Search:tor

This compilation brings together 22 sound poems, including both pioneering and current pieces, and constitutes itself as the first great overview of sound poetry from Peru. It continues a cycle that began in 2009 with the appearance of a CD called Inventar la voz: Nuevas tradiciones orales To Invent the Voice: New Oral Traditions and was followed up in 2011 with another one called Irse de lengua [To Let It Slip], both of which contributed to articulate diverse manifestations of poetry that used technological means, also in the context of intense activity in the local scenes of experimental music and sound art that opened spaces for interdisciplinary dialogues. What we know as sound poetry is the product of a technological revolution associated with the appearance of various means of recording, transmission and amplification of the voice. A long process that took shape in the 20th century, until it became a discipline, articulated as an international movement which, based on phonetic research, expanded into a universe of oral/vocal artistic practices as part of a new technological context. The recordings gathered here comprise a time frame that goes from 1972 to 2021. We find poems that work with montage techniques, either because they explore simultaneity or juxtaposition, such as those by Mario Montalbetti, Frido Martín, Florentino Díaz, Carlos Estela, Luisa Fernanda Lindo, Macri Cáceres, Rodrigo Vera Cubas, Tilsa Otta, Giancarlo Huapaya/Omar Córdova, Virginia Benavides, Lisa Carrasco and Luis Alvarado. Others emphasize vocal/oral performance: we find the phonetic poems of Carlos Germán Belli and Eduardo Chirinos, as well as the concrete conceptual poems of Michael Prado, Sandra Suazo, Peru Saizprez, and the oral/guttural poem of Omar Aramayo. Finally, we find another group of pieces where the poem starts with the creation of a computational parameter or algorithm, as is the case with the pieces by Jorge Eduardo Eielson and Enrique Verástegui, eventually reaching the use of Artificial Intelligence as in the poems by Francisco Mariotti and Paola Torres Núñez del Prado. The Verbal Matter: An Anthology of Peruvian Sound Poetry is part of a series produced by Buh Records for Centro del Sonido, a website set up as a digital archive of Peruvian experimental music and sound art. The compilation has been made by Luis Alvarado and is published in a limited edition of 300 copies in vinyl format. It includes extensive notes and visual documentation. Mastered by Alberto Cendra. Art by René Sánchez.

Mit 'Terror Winds' kehren T.O.M.B. mit sechs Tracks, die nach altem, rohem, blasphemischem Black Metal riechen, und von einer faszinierenden symphonischen Atmosphäre und nekromantischen Noise-Klanglandschaften durchdrungen sind, zu ihren Friedhofswurzeln zurück. Das Album steht für epische Weiterentwicklung der Band, deren Black Metal-Feeling für die frühen 90er authentisch ist. Das Album wurde live in den Ossuary Studios in New York City aufgenommen und von Tore Stjerna in den Necromorbus Studios in Schweden gemastert. Im Laufe der über 20-jährigen Bandgeschichte haben T.O.M.B. hat kontinuierlich die Grenzen der extremen Musik überschritten, indem es Elemente aus Dark Ambient, Doom, Death Industrial und Power Electronics zu einem einzigartigen Stil von erschreckendem Black Metal Noise zusammengefügt hat. Es ist ein Stil, der der Band einen wohlverdienten Platz als einer der Top-Innovatoren des modernen Black Metal eingebracht hat.

Strut present a new repress of the influential first volume of 'Disco Not Disco' compiled by Joey Negro and Sean P as part of the label's 20th Anniversary.

'Disco Not Disco' was a perfectly timed compilation back in 2000. Released when interest in the myths, history and playlists of original New York clubs like Paradise Garage and The Loft was at its peak, the album drew on the outer limits of leftfield disco championed by Levan and Mancuso, bringing together unlikely dancefloor anthems by rock acts like Yoko Ono and Ian Dury, obscurities from cottage labels like BC and Splash and selected oddities from the unique mind of avant-garde hero, Arthur Russell.

It was essentially a celebration of the sonic melting pot in New York during the early '80s, an era when punk had burnt itself out and disco had become commercial and saccharine; in its place, the post-punk movement threw up brilliant oddities which tore up the accepted rulebook.

The album features full original artwork and Kris Needs' sleeve notes and is remastered and cut by The Carvery.

”My Own Prison” war das Debütalbum von Creed, das dieses Jahr sein 25-jähriges Jubiläum feiert. Zu
diesem Anlass veröffentlicht die Band am 2. Dezember das Album ”My Own Prison” zum ersten Mal auf
Vinyl. Ursprünglich 1997 veröffentlicht, war es das Album, das die Band zum Ruhm katapultierte und sich
weltweit über 15 Millionen Mal verkaufte und 6-fach mit Platin ausgezeichnet wurde. Das Album enthält
die Hitsingles ”My Own Prison”, ”Torn”, ”What’s This Life For” und ”One”. Mit diesen Songs dominierte
die Band jahrelang den US-Sender.
Die Jubiläums-Edition ist als 1LP erhältlich.

I'm talkin' about Beatmasters, but not the late 80s crew that saw collaborations with the Cookie Crew etc, I'm talking about the legendary Bristol beatmaster Boca 45 who has mastered, honed and polished his creative techniques and his distillation of beat making over the last 25+ years. Born out of hip hop and rooted firmly in the Bristol scene of Massive, Wild Bunch, and Portishead, Boca 45 aka Scott Hendy has successfully navigated an ever changing musical landscape with an unwavering connection and honest adherence to those very roots and ethics. It's what makes Bristol such a special place for art of all forms in the city, a DIY, earthy and passionate sound and vision that runs through all the artists that call Bristol home.
And so it continues with Boca's only 45 release this year in ‘22. It’s strictly Limited to 300 copies on High Quality Yellow wax with each copy stamped & numbered.
On this Bomb Donut he teams up with NYC Native Tongue OG Bam of The Jungle Brothers on hype vocals duties for 2 dancefloor burners.
The A side '(Do It) Fluid' goes straight for the jugular with an immediate phat rubbery bassline that precedes a beat that charges and swings between 4 to the floor and wild breaks. Everything else within the track is supporting that drum & bass, heaping bucket loads of flavour into the mix. And to make it even more tasty, the arrangement is a clear 'DJs Choice', eminently cut-able, mixable, and double up-able! The intention of this (and the flip) is most definitely to stick 'nasty faces' on everyone on the dancefloor.
So if you weren't already bleeding from a torn jugular from the A side, then the B side is going to do some serious damage to what is left of your vascular system. Picking up the tempo with a heavy-duty breakbeat that drives ever forward, 'Another Dimension' is peppered with fuzzed up riffs, Bam's hype vocals, and spacy flourishes. The result is a blistering dancefloor nugget heavily laden with urgency and vigour that DJs, dancers and breakdancers alike will be seriously wigging and poppin' out to. Ultimately these are classic Boca productions, full of the energy and verve we all know and love, honest, funky, raw, they have it all.
Both tracks are a step up from cut-and-paste, yet that ethic is loud and proud throughout (and has been a trademark of Boca's beats over the years).
It's perfectly reasonable to predict that this 45 will be going straight into the play crates of DJs across the world. And you can quote me on that.

