Suche:turn me up

THE LONG-AWAITED FULL-LENGTH RETURN OF THE US DEATH METAL PIONEERS FOR A NEW BOUT OF SUPREME SICKNESS
Since first bursting onto the death metal scene with the now genre classic Severed Survival' back in 1989 & following up with the equally revered 'Mental Funeral' album, the influential US quartet has carved an unwavering legacy over three decades as masters & purveyors of the vile sides of the extreme metal spectrum. And now, Autopsy marks its reinvigorated return, presenting the first new full-length studio opus since 2014's 'Tourniquets, Hacksaws & Graves' with Morbidity Triumphant'; a savage offering of brutal death, showing the US legends still have an unbridled hunger for the sadistic, never reluctant to step beyond the threshold of decency.'Morbidity Triumphant', the band's eighth album, is truly a dark delight for seasoned & new listeners alike, with a raw organic sound perfectly encapsulating what makes Autopsy so distinguishable among its peers, for what could easily be considered one of its strongest offerings to date.

Dutch producer nthng returns to Delsin with another four pieces of melodic, ambient-spirited techno following his 2017 label debut Turn To Gaia. Sub-Sonar opens with the beatless, melancholic reflection of 'Looking Outside' before drifting into the submersion chamber pulse of 'Liberate Truth'. Guided by the hypnotic allure of dub techno, the track follows a linear path through spacious chord drops and understated drum jack. Following a similar rhythmic tract, 'Sub-Sonar' offers up a cloudy, sombre beatdown shot through with winsome sine wave blips. As a surprise parting shot, '1 2 Butterfly' shakes up the scene with a crooked breakbeat treatment which cuts an angular path through the hazy atmospheric tones nthng has made his own. Photography by Wolfgang Tillmans.

For Fans Of: Delvon Lamarr Organ Trio, The Sure Fire Soul Ensemble, New Mastersounds, Soulive, Jimmy Smith, Khruangbin. First reissue since it's original pressing in 2018! The iconic debut LP from the Scone Cash Players. Hammond Organ Stylings By Organ Master Adam Scone. The Hammond Organ is lead singer on this soulful and orchestral journey about industrial decay and the death of the steel town. Deep from the rusted steel mills of Youngstown Ohio, we bring you the much-anticipated reissue of the melting debut from the Scone Cash Players. It's the same organist that brought you the screaming organ on all those Daptone favorites from The Sugarman Three. Scone was behind that organ bench on the modern classics as follows. "Sugar's Boogaloo”, “Soul Donkey”, “Pure Cane Sugar", and "What the World Needs Now." Adam Scone entered the studio on Dunham Street in Brooklyn. He was wearing a blue Adidas jump suit. The studio had just opened. At the helm were his old compadres from The Dap-Kings. Namely Thomas Brenneck, Eric Kalb, Homer Steinweiss and lan Hendrickson-Smith. They make up the "Bliss Machine" behind Scones's groove. It was a truly rare moment to catch these masters of music and taste in between tours of Sharon Jones and Charles Bradley. Tommy put the mics around. Scone powered up the organ. The analog tape machine turned and turned until they couldn't turn any more. These songs were recorded. We worked all day and all night. Tears were shed. Espresso was made. There was beer on tap. 3 days of life were taken to make this album. We will never get them back. They were distilled to 40 minutes of pure emotion. It's a tale of woe. It's a tale of leaving art for responsibility. It's a farewell to an era. It's a journey that the Hammond B3 organ wasn't accustomed to. You can't compare this album to any other organ record. Don't expect to hear what you want. Free your mind. Be open. Your world is going to feel the heat of the BLAST FURNACE! It never quite feels how you want it to. Don't get burned... Tracks: 1. 1% Crown 2. Bliss Machine 3. The Slitter 4. Heavy Gauge 5. Necking 6. Blast Furnace 7. Jet Cool 8 Call & Receive No Call Back 9. Grinding Wheel 10. Structural Failure

