KerenDun (Buttering Trio) returns with a new two-track single titled ‘Afternoon.’ As always, KerenDun delivers super smooth tunes laced with vibrant colorful lyrics that offer us a peak into her life.
Jazz and soul influences are very apparent in this release; the result of collaborating with drummer/jazz head/producer Yuval Garin & trumpet player/pianist Roee Hermon.
Released together on 7” vinyl, this release is packed with soul and promises a vibeful journey.
This is Jack Wilson's debut album as a bandleader, originally released in 1963 for Atlantic label, featuring a young Roy Ayers on vibraphone, bassist Al McKibbons and drummer Nick Martinis. Jack Wilson was a fine and often underrated pianist and composer who played with many great names such as Gene Ammons, Jacki Mclean, Esther Phillips, Lou Rawls, Johnny Griffin, Ertha Kitt, Lambert Hendricks & Ross, Antonio Carlos Jobim... This is a lively studio session opening up with a beautiful rendition of Jobim's classic "Corcovado" and followed by WIlson's five originals. A great debut album full of warm, sophisticated and yet highly dynamic Jazz vibes.
Enter, ANGST a series of musical ‘essays on the ephemeral being’ by Portuguese pianist and composer Tiago Sousa.
After 2015’s Um Piano nas Barricadas (Discrepant, CREP23) Sousa expands his compositional chops by writing and performing along with a trio made of clarinet, percussion and vibraphone adding a magical realism aura to the music.
It was fate that the releasing of these compositions would arrive in one of the most troubled passages of recent memory, just as a new decade begins. If it was already established that anguish is one of the hallmarks haunting our modern era, these last few years expose this existential feeling with even greater urgency.
The album that Tiago now presents, part angst part nostalgic escapism addresses this very modern concern as well as other themes dear to the so-called existentialist thinkers such as Heidegger, Camus or Kierkegaard, who among others, seek to directly challenge the Being with various concepts such as Repetition, Temporality, Interiority, Despair…
Throughout the 8 themes here presented, a delicate attempt is made to sketch a phenomenological cartography through its content and form, loosely describing the feeling of being launched into the wide world and the discovery of one self. In other words, the artist’s aim here is to convey the growing pains that the whole question about the meaning of life throws at us.
In an approach that is difficult to catalogue, the album tries to avoid genres and crystallizations in which music presents itself as a vehicle to express the ineffable and the incommunicable, expressing instead a magical world of wonder and enchantment.
‘Banane Bleue’ (French for blue banana), the brand new album from Frànçois & The Atlas Mountains, is a nomadic and truly European record, hailing from rented workspaces in some of the continent’s key cities - Berlin, Athens and Paris - and recorded with instruments that were often borrowed from likeminded musicians.
Written solely by Frànçois Marry himself, close collaborator and Weird World artist Jaakko Eino Kalevi was enlisted for production duties whilst Renaud Letang (Feist, Gonzales, Connan Mockasin) mixed the album.
The title of the album is taken from the ‘blue banana’ concept, a geographical theory that groups together a corridor of Europe’s biggest cities, originally conceived in the 1980s. The theory states that the blurring of these cities’ boundaries has resulted in the formation of one massive, interconnected megalopolis.
Expanding on the theory, Frànçois poetised it, picturing a luminescent blue banana shape that you can see from space with vibrant, ethereal currents that surround and bind us. It explores common cultural and romantic ground, creating an album full of missed meetings and misunderstandings.
CD into printed inner wallet and 8-page booklet.
Vinyl into printed inner sleeve with digital download card.
"New York City’s layers of continuous noise have become the backdrop to a rising four-piece that NME already calls “one of New York’s most exciting new bands.” Just like the city, The Muckers’ sound is equal parts vital and timeless, resolute and vibrant.
As The New York Times tells the story, lead guitarist and vocalist “Emir Mohseni, was inspired by the Strokes to pursue a career in music — a passion that brought him to New York all the way from his native Iran.” The move, profiled across acclaimed publications, from Rolling Stone to Billboard, only marked the beginning of the band’s story. Upon landing in this new environment, Mohseni met the three guys that would become his closest friends, and build with him the vitalizing sound and enrapturing live show that The Muckers are garnering early praises for: Anthony Azarmgin at the bass, Chris Cawley on rhythm guitar, and John Zimmerman behind the drums.
