Buscar:tree

Brilliant Trees ist das gefeierte Solo-Debüt von David Sylvian, ursprünglich erschienen am 25. Juni 1984. Das Album erreichte Platz 4 der UK Album Charts und wurde mit Gold von der BPI ausgezeichnet. Es enthält Sylvians größten Solo-Hit „Red Guitar“, der Platz 17 der UK Singles Charts belegte. Diese Neuauflage erscheint als Corona Olive Opaque Black Vinyl und enthält alternative, von Sylvian selbst ausgewählte Bilder. Die Audioqualität basiert auf der neuesten Remaster-Version.

Gone to Earth ist das dritte Soloalbum von David Sylvian, ursprünglich erschienen am 1. September 1986. Das Doppelalbum folgte auf Brilliant Trees und erreichte Platz 24 der UK Album Charts.

Die zwei LPs bieten einen besonderen Kontrast: Eine Seite mit experimentellen Rock-Songs und Gesang, die andere rein instrumental und ambient. Gastmusiker sind u. a. Robert Fripp (Co-Autor von drei Songs) und Bill Nelson (Co-Autor von einem Song).

Diese Neuauflage erscheint als Corona White, Brown Opaque Black Vinyl und basiert auf dem neuesten Remaster.

Erik K Skodvin's feature-length score to Thomas Roth's thriller "Schächten" feels like the epitome of all his musical projects, conjuring a dark cinematic trip through 1960's post-WWII Vienna in a film that touches on topics such as law, justice & revenge.

Releasing a soundtrack as a stand-alone album can be challenging; and "Schächten" is by no means a typical listening experience. The record contains 24 more or less short pieces evolving through dramatic movements, underlaying menace and deep emotive scenes. One thing that stands out is the linear atmosphere throughout the story which creates a wholeness that keeps your attention to the very end. Set in wintery Austrian landscapes in dimly saturated colours, the film's dramatic events with dark political undertones feels like a perfect situation for Skodvin's atmospheric collages - perhaps sounding closer than ever to his early works as Svarte Greiner or Deaf Center. Cello, violin, piano, analogue synth and plenty of hardly recognizable instrumentation come together in a record that feels very organic in its subdued tones. The score also features percussion by Andrea Belfi as well as a Chopin piano interpretation by Kelly Wyse to the bizarrely schizophrenic piece "Judenfreund".

With the contemporary world sliding into darkness again, listening to the soundtrack feels like coming to terms with ones own anxieties - something that in the end comes through as a cleansing experience. As quoted in the film "Everyone is their own devil. And we make this world our hell".

Short synopsis : "Vienna 1960s - The young Jewish business man Victor has to witness how the prosecution of a Nazi crime against his family fails. The political and legal system is still virtually run by former Nazis with large parts of society being entangled in the past. When Victor also loses his grief ridden father and his girlfriend’s family opposes their relationship and his identity, Victor begins to loose faith in formal justice and takes matters in his own hands."

Das zehnjährige Jubiläum von FOALS' viertem Studioalbum „What Went Down“ wird mit einer neuen Pressung des Album gefeiert! Sie erscheint auf klarem, rauchigem Vinyl in der Farbe von Colaflaschen (Clear Coke Bottle Green & Smoke Vinyl). Das Cover ist mit dem Bandlogo und dem Albumtitel geprägt. TRACKLISTING Side A 01 What Went Down 02 Mountain At My Gates 03 Birch Tree 04 Give It All 05 Albatross Side B 01 Snake Oil 02 Night Swimmers 03 London Thunder 04 Lonely Hunter 05 A Knife In The Ocean

Adhémar’s first solo release on Oslated drives us into the geological matter of the mountains. Composed of an ecosystem of the artist’s own sounds, which unfold organically, “Mountain View” reveals the life of these alpine spaces. Between panoramic views, melting snow, birds chattering the pine trees and the rolling of stones, each detail places us in a different point of view.

On paths, valleys and ridges, a trail through the sounds and memories of the mountains.