A banger repressing 2 tunes from the Winprod 01... and 2 unreleased tunes to complete the EP...
A big one !

One of pianist Ray Pérez's rarest releases and his first on his own label Pyraphon, "They Do It" (1971) was also his final collaboration with Perucho Torcat, a talented sonero who died tragically young in NYC the following year. The record sports an impressively diverse array of rhythms and genres, including the popular Cuban, Puerto Rican and New York sounds that the young Venezuelan salsa groups excelled in at the time (guaguancó, bolero son, son montuno and Latin soul / boogaloo). Other Caribbean modes like calypso (the coast of Venezuela is very near Trinidad and Tobago), pambiche (a slow form of Dominican merengue developed for tourists), and even traditional Venezuelan merengue (a completely different rhythm from the Dominican genre of the same name) appear on the album. Full of classic dance floor burners, the album has been lovingly restored, mastered from the original tapes, fully licensed, with its original artwork intact, preserving the legacy of this great Venezuelan music for today's generation of salsa dura lovers everywhere. The LP is highly collectible and is now being reissued by Vampisoul for the first time.

Kings Bell, first made available to the world on CD and digital on November 1, 2011, is now being released on a 12" vinyl courtesy of Before Zero Records. This LP joined the best of St Croix with the best of Jamaica: an amazing lineup of players spearheaded by the venerable Jamaican production maestro Andrew "Bassie" Campbell. The result of this collaboration is Kings Bell – a modern roots masterpiece. As Vaughn Benjamin's first-ever full-length collaboration with a Jamaican producer, Kings Bell was a historic release and features some of the greatest musicians the genre has ever seen including Leroy "Horsemouth" Wallace, Earl "Chinna" Smith, Squidley Cole, Mikey "Boo" Richards and Sticky Thompson.

The driving musical force behind the album, producer and bassist Andrew "Bassie" Campbell has crafted beautiful rhythms that truly compliment the deep lyrics of Vaughn Benjamin. The power and authenticity of Andrew Bassie's productions stand out from the mass of slickly-produced modern roots coming out of Jamaica today. Much of the music was recorded organically in Jamaica at Tuff Gong Studio, with additional overdubs, vocal recording and mixing completed at I Grade's studio in St. Croix. The result is a collection of songs that capture not only the essence of classic roots from the hands and minds of some of the individuals who have literally helped build the genre, but also the urgency and innovation of the present time. In more than seventy albums and in over twenty years of Midnite music nothing like this cross-fertilization of Jamaican classic roots tradition mixed with St. Croix's own deep roots tradition has ever happened, making "Kings Bell" a glowing highlight in the expansive catalogue of Vaughn Benjamin. A catalogue born from a non-stop movement in pursuit of progressing his craft and delivering his message to the world. One of Benjamin's most fruitful stops along his journey was with I Grade Records, headed by producer/engineer/multi-instrumentalist Laurent "Tippy I" Alfred, regarded by many as some of the finest work of his career.

From the success of "Thrive" which was released on a 7" vinyl by LRK Records and sold out in a day. Comes a brand new single "Long Gone "

Toronto based retro-soul artist Claire Davis serves up her latest soulful banger "Long Gone" from forthcoming 7" vinyl release on LRK Records. A jewel of Canada's Soul scene, Claire Davis takes it up a notch and showcases her mighty vocals on the fiery breakup single "Long Gone". Drawing from her influences of the likes of Etta James and Sharon Jones & the Dap-Kings, the unrelenting rhythm and sassy background vocalsof this track complement the "take-no-mess" message of Davis' lyrics and vocal delivery. A song about knowing your worth and walking away from those who don't! Claire Davis is an analog enthusiast, opting to record to tape whenever possible to best capture the feel and energy of a live performance and this single does not disappoint. The track was co-written by Toronto based artist Kyla Charter and producer Scott McCannell whom Davis has excitedly collaborated with for years on various other projects in Toronto's R&B/Soul scene. The saucy background vocal arrangement from composer/arranger La-Nai Gabriel provided the icing on the cake for this record which features dynamic background vocals from Joanna Mohammed, Tegan Michelle Gordon, and Chynna Lewis.


Jazzfm have listed the single "Long Gone" on their B list playlist

In the official retro soul spotify playlist

CBC gave it a spin on "Big city small world" by Errol Nazareth

"Times Have Changed" was added as brekkie track of the week and added to the C list on Jazz Fm

"Les Heures Felines is the first EP from U25 on their own label Unative Records.

This work interprets the perpetual movements of human moods. We are witnessing the progression of a thought, a feeling which is constantly changing. Emotions take precedence over reason, they are supple and fluid and leave us with memories as disintegrated as we are. The beauty of man lies in his twitches. We are just blurred and faded sketches of what we would have liked to be. The result of all of these thoughts is told in those hard kicks, tortured pads, melodies, voices and breakbeat.