Horace Andy's voice is an instrument that once heard is never forgotten, regardless of whether you first hear it on one of the numerous Jamaican reggae singles that he recorded during the 70s or - like most people - on one of the Massive Attack albums he collaborated on as a vocalist. His falsetto and his characteristic slow-motion vibrato breathed life into tracks like "Spying Glass", "Cuss Cuss", "In The Light", "Skylarking" or "(You are My) Angel", ensuring that they still continue to resonate deeply with listeners. His vocal style influenced countless root singers and the combination of his timbre with Massive Attack's spartan hip hop beats still inspires legions of fans and copyists all over the world. Echo Beach has now picked up on this tradition - and the much older tradition of versioning - by asking friends of the label to rework Horace Andy's classic tracks in their own sound outfit. But this time the label hasn't trawled old Studio One tapes for historic vocal snippets - that would sooo nineties; no, Horace Andy personally put in an appearance to sing new versions of his classic tracks on top of timeless and contemporary riddims. Age may have deepened his voice, but it is by no means weaker, as can be heard on this album, on which Echo Beach welcomes old friends and new faces: there's Rob Smith, who as part of More Rockers and Smith & Mighty was just as crucial for Bristol's musical reputation as Massive Attack or DJ Krust & Roni Size. Today, he ensures continuity by working under the label and producer name.
Yellow Vinyl
Hawaii's legendary Latin superstar Rolando Sanchez & Salsa Hawaii's smash hit "ALOHA MAMBO" Vinyl 7" EP will be released worldwide after its debut in Japan. The jacket illustration by Tammy Yee invites you to a Latin Paradise in Honolulu as you groove to vibrant Latin beats, island-style.
Rolando Sanchez
Rolando Sanchez & Salsa Hawaii
Rolando Sanchez is an award-winning songwriter/producer of Hawaii's leading Latin Jazz, Latin Rock, Salsa percussionists, singer-songwriters, and the owner of RSC Music. Originally from Nicaragua, he began his career in the suburbs of San Francisco and moved to Hawaii in 1984.
He has shared the stage with many of the best of Latin musicians including Tito Puente, Pet & Sheila Escovedo, and regularly appears at BLUE NOTE HAWAII, a mecca of island jazz. In addition, he hosts a live radio show, "LA ONDA LATINA," every Sunday on KNDI-AM1270, featuring the hottest mix of Latin Music in the islands.
He is a leader in the Hawaii-Latino world that connects his hometown of Nicaragua in Central America, to New York, California and Hawaii with a Latin sound infused with island flavors.
Emika & Paul Frick collaborate and make magical music from pianos, a vibraphone robot and synths that play themselves
* Their music feels like rainbow drops, raining colour, light bouncing from crystal gemstones. Reminiscent of Erik Satie, Laruie Anderson, with a melodic glitchy nod to Aphex Twin.
* This is music that channels some seriously beautiful light. It’s a great record to both wake up to and reflect under the moonlight.
* CNCPT brings the Berlin experimental Techno vibes, turning them into what they perhaps should have always been (if Emika & Paul Frick weren’t so in love with sound art minimalism). A perfect match for the flipside.
* A very satisfying A & B realisation on the vinyl. Vinyl release includes sticker with the digital download + score book + synth midi files
* An experimental Berlin trio at it’s finest.
Pressed at Duophonic Germany, minimal wait times, amazing sounding TPs, family run, buying from us supports them also.
4-Track Guitar Music is the unassuming title of a cassette by Swedish composer Mats Erlandsson, which was originally released on Kali Maloneʼs and Maria W. Hornʼs XKatedral label in 2018. Composed using only, as the album title implies, a 4-track tape deck and an electric guitar, the music was later modified on the computer and re-amplified in the machine hall of Ställbergs Gruva, a disbanded Swedish iron mine.
The music is primarily composed using melodic motifs and canonical structures in which a set of pitches are transposed in octaves and delayed, creating an ever-evolving cyclical polyphony. Contrary to the albumʼs modest title, the music is a tour-de-force of exuberance and stoic catharsis, continuously bordering on a sense of ecstatic serenity, sincere contemplation and restraint.
Now Vaagner is proud to present the work on vinyl for the first time via a fully remastered reissue of 4-Track Guitar Music, with the Double LP including a bonus track titled "Cellar" by Mats Erlandsson which was not included on the original release.
As a composer, musician and sound artist, Mats Erlandsson is part of the vibrantly reemerging field of drone music in Stockholm, Sweden, and is associated with practices characterized by the extensive use of sustained sound.Erlandsson has undergone studies in composition in Stockholm, where he received a Masterʼs degree in Composition of Electronic Music. In addition to his own artistic practice, Erlandsson holds a position as studio assistant at the world-renowned Elektronmusikstudion (EMS) in Stockholm. He presents his work both as a solo artist and in collaborations, most notably together with Yair Elazar Glotman.Recent releases include Minnesmärke on Hallow Ground (2020), the collaboration Emmanatemade with Yair Elazar Glotman on 130701 (2020), Hypodermic Letters on Portals Editions (2018), Selective Miracles and Valentina Tereshkova on Posh Isolation (2016), and again together with Glotman, Negative Chambers on Miasmah (2017). Erlandsson has performed his work extensively, most recently at Présences Électronique hosted by the GRM in Paris, CTM 2019 and The Long Now in Berlin, Norbergfestival in Norberg, Sonica Festival in Ljubljana and in various music and arts venues around the world.
