be focussed. In lieu of having anything else, we’ve always got each other, and an uncertain future is open game for us too

Rhythm clusters and constellations.

Sound Metaphors gives they keys of the label's catalogue vaults to Aggelos Baltas aka Anatolian Weapons and this is the result. 5 tracks previously released on our labels now submitted to the studio prowess of the Greek machine. Dubbed out, tripped out, slowed down, sped up, mind blown. Aggelos brings his distinctive flavor to the table and re-constructs some of our dacefloor oriented favorites from the early 90's. From California's Exist Dance label to Italian underground tracks and even a Disciples' number, Aggelos cherry picks his weapons for the most spaced out of dance floors, sounding big and effective, can't go wrong.

Formed in 2015, The Cold Blooded Hearts are fronted by
QPR’s former player and current manager Gareth
Ainsworth (formerly of Wimbledon and Wycombe
Wanderers) along with guitarist and songwriter Lee-Van
Sergeant, drummer Luke ‘Chalky’ Sergeant and bass
guitarist Ron Campbell.
Gareth Ainsworth has been into music since he was a boy
and recently released a storming cover of Dion’s hit
classic ‘The Wanderer’. The single was dedicated to the
success of Wycombe Wanderers and became an unofficial
anthem for the club.
Lee and Gareth have been in bands together for twenty
years. They formed Dog Chewed The Handle back in
2004, after which Luke then joined as the drummer. Now
known as The Cold Blooded Hearts, they have released
their first ever album, summarising their many years of
writing together.
This vinyl edition of ‘The Cold Light Of Day’ features 9
cuts of pure rock and was produced by Yes
keyboardist, Geoff Downes – now that’s rock ‘n’ roll
football.

*Very limited LP reissue on blue vinyl*

Canadian crooner star Calvin Love’s long sold out debut album ‘New Radar’ now as a repress for its 10th year anniversary on blue vinyl.
New Radar’, Love's debut album, blends memories of the late '80s cassette/analog era, '90s cable-TV generation, and 'aughts social media confessionalism into a satisfying collage of evocative and moody yet familiar and comforting music.

From the simple synths of "Magic Hearts", which bemoans love gone wrong, to the frustrating relationship detailed in "Waiting On You", Love's music is both catchy and emotionally resonant. In "Treasure Hunters", a flirty yet laid-back bubblegum rock and roller, Calvin Love invites us to share our secrets. while in "Missions", snarky, wailing guitars duet with Love's vocals in a noisy wash of exchanged frequencies. Throughout, Love relies on throwback synths and jangly guitar sounds to pick out unorthodox melodies, driven by a dutifully clicking drum machine. The overall effect of New Radar is a uniquely nostalgic yet forward-looking sound, at once evocative and comforting.

Calvin Love's music is distinctively characterized by its sparse yet focused arrangements, featuring thin guitars, electronic drums, and vintage synthesizers that impart a warm and wooly electronic texture. The lo-fi, cassette, 4-track recording quality creates an ambiance that feels both retro and futuristic, as if transmitted from an intimate and isolated space. Despite the arena-rock hooks, Love's use of primitive home-recording gear lends his music a folksy quality indebted to artists ranging from Ariel Pink to Unknown Mortal Orchestra.
About Calvin Love:

1985 war das Jahr, in dem der Grundstein für die Karriere einer Band gelegt wurde, die auch fast 35 Jahre danach noch genau so aktiv ist, wie am ersten Tag. Die Rede ist natürlich von RAGE, die zunächst 1984 als AVENGER gestartet sind, bevor es dann zur Umbenennung kam.

Nun werden die legendären Alben der Herner Metal-Legende mit etlichen bisher unveröffentlichten Titeln auf Doppel-LPs neu veröffentlicht.

„Reflections Of A Shadow“ (1990) gilt bis heute als eines der am meisten unterschätzten Alben der Band. Die Neuauflage enthält neben dem regulären Album, die Titel der damaligen EP "Extended Power" und etliche unveröffentlichte Bonus-Titel, die aus der Aufnahme-Session des Albums stammen. Ein absolutes Muss für alle RAGE-Heads!

