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Ten songs that ultimately changed the world. Ten songs pulled from precedent-establishing albums recorded between 1963 and 1966. More than five-million copies sold. In every way, Bob Dylan's Greatest Hits is a fundamental collection for every music lover, and the perfect choice for those seeking an introduction into the legend's vast career. For this is a collection so prized, even the cover photo won a Grammy.

Greatest-hits volumes are often hit-and-miss propositions not because of what they contain, but because of what's missing. Filtering the top selections from the six formative, life-altering albums Dylan made between 1963 and 1966 is an arbitrary process but one performed impeccably on this set. Home to his biggest chart successes as well as his most influential songs, Bob Dylan's Greatest Hits is a veritable template for any aspiring singer-songwriter, an American history lesson, and a seminal release for anyone new to his work – as well as for audiences that find some of his deeper cuts an acquired taste. Every signature facet of Dylan is represented, and done so authoritatively. Serious, protest folk anthems ("Blowin' in the Wind," "The Times Are A-Changin'") sit alongside defiant rock statements ("Positively Fourth Street"), landscape-changing epics ("Like a Rolling Stone"), beautiful blues-inspired odes ("I Want You"), and surrealist dreamscapes ("Subterranean Homesick Blues"). Infused with literary poetry, impassioned emotion, and career-making performances, this material doubles as a definitive account of American culture and society, and functions as a soundtrack to the era's social movements.

Gathered in one place, it's no wonder the songs here gave Dylan what remains the biggest-selling album of his career.

La MegaCobla: an experienced traditional Catalan cobla wind quartet, born after an improvisation workshop with ZA! two years ago. Pep Moliner, Jordi Casas, Xavi Molina and Xavi Torrent are four of the most reputable and innovative cobla musicians, experts in hacking tradition and using their folk instruments in any modern musical genre.
Tarta Relena, young a capella trans-folk duet that have shook up theire scene. With their use of polyphony and voice FX, Helena Ros and Marta Torrella are digging in the deepest Mediterranean folk repertoire and placing it in the XXIst century with aesthetic renewal.
ZA!: Papadupau & Spazzfrica Ehd are European benchmarks of the underground Do-It-Yourself music community. Their uniquely intense shows, as well as their collective/collaborative work (wokshops, benefit shows, Do-it-Together cooperation) have allowed them to tour the whole world, from Tokyo to Maputo, from Tasmania to Sao Paulo, from New York to Saint Petersburg. Under the premise that avant-garde art is not incompatible with collective horizontal creation, ZA! mix cult, underground and popular music without asking permission.
These three elements come together with the purpose of portraying their own vision of Mediterranean music, filtered by distortion (so current in cognitive, social and identity terms) and psychedelia (so inevitable in an increasingly accelerated and saturated reality). A retro-futuristic journey from folk to free exploring the shores of the Mediterranean, claiming its power as a living core, never as a deadly border.

The TransMegaCobla fuses traditional Mediterranean culture -from bulería to kopanitsa, from gnaoua to sardana- with contemporary culture to create a fictional but deeply human and festive universe. Resurrecting the Phoenician language, the octet seeks common roots to fuse and remake them with contemporary molds such as rock, punk, free jazz and conducted improvisation. A timeless orchestra ready to invent, with real elements, a science-fiction Mediterranean in a parallel reality.

Original release date: April 15, 1979


Sanullim's 4th album consists of background music and insert songs for TV and radio dramas and plays, including Korean Film director Im Kwon-taek's movie "Tomorrow And Tomorrow Again". It is a noteworthy collection of works that has not faded with the unique scent of Sanullim, and contains several songs that still shine with charming emotions and whimsical or vague sensibilities.

Express Train (Inside), a mountain sound-style hard rock with dynamic rhythm, fuzz guitar, and Kim Chang-hoon's wild shouting, Kim Chang-wan's soft vocal and brilliant keyboard sound, Can't Tell Anyone, Love It includes the elegant performance songs Glass Doll and The Windy Hill By The River, and the beautiful song Afterglow that achieves the climax of romance and lyricism.

Finally, our debut album is out. It is based on a well-calibrated selection of tracks chosen from intense live performances since our project's inception in 2018.