Joke Lanz and Sudden Infant once again return in their razor-sharp trio setting whereby the absurdist nature that Joke’s work is already cut with is reconfigured in a gnarled and beefy punk-fucked contorted rock setting. Short bursts of angular flex are heavily propelled by depth-charge rhythms, wry lyrical musings on modern living, and sensibilities hatched from years of experience in the worlds of sound art, abstract music, industrialised junk-noise and related areas have manifested in the perfect follow up to 2018’s Buddhist Nihilism album on Harbinger Sound. Aided by Christian Weber on bass and Alexandre Babel on drums, Joke lays on a battery of electronics, loops, field recordings and samples to complement mostly semi-spoken vocals that appear like they’ve been swept from the overflowing gutters of a shopping centre into a huge ball of malaise that can only be laughed at as world leaders look on perplexed. Exactly as the title suggests, 'Lunatic Asylum' depicts a world in absolute disarray as the seams binding it together slowly fall apart to reveal jesters whose best attempts to glue everything back in place are built on bigger lies more transparent than ever. Meanwhile, citizens of the developed world turn on each other for the stupidest of reasons or grow fatter with their descent into an ignorance nourished by half-baked cultural nuggets pre-packaged and sold as great and awe-inspiring work. And everything has to be recorded, photographed and shared as brain cells are decimated by false ideals, propaganda, exaggerated lifestyles and a huge tub of popcorn swimming in indiscernible yellow gloop. Such are the snapshots that resonate as Lunatic Asylum takes some well-aimed swipes at the human condition of the 21st Century. Featuring a fantastic guest appearance by Franz Treichler (The Young Gods) on ' Il y a des Enfants', each of the 12 songs that constitute Lunatic Asylum are bold, heavy, playful and rife with surprising twists and turns Joke’s mostly English splatter-poetry helps guide into a space that’s about as accessible as the outer reaches of rock can get. In a perfect world, this is the stuff even daytime airwaves should be pregnant with but, since the world is presently tripping over its own feet more so than ever, we will have to suffice with wherever this can nudge with the help of Fourth Dimension Records. One day, hopefully, more will catch up. The CD version of Lunatic Asylum features two exclusive bonus tracks. It was released in April 2022. TRACKLIST 1/Good Morning! 2/Head 3/I Ghore Es Gloeggli 4/Mood Swings 5/Damage Control 6/Happiness to Go 7/Pain is a Pain 8/Il y a des Enfants 9/The Lived Body 10/Ah-Ah-Ah 1921 11/Mika the Dog 12/Tuba Manifesto

Inspiration Information Is Presented In An Opaque Metalic Silver Pressing. Well before Shuggie Otis cut his debut album, musicianship and performance had long been a part of his life. The son of rhythm and blues legend Johnny Otis, Shuggie learned to play guitar as early as the age of two, and performed professionally with his father's band at eleven. Throughout his long and illustrious career he performed on records for the likes of Frank Zappa, Al Kooper, Etta James, and George Duke, to name a few. Despite only moderate success upon its initial release, Shuggie Otis' third album Inspiration Information turned into underground smash decades later and has since maintained a level of cult status normally reserved for mysterious, unearthed legends like Sixto Rodriguez or Lee Fields. Inspiration Information is also noteworthy among Shuggie's other releases, as it was entirely self-produced, as opposed to being overseen by his father Johnny Otis. Shuggie's signature blend of baroque funk is on full display, but with a heavy dosage of psychedelic soul blended in, resulting in an album that's equally swarthy, lush, funky, and emotional; gathering all the best bits of Marvin Gaye, Love, Miles Davis, and even Os Mutantes. Inspiration Information is more than worthy of all acclaim awarded to it, despite the delayed reverence. Track Listing: A1. Inspiration / Information A2. Island Letter A3. Sparkle City A4. Aht Uh Mi Hed B1. Happy House B2. Rainy Day B3. XL-30 B4. Pling! B5. Not Available

