Buscar:various part b

In April 2023, there was released the first part of the Fluxus edition called Stolen Symphony. The year has come and gone and there is the second part of the Fluxus edition called Keep Together. At the centre of both parts of this edition was a broken piano, acquired by the Opening Performance Orchestra for the purpose of making live and studio recordings. During this time other new works for this broken piano were written by diverse Fluxus and non-Fluxus composers. In the spring of 2022, the Opening Performance Orchestra and broken piano participated in an event hosted by Mieko Shiomi. This was a new version of her early work Spatial Poem, documentation of which was presented at the 2022 Aichi Triennale in Tokyo. At present, broken piano lies in the open air in Prague and is subject to gradual decay.

These both parts of this edition contain 73 new and old pieces, live and studio recordings, finished pieces and scores to be performed, solos and pieces for ensemble, using classical and special instruments from 33 Fluxus artists, which have been played by 10 soloists and 4 ensembles. There are new essays and articles from 15 writers on the theme Fluxus, original photos and other documentation in the booklets.

The Decades Collected compilations are part of the Collected compilation series, which is a collaboration between Universal Music and Music On Vinyl. The compilations bring together the biggest names of each decade, combined with forgotten hits and less discovered gems, giving the listener an experience of listening to their favourite tunes while uncovering new musical grounds at the same time.

Mount Athos, known as the «Holy Mountain,» is a monastic peninsula in northeastern Greece, central to Eastern Orthodox monasticism for over a millennium. Its twenty monasteries house around 2,000 monks dedicated to prayer and worship, which songs have echoed across the Aegean Sea for centuries, heard only by visiting pilgrims, isolated from conventional time and global events.

After several years of research, and several visits to the retired community, we are happy to present our new project «Athos : Echoes from the Holy Mountain» dedicated to this liturgic music and repertoire that seems to be evolving outside the usual boundaries of time and space. Rooted in Byzantine chant, this a cappella tradition essential to monastic life featuring intricate yet serene melodies designed to facilitate prayer and contemplation, using a system of modes and scales to create a meditative atmosphere.

Trans-disciplinary, this effort of documentation also comprehends an artistic re-interpretation aspect inviting contemporary Greek and foreign artists to reflect on the subject.

A musical compilation which captures original field recordings from the 1960s and from today capturing the essence of liturgical music on Mount Athos, but also new compositions inspired by them by artists such as Holy Tongue (UK), Jay Glass Dubs (GR), Prins Emanuel & Inre Kresten Grupp (SWE), Jimi Tenor (FI), Gilb’r (FR), Daniel Paleodimos (GR), Esma & Murat Ertel (TUR) and Organza Ray (GR/US).

A trilingual book in English, Greek and French, featuring essays, articles, photographs and artistic comissions reflecting around the theme giving a voice to contributors such as , Stratos Kalafatis, Theodore Psychoyos, Tefra90, Father Damaskinos Ulkinuora, Prof. Thomas Apostolopoulos, Makar Tereshin, Phaedra Douzina-Bakalaki, Michelangelo Paganopoulos and Alberto Cameroni.

The release of the book and the record will be followed by a cycle of exhibitions and conferences, deploying FLEE’s year-long research on Mount Athos, as well as its numerous commissioned artworks.

Soul Jazz Records" new Miami Sound 2 is a superlative collection of 70s soul, funk, disco and boogie featuring tracks from legendary artists such as Betty Wright, Timmy Thomas, Gwen McRae, Milton Wright, T-Connection and many more, all released on the mighty TK Records musical empire based in Miami, Florida.

Mutant, in partnership with Hollywood Records and Marvel Studios are proud to present The Newton Brothers' score to the hit animated series X-Men '97



The highly anticipated revival of the long-dormant and seminal animated series is as fun, thoughtful and emotionally charged as the original run, while being matured slightly for an audience that has aged since its last episode nearly thirty years ago. But matching the energy, tone of the original was dependent on nailing the sound, and that clearly was top of mind for the series composers The Newton Brothers.



The Newton Brothers have produced an incredibly dynamic collection of music - from tackling the implications of serious political allegories, deep emotional truths, all while still embracing the fantastical surprises present in this universe (such as being sucked into a video game). X-Men '97 proves you can tackle legacy work in creative and original ways.