Five years after "Mort d'un Pourri" (Death of a Corrupt Man) Philippe Sarde finds Alain Delon for this adaptation of a violent thriller by Jean-Patrick Manchette. If "Le Choc" (The Shock) offers a rather watered down vision of the original novel, the composer chooses to give a boost. Sarde explains : “My position was this : to inject singularity into this somewhat smooth story. I get some really good soloists together for an unconventional score balanced between rock, jazz fusion and romanticism. I wanted it to be energetic with a modern drive. To me, "Le Choc" is a direct extension of the great blends in "César et Rosalie" or "Coup de Torchon (Clean Slate)". A jazz-rock rhythm section, musicians from Weather Report with the London Symphony Orchestra, and the great Wayne Shorter. I

asked him if he could play his soprano with a timbre like a bombard, an unexpected transposing of a folk instrument onto a jazz horn..." To director Robin Davis, this magnificent score will be a real lifeline : "With his music, Philippe told a story alongside mine, he brought "Le Choc" back to what it might have and should have been. And I love the invisible link with Lautner. After Stan Getz and "Mort d'un Pourri", we’re still with Delon & Sarde but this time the saxophonist is a black American, Wayne Shorter."

Pressed for the first time from a high definition transfer of the recording tapes, this new album has been mastered without any compression, respecting all the dynamics of the recording produced at Abbey Road.

With his first release since 2015, Seattle based Indie-folk hero Rocky Votolato returns with Wild Roots, an intimate concept album inspired by and written for his family. Each song a letter dedicated to a specific family member and focused on a special memory or moment in time. After losing his child in December of 2021 in a tragic car accident, the entire album, and especially the song “Becoming Human”, now a posthumous love letter, takes on an even deeper while devastatingly bittersweet meaning. The production on Wild Roots is hushed, handcrafted, and warm — an intimate and personal experience that brings the nature of Votolato’s storytelling to life in very authentic and genuine ways. Produced, engineered, and mixed by Votolato himself, the record is a deliberate construction of his conceptual vision and new phase of his recording career. Additionally, the record features a stellar cast of renowned musicians whose contributions perfectly compliment the delicate nature of these songs — Abby Gundersen (William Fitzsimmons) on piano, string arrangements, and vocal harmonies, James McAllister (Sufjan Stevens, The National) on drums and percussion, Phil Wandscher (Whiskeytown, Jesse Sykes and the Sweet Hereafter) on electric guitar, and Marcel Gein (Perry O’Parson) on electric guitar. In many ways, Wild Roots is not only a break in silence for Votolato, but the opening of a new chapter — one that feels laser focused on what really matters in life. Whether discovering Votolato for the first time or adding another record to your collection, Wild Roots resonates on the most simple and important human levels — a sharing of experience that encourages us to keep believing in ourselves and in the magic of this life, no matter how harsh and difficult it can be.


Track list: 1. Evergreen 2. 23 Stitches 3. Glory (Broken Dove) 4. There is a Light 5. X1998x 6. Becoming Human 7. Breakwater 8. Little Black Diamond 9. Archangels of Tornados 10. The Great Pontificator 11. The Wildest Horses 12. Little Lupine 13. Bella Rose 14. Southpaw 15. Texas Scorpion (The Outlaw Blues)

The Anne, EP is the afterword to Joseph Shabason's acclaimed 2018 harmonic suite Anne, through which he examined and processed his mother's struggle with Parkinson's disease. Employing a small supporting cast that includes vocalist Dan Bejar (Destroyer) and guitarist Thomas Gill (Owen Pallett), Anne, EP spotlights the Toronto saxophonist as he builds empathic tropospheres of woodwinds and synthesizers, deepening the sentiment established by the EP's companion album. In doing so, Shabason further cements jazz, ambient sound design, and new age revivalism into a timely new genre all his own. Also Available From Joseph Shabason: The Fellowship LP/CD, Anne LP/CD, Aytche CD. “gorgeous and empathetic ambient music.” – Pitchfork // “I love it…very original...so exciting." – Bob Boilen, NPR Music // “…densely textured ambient jazz that is wonderful to immerse yourself in…” - The Guardian // “...seriously engaging…” – Aquarium Drunkard // “…magical transportive healing vibes.” – Gorilla vs. Bear // “…rich, healing ambient jazz.” – The A. V. Club // “…at once intimate and universal, honest and hopeful.” - Resident Advisor // Tracks: 01 West Of Heaven 5:12, 02 1517 5:57, 03 I Don't Want To Be Your Love 4:30, 04 Broken Hearted Kota 5:12, 05 Face Chord 7:13, 06 Gymnopédie No. 1 7:26.

The Anne, EP is the afterword to Joseph Shabason's acclaimed 2018 harmonic suite Anne, through which he examined and processed his mother's struggle with Parkinson's disease. Employing a small supporting cast that includes vocalist Dan Bejar (Destroyer) and guitarist Thomas Gill (Owen Pallett), Anne, EP spotlights the Toronto saxophonist as he builds empathic tropospheres of woodwinds and synthesizers, deepening the sentiment established by the EP's companion album. In doing so, Shabason further cements jazz, ambient sound design, and new age revivalism into a timely new genre all his own. Also Available From Joseph Shabason: The Fellowship LP/CD, Anne LP/CD, Aytche CD. “gorgeous and empathetic ambient music.” – Pitchfork // “I love it…very original...so exciting." – Bob Boilen, NPR Music // “…densely textured ambient jazz that is wonderful to immerse yourself in…” - The Guardian // “...seriously engaging…” – Aquarium Drunkard // “…magical transportive healing vibes.” – Gorilla vs. Bear // “…rich, healing ambient jazz.” – The A. V. Club // “…at once intimate and universal, honest and hopeful.” - Resident Advisor // Tracks: 01 West Of Heaven 5:12, 02 1517 5:57, 03 I Don't Want To Be Your Love 4:30, 04 Broken Hearted Kota 5:12, 05 Face Chord 7:13, 06 Gymnopédie No. 1 7:26.