Lisbon's purveyor of dance incantations Paraiso are back with an EP that packs a meeting of 3 legends of the local and global underground - a trio of fearless pioneers and cultural agitators from different eras. Yen Sung and Photonz have partnered up in 2020 to collaborate on new music and start a record label. Fast forward to today and this Paraiso EP is their third release, further exploring their mutual penchant for ethereal house music drenched in subtle but fiery grooves and acid basslines. Opener 'A Temperanca' taps into moody yet bouncy motifs, punctuated by crisp claps and an infectious 303 line in the vein of DJ Pierre's record 'What is House Music', their confessed influence for this track. Things get slower on the A2 where the title track gets reworked with alternative elements - aptly named Gravity Mix. The B side continues the metallic acid exploration via 'Akasha', twisting and turning like only expertly crafted basslines do before things blossom into a sunny house groover with enticing percussion and variegated hats. Legendary Angolan-Portuguese producer DJ Satelite steps in for remix duties, adding his iconic deep afro house edge to a wonderful effect, all blissful motifs and broken percussive sonics.

Marisa Anderson is one of the most eminent guitarists working today. Her lucid, eloquent approach to guitar music and composition has established her as an unparalleled artist and an insightful, coveted collaborator. Anderson"s work draws on a mosaic of folk musics and lives in conversation with myriad musical traditions. Her music is inviting and candid, beckoning the listener into sprawling ecosystems and intimate corners alike, from barren landscapes to verdant thickets, impassioned communal experiences to pensive reclusions. As a master of her instrument, Anderson translates abstractions into undeniably moving music, tracing through traditional folk tunes, imagined Sci-Fi films, and foggy sanctuaries of sound. Still, Here is Anderson at her most direct, laying bare her practice of processing and understanding the world through music and distilling that practice into pieces as expressive as they are transfixing. The pieces of Still, Here center around Anderson"s present. The album is a compendium of living moments captured by her preternatural ability to mold human realities into enduring, lyrical compositions. Away from the road for the longest stretch of her career, the making of Still, Here affirmed for Anderson the role of the guitar as an essential tool in processing external and internal realities. "I don"t get ideas and then turn to the guitar, rather I turn to the guitar to find out what my ideas are. I turn towards it for meaning." The discordance of protest and upheaval emanates from a propulsive acoustic ostinato and mournful dueling pedal steel guitars on "The Fire This Time," pausing only to allow space for the blare of sirens on the Portland street near Anderson"s studio. "The Crack Where the Light Gets In" rapturously revels in the glimmers of hope that peek through a pall of darkness. Across Still, Here, Anderson"s playing transmutes the tributaries of fluctuating emotions into a unified flow, stirring and sublime.

Marisa Anderson is one of the most eminent guitarists working today. Her lucid, eloquent approach to guitar music and composition has established her as an unparalleled artist and an insightful, coveted collaborator. Anderson"s work draws on a mosaic of folk musics and lives in conversation with myriad musical traditions. Her music is inviting and candid, beckoning the listener into sprawling ecosystems and intimate corners alike, from barren landscapes to verdant thickets, impassioned communal experiences to pensive reclusions. As a master of her instrument, Anderson translates abstractions into undeniably moving music, tracing through traditional folk tunes, imagined Sci-Fi films, and foggy sanctuaries of sound. Still, Here is Anderson at her most direct, laying bare her practice of processing and understanding the world through music and distilling that practice into pieces as expressive as they are transfixing. The pieces of Still, Here center around Anderson"s present. The album is a compendium of living moments captured by her preternatural ability to mold human realities into enduring, lyrical compositions. Away from the road for the longest stretch of her career, the making of Still, Here affirmed for Anderson the role of the guitar as an essential tool in processing external and internal realities. "I don"t get ideas and then turn to the guitar, rather I turn to the guitar to find out what my ideas are. I turn towards it for meaning." The discordance of protest and upheaval emanates from a propulsive acoustic ostinato and mournful dueling pedal steel guitars on "The Fire This Time," pausing only to allow space for the blare of sirens on the Portland street near Anderson"s studio. "The Crack Where the Light Gets In" rapturously revels in the glimmers of hope that peek through a pall of darkness. Across Still, Here, Anderson"s playing transmutes the tributaries of fluctuating emotions into a unified flow, stirring and sublime.