12″, 140g, Black Vinyl Limited Edition 200 copies Full Color Printed Sleeve

Produced by Clément Davout aka Adhémar Additional Production by Night Sea Mastered by Mattias Fridell, Sweden Artwork by Clément Davout

Curated by Jongmin Lee
Released by Oslated from Jeju Island, South Korea Distributed by Ready Made, Berlin, Germany Release

Eine halbe Dekade nach der Veröffentlichung ihres Albums "Anak Ko" (2019) hat sich Melina Duterte, alias Jay Som, sich selbst und ihren Erinnerungen geöffnet und Songs geschrieben, die den Klang ihrer Jugend wieder aufleben lassen, und dabei ihre Erfahrung als Musikerin, Produzentin und Performerin einfließen lassen. Kein vorheriges Jay-Som-Album klingt so wie "Belong", ein packendes 11-Song-Set über Selbstdefinition und Zugehörigkeit, das zwischen kraftvollen Power-Pop-Hits und verschwommenen Balladen, zwischen elektronischen Kuriositäten und aufheiternden Hymnen schwebt.

Melina wuchs mit Alternative-Rock außerhalb von San Francisco auf und lernte als Teenager die Hits des Pop-Punk/Emo der frühen 2000er auswendig. Passenderweise ist es Jim Adkins (Jimmy Eat World), einer dieser Kindheitshelden, der bei "Float" die backing vocals übernimmt. Während Hayley Williams sanfte Harmonien auf dem schwungvollen "Past Lives" beisteuert und Lexi Vega (Mini Trees) zu "Cards On The Table" beiträgt, sind diese drei Jay Soms allererste Gastsänger*innen und repräsentieren Dutertes Bestreben, mit Menschen ihres Vertrauens Neues auszuprobieren.

Seit ihrem letzten Album hat Melina beschlossen, sich selbst und ihrem lebenslangen Interesse am Recording etwas zu gönnen. Mit dem Kauf einer alten Neve-Konsole nahm sie sich vor, mehr zu werden als nur ihre eigene Tontechnikerin zu Hause. Fünf Jahre später kann sie nun auf eine umfangreiche Liste an Produktions- und Mixing-Credits zurückblicken, darunter auf Lucy Dacus’ neuestem Album "Forever Is A Feeling", Gastauftritte an der Seite von Troye Sivan, No Rome und beabadoobee, einen Beitrag zum Soundtrack von A24s "I Saw The TV Glow" und einen Grammy für ihre Arbeit an "The Record" von boygenius, der Band, der sie später als Tourmitglied beitrat.

Jackie Mittoo’s ‘Reggae Magic’ is a new collection from the great Jackie Mittoo. The album features a mixture of classic tunes and rarities from the period 1967-74, when Mittoo was at the height of his musical powers. Mittoo’s solo career began after the end of The Skatalites in 1965. He began pushing new musical boundaries, creating a uniquely identifiable organ-led funky reggae sound that owed as much to Booker T and The MGs, Jimmy Smith, Stax and Motown as to the post-ska and emergent rocksteady island rhythms of Kingston, Jamaica. His solo work at the legendary Studio One spanned seven albums and hundreds of singles.

Aside from producer and founder Clement ‘Sir Coxsone’ Dodd, it’s hard to think of anyone more central to the sound and success of Studio One than Mittoo; keyboard player extraordinaire, songwriter, arranger, musician, truly the Keyboard King at Studio One. Jackie Mittoo had been the youngest founding member of The Skatalites (at age 16), probably the most important group in Jamaican music. After they split, he became leader of the three pivotal groups at Studio One – The Soul Brothers, The Soul Vendors and Sound Dimension. He also became musical director for Studio One, helping create countless hits for singers Ken Boothe, Bob Andy, The Wailers, John Holt, Delroy Wilson and more – unforgettable tunes like Alton Ellis’ ‘I’m Still in Love with You’, Marcia Griffiths’ ‘Feel Like Jumping’, The Heptones’ ‘Baby Why’ and others. Between 1965 and 1968, many of the tunes created at Studio One can be attributed to Mittoo – timeless instrumental tracks, recorded either under his own name or those of The Soul Brothers, Soul Vendors and Sound Dimension, that have become the basis for literally 1000s and 1000s of Jamaican songs over many decades, giving the music an unsurpassed longevity.