Original release date: May 5, 1980

An album made by Kim Chang-wan in place of his two younger brothers who were serving in the military, together with the project ‘Broken Spaceship’ composed of session musicians such as Park Dong-ryul (bass), Yu Ji-yeon (acoustic guitar, harmonica), and Kim Yeong-guk (drums). It is the same work as the beginning of Kim Chang-wan's 'Sanullim Alone', and the energetic rock sound and lyrical folk coexist in harmony.

Including Red Balloon with an attractive psychedelic fuzz tone guitar and Please Wait A Little Longer funky, as well as Long Lost Memories Will Come To My Mind Vaguely Through The Window, Still Life with Sunflowers, and A Teacup, Sanullim's best works of the mid-year period It contains beautiful songs that are faint, cozy, and beautiful.

Am 4. November veröffentlicht PJ Harvey eine Sammlung von B-Seiten, Demos und Raritäten.

Die Sammlung beinhaltet 59 Tracks der letzten drei Jahre und wurde von Jason Mitchell zusammen mit dem langjährigen Produzenten von PJ Harvey neu gemastered. Zusätzlich enthält die Sammlung 14 zuvor unveröffentlichte Songs und gibt Fans die Möglichkeit, die bereits veröffentlichten Songs erneut zu genießen.

Zudem zeigt das Artwork bisher unveröffentlichte Archivfotos.

Diese Sammlung ist als 3CD und LP Box Set erhältlich.

Es ist endlich soweit: Nach 250 weltweit ausverkauften Live-Shows, mit über 1 Millionen verkauften Tickets, veröffentlichen Greta Van Fleet ihr drittes Album ”Starcatcher”.

Die Grammy Gewinner aus Michigan, deren erste beide Alben ”Anthem Of The Peaceful Army” und ”The Battle At Garden’s Gate” jeweils auf #3 der deutschen Albumcharts debütierten, greifen diesmal auch schon beim Albumtitel nach den Sternen. Ein starker Vorbote ist die erste Single ”Meeting The Master”, die sich von einem zarten Akustik Intro zu einem Rock-Monster entwickelt. Zehn Songs enthält das neue Album, die sich mit der Dualität zwischen Fantasie / Realität und dem Kontrast zwischen Licht und Dunkelheit, befassen.

Das Album wurde von der Band geschrieben und von Grammy-Gewinner Dave Cobb (Chris Stapleton, Brandi Carlile) produziert. Die Aufnahmen fanden in den legendären RCA Studios in Nashville statt.
”Starcatcher” erscheint am 21.07. in verschiedenen physischen Formaten.

Indonesian City Sound: Panbers’ Psychedelic Rock and Funk 1971-1974

The Pandjaitan Brothers or Panbers came from the North Sumatra minority Christian group, the Bataks, whose ancestry traces back to an island at the center of Lake Toba. As a minority group within Indonesia's Muslim-dominated society, this ethnic minority has produced top military generals, celebrity lawyers, and a legion of pop and rock superstars.

Suffice to say, some of the biggest names in the country's pop history were Bataks. Panbers fit the bill perfectly.

The band's strong Christianity belief looms heavily in the music they produce. The prominent use of the Hammond organ in their early materials is evocative of church music the band members have been around in their whole life. Bandleader Benny Pandjaitan's fills his characteristic wail with existential dread, with many utterances of the word "mengapa" (why).

Guilt is another central theme Pandjaitan repeatedly comes back to in his lyrics. But they balance it with joy, on songs such as "Come on You Dance" "Let's Dance Together" or "Haai" (a play on the word high), where references to recreational substances are plentiful.

Although they modeled themselves after the era's rock bands Beatles and fellow countrymen Koes Plus, Panbers had a unique aversion to the electric guitar. In "Jakarta City Sound," a fiery three-note guitar solo is laid so far down in the mix that they are barely audible. In "Haai" they modify the guitar to sound like a jungle instrument playing traditional North Sumatran music. In "Rock and the Sea," arguably their most well-known song globally, they decided to ditch electric guitar altogether and replace it with a sitar.