Dream Dome is a small window in our studio that looks out into the sky - a symbol of the musical vision of two opposites whose style and DAWless music-making skills have created 13 tracks, carefully calibrated by us on the dance floor.

Dream Dome is a blend of musical styles closest to leftfield house and techno. It is characterized by warm analog timbres, polyrhythmic structures, and the self-expression of our individuals.

Dream Dome is available on limited 180g vinyl with 8 tracks + download code for full extended 13 tracks.

Made in Valencia with love.

12" + 7" !

Mind Maze is, amazingly, Trees Speak’s fifth album to be released on Soul Jazz Records in the space of little over two years– an output matched only by the intensity of their music created during this short time.

The first pressing only of the album comes with a bonus seven-inch single containing two tracks that are not available on vinyl anywhere else.
As with all their previous releases, ‘Mind Maze’ is a mind-boggling tightrope walk across an array of musical influences that seamlessly create the unique present-day world of Trees Speak.

The band’s sound is characterized by a combination of German krautrock motoric-beat rhythms, angular New York post-punk attitude, 60s spy soundtracks, psych, rock, jazz, and 70s synthesizers and vocoders. There is also a cosmic spatial awareness to their sound; both personal inner space and galactic outer space, as well as a wilful pushing of sonic boundaries.

Trees Speak are a musical duo based in Tucson, Arizona, composed of Daniel Martin Diaz and Damian Diaz. Their music is heavily influenced by the cosmic magic of the natural desert landscapes of Arizona, creating a unique and captivating sound that is both experimental and innovative.

Here you will find the myriad sounds of 1970s German electronic music (everything from Can to Cluster, Popul Vuh to Tangerine Dream); 1980s New York post-punk and synthcore (from No Wave to Suicide); John Barry’s 1960s movies, John Carpenter’s 1970s horror. You will also hear the influences of French and Italian progressive rock (Magma, Goblin) as well as cosmic, new age and experimental space soundscapes …. an almost endless list of diverse influences that ebb and flow like an ocean of sound, in the process creating a truly unique soundscape that Trees Speak have made wholly their own.

The name Trees Speak reflects their interest in the concept of using future technologies to store information and data in trees and plants, with the idea that trees communicate collectively. This interest in nature and technology, combined with their passion for experimentation, has led Trees Speak to create a truly one-of-a-kind listening experience that is both unique and engaging.

If you ever wanted to hear Can, Neu!, Destroy All Monsters, Pere Ubu, electric eels, John Cage, Liquid Liquid, Tangerine Dream, Suicide, Laurie Spiegel, Art Ensemble of Chicago, John Barry, Mother Mallard’s Portable Masterpiece Company, Sun Ra, Stockhausen, John Carpenter, Electro-Acoustic and Musique Concrete and Mars in one band - then this is it! Trees Speak are a band that defies categorization and offer an eclectic listening experience, both exciting and memorable.

The two bonus tracks (‘Seraphim’ and ‘Orpheus’) included with the album give us a further window into the complex mind maze of the group - two stunning acoustic tracks that explore a distinct early 70s sound of Yes, Argent and other progressive rock accolytes.

The new Hunter Complex album Airports and Ports arrives today Friday 2 September 2022 on Burning Witches Records and features contributions from Aquiles Navarro (trumpet, Irreversible Entanglements), new age legend Kat Epple (flute, Emerald Web), Alexander Hawkins (piano, Louis Moholo-Moholo), Justin Sweatt (aka Xander Harris, guitar) and Coen Oscar Polack (field recordings). Airports and Ports is the follow-up to the critically acclaimed synth albums Dead Calm and Zero Degrees (Burning Witches, 2020) and Open Sea (Death Waltz, 2019) and takes a new direction with influences from new age, ethereal jazz and krautrock.The gorgeous artwork was created by Luke Insect.For Airports and Ports,

Lars Meijer of Hunter Complex invited musicians from all around the globe to contribute to the album.Meijer: ‘I wanted to know what they would come up with, what new sounds and styles they would bring to my music. My previous album Dead Calm and Zero Degrees came out at the beginning of the Covid crisis in March 2020. I didn’t create music for months, it felt like time stood still. I missed the energy I got from being around people, from seeing concerts, from traveling. Those musicians gave that back to me and inspired me to create and discover new grounds.