Che spent her formative years living the troubadour life playing local clubs in
Vancouver, becoming embroiled in the Toronto indie music scene and touring
worldwide as a solo artist and with her critically acclaimed band 'Casualties of
Cool', a joint venture with prog behemoth Devin Townsend.
The Crowned shows a side to Che seldom seen on record before. A more
confident and determined thread runs through these songs, signalling the birth of
a new era for Che.
Inspired by her love of Trip Hop, Folktronica and Soul, The Crowned has Che's
signature all over it whilst reaching out into new sonic environments. Half of The
Crowned's tracks produced by Bob Rock pre-pandemic and half of the tracks selfproduced post pandemic, this album tells a story of an artist's evolution and
growth.
You are looking at a woman who still has a sense of individualism combined with
a drive and vision that is growing increasingly rare in this day and age. An artist in
the truest sense of the word, a product of passion and not curation.
She has previously worked with LA with hitmakers Greg Wells, David Foster and
Kara Dioguardi; performing with Michael Buble, Kim Churchill and Dan Mangan
and releasing music with industry heavyweights Andrew Loog Oldham (Rolling
Stones) and Tom Sarig (Lou Reed). Most recent work includes a collaboration
with Juno nominated EDM duo Young Bombs, a darkly lit duet with the late Gord
Downey (The Tragically Hip) and a featured performance on Devin Townsend's
'Lightwork'. She also collaborated with Townsend on 2014's Casualties Of Cool.

Tape



By its very nature, intuition is something of which we easily lose sight. Music however, as both bridge and secret technology, connects the natural, artificial, and the earned. It can act as both a reminder of cultures and people gone, while materialising and alchemising from thin air elements not to be found on any periodic tables, and visions no human can see.

»Pin down the dust« is the first meeting of Nighte - Christina Carter (Charalambides) and Mari Maurice (more eaze) - and it feels both automatic and natural. The collaboration stems from a spontaneous decision by the duo to start playing together weekly. “That's how this music was made,” explains Carter, “with gut feeling as the guiding principle. Mari understands the music I've made on such a deep level that playing with her feels so natural.”

The result of this meeting is inarguably some of the most beautiful music to ever emerge from either Carter or Maurice. The structures are spacious, generous, and gentle, with scraped violin strings and seemingly ancient moans strewn sparingly like falling leaves on a picnic blanket. Having begun life as freeform interplays between the duo recorded live at Maurice’s house, overdubs were later added and the material mixed by Maurice alone into finalised pieces.

Maurice’s varied instrumentation litters the background with distant and oneiric miscellanies, from groaned saxophone phrases and heavenly organ drones to glissandi guitars. Carter’s voice sits in the centre, embodying and channelling (mostly) wordless human ecstasy - and at times unease - amidst the allotment of blossoming sounds. Maurice & Carter’s clairvoyant connection notwithstanding, music always offers a portal back to our buried intuitions. “Pin Down The Dust” is both a tribute and a guide to this spontaneity and instinct, putting aside thought in favour of feeling.

Art Of Primitive Sound is a sensational journey to the origin of Music. In his crucial research chapter on the Paleolithic, Walter Maioli between 1986 and 1991 investigates the soundscape of different geographical, climatic and botanical environments, in which the mystery of the ancient human-nature relationship resides. What emerges is an expanded and unprecedented Paleorganology, with a range of acoustic and natural instruments from all over the World. Rubbing of fossils, animal artefacts, plant elements of all sorts, everything becomes sound and each object opens up forms of imaginary communication, psychic effect and unexplored languages. Whistles, flutes, leaf and shell rattles, rhombuses, horns, bone pipes, slate slabs, bamboo arches, stones, vertebrae, seeds, stalagtites etc...how great can be the Natural Orchestra inherent in the spirit of forests, rivers, caves, seas, swamps or Amazon jungles? Thanks to an interdisciplinary partnership (Anthropology, Archaeology, Botany, Ethnomusicology) of collaborating friends, Maioli directs an Opera of universal character inspired by the archaic essence of sound and infrasonic dimension.

The first album of the acclaimed Drought Season series between Bay Area Heavyweights, The Jacka & Berner. Certified as a Bay Area classic, the album initially peaked at #55 on the Billboard R&B/Hip-Hop Albums chart and #25 on the Billboard Rap Albums chart, making it Berner's first album to chart and one of his most successful albums to date. With production from some of the Bay's top producers, such as Cozmo, Dunce, Gennessee, Rob Lo & Stinj-E, Drought Season taps in to a stable of cutthroat MCs, featuring the likes of Fed-X, Baldhead Rick, Don Toriano, Mike Marshall, San Quinn, Dubee, Cellski, Matt Blaque, Sky Balla, Goldtoes & Equipto.

Produziert und gemischt von Sam Pura (The Story So Far, Hundredth), ist DEATHWESTERN ein klanglicher Hauch frischer Wüstenluft aus der Sin City Las Vegas. Das Album widersetzt sich dem Trend der 80er-Jahre-Thrash-Worship-Produktionen und liefert einen Sound, der nichts weniger als klassisch ist. Es ist druckvoll, schwer und absolut stampfend. Tracks wie 'Relic of Damnation', 'Ulcer' und 'Moonlight Torture' (mit einem Gastauftritt von Integrity-Mastermind Dwid Hellion) umarmen Hardcore, Old School Death Metal und Thrash mit lyrischem Blutrausch und reueloser Hingabe. 'Ich liebe riesige Schlagzeugproduktionen aus den 80ern', sagt Folsom, 'zu wissen, dass ich die fieseste, härteste Musik schreiben konnte und Thomas Pridgen (Mars Volta, Trash Talk) zurückkommen würde, um die Drums einzuspielen, gab mir den zusätzlichen Schub, um es auf die nächste Ebene zu bringen.' DEATHWESTERN erscheint am 25.11.2022 und ist auf schwarzem 180-Gramm-Vinyl mit 4-seitigem Booklet im LP-Format und DIN A2-Poster erhältlich. Eine limitierte CD-Version kommt in einem 4-Panel-PocketPack mit Top-Opening (Mini-Vinyl-Look) und 16-seitigem Booklet. Natürlich wird das DEATHWESTERN auch als digitales Album erhältlich sein.

In celebration of legendary prog-rock band Emerson, Lake & Palmer’s 50th anniversary, BMG are releasing ‘Black Moon’ as a limited edition Picture Disc vinyl.