Breezy and carefree, Dragatto reminisces on a day spent exploring the streets of Madrid with only a camera, a few rolls of film and the shoes on his feet. Heavily inspired by the European adaptation of Bossa nova in the 1960's, Salvator creates his own unique mood that's equal parts sunny and joyful using simple melodic themes opposite lush string arrangements. A surefire companion for the next road trip down the coast or excursion through a foreign city. On the B side, as if delivered from the future, the sweet and punchy Return to Normal is a message of hope and optimism letting us know that things will indeed get better. Dreamy harp arpeggios float effortlessly atop a crushing rhythm section tip-toeing the line between calmness and urgency. Turn this one up loud, light one up and let go.

Tape
"Samples, movies and beats. That's the essence of Dead End's brand new LP titled Kino Vol.1. The Portuguese producer takes the chair and delivers a masterful performance that combines music and cinema. Kino Vol.1 is a multidisciplinary album built around samples picked from some of his most loved blockbusters and inspired by iconic movie clips. For the occasion, Saturate's Instagram profile has turned into a video gallery, featuring footage from cult movies and series such as The Office, Sicario, A Fistful Of Dollars, perfectly synched with Dead End's productions.
The album experience itself resembles that of a mini-series like Netflix's Love Death Robot or Oat Studios, where every episode is a story on its own, written and shot in a different way. The fourteen tracks, or episodes as I like to call them, range from heavy club to hip hop and halftime. Some are more colorful and atmospheric like the ending tripled composed by 'Cocoon,' 'Voyage' (feat Dj Ride) and 'Flowers Bloom'. These cuts seem to come off reflective and introspective movies. Others are way heavier, as they were made straight for fighting and chase scenes. In this group, you can count 'Melee Attack,' 'Though Break,' 'Stealth', 'Thin Ice'. My favorite instead are those which set up an ambiguous and sinister mood. 'Bullit Drift,' 'The Fog,' 'Shindeiru,' 'The Road,' all these episodes could fit very well in both mental thrillers (a la Nolan) and unconventional psycho/horror movies. They build a palpable tension that successfully keeps me on my toes as I expect a jump scare or a sudden plot twist to come in at every second given.
In conclusion, Dead Ends' Kino Vol.1 has the virtue of creating a listening experience that, thanks to its references to the world of cinema, becomes interactive and involves the listener in first person. It's impossible not to try to figure out from which films the samples are taken or to try to imagine which scene would be perfect for a specific track."