Distressed of sound and disturbed of subject matter, “Down-Faced Doll” sees the classic indie outfit connect with their dark-sides to deliver a cacophonous alt/folk stomp unlike anything they’ve released before. Based on a chilling true story told through the eyes of a discarded toy, its lyrics like clues, begin to lay evidence to a scene enough to turn anyone’s blood blue.
As vocalist Ian H. says:
“By far the most disturbing song I’ve ever written. Some songs seem to have a strange compelling energy which no one can rightly claim authorship to. They ‘write themselves’ but of course a great deal of working and shaping occurs too… A true story - well the first two verses are. The last two verses are my attempt to imagine “how did it ever get to this”…”
Customised with discomposing Eastern-inspired guitar riffs and clamouring percussive rhythms, “Down-Faced Doll” instils an unshakable feeling of paranoia, pursuit and unsease to match its haunting storyline. “Ewan and Stephen immediately tuned into its unsettling vibrations to create sounds and dark corners as you are unwillingly dragged through the scenario.” Ian adds.
Created & produced by Bradford (Ian Hodgson, Ewan Butler & Stephen Street), “Down-Faced Doll” was mixed by Stephen Street (Blur/New Order/ Kaiser Chiefs) and mastered by John Davies. It is taken from what will be Bradford’s first new studio album in over three decades: ‘Bright Hours’ - set for release early-on in 2021.
Bradford are a revered indie band formed in Blackburn in 1988. Championed by Morrissey, the band earned a cult status with their acclaimed debut album 'Shouting Quietly' in 1990, a record as-produced at the time by Stephen Street. Touring with the likes of Joe Strummer, The Sugarcubes, Morrissey and more, the band burned brightly and brilliantly. Fading away against the neon glow of the Madchester era, the band split in 1991.
Fast forward to 2018 and a re-mastered 30 song collection entitled ‘Thirty Years Of Shouting Quietly’ was released on Turntable Friend Records. The album was re-appraised as a 'lost English classic'. This rekindling of belief slowly re-ignited the magic and chemistry that always existed between the band now Ian H and Ewan Butler and Stephen Street. So much so, that Stephen decided to join forces with them and become a fully fledged member of the band.
With a new look line-up on illuminating form, as a trio Bradford have lovingly crafted a jewel of a new album: ‘Bright Hours’ to be released early in 2021.
Directly following “Like Water”, their latest single “Down-Faced Doll” is a definitive signal that ‘Bright Hours’ will be every bit worth the long wait...
Green Marbled Vinyl
Polifonic Records is the melodic balance between antagonistic vibrations, spirits and energiesthat inhabit the land of Puglia since the dawn of time.
An harmonic exploration into colorful, vibrant sunrise atmospheres and emotional, introspectivesunset sensations. One Body. Many Souls.
PF001 // The Frst installment comes with four contributions by festival aliates and long timefriends - from the explorative psychedelia of Francis Inferno Orchestra and the introspectiveexotica of Simone de Kunovich, to the playful 707- ish mediterranean vibes of Jolly Mare and thebalearic uplifting arpeggios of Yanik Park.
The package represents indeed a tribute to Itria, the magic Valley placed between two seas,Adriatico and Ionio, in the earth of Regione Puglia.