The Belgian vibraphonist Guy Cabay has played with Toots Thielemans, Philip Caherine or Raoul Faisant. Composer, arranger, musicologist and singer, he also wrote and recorded two extraordinary albums in Liege Walloon. Tricatel is happy to make them available at last, 46 years after their publication.

"Gravity kills us. Perhaps that is the meaning of Adam's Fall. We are condemned to be Newton's apple, not the balloon carried away by the wind. But it happens nevertheless that, by the grace of music in particular, we escape gravity, that time escapes time, that another breath inflates our lungs, so much lighter than the one that usually suffocates us.

We don't take light music seriously, and that's good. Only serious music deserves to be treated so badly. Guy Cabay's music flows from a purer source and speaks to us in a more tender voice. One can obviously describe it as one labels export product. Origin: Belgium. Ingredients: jazz, bossa nova, tropicalism, song - proportions may vary. Calorific value: none.

Non-perishable product. But this would say as much about what this music really is as if, in. order to evoke what the foggy blue of a Norman sky inspires, one were to take note of the variations in the percentage of humidity in the atmosphere at Etretat and make a learned presentation on the laws of refraction.

Guy Cabay did pass through Brazil and still lives there a little, a Brazil that is not the one ofcartographers or travel agencies, a Brazil that is as real as the Far West in which Fenimore Cooper's child readers lived, as blurred and limpid as a dream. It is not the Amazon thatflows through this Brazil, but the Ourthe, a tributary of the Meuse, which makes it morefamiliar, stranger and even more poetic.

To let oneself be bathed in this melancholichappiness, to let oneself be carried by this river is sweet, as sweet as the fluid consonants of the Walloon language, this 'd' which becomes 'dj' in his mouth, as in Portuguese, by the way. To know how to create melodies that hold on a note like Jobim's samba, like a fildeferist above a waterfall of chords, is not given to everyone. It is a gift. Knowing how to lace others on dozens of points, as on Tot a-fet rote cou d'zeur cou d'zos, a poignant encounter between Randy Newman and Robert Wyatt, is another. These are not the only ones that the fairies offered to Guy Cabay and that, by an almost miracle, he offers us again today. Hearts up."

Bertrand Burgalat

The illustrious, London-based duo Kit Sebastian, aka Kit Martin and Merve Erdem, return with a limited edition 7” single. It features ’L’addio’, a breakbeat driven, sultry ballad, and ‘Hayat’, a hazy, psychedelic scorcher that delves into the band’s Turkish and Azerbaijan influences.

‘L’addio’ saw the band perfecting their production and orchestration, with strings, horns and double bass, and an Italian synth found in a French dump. The music was greatly influenced by Italian soundtracks and Italian female singers, such as Mina or Rita Pavone. The track announces itself with a break that is guaranteed to get samplers twitching. The tone of the melody and lyrics is heartfelt and aching. It has a beautiful, intimate sadness like the closing scenes to a love affair, and it exquisitely rides over the slow, psych-funk-dramatic backing track. The lyrics are inspired by a flat opposite Merve's window that's occupied by drug addicts, with many guests coming in and out every night. Merve elaborated “Being both neighbours and strangers, and with the boredom of a post-tour everyday domestic life and a pinch of urban voyeurism, it was hard not to wonder what was happening in that flat. The words imagine an addict before her/his golden shot as if it's a love relationship between them that comes to an end.”

Having spent much of 2022 touring and writing, ‘Hayat’ was the first original composition the band recorded since their October 2021 album, ‘Melodi’. Here we see them weaving a psychedelic tapestry of Mugham melodies, organ-driven grooves, and jazz-pop harmonies in classic Kit Sebastian fashion. Recorded to Fostex 1/4” tape, the essence of the production is perfectly balanced between being brand new and retro, which is a feat very hard to pull off.

‘Hayat’ is sung in Turkish and the title translates as ‘Life’ in English. The song examines our desire to find one's place in the world and the provisionality of existence. Merve's searching lyrics ask “Where are you? Where is the universe?”. Her vocal delivery perfectly reflects the lyrical focus, its texture is probing and ethereal, almost as if sung from looking above us.