Unstoppable Ukrainian metalcore unit SPACE OF VARIATIONS ascend to the next level of mind-bending modern metal on their upcoming, in-your-face full-length, IMAGO, out March 18, 2022. Following their 2019 Napalm Records debut, the XXXXX EP, the unbridled outfit breaks new ground and transcends all expectations with their exciting and undeniably fresh second studio album. IMAGO’s multifaceted, cathartic delivery seamlessly mixes gut-punching hardcore riffs and catastrophic breakdowns with colorful electronics, brutalizing vocals and, at times, trance-like synth – exploring elements of djent, hip-hop and even hyperpop influence along the way. The album’s addictively erratic, emotive atmosphere echoes their spontaneous live performance; having previously toured with modern metal giants JINJER, the four-piece relentlessly smashed European stages while captivating each listener with futuristic stylings reverberating the likes of Bring Me The Horizon, Architects, Norma Jean and LANDMVRKS. Furiously crashing opener “SOMEONE ELSE” sets free the uncompromising spirit of SPACE OF VARIATIONS – instantly breaking down genres and placing a forceful exclamation mark at the start with smashing instrumentation and a feverish vocal and lyrical assault by Dmytro Kozhukhar and Olexii Zatserkovnyi. Devastatingly heavy “1M followers” takes no prisoners from the first second and features a hefty appearance from former Asking Alexandria vocalist Denis Stoff, resulting in a fearless, addictive metalcore banger. Tracks like eponymous “IMAGO” and intense mid-tempo “Serial Killer” emphasize the multifaceted nature of SPACE OF VARIATIONS with sporadically scaled-back instrumentation and emotion turned to 10. On the contrary, previously released penultimate post-hardcore dystopia “Ultrabeat” delivers bone-crushing beats and is by far no stranger to the band’s devotees. Closing with an insane verse from Ukrainian rap sensation ALYONA ALYONA, the track undeniably marks a milestone in the unit’s soon-to-be revered history while representing the seething desire to expand all limits of songwriting and creativity. This mindset embodies SPACE OF VARIATIONS and their sonically boggling ode to the future, IMAGO. 1. SINGLE - EN Unstoppable Ukrainian metalcore unit SPACE OF VARIATIONS steps up its game with hard-hitting opener “SOMEONE ELSE” from the upcoming full-length album IMAGO. Previously touring with modern metal giants JINJER, the five-piece already smashed numerous stages across Europe. “SOMEONE ELSE” promises aggressive screams, charging transitions and deadly synth parts straight to your face. Stay tuned for this futuristic metal monster called SPACE OF VARIATIONS! 2. SINGLE - EN Unstoppable Ukrainian metalcore unit SPACE OF VARIATIONS drifts off into distant universes with their second single “vein.mp3” from the upcoming full-length IMAGO. Previously touring with modern metal giants JINJER, the five-piece already smashed numerous stages across Europe. Like a bestial alien, "vein.mp3" goes wild with its shattering drums, thudding bass, heavily distorted guitars and evil screams. Beware of this musical demon called SPACE OF VARIATIONS! 3. SINGLE - EN Unstoppable Ukrainian metalcore unit SPACE OF VARIATIONS reveals its album title track “IMAGO” from the upcoming full-length IMAGO. Previously touring with modern metal giants JINJER, the five-piece already smashed numerous stages across Europe. With melodic, yet distorted and heavy riffing, booming drums and deep growls, "IMAGO" proves itself as SPACE OF VARIATIONS’ anthem! 

DJ Swamp brings you Wearing My Mask EP!

Alongside Decadent Records and Ruined Vibes - with a hologram sleeve cover!

Limited edition BLACK 7inch vinyl.

4 tracks
Skip proof scratch tool section
5 lock-groove beats
Lock-groove tone
Lenticular hologram cover

Decadent Records recording artist, USA DMC Champion 1996, also known for his work with Beck, Death Grips, Ministry and The Crystal Method, DJ Swamp is the inventor of the highly imitated skip-proof scratch tool.

He was also in the DJ documentary “Scratch” ,The movie “CLOCK STOPPERS”, and 2017 movie “Banger.” Swamp began mastering his DJ skills more than 25 years ago. In 1996, his rookie year, he took the title of USA DMC Champion. Being true to his nature in an arena that was predominantly influenced by a very hip hop-esque culture, Swamp stepped up to the decks looking like some kind of junky punk. He was well received by the audience despite his counter-culture appearance because he exhibited skills that defied perception and already possessed a stage presence that many of his contemporaries still lacked. The finale came when he closed his set by freakin’ Deep Purple’s ‘Smoke on the Water’ and then smashing his records.
Notorious for mischief, while he’s on the turntables his shows are highly anticipated by those who know that they can expect to see something spectacular.

Space is the place - at least, it's the place uppermost in the mind of midwest US label Past Inside The Present founder zake and his sonic partner Ossa - location given as the north pole according to his Twitter - as they embark on collaborative 10 tracks. The fact that that the National Aeronautics and Space Administration - NASA to you and me - has supplied them with celestial sound emissions for the tracks is a bonus. But ultimately, the real headline factor once it's actually on your turntable is the vivid atmosopheres and gorgeous textures that the pair are capable of generating. The album's closer, 'Metric Expansion', is a tremulous glory, peaking and slipping away like rays of sunlight. 'Space & Time', meanwhile, is a simple, gliding analogue delight, and 'Drifting' proves you can carve imperceptible beauty from a couple of well crafted chords.