Formed in 1970, Emerson, Lake & Palmer were torchbearers of the progressive rock sound and one of rock’s first super-groups. The world-conquering, stadium-filling prog giants helped to broaden the audience for the genre from hundreds of thousands into tens of millions and were one the most commercially successful rock bands of the 1970s.

Their first 7 album releases all made the U.K. albums chart top 10 and U.S. top 20. Black Moon is ELP’s eighth studio album. It was released in 1992 when the band re-formed after 14 years, having split-up after their previous album, ‘Love Beach’ in 1978, and represents a real return to form.

The music is a stripped-down, amped-up, more mainstream rock format, though in many places retaining the feel of their 70s prog epics. Expertly re-mastered in 2017 by celebrated rock studio engineer Andy Pearce.

On November 18th, Rural Tapes is back with a follow-up to the highly acclaimed debut album "Rural Tapes" from 2021. A year and a half ago, Arne Kjelsrud Mathisen was declared a genius by Mojo, who described his music as a hybrid between Kraftwerk, Air, Tortoise and Serge Gainsbourg. While the debut album was created over a period of almost 10 years, the music on "Inner space music" has been composed and recorded during one intense month in January 2022 in Mathisens own studio in the countryside of Grimstad, Norway. Again, a number of high-profile musicians have left their mark on Rural Tapes' music, including The Dream Syndicate frontman Steve Wynn, PJ Harvey saxophonist Terry Edwards and REM guitarist Peter Buck and Scott McCaughey, both of whom are Mathisen's bandmates in the psychedelic jangle pop group The No Ones. ACCLAIM FOR RURAL TAPES: “A level of its very own” MOJO "Rural Tapes delights in the unexpected. At every turn, you encounter something new, something to be marvelled over. Kjelsrud Mathisen has said he wants this music to stand the test of time. It will." The Independent “A dreamy self-titled debut full of broad soundscapes... Melding smooth jazz with floaty puffs of synth, the album is both meditative and uplifting, the sort of soundtrack you might expect from a dream sequence in a 1970s film." GQ Magazine “From the first notes of this debut album from respected Norwegian producer Arne Kjelsrud Mathisen, you know you’re in for a treat. As Rural Tapes he makes rich, warm technicolour soundtracks… it really is delightful stuff.” Electronic Sound "This is an excellent debut album." Prog Magazine "Mathisen’s musical pedigree makes Rural Tapes an intriguing musical journey of an album that takes in pulsating Krautrock, neo-classical moods and dreamy, proggy pop, all formed through an intuitive composition process." Shindig Magazine

LP is black vinyl + LP3 insert for full album Download. Check out the first 18 or so seconds of “Can I Ride”, the title track on the first release by Polvo, the two-guitar juggernaut that represented the other side of Chapel Hill indie rock (more on that in a moment). That two-note riff, and the guitar twang that follows, recalls the opening notes on another monster song: “The Sprawl”, a key track on Sonic Youth's epochal Daydream Nation, an album released in October 1988, less than two years before Polvo formed. This compilation's nine tunes—the first seven from the Can I Ride double 7” EP (1990), the last two from the “Vibracobra” b/w “The Drill” 7” (1991) are not quite the sound of a torch being passed, but they were a sign that Sonic Youth's weird tunings, the hardcore punk and proto-indie rock on SST Records, and R.E.M.'s hazy rock (three big influences on this era of Polvo) were changing lives. Even back then, the impossibly catchy roar from Merge’s flagship act Superchunk was known to outsiders as the sound of Chapel Hill. But Polvo was something different from the same region. While the band never cottoned to the “math rock” tag (and it’s hard to disagree with them), there is no question that there was a distinct “how can we make guitar rock sound different from all the other guitar rock” vibe going on in the mid-Atlantic, from Richmond (math rock’s true home, don’t @ me) to the North Carolina Triangle over to Louisville and down almost to Atlanta. (If the Mastodon dudes aren’t down with Polvo, I’ll eat your shoe.) No, Polvo were their own brand of squall, not afraid of big hooks (“Leaf ”), odd tempos and textures (“Lull”) and rolling thunder (“Totemic”), and answers to the musical question, “What if the Feelies grew up on Dinosaur Jr.?” (“Tread on Me”). Indie rock? Not the 2022 kind. Math rock? Eh, not really. This was the sound of a new Southern rock, of a pre-internet guitar storm that looked at what came before and said, “What's next?” Track listing: Side A 1. Can I Ride 2. Leaf 3. Lull 4. Totemic 5. Tread on Me. Side B. 6. Teen Dream 7. Snake Fist Fighter 8. Vibracobra 9. The Drill

Lido Pimienta is a Toronto-based, Colombian-born interdisciplinary musician and artist-curator. She has performed, exhibited, and curated around the world since 2002, exploring the politics of gender, race, motherhood, identity and the construct of the Canadian landscape in the Latin American diaspora and vernacular. Her new album Miss Colombia takes her ecstatic hybridity to a new level, building on the “nu” intersection of electronica and cumbia established by her 2016 Polaris Prize-winning La Papessa as Canadian album of the year. Produced with Matt Smith, a/k/a Prince Nifty, Miss Colombia overflows with the kind of understated genius that promises yet another breakthrough. TOURING EUROPE IN 2020. Already confirmed: May 22 - London Calling (Paradiso), Amsterdam (NL).

Bad Colours is back with his sophomore album, "Always With U," out on Bastard Jazz Recordings in November, 2022. The London-born, Maryland-raised, Brooklyn-based DJ, songwriter, producer, and multi-instrumentalist - aka Ibe Soliman - continues to build on the well-deserved acclaim from his 2021 debut LP, "PINK," as well as a slew of standalone singles and collaborations with the likes of Shabazz Palaces, Jarv Dee, and Stas THEE Boss.

"Always With U" sees Ibe further develop his talents as a songwriter and producer, while maintaining the signature balance of banging dance music and dense bars that he's quickly becoming known for. The album expands Ibe's role to a collaborator, band leader, and all-around star-of-the-show; it's certainly still a dance record, but there's also so much more. Live instrumentation accompanies every track, with the notable contributions of Nigerian bassist Akin-Alade Ogo heard across the album, as well as the NY-based saxophonist Carras Paton on the jazzy, upbeat house number, "Heartache + U."