2 x 140g translucent blue and red vinyl housed in a gatefold jacket Artwork by Phantom City Creative.

Skinshape (aka Will Dorey) releases his ninth studio album titled Another Side Of Skinshape on 27th September via Lewis Recordings. As the album title suggests, Dorey’s latest body of work is somewhat unlike anything in his prior discography. However, there is always a consistent Skinshape thread which pulsates throughout all of his music - a kind of sonic dreamscape which echoes a mystical nostalgia for a sun dappled afternoon.

Taking inspiration from childhood memories, Ethiopian rhythms, and even calls to prayer, Another Side Of Skinshape gained access to the most esoteric corners of Dorey’s mind. Whilst ‘It’s About Time’ and ‘Ananda’ display a slightly more synthesised palette than we typically hear of a Skinshape tune, singles ‘Stornoway’ and ‘Lady Sun’ (which features the hazy soul vocals of West London’s Hollie Cook) replicate the same lifeblood heard on albums Nostalgia, or Craterellus Tubaeformis.

Speaking on the album, Dorey says “Some songs pay homage to the 90s whilst others the 60s and 70s. Yet you may not perceive all of these in the form that they are presented. In any case I hope that the album is enjoyable and will fit casually into the flow of your day.”

Whilst making this album, Dorey experimented with various keyboards and drum machines, which are at times layered over the excellent drumming of Thomas Blunt, who played live onto tape. Blunt is well versed in the Skinshape vernacular, also being part of Dorey’s live band. Indeed, Another Side Of Skinshape is due for release just before a run of UK and US live dates, which will be the first time the band has ever hit the open road.

Dorey is a former member of the band Palace, has played Glastonbury, BBC Maida Vale and Shepherd’s Bush Empire to name a few. Skinshape’s ‘I Didn’t Know’ has streamed over 50 million times. He is proudly from Swanage, Dorest.

John Mayall is often referred to as the "Father of British Blues." Born on November 29, 1933, he's primarily known for his work as a singer, songwriter, and multi-instrumentalist, particularly as a harmonica player and keyboardist. Mayall gained prominence in the 1960s as the founder and leader of the band John Mayall & the Bluesbreakers, which served as a launching pad for numerous British blues and rock musicians. Mayall's Bluesbreakers lineup famously included Eric Clapton, Peter Green, and Mick Taylor, all of whom went on to achieve great success in their own right. His band became a crucial part of the British blues movement and influenced countless musicians around the world. Over the years, John Mayall has released numerous albums both as a solo artist and with various iterations of the Bluesbreakers. His music spans a wide range of blues styles, from traditional Chicago blues to more experimental and progressive sounds. Mayall's influence on the development of blues and rock music cannot be overstated, and he will always remain a respected figure in the music industry. This John Mayall release from Indigo Records ''Through The Years Live 60's to 80's'' are live recordings presented on Blue vinyl.

Limited to 500 copies! No repress! Transparent red vinyl! Hype sticker on front! 1961 schwappten die ersten Tropfen der neuen Surf-Welle in den Äther. Eine Gruppe kalifornischer Teenager namens The Belairs veröffentlichten mit "Mr. Moto" das ersten lupenreine Surf-Instrumental und viele weitere sollten folgen. Es war ein Lebensgefühl, es ging um Freiheit, Rebellion gegen die miefigen 50er, um Party und natürlich um die nächste Welle. All das spielte sich vorzugsweise im sonnigen Kalifornien ab. Der erste Hit des Genres war "Misirlou" von Dick Dale, das 1962 veröffentlicht wurde. Der Track stellt deutlich die drei Hauptkomponenten des Surf heraus: ein tragendes Gitarren-Thema (eben kein Gesang!), exotische Harmonien und Akkordfolgen sowie ein gehöriges Maß an Wildheit und Lautstärke! Leo Fender entwickelte dann für Dick Dale zwei Innovationen, ohne die die Surf-Musik nicht das geworden wäre, was sie ist: Den Fender Reverb - ein separates Federhall-Gerät - und den Fender-Showman-Verstärker. Dieses Equipment gehört gerade für Puristen auch heute noch zur Grundausstattung eines Surf-Gitarristen, der seinen Job ernst nimmt. Natürlich gab es jede Menge Bands, die nur eine oder zwei 7"-Singles veröffentlichten, die lokal verteilt oder bei Gigs verkauft wurden. Man braucht schon einen Mann mit Spürnase, um die Juwelen rauszupicken und die entsprechenden Preise für das Kleinvinyl zu zahlen. Unser Mann heißt DJ Crille, seinerseits Resident im Komet! Club in Hamburg (nahe Reeperbahn), und anerkannter Surf-Spezialist. Nebenher ist er auch für die Vocal Group Madness! LP und die Born To Hula Doppel-LP in der DJ Set Serie -beide auf Stag-O-Leeverantwortlich. Surfin Burt"s Surfin Safari! - Vol. 2 ist praktisch die perfekte Welle.