The endurance of his music was as a direct result of significant developments in Jamaican music in the 1970s, namely the creation of three important new styles: Dub, Deejay and Dancehall. In the early 1970s Mittoo’s instrumental tracks were used as the musical source for a series of classic Studio One dub albums. At the same time Deejays at Studio One, including Dillinger, Prince Jazzbo and Dennis Alcapone, began toasting over these same popular rhythms to create their own new songs. In the mid-70s, a new generation of Studio One singers and deejays, including Sugar Minott, Freddie McGregor, Johnny Osbourne, Michigan & Smiley and others, began once again creating new melodies over these original instrumentals, signalling the birth of a new Jamaican style that became known as ‘dancehall’.

As dancehall swept across the island, rival producers copied these now classic rhythms. These original Jackie Mittoo-driven tunes spread like a virus throughout Jamaican music; be they the instrumental cuts to tunes such as Alton Ellis’ ‘Mad Mad’ , ‘I’m Just A Guy’, Larry Marshall’s ‘Mean Girl’, Slim Smith’s ‘Rougher Yet’, and instrumentals such as Mittoo’s classic ‘Hot Milk’ or ‘One Step Beyond’, The Sound Dimension’s ‘Real Rock’, ‘Heavy Rock’, ‘Full Up’, ‘Drum Song’, ‘Rockfort Rock’ … and the list goes on. These tracks became a constant soundtrack to the island, emitting from the ever-present sound of speaker boxes strung up around dancehalls. This recycling travelled even farther afield; The Sound Dimension’s instrumental ‘Real Rock’, updated by Willie Williams on his classic ‘Armageddon Time’ was in turn covered by The Clash. Lily Allen sampled Mittoo’s debut solo single ‘Free Soul’ for number one hit ‘Smile’; Dawn Penn’s ‘You Don’t Love Me (No, No, No)’, accompanied by The Soul Vendors, was revived by Penn and producers Steely & Cleevie in 1994, since covered by Rihanna, Ghostface Killah, Stephen Marley, Damian Marley and Beyonce. And so it goes; an endless time-leaping, continent-hopping diasporic musical map of the world with all roads essentially leading back to one man – Jackie Mittoo.

Vivid Visions ist eine psychedelische Reise durch modernen Indie-Rap, kreiert vom irischen Produzenten The Expert. Inspiriert von surrealen Traumlandschaften wie Twin Peaks und The Monkees' Head verbindet das Album abwechslungsreiche Klangwelten mit rauen Texten von 21 Gast-Rappern aus verschiedenen Generationen und Ländern. Das Ergebnis ist ein kaleidoskopisches Soundbild - mal luftig und geheimnisvoll, mal bunt und verspielt - getragen von The Experts markantem Bass. Ob Blu, Buck 65 oder aufstrebende Talente wie AJ Suede, jede Stimme bringt eine eigene Facette in diesen klanglichen Trip ein. Mehr als nur eine Beat-Kompilation fühlt sich Vivid Visions wie ein audiovisueller Film an: atmosphärisch, cineastisch und voller Persönlichkeit. Es ist eine Feier des Indie-Raps gestern, heute und morgen, zusammengeführt von einem der kreativsten Produzenten der Szene.

“It’s not often you find yourself recording alone in a churchat 3am. I’m not religious, but I experienced somethingunique while playing through the night as the streetsaround me slept. It felt like the music was telling me whatto play and I was the passenger. Lumen grew out of avariety of compositional seeds - from composed songsthat remain true to the score, leaving little room forfreedom, to wide open improvisations recorded in themoment with nothing predetermined.
“It’s in the space between composition and improvisationwhere the magic happens - and where, if the musiciansare willing, the music can lead. I recorded day and nighton a Yamaha grand and an upright felted piano. It felt likesome sort of solo retreat: sitting in a building of faiththrough the night, delving ever deeper into the music.When I finally resurfaced, I felt profoundly that it was themusic that had led me, rather than the other way around. “As a composer, it’s simplicity that I’m searching for - howto say the most with the least. My previous albums wereabout filling the space, both texturally and dynamically. Butsolo performance is different. There’s unlimited freedom,and while that can be liberating, it also comes with addedresponsibility. Beyond the recording, the music takes on anew life. The piano, the room, the acoustic, the mood ofthe audience, even how much sleep I’ve had - all of itinforms how the music evolves. So, each performance iscompletely unique and unrepeatable.
“The recording of Lumen is just the beginning of itsjourney. Where and how it evolves from here is whatkeeps me searching.” - Bill Laurance