Perpetual Doom is proud to present a special double-LP from Mountain Brews. Spearheaded by Jake Longstreth, Los Angeles-based painter and co-host of Apple Music’s Time Crisis with Ezra Koenig, Mountain Brews was founded around a vital American tradition: sippin’ cold ones to the “tasteful palette of seventies rock.” Full of warm melodies and guitars that evoke a Mojave glow, Mountain Brews occupy the sunny spot right between the studio-slick hits of early Eagles and the laidback jams of the Grateful Dead. And now that their four previous EPS are available in a single package, there’s nothing left to do but grab a seat, turn up the music, and crack one open.

Mountain Brews are pros at keeping things loose and light. Recorded by the same group of old pals that make up a LA based Grateful Dead cover band, Richard Pictures—including Longstreth, Aaron Olson, Ryan Adlaf, and John Nixon—these seventeen tracks celebrate the early seventies’ spirit of easy-going collaboration. You can hear it when a guitar slide greets the opening strum on the title track, an assuming ode to the pleasures of drinking and hiking: “As we get to the top of the mountain, there’s a view,” Longstreth sings. “Take a load off and crack a few mountain brews.” And while the song boasts virtuoso playing worthy of Desperado, the vibe is less barstool machismo than six-pack camaraderie.

It’s a self-aware R&R mindset that pulses through tracks like “You Eagled,” which ponders both a great golf score and the trials of becoming “classic,” and “It’s My Masterpiece,” with its tightly coiled licks and breezy nonchalance with regards to inevitable civilizational demise. Sure, the Brews know there’s a down for every up. “Raised in a Place” and “Big Bummer Hotel” acknowledge that even the chillest California cowboys get the middle-aged blues, resurrecting the heartland synthesizers of late eighties Don Henley and Bruce Hornsby to find a little meaning in the madness. And Ezra Koenig and Danielle Haim contribute vocals to help “The Worst Margarita of My Life” go down just a little easier.

These four EPs were recorded between 2019 and 2021 in various bedrooms and studios across California. “Uphill From Here” brings it all back around as guitarist Aaron “Bobby” Olson sings about meeting Jake on the trail once again: “And it’s all uphill from here,” he sings. “We may have to stop and down these beers.” But whether it’s uphill or down, Mountain Brews makes it clear—the journey is better with company.

David Lovato’s first outing as LOVA, the superb Gypsophilia EP, was one of NuNorthern Soul’s most lauded and cherished releases of 2021 – a gorgeous collection of emotive, sun-soaked sounds from the mind of a producer who got his chance on the imprint after handing a USB of tracks to Phil Cooper at Hostal La Torre in the summer of 2020.

Now, the EP returns for 2022 in expanded form, with a trio of fresh, mood-enhancing remixes joining the three original tracks featured on last year’s release. It’s those – ‘Cecilia’, Lovato’s glistening, emotionally resonant musical tribute to his baby daughter, mid-tempo nu-disco gem ‘Echoes of Memories’ and the stunning, sunset-inspired ‘Esperanza’ - that form the first half of the EP, with a trio of reworks following in hot pursuit.

Long-time friends of the label Leo Mas and Fabrice, an Italian duo famed for their brilliant Balearic reworks whose individual and collective histories stretch right back to the late 1980s (Mas, for example, was one of the resident DJs at legendary White Isle venue Amnesia at the back end of that decade). Given this shared Balearic history, it’s fitting that they step up first and give their spin on ‘Cecilia’. Making the most of Lovato’s stunning, reverb-drenched guitar licks, dreamy chords and atmospheric pads, the pair delivers a shuffling, club-ready interpretation underpinned by a locked-in dub disco groove. It’s a fine take on a track brimming with positivity and joy.

Hear & Now, an Italian duo best known for delivering a trio of brilliant albums on Claremont 56, give their interpretation of ‘Echoes of Memories’. Beginning with a mixture of quietly colourful chords, enveloping sonic textures and hazy guitar motifs, the mix gently builds as it progresses, with the pair introducing a pitched-down house groove, chiming electronic melodies and alluring elements from Lovato’s original version. Like much of Hear & Now’s work, it sits somewhere be-tween Balearica, slow-motion electronic disco and the Rimini-friendly dream house sound that marked out Italian club cuts at the turn of the ‘90s.