The lead single, "Maybe I Should Move to LA," sees the proudly Brooklyn-based Bad Colours contemplate a move out West – an idea that came about following a trip to LA for the 20 Years of Bastard Jazz anniversary party (which he DJed) in November last year. Bright pads, a thumping four-on-the-floor beat, and a catchy vocal line make it the perfect accompaniment to a top-down joy-ride up PCH. The album's second single, "You Don't Know," features frequent collaborator and PNW darling Jarv Dee, as well as KAS and JVDE who have both been making waves in the Brooklyn scene (KAS for his work with Grammy- nominated producer Harmony Samuels featured on BET, and JVDE as the lead-singer of alternative band Blind Benny). "You Don't Know" turns up the heat with Jarv and KAS trading dense, rapid-fire verses over a high-tempo beat and detuned vocal; the kick cuts out for the bridge, replaced by syncopated keyboard stabs and JVDE's stacked vocals. "You Don't Know" is high-energy hip house at its finest: Super catchy and irresistibly dancey.

The two singles are emblematic of the rest of the album, which largely alternates between vocal and hip house, sometimes jazzy, other times touching on R&B or dancefloor influenced pop. Dave Giles II and Cor.Ece (who recently both contributed to Beyoncé's chart-topping "Renaissance" LP and Honey Dijon's "Work" single) feature on "Flow," while Toribio (of the acclaimed Brooklyn band Conclaves) provides vocals for "Do Better;" both tracks are on the mellower side, reminiscent of late-90s New York mid-tempo garage. Rising artist N.O.V. features on the second track, "Ready," rapping over a bass-heavy beat; MarcusHarmon makes a return after appearing on "PINK," with smooth vocals on the romantic "Come Closer." Aforementioned JVDE can be heard throughout the album, contributing to "You Don't Know," "Flirtation Avenue," and "Easy Come, Easy Go."

While Ibe's career has spanned nearly two decades - as both a DJ (alongside the likes of James Murphy, Mark Ronson, and Q-Tip) and producer (for Kendrick Lamar, Faith Evans, Keyshia Cole, and Rick Ross, among others) - the Bad Colours name only came into being in early 2020, with the debut LP, "PINK," being released in February, 2021 on the Brooklyn tastemaker label Bastard Jazz. By tapping into his deep network of artist friends, Ibe compiled a treasure-trove of vocal samples, snippets, sketches, and fresh instrumental loops into a beautiful debut record that touches on hip-hop, house, and left-field electronic, while remaining danceable.

A slew of singles throughout 2020 and 2021 included "Feelin' Like," featuring the Seattle rapper Jarv Dee, has become an underground hit, popping up everywhere from Best Buy ads, Hulu's "Woke," celebrity Peloton instructor Emma Lovewell's playlist, and even as a soundtrack to the Mayor of Madrid's TikTok video. Most recently, "Feelin' Like" had a prominent placement in the #1 Netflix film "Spiderhead," directed by Joseph Kosinski ("Tron: Legacy;" "Top Gun: Maverick") and starring Chris Hemsworth, Miles Teller, and Jurnee Smollett. The breakout success of "Feelin' Like" further led to a collaborative EP with Jarv Dee, titled "BLAKHOUSE," which saw additional features from fellow PNW natives Shabazz Palaces ("Clouds," featured in Hulu's "Shoresy") and Stas THEE Boss ("Black Skin"). This year, Bad Colours dropped the early Summer banger "Hit The Breaks," and served as the musical director for the influential MADE New York festival, a two-day fashion, music, and arts event presented by Public School NYC and Paypal, that saw performances by Nas, Heron Preston, and Bearcat among others.

"Always With U" is a testament to Bad Colours' versatility as a producer and artist, which has allowed him to bring together such a diverse group of friends and collaborators. Yes, the house and hip-hop roots remain, but "Always With U" shows an evolution of the Bad Colours sound into masterfully crafted dancefloor sounds. It's a truly stunning follow-up from an artist undoubtedly on the rise. The album is out on all platforms, via Bastard Jazz Recordings, November 11th, 2022.

On the album Opening, Tord Gustavsen reveals a fresh angle to his
particularly unique trio investigations into Scandinavian folk hymns,
gospel, chorale and jazz, as he introduces a different voice on bass
With a new fellow- traveller on board and its recording premiere in Lugano's
Auditorio Stelio Molo, the trio discovers inspired new ways to interact with each
other, using innovative approaches to sound and technique in the process. Made
up in equal parts of intricately textured improvisations and understated melodic
hooks, the group's conversations bring an enticing unfamiliarity to the language
the Norwegian pianist has developed over almost two decades of collaboration
with ECM.
Tord Gustavsen: piano, electronics
Steinar Raknes: double bass, electronics
Jarle Vespestad: drums
Press:
"Vibrates between the introspective and the dramatic in rich and singular ways.
Scene-setting opener 'The Circle' sees Gustavsen exploring a modal melodic line
of beguiling simplicity, with the trio's sotto voce approach creating an atmosphere
of hushed intimacy." - **** Jazzwise (Editor's Choice)
"The focus of Opening remains the playing from Gustavsen and the rich
accompaniment from his fellow musicians, creating an atmosphere perfect for a
walk by a cabin at dawn, with the sun peeking in through the trees." - Pitchfork
"Norwegian piano star Tord Gustavsen's long-honed recipe of low-key folk songs,
gospel, classical music and jazz gets a graceful makeover on Opening - with new
bassist Steinar Raknes, a player of uncannily responsive precision alongside
regular percussionist Jarle Vespestad, while subtle electronics sometimes create
ghostly horn-player effects." - The Guardian
"For Gustavsen, pieces such as Floytelat and Vaer Sterk, Min Sjel are routes into
the sort of cerebral mysteries that the former church pianist has made his own.
The first is a funereal theme where the notes he sprinkles like raindrops build into
a fatalistic flood. The second, from the Norwegian Hymnal, is played with an
innocent simplicity. Both are equally powerful...Remarkable music, Norwegian
blues." - The Times
"Quietly beguiling release...With lesser artists the uniformity of mood and
reluctance to turn up the volume would pall. But there's an artistry to Gustavsen's
compositions, a skill in their execution, and a warmth to their spirit that keeps the
listener engaged." - LondonJazz News