Lorquin’s Admiral is a striking heavy psychedeliccollaboration featuring current and formermembers of Afghan Whigs, Hermano, YawningSons, The Fizz Fuzz, Orquesta del Desierto, Sonsof Alpha Centauri and Luna Sol.
The band unites a lineup of seasoned musicians todeliver a captivating debut album filled with soulfulharmonies, rich psychedelic textures and powerfulguitar-driven riffs.
Born from the creative connection between MarlonKing, Nick Hannon and Dandy Brown, previouslyheard on the acclaimed Yawning Sons album ‘SkyIsland’, this new project expands their musicalvision with infectious songwriting and deep soniclayers. The dual vocals of Dawn and Dandy
The result is an album that blends the raw spirit ofdesert rock with elements of blues, psychedeliaand alternative experimentation. Vibrant, melodicand adventurous, Lorquin’s Admiral offers a freshand exciting voice in today’s evolving landscape ofheavy psychedelic rock.
For fans of Hermano, Yawning Sons, Fatso Jetson,Screaming Trees, Garbage.
LP available on Clear with Red Marble colouredvinyl.

The Alien Dub Orchestra is ragtag collective of Bavarian musicians, featuring members of The Notwist and G.Rag y los hermanos Patchekos. The cohort formed around the idea of performing the standards of the fabled Breadminster Songbook, aka the back-catalogue of lone dubman Elijah Minnelli. Minnelli is known for constructing wheezy, forlorn odes to his hometown, both as highly sought-after self-released 7" singles, and a critically-acclaimed debut album, ‘Perpetual Musket’ for FatCat Records, lauded by the likes of The Guardian, The Wire, and The Quietus. ‘The Alien Dub Orchestra: Plays the Breadminster Songbook’ finds group covering Minnelli’s cumbia-infused dub reggae with full band, playing an eclectic array of instruments including: guiro, accordion, melodica, sousaphone, trumpet and assorted percussion.

The tale begins in 2022, when Minnelli was invited to lend his unique dubbing style to a pair of remixes for The Notwist, and what followed was an ever-flourishing relationship between the Breadminster native and the wider Munich scene. The seeds of the Alien Dub Orchestra were sown during a support gig for The Notwist, where assorted musicians joined Minnelli for a encore, reinterpreting one of his dub remixes across woodwind, brass and assorted percussion.

“The idea of real, competent professionals playing something you’ve muddled together on a computer in a damp basement is quite overwhelming,” reflects Minnelli on the process, “hearing them interpret and improve these melodies is a real joy and privilege.”

Despite the non-traditional origins of the source material, the inherent musicality of Minnelli’s songwriting shines through across his releases, and this creative kinship is what attracted the Orchestra to reimagining his work. The first live collaboration led to recording sessions and further gigs, with the Orchestra building a full set of Minnelli’s music.

The resulting album puts forward the strongest case yet of the shared musical throughline between the acts, where cumbia, dub and folk sensibilities coalesce to something all together unique. The tracks are wrought new, with melodies fleshed out and broader instrumentation expanding the sonic possibilities of the compositions. The tactility of the tracks is perhaps best demonstrated on the gorgeous ‘Vine and Fig Tree’, with it’s layed vocals and expressive bassline returning as a cavorting sousaphone line. Elsewhere, fan favourite ‘SLATS’ sounds as if it was simply written to be performed this way.