Tapping into the seductive unease of the unexplained, Modula lands on Tartelet Archives with Paranormal Phenomena – The Icelandic Expedition, a nine-track album that evokes alien synth- electro and New Age soundscapes.

During a trip to Iceland in February 2020, Naples native Filippo Colonna Romano (Modula) experienced the raw power of the island’s otherworldly natural forces. Inspired by his field recordings and a rekindled interest in sci-fi, Paranormal Phenomena – The Icelandic Expedition was born. Steeped in haunting LA synthesis and cinematic tension, the album is an imagined soundtrack to a supernatural thriller, cast in the icy tones of the Roland JD-800.

“When I went to Iceland I was so excited about the ambience and sounds,” says Modula. “I felt everything was stronger than normal; the wind was brutal, the waves fast and noisy. I came to the conclusion that what I had captured all sounded strangely eerie and otherworldly. I decided to compose music that had the same vibe as the field recordings – cold and strange, mysterious and alien.”

The album includes nine tracks each representing a scene in the “movie” ranging from alien synth-electro to New Age ambient moods and soundscapes, inviting the listener on a journey through cold landscapes and into dark caves where unknown creatures lurk in the shadows. Paranormal Phenomena leads logically on from Modula’s previous work for Bordello A Parigi and Firecracker, not to mention his Alba – Tempesta – Notturno EP on Tartelet Records which drew on field recordings from the jungles of South America. Merging extreme environments with a rich palette of classic outboard gear, Modula’s music transports listeners through space and time. Given the heavy motion-picture theme present in Paranormal Phenomena – The Icelandic Expedition, the album is a fitting release to inaugurate Tartelet Archives, a new sub-label to Tartelet Records focusing on electronic obscurities and sounds from the past.

Ambient and cosmic synthesizer music duo Future Chroma sets out their debut full length album. In late 2019 Stiletti-Ana and Casio G Url were jamming out at their secret hide out studio in the middle of Southern Finland forests. Their arpeggiated and sequenced instruments were sounding so good that they could not resist capturing the moment and recording an album. Finalizing a timeless piece of synthesizer music took longer than they expected and finally the album sees the daylight. Lovely melodies and heavenly arpeggios topped with piano and percussions is a recipe for the record’s musical texture that you can keep on looping in your stereo.

Brandee Younger will release her second album on Impulse! Records, ‘Brand New Life’. Younger is quite often noted for standing on the shoulders of the very women who ushered in the harp as a clear and distinct voice in jazz: Dorothy Ashby. This record is an amalgamation of original pieces from Brandee and select reinterpretations of Ashby’s work. Brandee Younger represents a generation of contemporary improvisational musicians who came of age in an era when hip hop commanded a strong presence in American popular culture and emerged as leaders of a new school. In ‘Brand New Life’, she brings progressive explorations of harmony, rhythm, and melody infused with styles from hip hop, rock and pop music.

Flautist Johanna Orellana teams up with Carmen Villain for a collection of horizontal, pastoral field recordings and close mic-ed flute sounds that zero in on the instrument’s unstable resonance and levitational magic. There’s no cringe virtuoso business or fourth world firewalking here - just sonic purity, sublime minimalism and the precise capture of time, place and poetry.

You might have come across Johanna Orellana before if you’ve listened to Carmen Villain’s music (or seen her perform live), and Villain appears here in a producer’s role, using her engineering expertise to impart a level of restraint and sonic fidelity that’s quite startling. There are only really two central elements to the album: environmental recordings and flute. There’s no psychedelic delay, no cavernous reverb; no audible treatments at all - Orellana and Villain instead force us to consider the flute and its musical lineage.

‘El Jardín I’ introduces the instrument as a physical conduit; Orellana allows her breath to distort the sound - the padded pat pat of the keys forms a kind of rhythm, closely recorded so it’s amplified and jarring, linking to primal wind instruments like conch shells, bamboo flutes and wooden whistles. Recalling the way in which Debit interfaced with the ancient world using AI- assisted tech on last year’s ‘The Long Count’, Orellana uses a comparatively modern contemporary transverse flute, an instrument with roots that stretch back through the baroque era, into Medieval Europe, back to the Byzantine era and into Asia. The component that connects the instruments and eras is breath, and its amplification and modification through differently shaped pipes and vessels.