With Echo’s Reach Isla Craig presents a sophisticated set of compositions that perfectly wrap her Highland influenced melodies in an organic blanket of musical peat formed from a mix of jazz, R&B and psychedelic folk. Leading a band of Toronto’s finest including Ted Crosby (sax) Mike Smith (bass) and Evan Cartwright (drums), Isla showcases her affecting vocal presence that has made her an in-demand collaborator with artists such as Jennifer Castle and The Cosmic Range. An autumnal record influenced by the power of nature often found steps away from city streets, a diary of days spent within the valleys of Toronto, the moors of Scotland and the Irish countryside, Echo’s Reach is a tribute to the infinite and the resilence of those who forever seek to understand its meaning. Genre: Alternative / Folk / Singer-songwriter Listen: https://s.disco.ac/honhrdcdqjal Track list: 1. Song For Boots 2. Moon 3. Spider Owl 4. Spirit 5. Psyche (Valley, Girl) 6. I Went Looking 7. Weather 8. Young Woman 9. Psyche (Valley, Girl) reprise

High Roller Records, black vinyl, ltd 700, lyric sheet, 4 page insert, poster, A5 photo card, 425gsm heavy card board cover, mastered for vinyl by Patrick W. Engel at Temple of Disharmony in March 2021. Cutting by SST Germany on Neumann machines for optimal quality on all levels... The ultimate reissue of this eternal Thrash Metal classic! FOR EUROPE ONLY!

High Roller Records, black vinyl, ltd 700, lyric sheet, 4 page insert, poster, A5 photo card, 425gsm heavy card board cover, mastered for vinyl by Patrick W. Engel at Temple of Disharmony in March 2021. Cutting by SST Germany on Neumann machines for optimal quality on all levels... The ultimate reissue of this eternal Thrash Metal classic! FOR EUROPE ONLY!

Re-mastered from the original master tapes.
180 gr vinyl pressed by Optimal in Germany using the Metal Mothers from Pallas.

Facsimile reissue using the original photo by Jean-Pierre Leloir.
Double insert using an original color photo by JP Leloir.
Each record has been visually checked to prevent defects.

In its October ‘58 issue, the title carried by Jazz Hot magazine was: »Revelation at the Chat Qui Pêche. The spirit of jazz (which some thought was dying) is sparkling with life in the Donald Byrd Quintet.« And indeed, on its first appearance at the Cannes Festival in July (the Jazz Festival, not the other one), the Donald Byrd Quintet brought the house down. Its members were hardly the Who’s Who of jazz, however. People vaguely knew that the leader had replaced Kenny Dorham in the Jazz Messengers, that Doug Watkins had played bass with them, and that pianist Walter Davis Jr. had been with Charlie Parker before he was 19. As for Art Taylor, if he’d already enjoyed a career longer than that of his colleagues, it hadn’t yet brought him recognition beyond a small circle of cognoscenti. Only Bobby Jaspar – who’d shone at the Club St. Germain – was famous with the Parisian audience. At the beginning of 1956, he’d decided to try his luck in the United States; J.J. Johnson had hired him, and then Miles Davis (for a brief spell) before Donald Byrd brought him into his own group. After appearing in Cannes (in the sun) and Knokke-le-Zoute (a much smaller audience) for almost three months, the Donald Byrd Quintet settled down for the autumn in one of the capital’s top jazz spots, the Chat Qui Pêche on the Rue de la Huchette. »In that tiny room,« wrote Frank Ténot, »where the owner used to bump into the soloists by accident when she was serving her customers, the music they played was hot, and always surprising.« To crown a tour that had been extremely satisfying for everyone, a concert at the Olympia theatre was organised (there were gigs there called “Jazz Wednesdays”). Byrd and Co. took things very seriously, even though they preserved the relaxed approach that their (relatively) long association now permitted: "La Marseillaise", and "And The Angels Sing" are both present in the introduction to Parisian Thoroughfare played by the two horns. The latter then went on to imitate other horns, those of the cars on 52nd Street ... However, when it came to "Stardust", it was with all the seriousness in the world, almost in meditation in fact, that Donald Byrd improvised over the backing provided by just Walter Davis Jr. and Doug Watkins. Bobby Jaspar, of course, was marvellous. If he showed a marked obedience to Sonny Rollins, he still preserved, intact, the virtues of sobriety that prevented him falling into the trap of serving up torrents of notes in pieces taken at a rapid tempo ("At This Time", for example). During the exchanges on "Formidable", you’d be forgiven for saying that he gets the better of Donald Byrd. As for the complicity that reigned between the members of the rhythm section, it gave the formation a homogenous character that was very rare in a quintet. One can’t thank François Postif enough for taking the risk to release this concert at the time. Now, almost half a century later, one

"Hushman is the new project from renowned folk musician, singer &
songwriter Ewan MacPherson
Originally hailing from Liverpool, with family ties to Scotland, Ireland and Wales,
Ewan moved to Edinburgh in 1999 where he is now a recognised figure on the
vibrant Scottish music scene, performing and writing with Scottish Indie folk band
Salt House & Scottish Acid folk legends, Shooglenifty, amongst others. Likened to
Ben Howard, John Martyn and Nick Drake, the music and songs Hushman is
producing are painted and sculpted to the backdrop of the Scottish Highlands,
the walls of the shed they have been recorded in are thin; black grouse, torrential
rain and gales subtly underpin Hushman's music through the cabin walls.
Hushman features Hannah Read on backing vocals, Lauren MacColl (Rant, Heal &
Harrow) on strings, Ben Nichols (Seth Lakeman, Nadine Shah) on Bass and
James Mackintosh (Shooglenifty, Capercaille) on percussion."