Haze'n'Fader return with a superb EP, a part two of their epic Amen 2 That series. The first one sold out within a few weeks, so this follow up is sure to fly out. Mixing various styles from various eras, each track is a deep dive into original old skool mayhem! Unmissable!

The final part of this epic series finds the completion of the triptych artwork by Junior Tomlin, and the music at its peak from Blame, Sync Dynamix and Dj Sappo. All of this one beautiful translucent blue and white vinyl? Unmissable by any standard!

"Bitteschön, Philophon!" presents a "best of" selection taken from the so far fifteen 7" releases by the Berlin-based label Philophon. Greats as Jimi Tenor, Alemayehu Eshete and Hailu Mergia as well as new discoveries such as Guy One, Alogte Oho and Y-Bayani echo on "Bitteschön" the wide spectrum of the Philophon catalogue.

Philophon puts its emphasis on authentic local styles - from heavy grooving Ethio-Jazz coming out of Addis Abeba to cheerful Frafra-Gospel, as it is celebrated in Bolgatanga/Northern Ghana. Most recordings took place where the music is located - and that's the recipe for Philophon's productions: go to the source and dive into the real.

Secrets Of Sound sold out their first release in quick fashion and now they return with a second instalment in the Exotic Origins series, designed to take you a million light years away from your current reality and deep into the far depths of space with eight superbly cosmic explorations of ambient and downtempo magic. Italians Do It Better man Johnny Jewel kicks off with some sultry sax-laced sounds, David Lynch's musical partner Dean Hurley crushes on shimmering pads and Pye Corner Audio bring a little intergalactic tension. Elsewhere there are sugary synths from Legowelt, suspensory pads from TM Solver and plenty more to help you escape to another dimension. Add to that the fact it arrives on a random variety of different vinyl colours and comes with a download code, and you've got rather a nice package.

Permanent Parts is the second album released by visual artist Katharina Grosse (synthesizer) and musician Stefan Schneider (synthesizer; So Sner, To Rococo Rot). Grosse and Schneider were joined at Galerie Max Hetzler on 29 April 2023, performing as part of the Spectrum without Traces exhibition, by three artists who all generally work within improvised music – Carina Khorkhordina (trumpet), Tintin Patrone (trombone and electronics), and Billy Roisz (noise generator, piezo and mini cymbal). Permanent Parts is an extraordinary set of recordings that inhabits multiple zones at once: within its thirty-five minutes, we can hear the interactions of non-idiomatic collective music making, and the electronic glimmers of electro-acoustics, while, at the same time, the music remains untethered to genre.

This capacity to work within liminal zones makes perfect sense when thinking about both Grosse’s and Schneider’s prior work, whether the energetic diffusions and spatial explorations of Grosse’s artistic practice, or the slippery texturology of Schneider’s recent work with electronics. Khorkhordina, Patrone and Roisz all find their own ways into this dynamic, too, and Permanent Parts feels like an equal exchange of presence and contribution; there are no hierarchies here. This might explain the music’s curious sense of development, where several elements are allowed to exist alongside each other, not in direct contact but in a mode that’s somewhere between carefree layering and unconscious juxtaposition. The musicians are listening, but not just with their ears – their skin, their bodies are hearing, too.

When talking about Permanent Parts, Schneider is careful to place it within contexts that are specific, to some degree, but which allow for difference to blossom. “Although it was recorded live, it somehow was not meant to be a documentation of a live event in the first place. The five piece line up that appears on the record had met for the first time only a few hours before the concert took place.” While it might take a leap of faith for all parties to walk together, and so willingly, into a place of such freedom, of such risk, there is clear sympathy here between the musicians, and a shared appreciation of the immediacies of the situation.