Orellana lets the environment sing: insects, rushing water and zephyr-like winds form a stage that presents her mortal energy, suggesting a harmony between our use of breath and its environmental ubiquitousness. Her technique is steeped in folk history and decouples itself from expectation by rooting itself in nature. It allows her to bridge the gap between equal temperament and less ordered (less commercially-focused) microtonality without overstating the concept. Other sounds waft in from the sidelines; what might be an Indian bansuri, stray notes, a gust of air.

There’s a link to the foundational new age recordings that Joanna Brouk made with Maggi Payne back in 1980, but Orelanna also absorbs the outdoor folk magic of Fonal or Stroom, and the improvisational grist of Bendik Giske or legendary US horn duo Nmperign.

Die renommierte Singer-/ Songwriterin Katie Melua die Details zu ihrem kommenden neunten Studioalbum „Love & Money“ bekanntgegeben - ein atemberaubendes und höchst persönliches, insgesamt zehn Tracks umfassendes Werk, das einen tiefen Einblick gewährt, was innerhalb der letzten zwei Jahre in Katies Leben geschehen ist. Mit 56 Platinauszeichnungen in ihrer nunmehr zwei Dekaden andauernden Karriere ist Katie Melua zu einer der meistverkauften Künstlerinnen Großbritanniens avanciert, nachdem sie mit ihrem Debütalbum „Call Off The Search“ die Charts stürmte und anschließend nicht weniger als acht aufeinanderfolgende Top-10-Alben in Großbritannien veröffentlichte - zuletzt geschehen im Jahr 2020 mit dem „Album No. 8“.
Die Neuigkeit über die Veröffentlichung von „Love & Money“ am 24. März 2023 via BMG folgt auf die erst kürzlich erfolgte Bekanntgabe von Katies bevorstehender UK- und Europa-Tournee im April und Mai diesen Jahres, die mit einer Show in der legendären Royal Albert Hall in London am 16. Mai ein absolutes Highlight beinhaltet.
Produziert von Leo Abrahams (Ghostpoet, Brian Eno, Regina Spektor), wurde „Love & Money“ im Sommer 2022 in Peter Gabriels Real World Studios aufgenommen, während Katie mit ihrem mittlerweile neugeborenen Sohn schwanger war. Das Album ist eine exquisite Sammlung von Songs, die wesentlich von Dankbarkeit und einer Positivität geprägt sind, die sich mit einer neuen Liebe einstellt. Darüber hinaus geht es auch um Selbstakzeptanz angesichts von einschneidenden Veränderungen und wohl auch um den Versuch ist, „die Überzeugung loszulassen, dass Glück weniger schwer ist als das Gegenteil".
Katie Melua stammt ursprünglich aus Tiflis, Georgien, und hat es in jeder Hinsicht weit gebracht. Durch moderne Klassiker wie „The Closest Thing To Crazy" und „Nine Million Bicycles" unsterblich geworden, war ihr letzter Longplayer - das 2020 erschienene „Album No. 8“ - der bisher von der Kritik am meisten gelobte. Es zeigte eindrucksvoll, wie sie als Lyrikerin gereift ist, in dem sie sich sanft gegen den romantischen Idealismus in herkömmlichen Popsongs auflehnte und stattdessen nach etwas suchte, das sich näher an ihrer eigenen Erfahrung anfühlte. Doch ganz gleich, wann es das letzte Mal war, dass man mit ihr in Berührung gekommen ist, es gibt vermutlich keinen besseren Zeitpunkt, die Entwicklung von Katie Melua als Singer- / Songwriterin genauer unter die Lupe zu nehmen als jetzt mit der Veröffentlichung ihres neues, mittlerweile neunten Album „Love & Money“. Das Album wird sowohl digital als auch auf Vinyl und als Standard- oder auch Deluxe-CD erhältlich sein. Die Deluxe-CD enthält vier Bonustracks, darunter ein atemberaubendes Duett mit dem deutschen Künstler Philipp Poisel.