In the absence of an electric guitar, Panbers had to rely on Doan's inventive bass playing and Asido's drum works to do the heavy lifting - and boy, do they deliver (Their 1971 debut "Volume 1" saw plenty of drum breaks). In this compilation, listeners will hear recordings from Panbers' fertile four-year period - a time that produced in some of the grooviest and hardest-sounding psychedelic music in Indonesia's rock history.

For those uninitiated on the glory Panbers, consider this compilation an introduction to some of earliest and heaviest rock sound to come out of Indonesia.

Dieses Best Of Album wurde ursprünglich 1981 veröffentlicht und vereint die klassischen Singles, die The Damned für Chiswick aufgenommen hatten. Darunter 'Love Song', 'Smash It Up', 'I Just Can't Be Happy Today', 'History Of The World Part 1', 'Hit Or Miss', ihre Weihnachtssingle 'There Ain't No Sanity Clause' und natürlich 'Wait For The Blackout'. Diese gelten heute nicht nur als klassische Damned-Tracks der zweiten Phase, sondern stellen auch eine musikalische Entwicklung dar, in der die Band von ihren Punk-Wurzeln zu melodischen Popsongs überging, die sie auch in die Charts brachten. Als das Album 1981 erstmals veröffentlicht wurde, enthielt es on top auch die früheren Punk-Klassiker 'New Rose' und 'Neat Neat Neat'. Es gibt sogar die Captain Sensible and the Softies-Version von 'Jet Boy, Jet Girl', die 1982 als B-Seite von 'Wait For The Blackout' erschien. Mit einem Klassiker macht man nichts falsch, deshalb wurde das Album genau so neu aufgelegt, wie es 1981 aussah, komplett mit Innenhülle und Blackmail-Label-Schriftzug.

"Live From Union Transfer" ist ein Live-Album in limitierter Auflage, dass es nur auf Vinyl gibt und das Live-Aufnahmen mit seiner langjährigen Tour-Band John Heywood (Bass/Gesang), Sam Acchione (Gitarre/Tasten/Gesang), Tom Kelly (Schlagzeug) und Molly Germer (Geige/Tasten/Gesang) enthält. Die Songs wurden auf drei ausverkauften Konzerten im Union Transfer in Philadelphia aufgenommen , die im November letzten Jahres den Abschluss seiner 2022er Herbst-Headliner-Tour bildeten; Die 14-Song-Trackliste enthält einen Großteil seines international gefeierten 2022er Albums God Save the Animals sowie eine Auswahl von Favoriten aus seinem bisherigen Katalog.

Seit 2005 schaffen es Local Natives sich immer wieder neu in die Indie-Herzen ihrer Fans zu spielen und liefern nun mit „Time Will Wait For No One“ den nächsten Soundtrack für einen ausgedehnten Roadtrip im Sommer.

In L.A. leben viele Menschen, die auf der Suche nach dem einen Trick sind, der ihnen hilft, sich zu verwirklichen, erfolgreich und glücklich zu werden. Es ist ein lohnendes, aber zum Scheitern verurteiltes
Unterfangen, und das Beste, worauf wir hoffen können, ist, in einem Moment präsent zu sein. Das Album der Local Natives kommt in einem Moment der persönlichen Metamorphose. Das frühere Selbst schmilzt dahin, einige werden Väter, andere durchleben Zeiten der Isolation, des Verlusts und der Identitätskrise.

Time Will Wait For No One ist ein Mantra der Beruhigung als Antwort auf unerbittliche Veränderungen.

The debut album of Istanbul born, Berlin & Copenhagen based artist Nene H (real name Beste Aydin) titled ‘Ali’. In this record Aydin has used her background as a classically trained pianist and her deep, foundational knowledge of musical theory to synergise contrasting electronic compositions and the mental process of mourning the death of a loved one.

Born as a tribute after the passing of her late father, Aydin has found catharsis through a personal odyssey, the reflection of which can be seen through these 8 tracks. Raised in a traditional Turkish family and now living in Germany with its westernized lifestyle, informs the intersections of identity and duality that Aydin exists and creates from within. This consolidation of identity has pushed her to seek solitude and confidence in the power of being able to represent the process of her existence in the scene as a Middle Eastern woman with Muslim upbringing.