It also throws some of our preconceptions about this music out of the window. “The record does not feel like a document of a performance as the music was not pre-composed and there was no reference,” Schneider continues. “Perhaps it was not even an improvisation?” For Grosse, her musical relationship with Schneider similarly shakes free from expectation: “My sound does not exist without Stefan’s. It is neither written down nor is it improvised. It is instantaneous.” When thinking about the five-piece exploration on Permanent Parts and asked to expand on what each musician brings to the table, she continues, “We all love the thrill of an unknown encounter and we seem to have a need for building connections through the thicket of our voices.”

There’s a curious phrase on the back cover of the album, before the artists are listed: “Wir sind eine Batterie / We are a battery.” This sums up the spirit of Permanent Parts. Schneider recalls that Grosse said this phrase to the musicians at the start of the performance. Grosse explains further, “The figure of the battery referred to our placement in the space building out a small circle facing one another from where the sound could spill into the impressive volume of the gallery.” The battery as an arrangement of similar devices; but I also think of charge, and the conversion of chemical energy, and of fortification. It’s a poetic metaphor that sums up much of the febrile pleasure of the music contained on these Permanent Parts.

– Jon Dale, Melbourne

In 2023, underscores released her highly anticipated sophomore album Wallsocket via Mom+Pop, a 12-track narrative body of work that delves into the lives of the citizens who occupy Wallsocket, Michigan. Surrounding the campaign, she immersed fans in an alternate reality game (ARG) which led players through various local-business websites to unlock unreleased music and giveaways. Wallsocket quickly gained the attention of critics with rave reviews coming from NME, The Atlantic, The Guardian, Line of the Best Fit, and Anthony Fontano of The Needle Drop. The development of underscores’ live shows have been equally as remarkable as her recorded work. Following the Gecs tour, she hasn’t stopped touring with multiple sold out headline shows in New York, Los Angeles, Chicago, San Francisco, and London, and several festival appearances including the main stage at Lollapalooza, Electric Forest, FVDED in the Park, Capitol Hill Block Party, Meow Wolf’s Vortex Festival, and most recently Corona Capital CDMX and Governors Ball NYC. She embarked on her first worldwide headline tour selling out shows in the US, Canada, Japan, Australia, the UK, and Europe, and she’s slated to perform at Outside Lands and Reading & Leeds Festival this summer 2024. She was recently announced as direct support to her label-mate Porter Robinson on the Europe/UK leg of his worldwide tour in February 2025. To put a cap on the “Wallsocket era” underscores is releasing and extended version titled Wallsocket (Director’s Cut) which includes “four deleted scenes” from the Wallsocket story.