After last year’s Black Clouds Above The Bows, Amsterdam-based collective Wanderwelle presents the second entry of their trilogy for Important Records, which is dedicated to telling the story of the climate crisis and its effects on coastal areas around the globe. For this album the artists incorporated the sound of a dying organ, fatally wounded in a climate related event.

All Hands Bury The Cliffs At Sea consists of electro-acoustic threnodies for an environment at risk due to the effects caused by receding coastlines around the globe. Wailing odes tell the story of the catastrophic activity of eroding waves and winds shaping the land that are enhanced by the climate crisis. First hand experiences and meetings with local maritime experts on the subject of these receding coastlines inspired Wanderwelle to compose these albums.

During their travels, the artists stumbled upon a small church in a town on the east coast of Scotland. The building was quite damaged, the roof was being stabilized and the ancient walls showed great tears running vertically down the structure. One of the church’s volunteers told Wanderwelle that the damage had been caused by a nearby cliff that collapsed in the sea. An event increasingly common in the region.

The church organ was ruined in such a way that it was deemed unplayable, as most of the pipes were gravely damaged and in dire need of restoration. Musical instruments directly affected by the environment -and especially the climate crisis- are quite rare. Despite the damage, the artists were allowed to record a few tones of the instrument with their equipment, which was actually meant to be used for field recordings later that day.

In Black Clouds Above The Bows, antique cavalry trumpets were recorded and manipulated by Wanderwelle to sound an environmental alarm in the same manner as they were once used to warn men on the battlefield. Similar processing was used on the recordings of the dying organ, resulting in spectral, deconstructed tones beyond recognition. In addition to the damaged organ, the artists recorded piano, cello and harmonic additive synthesizers in later stages of the composition process, manipulating these sounds to mimic the perpetual activity of the sea shaping the land.Furthermore, a great deal of inspiration was found in maritime superstition, lore and mythology.

As told in the legend of Aspidochelone, a legendary sea creature of enormous size, was once mistaken for an island. After sailors docked and lit a fire, the beast submerged resembling a land mass sliding into the sea. The album’s title is derived from the saying ‘All Hands Bury The Dead’, a maritime burial phrase, as the duo likes to think ‘All Hands’ refers to all of mankind since we are all responsible for these impending catastrophes.

Cello, violin, voice, pipe organ (damaged), bowed guitar, EBow, Prophet-6 synthesizer, modular synthesizer, field recordings.

RIYL: Oliveros/Deep Listening, Arvo Part, Lambda Sond, Sarah Davachi

In October 1974, the first number of “L'Indépendant du Jazz”, a small self-produced magazine DIY -before punk supposedly invented the concept- was launched by Jef Gilson, Gérard Terronès, Jean-Jacques Pussiau and a few other specialists of a different kind of jazz in France, it looked at the already long career of Jef Gilson and in detail at the album with saxophonist Philippe Maté:
“The ‘Workshop’ is, with Philippe Maté (alto-sax), an undeniable success. Maté is genuinely ‘the’ most inventive French saxophonist since Michel Portal burst onto the jazz scene (who has also worked with Jef Gilson on both “Enfin” and “Gaveau”).”

Even though the author of the article is a mysterious I.H. Dubiniou, and it is difficult to know if it is a real person or a pseudonym used by one of the merry bunch, it is also tempting to hear it as what Jef Gilson really thought about his new discovery. Even more so as the two men would work together over a long period, as Maté became one of the key figures of Gilson’s Europamerica orchestra up until the 1980s.

Philippe Maté had started to make a name for himself with the Acting Trio when they released an album on the BYG label in 1969, and he was also one of the regular sidemen for the Saravah studios (he can notably be heard on albums by Higelin, Fontaine or his cult duo album with Daniel Vallancien).