To further instill the cylindrical nature of these collaborations, the entire second half of the album is made up of dub versions of the Orchestra’s renditions. For these dubs, Minnelli is joined by Raimund Wong, who had caught his ear with his ambitious live sets, a daisy chain of tape machines and FX pedals. Again, despite their differing creative processes, the two bonded over a shared love of dub music. Each dub was a one-take, with Minnelli riding the faders and Wong’s filters and FX supplying a sound that doesn’t seek to imitate dub, so much as it tries to be it’s own chaotic self. The droning, psychedelic hypnosis of ‘Pundit Dub’ stretches the material to a whole new realm that feels outside of anything else Minnelli has produced before, an ode to the benefits of recycling sound if ever there was one. The whole second half is a perfect closing note to an album that is undoubtedly a love letter to folk tradition, dub ideology and, most importantly, the joy of uninhibited collaboration.

​Elijah Minnelli - voc, guiro, percussion
Philip Gross - accordion, melodica
Theresa Loibl - clarinet, melodica
Cico Beck - electronics, keyboards
Sascha Schwegeler - congas, steel drum, percussion
Micha Acher - sousaphone, trumpet
Markus Acher - drums, voc
Dub mixes performed live by Elijah Minnelli & Raimund Wong at Breadminster County Council Studios

The official soundtrack to the first season of the acclaimed historical drama Vikings is now, for the first time, available on vinyl, offering fans and collectors a rich and immersive listening experience. Composed by Emmy Award-winning composer Trevor Morris (The Tudors, The Borgias, Dragon Age: Inquisition), the score captures the raw intensity, emotional depth, and mythic atmosphere that helped define the tone of the series. From sweeping orchestral moments to brooding ambient textures, the music reflects the harsh beauty of the Viking world and its complex characters. One of the standout tracks is the opening theme, “If I Had A Heart” by Swedish artist Fever Ray, whose haunting vocals and minimalist electronics set the tone for the series. The track became iconic, earning recognition for its unique contribution to the show’s identity. The series itself has received widespread acclaim and multiple awards, both for its storytelling and technical execution, with the music playing a vital role in its success. Vikings (Music From The TV Series) is available for the first time on vinyl as a limited edition of 750 numbered copies on blue coloured vinyl. This 2LP package includes a 4-page booklet with pictures and liner notes by Trevor Morris.

Orange Crush Vinyl. GoldFord writes soul music rooted in truth. His raw, unvarnished songs — equal parts introspection and catharsis — grapple with heartbreak, healing, and the quiet revelations that come with growth and maturity. Raised in St. Louis and now based in L.A., he spent a decade mired in corporate America before a devastating loss cracked something open. Since then, GoldFord has built a devoted following with his emotionally charged vocals and timeless style. His breakout single “Upside Down” offered a first taste of virality, while “Orange Blossoms” — inspired by an illuminating moment of presence under a fruit tree — has surpassed 50 million streams on Spotify alone and earned co-signs from Sam Smith and SZA. Tracks like “Ride the Storm” (33M+ Spotify streams) and “Walk With Me” have found homes in major ad campaigns, film, and TV . But for GoldFord, it’s not about placement: it’s about connection. “This is how I sort through my shit,” he says. “The music reflects back who I am.” With a new record on the way and a festival debut at Austin City Limits looming, he’s stepping into the spotlight, one soul-baring song at a time.

“Tunggak Semi” is the third album from Indonesian musician and producer Bambang Pranoto. Originally released in 2000, it’s an exemplary slice of what has become his signature style, a dream-like meditation on aspects of nature, combining elements of accordion, acoustic guitar, flute and percussion. The compositions cross eastern and western notation to inhabit a world of their own, a world between worlds, where harmonies reflect the beauty and joy of nature.

Bambang had a rather atypical entry into music, and studied electronics and telecommunications, before he took advantage of the wave of computer software like Cubase and Protools in the 1990s that enabled him to set about recording his own compositions and soundscapes. After playing in groups, he developed his own approach to constructing his productions. He invites musicians to record interpretations of his themes, which he then pieces together in Protools like a jigsaw puzzle. “The musicians have never even met!” he chuckled on a Skype call.