REISSUED!!! Received an 8.1 rating from Pitchfork. "Sadly, many will hear Chris Corsano & Bill Orcutt's latest LP, Made Out of Sound, as 'not-jazz,' though it would be more aptly described as 'not-not-jazz.' In a better world, it would warrant above-the-fold reviews in Downbeat, or an appearance on David Sanborn's late-night show (if someone would only give it back to him). More likely, we can hope for a haiku review on Byron Coley's Twitter timeline to sufficiently connect the various improvised terrains trodden by this long-time duo—but if you've been able to listen past the overmodulated icepick fidelity of Harry Pussy, it should surprise you not an iota that Orcutt's style is rooted as much in the fractal melodies of Trane and Taylor as it is in Delta syrup or Tin Pan Alley glitz. As for Corsano, well, it may seem daft to call this particular record 'jazz' (because duh, it has a drummer), but to me Corsano is beyond jazz, almost beyond music, his ambidextrous, octopoid technique grappling many stylistic levers and spraying a torrent of light from every direction. Corsano's ferocity has elevated many 'mere' improv records to transcendence, but here he's crafted his polyrhythms within more narrative channels, bringing to mind his 'mannered' playing in the lamented Flower-Corsano duo. It's not 'groove' playing precisely, but it follows many grooves simultaneously, much like Orcutt's own melodic musings—which is why they're so naturally lock-in-key here. Which maybe makes it all the more surprising that Made Out of Sound was in fact recorded in different rooms on different coasts at different times, and stitched together by Orcutt on his desktop. Corsano recorded the drums in Ithaca, NY, and (as Orcutt states), 'I didn't edit them at all. I overdubbed two guitar tracks, panned left/right. I'd listen to the drums a couple times, pick a tuning, then improvise a part, thinking of the first track as backing and the second as the 'lead', though those are pretty fluid terms. I was watching the waveforms as I was recording, so I could see when a crescendo was coming or when to bring it down.' Fluidity ties the tracks together. With a little more groove and a little less around-the-beat maneuvering, one could almost hear the boiling harmonic layers as Miles-oid in 'Man Carrying Thing,' but with new-found Sharrockian modalities, Corsano accentuating the tumbling nature of the falling notes. The Sharrock vein continues with 'How to Cook a Wolf,' its Blind Willie-esque melodic simplicity and repetition extrapolated 360-style in a repetitive descending riff that falls into Cippolina-isms (by way of Verlaine ) until the end crashes upon the shore. Much like Orcutt's last solo album, Odds Against Tomorrow, there's a gentler, almost pastoral flow to some tracks ('Some Tennessee Jar,' 'A Port in Air,' 'Thirteen Ways of Looking') that calls to mind the mixolydian swamplands of Lonnie Liston Smith—but unlike Odds , other tracks ('The Thing Itself') smash that same lyricism into overdriven, multi-dimensional melodic clumps that push several vector envelopes at once in an Interstellar Space vein. With the help of Corsano, Orcutt has managed to slither even further out of the noise/improv pigeonhole lazy listeners/writers keep trying to shove him into. Looking at the back cover of Made Out of Sound , we should not see Orcutt hurling a guitar into the air with post-punk bravado, Corsano toiling behind him in the engine room—we should witness an instrument levitating from his hands, rising on invisible major-key tendrils of melody, fired by percussion, spiraling into an invisible event horizon..."—Tom Carter

Secretsundaze marks a new chapter in the institution’s storied history with the foundation of imprint 9FINITY. Stemming from founder James Priestley’s daughter Ludo’s toddler-speak of ‘9FINITY’ to define something massive or huge, the label aims to run with this descriptor through no-nonsense, discerning dance records from artists at the vanguard of modern club music.

The label makes a statement with its maiden release, a V/A compiled with the considered curation synonymous with the Secretsundaze name.

9FINITY001 brings together the talents of Eoin DJ, DJ Life, Luca Attanasio, Coffintexts and E-Talking across 5 tracks and digital bonus that act as a distillation of the label’s sonic vision.

The EP kicks off with Eoin DJ’s ‘Red Rubber Roses’ (Rhythm Dub). A deep, yet driving affair that melds a subtle break with an organ bass line. Think Junior Vasquez meets Radiant Love and you’re getting close. Joining Eoin DJ on the A-side is Naarm production wizard DJ Life with ‘Aberration’. A true headspinner, Life pulls out all the stops on this one, brooding D n’ B style low end, his trademark psychedelic flourishes and a mid-track pace change for good measure. A statement of intent for the imprint on its opening stanza.

The flip opens with exciting newcomer Luca Attanasio’s ‘I Like You Mind’. Straight up intelligent modern house music to kick start the B-side with moody keys and sensual vocal samples juxtaposing a rising bassline that emphasizes groove. Next is Coffintexts’ percussive ‘Make U Sweat’. Doing exactly what is says on the tin, a bold club track with a heavy Latinx vibe that implores the listener to move. Last but certainly not least, E-Talking closes out an impressive opening outing for 9FINITY with the balearic tinged, progressive ‘Party’.

The EP also has an exclusive, Bandcamp only digital bonus with Coffintexts providing a dub wise, 140 version of ‘Make U Sweat’.

Lovers of Italo disco music will consider Cyber People as one of the most important acts in its scene. The Space-synth sound Cyber people brought in the mid 80’s, was highlighted by their 1985 ‘Void Vision’ release, which became a hit both in Europe, as well as in South America. On top of that, Cyber People paved the road for acts like Koto, Laserdance and Hipnosis, just to name a few. Cyber People were disbanded though in 1988, but left behind a series of most important Italo Disco records.