The album was recorded on 4 February 1972, at the Foyer de Montorgueuil, where Gilson had set up his studio, with more or less the same team found on “La Marche Dans Le Désert” by Sahib Shihab + Gilson Unit (recorded ten days later). This was drummer Jean-Claude Pourtier and pianist Pierre Moret (regular Gilson accomplices since “Le Massacre Du Printemps”), alongside Maurice Bouhana and Bruno Di Gioa on various percussions and/or wind instruments. On bass is Didier Levallet, of the now mythical Perception, (Jean-François Catoire would replace him with Shihab) and Philippe Maté who took top billing, rather than the American saxophonist afterwards. The two albums are however quite different. This “Workshop” is more abrasive, more free. Made up of two long improvisations each of over 22mn, “L'Œil” on side A and “Vision” on side B (Gilson specialists would recognise the nod to one of his albums from the 60s), the album plunges you into the depths, attempting to drown you in electronic waves, dragging you back to the surface by the collar, giving you a good shakedown, before showing you the light, leaving you breathless on the shore after 46mn of the most intense music French has to offer. “An undeniable success”, they said. (by Jérôme "Kalcha" Simonneau)

White Vinyl

'Innate Passage' findet die hauptsächlich in Berlin ansässige Band in der Speerspitze einer Liga progressiver Stoner- und Psychdelic Rock-Bands wieder, zu einer der wichtigsten Acts ihrer meist noch jungen Generation, in Stil und Ausdrucksintention. Im Frühjahr 2020 veröffentlichten Elder ihr fünftes Album 'Omens' und etablierten damit einen Anspruch auf ihre prog-lastigste Interpretation von ausuferndem Heavy Rock. Zwei Jahre später baut das neue Album auf vielen ähnlichen Konzepten auf, übertrifft aber seinen Vorgänger nochmal auf allen Ebenen.
Ob es sich um einen schreddernden Lead im Höhepunkt von 'Endless Return' oder den eigenwillig geduldigen, fast mäandrierenden Einbau in das Crescendo und Fade von 'Merged in Dreams/Ne Plus Ultra' handelt. Im Herzstück 'Coaleszenz' bieten sie Opeth-würdige rhythmische Komplexität und Piano-Drama, die durch knirschende schwere Gitarren und verdrehte Leads ausgeglichen werden. In 'The Purpose' erschaffen sie eine Melodie, die fesselnd ist, ohne die Klarheit der einzelnen Instrumente zu opfern, aus denen sie sich windet.

Dies Lexic is a duo by Inês Tartaruga Água and Xavier Paes. Part of Favela Discos collective and label, they explore the channelling potentialities of sound, wandering between spectrums, ethereal soundscapes and zones of sonic subduction through means of DIY electro-acoustic instruments, amplified objects, electronics and composition processes based on repetition, language, chaosmosis and error.

Lexicon Hall, the long overdue debut album by the Portuguese duo of intrepid sound explorers, is a sort of digital ayahuasca, an intense psychedelic journey guided by drums and harshly bowed strings, channelling voices from other planes and fusing them with Dies Lexic’s very own distinctive voice. If you close your eyes hard enough you can probably see Tony Conrad waving hello in the middle of a dark jungle that is inhabited by tribes of our ancestors.


Artists bio:
Inês Tartaruga Água is a multidisciplinary artist, focused on the issues of deep ecology and radical regeneration, sound explorer and practitioner of DIY philosophy as well as collaborative and participatory practices in public space. Participates in collective exhibitions since 2013, highlighting the “XIII International Biennial of Artistic Ceramics” (Aveiro, 2017), “Убежище / Suoja / Shelter Festival - Laboratory” (Helsinki, 2019), «48 часов Новосибирск» (Siberia, 2019), or “Soundscapes” (Bahrain, 2019), and has her first individual artistic residency “Méhtēr: Matter, Form and Transformation” at Júlio Dinis Museum in Ovar (2018). Recently, Água has debuted sound pieces in Casa de Serralves (Porto, 2021) and in Casa das Conchas (Spain, 2021).

Xavier Paes is a transdisciplinary artist based in Porto. He divides his practice between visual arts, sound, performance, gleaning improvisation and multi-instrumentalism, focusing on ideas such as acoustic phenomena, repetition, resonant and sympathetic bodies, echo and ecology. He has presented his work at institutions, galleries, festivals, kiosks, raves and after-parties, highlighting places such as Serralves Museum, Oliva Arts Center, Porto Municipal Gallery, Stichting Centrum (The Hague), OCCII and Vondelbunker (Amsterdam), La Pointe Lafayette and L'international (Paris), STUK (Louven), Overtoon (Brussels) and Villa Arson (Nice).