To close out the EP, rising star Danilo Braca – an Italian producer based in New York City who began DJing in his home country way back in 1996 – gently leads ‘Esperanza’ towards the dancefloor. Braca is a member of production duo Synth & Soda, whose 2020 remix of DJ Harvey presents Locussolus track ‘Berghain’ was selected by the man himself as the winner of an online competition. On this solo revision, Braca wraps a punchy, Latin-tinged house beat in cascading melodic motifs, bubbly synthesizer arpeggio lines, rising and falling electronics and pads so sumptuous you might want to marry them. Simultaneously morning fresh and sunset-ready, Braca has delivered a classic-sounding chunk of Balearic nu-disco/deep house fu-sion.

Gypsophilia Remixed is the latest volume in NuNorthern Soul’s Myths of Ibiza series of EPs, which all feature specially commissioned artwork from illustrator Emily McGuinness. This time round, McGuinness’s distinctive artwork depicts Tanit, the ‘protector goddess’ of Ibiza. A warrior deity of dance, fertility, creation and destruction, her spirit is said to watch over the island’s West Coast, particularly the area around Atlantic and the mysterious Es Vedra rock.

Leaving Records presents Under the Lilac Sky, the debut LP by Arushi Jain, an India-born, US-residing composer, modular synthesist, vocalist, technologist, and engineer. At six songs spanning 48 minutes of ambient synth ragas intended to be heard during the sunset hours, Under the Lilac Sky invites the listener to transport themselves through intentional listening. Jain states, “You know that moment when the sun is bidding farewell to the sky, and the colors turn into beautiful hues of purple and pink and everything in between? That is the moment that this album will shine the most. The deeper you listen, the more shades you’ll see.”

Jain’s work focuses on reinterpreting traditional Indian classical music through the lens of electronic instrumentation. She re-contextualizes ancient sounds in a modern framework, carrying the torch of electronic luminaries such as Suzanne Ciani and Terry Riley while pursuing personal explorations of her musical heritage and upbringing. Under the Lilac Sky is a cinematic statement of intent, an album that reverently nods to Jain’s musical history while presenting a bold sonic point of view. Jain states, “This album is the coming together of two distinct cultures of Hindustani classical and modular synthesizers representing the two parts of me that evolved into one whole in between my time in India and California”

Voice is emphasized as an essential element of the album, not just for the lyrics or the melodies but also as a source of texture. It is most recognizable when Jain sings aalaaps or sargam of the different ragas the songs are composed in, however her voice is deeply embedded in other, sometimes quieter layers of the record. Jain, who spent her childhood studying indian classical as a vocalist says, “At any given point, there is at least one layer in the record that carries my voice. The human voice is powerful and unique to every individual. My voice is unique to me, so I decided it should be present at all times even if it’s unrecognizable.”

Another core theme of Under the Lilac Sky is the time of day, and the role it plays in influencing how one interacts with the music. “Intrinsic to Indian classical music is the concept of Time and Seasonality. For each raga, there is a specific time of the day when it is meant to be heard for it to shine in it’s authenticity. It harkens to the question of when the environment around you is most in tune with your own sound and breath, and how it supports you in realizing your vision of the moment. This album is meant to be an ode to those timely rituals, and is best heard while you take a moment to do what you love.”

Jain’s exploratory musical ethos finds a like-minded home within Leaving Records’ “All Genre” philosophy. Jain is acutely aware of her role as a composer and modular synthesist reinterpreting a historical art form. “For Indian classical music, this is atypical. The music I compose is inspired by a centuries old tradition, yet aestheticized in a novel way, using the tools and technical innovations of analog synth movements. My art is crafted using machines that I’ve slowly fallen in love with and made my own.”