Now, build on the ashes of the former and legendary ‘Memory Records label from Parma – Italy, Memix International is pleased to announce its return, and the return of Cyber People. In its original form, headed again by the Maestro Giorgio “Theo” Spagna himself, as leader of the pack, with a tribute to Anfrando Maiola, the founding father of Mamory Records’ most important act, Koto, who left us in 2023.

As a tribute, Anfrando’s “Dragon’s Legend” get’s a complete new overhaul by Cyber People, respecting its original structure, concept and spirit, bringing it however into the 21st century.

Besides the almost 8-and-a-half-minute tribute of Dragon’s legend on the MEM-side, on the MIX-side you will find the DJ friendly ‘DJ DUB’, bringing you the compact essential of ‘Dragon’s Legend’ for any up-to-date Italian Disco set. (And if you want to call it Italo Disco, that’s perfectly fine with us too!)

With this release, Memix International continues where it’s predecessor stopped in 1989. Paves the road into a new era, and pays with this rerelease it’s respect to Anfrando Maiola and his Koto releases , such with full support from his heir.

With this release Memix International also brings a tribute to Alessandro Porta, the great Italian designer and visual artist, whose heirs were as kind to participate also, and made one of Alessandro’s drawings available for the sleeve of this unique release. It was Porta who was, on many occasions, responsible for the characteristic artwork of various Koto releases and, all together it will for sure make this release a well sought item which comes in a strictly limited edition of 500 units, so distributed on a ‘first to come, first to serve’ basis. Expected release and shipment: end of September/begin of October 2024.

Formed in London in 1976, The Damned became one of the most groundbreaking and influential bands coming out of the 70s British punk rock scene. Their debut single “New Rose” (1976) is considered the first punk single to be ever released in the UK. Throughout their impressive 45+ year career (and counting), The Damned have experimented with various musical styles, incorporating elements of gothic rock, psychedelia, and new wave into their sound. In October 2020, over 40 years after the founding members parted ways, The Damned announced a series of reunion shows with the original line-up consisting of Dave Vanian (vocals), Brian James (guitar), Captain Sensible (bass), and Rat Scabies (drums). However, due to the pandemic, they were forced to postpone the shows until 2022. November 3rd, 2022, saw the band performing at the fully packed O2 Apollo in Manchester, UK, delivering an energetic 21-song set drawn from the first two albums, the 1977’s “Damned Damned Damned” and “Music for Pleasure”, the only albums to feature the four founding members. This legendary reunion show is captured on the worldwide release “AD 2022 – Live In Manchester” which perfectly portrays the unique magic around The Damned.

"A change of speed, a change of style. A change of scene,without regrets."
-Ian Curtis
Ursa Minor is a constellation in the northern hemisphere. It shares the same name as the Big Dipper, because its tail resembles the handle of a spoon: it consists of seven stars in the shape of a car; Four of them form what is the deep part ofthe car and the other three are the handle of the car. It occupies an area of 255.9 square, in which it contains a total of 39 NGC objects.
The best-known element of the Little Dipper is the polar star, called Polaris, which is located approximately in the extension ofthe Earth's axis, so that it remains almost fixed in the sky andmarks the geographic north pole.
Principal stars:
α – Polaris, β – Kochab, γ – Pherkad, δ – Yildun, ε, ζ, η

Back in circulation after over a decade, Jahtari's seminal "Jahtarian Dubbers Vol. 1 EP" receives the long-awaited reissue treatment, reviving the raw, 8-bit-infused dub vibes that defined a new era of digital roots music.

Originally released in 2008 and quickly disappearing into dub obscurity, this heavyweight 12" returns with four essential cuts that perfectly encapsulate the Jahtari sound—where chiptune meets the echo chamber.

The EP kicks off with Blaze Dem's "Roots Defender", a hypnotic concotion of deep basslines and eerie samples from a Swedish cult ritual, setting a heavy tone right from the start. disrupt's cinematic "Kozure Okami" follows, channeling Black Ark vibes through 8-bit synth explorations.

On the flip, John Frum delivers the hauntingly beautiful "January Dub", while Rootah's slomo slammer "Holy Mount Part 2" closes the EP with Lynchian, echo-soaked vibrations that linger long after the needle lifts.

Timeless tracks, mastered by CGB-1 at D&M in Berlin for maximum impact. Pivotal piece of Dub music!