"Hushman is the new project from renowned folk musician, singer &
songwriter Ewan MacPherson
Originally hailing from Liverpool, with family ties to Scotland, Ireland and Wales,
Ewan moved to Edinburgh in 1999 where he is now a recognised figure on the
vibrant Scottish music scene, performing and writing with Scottish Indie folk band
Salt House & Scottish Acid folk legends, Shooglenifty, amongst others. Likened to
Ben Howard, John Martyn and Nick Drake, the music and songs Hushman is
producing are painted and sculpted to the backdrop of the Scottish Highlands,
the walls of the shed they have been recorded in are thin; black grouse, torrential
rain and gales subtly underpin Hushman's music through the cabin walls.
Hushman features Hannah Read on backing vocals, Lauren MacColl (Rant, Heal &
Harrow) on strings, Ben Nichols (Seth Lakeman, Nadine Shah) on Bass and
James Mackintosh (Shooglenifty, Capercaille) on percussion."

To listen to Sarah Mary Chadwick's music is to be a quiet observer to her
thoughts on love, death and mental health - Sometimes anguish bears
itself in sullen, dreamy vs dreary moments, but more often torment
manifests at the break of Chadwick's voice as she sings painfully
vulnerable, self-aware lyrics
Chadwick is a singer/ songwriter and visual artist, based in Melbourne. After
moving to Australia from New Zealand to pursue a career in music, Chadwick
spent a decade fronting the grunge band Batrider. In 2012 she shifted focus to
her now prolific solo career. Essentially Chadwick's work is basic reportage of
events and observations from her own life, creating something exactly realised
yet completely relateable. Chadwick's performance remains singular and complex
as she simultaneously savors and is repelled by the podium that her creativity
affords her, acknowledging that it's a position of power being on a microphone
and how ..it's a desperate demand to be seen. It's funny and really sad. These
days, I just want to be an entertainer.''
I always write a lot so I love it when songs can find homes in the outside world.
Track one 'Flipped It' was recorded in the "Me and Ennui" session, and I couldn't
find a comfortable place for it on that record. Track Two 'All the things...' was
recorded during the "Please Daddy" sessions, earlier that same year in 2019.
Pressed on 7" White Color vinyl.

Toronto’s Dan Lee steps out of the spotlight and into the producer’s chair on the new collaborative Lee Paradise LP, Lee Paradise & Co., due October 28 2022 on Telephone Explosion. Lee Paradise & Co. follows 2020’s critically acclaimed The Fink LP, and finds Lee flipping the shadowy nihilism of the project’s previous releases upward into a sort of cybernetic universality. This is Dan Lee in producer mode, veering away from the pursuit of a singular musical direction rooted in personal vision, towards of a process rich in collaboration, emotional expansion and tonal exploration.

Starting off as a set of mood-focusedinstrumental sketches drafted by Dan on his own, the compositions began coloringthemselves in after he started sending the tracks out to collaborators, asking them to contribute without much in the way of direction or intention. With help from an ensemble cast of artists including Carlyn Bezic (Jane Inc.), Jonathan Pappo (Scott Hardware, No Frills, Ducks Ltd), Scott Hardware, Isla Craig, Victoria Cheong (New Chance), Jay Anderson, Charise Aragoza & Lukas Cheung (Mother Tongues) and Daniel Woodhead (Moon King), nearly every aspect of this album’s creation eventually became open to collaboration, from musical performances, lyric writing, and vocals all the way through to mixing and mastering.

Sonically, the record is still unmistakably Lee Paradise: a widescreen polyrhythmic psychedelia that melts, bubbles, whirrs and klanks; the sound of the human and the machine grooving in accordance towards new futures. The album’s sonic palette is at once synthetic, warm and extraterrestrial. Arpeggiated square wave melodies dance in lockstep with crunching hi-hats, digital bells and chimes fall like crystal rain in stereo above plush pads and gurgling bass figures. Used to finishing the records on his own, Lee mixed this album with Montreal’s Asher Gould-Murtagh and the results are spacious, dusty and dubbed out. “Carnival” sets the scene with it’s stuttering, busted funk groove and ribbons of aqueous vocal harmony from New Chance’s Victoria Cheong. “Raffles”(featuring one of Daniel’s two vocal performances on the record) radiates a mellow optimism in its solar-warped balearic bliss. The album’s final track, “Youngish” is a gliding, melancholic downtempo instrumental thumper saturated in a kaleidoscopic array of lysergic tones. As always, the record anchors itself to the dancefloor with the screwed-down electro of “Cement”, the swinging midnight afterglow of “Leaving” and “CS2X”’s fluttering rave arpeggios.

Lee Paradise & Co. is the sound of an expert producer and sound sculptor conceding to the elusive flows of inspiration, knocking genre conventions askew and hopscotching between a variety of styles, musical identities and sound worlds with absolute panache.

A joint release between Discos Nada & Litoral. One of the first independently released Brazilian records, Alcides Neves’ debut LP ‚Tempo de Fratura’ is reissued for the first time on vinyl, alongside his second release ‚Des (Trambelhar) Ou Não‘.

Hailing from the Brazilian North East, Alcides Neves released his debut album a few years after moving to São Paulo, in 1979. The LP’s release coincided with the emergence of the city’s seminal Vanguarda Paulista movement, which led some researchers to locate Alcides within the movement. As the artist himself affirms; however, he did not fit into any established musical movements, and while it is perhaps possible to identify some influences, it is not possible to consider his music as belonging to a specific lineage either.

Alcides’ singularity and experimental disposition is on full display on his opening album, which revels in its own disformity and lack of external interference, made possible by releasing the LP independently.

The album translates to ‚Time of Fracture‘, a fitting moniker for the context in the final years of the Brazilian military dictatorship. The eleven songs that comprise the album are proof that the album was not named randomly, showcasing a broad range of both experimental and folk influences, while also including lyrics that originally did not get past federal censors.

Carefully remastered by Paulo Torres with updated original artwork, the record is reissued in a gatefold sleeve including a promotional image from the time of release. This LP furthermore includes an insert with a text written by the journalist and researcher Bento Araujo, editor of the bimonthly publication ‚Poeira Zine‘ and author of the ‚Lindo Sonho Delirante‘ series of books.