Born in Juazeiro, Bahia, Brazil on June 10, 1931 (and 87 years .old at this writing), singer/song writer Joao Gilberto is a living legend of bossa nova. While Antonio Carlos Jobim set the standard for the creation of bossa nova in the mid-’50s (with songs like “The Girl from Ipanema” and “Desafinado”), it was Gilberto who brilliantly reimagined (and, arguably, defined) the genre. The first bossa nova song, titled “Bim-Bom”, was written as Gilberto watched passing
laundresses on the banks of the Sao Francisco River balance loads of clothes on their heads. In 1956 he went to Rio de Janeiro and struck up old acquaintances, most significantly Antonio Carlos Jobim, who was by then working as a composer, producer and arranger with Odeon Records. Jobim was impressed with Gilberto’s new style of guitar playing, and set about finding a suitable song to pitch the style to Odeon management. In 1959 Gilberto presented his first LP, Chega de Saudade. The title song turned into a hit, launching Gilberto’s career and the bossa nova craze. Besides a number of Jobim compositions, the album featured older sambas and popular songs from the 1940s and 1950s, all performed in Gilberto’s distinctive style. This album was followed by two more in 1960 and 1961, by which time the singer featured new songs by a younger generation of performer/composers such as Carlos Lyra and Roberto Menescal.
By 1962, bossa nova had been embraced by North American jazz musicians such as Herbie Mann, Charlie Byrd, and Stan Getz, who invited Gilberto and Jobim to collaborate on what became one of the best-selling jazz albums of all time, Getz/Gilberto. Chega de Saudade was issued in the United States as The Warm World of Jo o Gilberto.

Having established himself as one of the most sought-after young jazz guitarists in London, Jamie Leeming has steadily carved out his own musical niche, during his extensive work for the likes of Alfa Mist, Tom Misch and Jas Kayser. His debut EP ‘Heartsong’ gained support from Jazz London Radio as one of the “Best Jazz Releases of 2015” and his follow-up collaborative album ‘Flow’ (with pianist Maria Chiara Argirò) received critical acclaim for The Guardian’s “Jazz Album of the Month”. Leeming now unveils his debut solo long-player ‘Resynthesis’ via Alfa Mist’s Sekito imprint.

Jamie’scuriosity has always been a key part of his ever-evolving relationship with music. Whether that be as a teenager and being captivated by the cover of Miles Davis’ Bitches Brew in a local HMV, or his fascination with how we experience memories. ‘Resynthesis’ sees the guitarist creatively hitting his stride and exploring new sonic territories as he takes on the role of producer.

‘Resynthesis’ was created with the help of a handful of close friends, regular collaborators and some of the tightest young players around, many of whom met at an improvised music night hosted by Hugo Piper (who also plays on Resynthesis) called Champion Sounds. It was at one of these nights that the basis for ‘Champion’ was formed, plucked from a twenty second snippet recorded on a phone of one of the legendary jams, which has in turn been reimagined on ‘Resynthesis’ by some of the musicians that were present on the night itself. In addition to the trio instrumentation, Quinn Oulton and Nathaniel Facey lend their skills on saxophone. The album is tied together by artwork from painter and musician Kaya Thomas-Dyke, which includes reference to a number of the memories the album is inspired by.

Chicago-meets-Philly when Vic Spencer and Small Professor connect on Mudslide, the incredible new album from this pairing of raw talents. Coalmine Records is proud to share this project with the world, and it marks Small Pro’s third collaborative release on the label after he previously linked with Guilty Simpson and the late Sean Price. For the producer, it was an exciting new opportunity to team up with an emcee who’s gruff-voiced, hilarious, and can out-rap anyone on the planet. “Plus, my past Coalmine projects have their own neo/prog-boom-bap vibe, and ‘Mudslide’ continues that particular sonic blueprint,” Small Pro said. And for fans of that sound, you’re not going to find a better example of that sound than this album. It’s just as experimental as it is steeped in the traditions of rap thanks to Vic’s boundary-pushing rhymes and Small Pro’s immensely satisfying instrumentals. Tracks like “Lil Jon’s Weed Stash,” “Ew McNasty’s Revenge,” and “Selfcare Welfare” marry psychedelic vibes with grounded and clever lyricism. Another immediate standout is the lead focus track “Pitfall Music,” which features a mean-mugging guest verse from Flee Lord with cuts supplied by acclaimed turntablist, DJ Revolution.