“Tunggak Semi” refers to the giant trees that appear all over Bali, and their process of renewal and regeneration. “If you cut the tree, and leave the roots, they will grow again. Everytime we cut, they grow again. It’s limitless. This philosophy means there’s always something new coming, whether an idea or music, anything.” This approach has grown out of Bambang’s studies into meditation, including Indian and Chinese scriptures, also Balinese and Indonesian religions. Music, like meditation, is a daily practice, and acceptance of the music and its ‘unfinishedness’, forms a central part of the process.

“We must not just think, but we must also feel, and we must accept that feeling,” explains Bambang, and that’s a step of opening one’s mind to possibility. It seems in keeping with two of Bambang’s musical inspirations, namely Ryuichi Sakamoto and Peter Gabriel, both known for their love of world folk music, and fusion of musical traditions. That’s mirrored in Bambang’s own collage-like approach, recording elements and piecing them together to make something unimagined. While the acoustic sound palette for “Tunggak Semi” is rooted in live recordings, Bambang is not afraid to put the digital technology to good use.

“We have to use the computer as a tool in the best way we can,” Bambang says. “Sometimes people say music is made by people, not by the computer, but it’s just another piece of equipment. What can we compose from this equipment? It’s technology music!”

Written and produced by Bambang Pranoto at interactive garden studio, Depok, Bogor between September and December 2001. 2025 version remastered by Wouter Brandenburg at Brandenburg Mastering.

Saul Williams meets Carlos Niño & Friends at TreePeople is the first collaborative album from poet/vocalist Saul Williams and percussionist/producer Carlos Niño. The album was recorded live underneath black oak and walnut trees in Coldwater Canyon Park, Los Angeles, on December 18, 2024. The performance, which was organized by Noah Klein of Living Earth on the grounds of longstanding conservationist organization TreePeople, was the first of its kind for Williams and Niño, who have been friends since the late 1990s.

Impressed is partnering with Burning Rope Records & Faction Records to bring you an exclusive Australian pressing of James Vincent McMorrow's debut album - Early in the Morning, celebrating it’s 15th anniversary and his forthcoming tour.

Originally released in 2010, and recorded in isolation at a house on the Irish coast, James Vincent McMorrow produced every sound on the album himself, including piano, guitar, and drums - resulted in an album that captivated the world.

The album quickly garnered critical acclaim for its warmth and intimacy. Critics highlighted McMorrow's soft falsetto and the Americana/Folk influences present in the tracks. The opening song, If I Had a Boat, begins with a cappella harmonies before developing into a reflective ballad, illustrating the album’s understated style.

On his new album All Cylinders, Yves Jarvis expresses a brazen songcraft and pure musicianship. 11 tracks he played himself, without a single additional contributor, transforming his now four-time-Polaris-nominated vision into the stuff of verses and choruses, hooks and hits, vibrating like a cosmic anthropology. Whereas once he had fetishized analog tape, now Jarvis appreciated the value of working without any such preciousness: much of All Cylinders was recorded on bare-bones Audacity, sans plugins, channeling the spirit of Paul McCartney’s II.

Jarvis is an omnivore, and All Cylinders smashes together a stunning array of influences: Serge Gainsbourg, Judee Sill, Sheryl Crow, Captain Beefheart, Jackson Browne, Throbbing Gristle, Ray Charles, Brian Eno, Fleetwood Mac… All distilled into tunes that feel like taking sips from a cup, or drags from a cigarette. Vivid and self-contained songs that are just two or three minutes long. “I feel like this is the least contrived thing I’ve ever done,” Jarvis declares. Lyrics that matter. Vocals up front, where people will actually hear them. “If something’s true to you,” he explains, “it’s probably true to a million other people.”

The first run of All Cylinders on limited edition vinyl sold out, leading to this highly anticipated second pressing. This edition includes 4 bonus tracks from the forthcoming deluxe release, making it an essential piece for fans and collectors alike. Originally released via In Real Life to critical acclaim from Pitchfork, Financial Times, NPR, Aquarium Drunkard, Far Out Magazine, New Noise, Out Front, KCRW, RANGE, Atwood Magazine, The Luna Collective, Billboard Canada, The Fader, Blamo! Podcast, Stereogum, and Guitar World.