As has often been noted, psychedelic music can involve causal links between getting out of it and getting into it. Conversely, expansion of consciousness can be found by heading deep into the roots that a band explores, and journeying to the centre of their inspiration. Thus, a curious paradox is attained, whereby the traditional elements of an outfit’s sound are superseded by them blasting their core vibrations into unchartered territory. Such is the case with the new opus from third-eye visionaries Hills, a dizzying journey that traverses through the band’s origins and beyond to new dimensions.The Gothenburg-based Hills are entering their ninth year of existence, in which they’ve released two full-length albums, the second of which, ‘Master Sleeps’ saw a vinyl outing on Rocket last year. Part of a rich scene in their homestead also including friends and Rocket Recordings label mates Goat, they form the new chapter in a tradition of Swedish psychedelia that found its origins in late-’60s and early ‘70s freakouts and mind-melts by the likes of Baby Grandmothers and Älgarnas Trädgård - not to mention the unholy trinity of Pärson Sound, International Harvester and Träd Gräs och Stenar - before being developed by the likes of The Spacious Mind and Dungen in the last two decades. These inspirations make their mark on ‘Frid’ by journeying inward, via mantric repetition and hip-shaking pulsations as on the ten-minute monolith, ‘ Och Solen Sänkte Sig Röd’, yet they can also lurch into the unknown via the fuzz/wah odysseys of the aptly monikered ‘National Drone’ and the ceremonial exhortations of the closing ‘Death Will Find A Way.’As they also showed recently at a rare and spellbinding appearance at Liverpool International Festival Of Psychedelia, Hills have landed on a rich and intoxicating sound that sidesteps the cliches and humdrum stylistic foibles that often plague modern-day psych, in the process breathing new life into an approach that can sometimes seem in danger of appearing redundant through lack of imagination. ‘Frid’, their most out-of-mind and out-of-sight effort to date, crystallises everything that makes these Scandinavian satyrs stand out from the global herd; adventurous experimentation and fearless hallucinatory intensity, rendered with brass-knuckle fortitude. The end result is 38 minutes that translate into a feast for seasoned crate-diggers and fresh-faced converts alike. There is, indeed, gold in these here Hills.
African-born, Baltimore-based experimental hip-hop producer Infinity Knives joins PhantomLimb for the release of his unique debut album Dear, Sudan, a vibrant and polymathic labyrinth of moods and colours.
Infinity Knives - aka producer and musician Tariq Ravelomanana - moved from Tanzania (via Kenya, South Africa and Madagascar) to Baltimore with his family as a teenager, soaking up the raw,vociferous hip hop culture around him, devouring Western classical music, and embedding himself with the city’s verdant music scene. This unique combination of life experiences and contrasting strands of musical education empowered and enabled him to create his Infinity Knives guise, allowing us a window into his singular energy with Dear, Sudan.
Tariq writes “Music has always been my medium. Since I was a child living in Tanzania, music has been my babysitter. The one central idea I kept dwelling on was that all humans experience sorrow, but despite the fact that it's universal, we still experience it as if we were alone.”
Appropriately, Infinity Knives casts a wide and thrilling net. Dear, Sudan runs like a masterful showreel of deftly balanced disparate elements, a late night channel-hopping between multiple, vital, powerful musics. Tariq himself offers “experimental, drone, hip hop, leftfield minimalism, neo-classical and Baltimore” as his key styles. “I wanted Dear, Sudan to be a record of the things that I enjoy, the things that keep me coming back to this life and I wanted it to be in the language I understand the most. I hope that this album can be a companion to those in need.”
NEBULA is the first collaboration between Stefano Curti historical founder of the legendary Italian Label Vibraphone Records , Producer DJ Nick Anthony Simoncino.
In this record the original 90’s deep dreamy and visionary sound of the label is going back to its roots also thanks to the fantastic featured vocals of celebrated singer Robert Owens “The voice of House Music” MIXMAG.
It was a solid bet that Skratchorama Records would release a 7” DJ tool specifically crafted for the international portable turntable scene. DJ Chmielix is known as a perfectionist when it comes to music production, turntable music, DJ battles and a rubix cube… he’s as hard on the cut as they come and the Mighty Wicked 7” embodies these vibrations.
The A & B side of this record both include 6 original skipless acapella scratch loops with a variety of laser samples, aaaahhhs and fressshhhhes. Side A has 4 tracks arranged in 100BPM and 2 tracks in 133.33BPM. Side B is all arranged at 83.33 BPM for use at regular speed on a turntable. This offers the ideal track size for a 7” battle record. The tracks are large enough to easily cue the needed loop on the fly, and small enough that the maximum amount of samples can be put on the record… needle dropping made easy! Each side’s tracks are separated by hidden samples which inject creativity into performances using this record. At the end of each side a single rotation of each skipless loop has been arranged twice back to back giving DJ’s two full sample banks to get dirty on the cut with.
The record has a secret theme, but we’ll leave it to you to figure it out!
Pressed on blue vinyl, artwork by Maciej Kwietnicki, and mastered by the legendary D. Perez, you are in for one of 2020’s finest scratch records… it’s time to take it to the next level!!
In February 2018, Roy Ayers performed four sold out shows in Los Angeles as part of the Jazz Is Dead Black History Month series. It wasn"t until 2020 that fans of Ayers discovered that in addition to those shows, the legendary vibraphone player had also recorded an entire album of new material with Adrian Younge and Ali Shaheed Muhammad.
Self-styled ‘house husband, record producer’, DMX Krew, continues his effortless stretch of releases that date back to the early 90s, with a new album for Hypercolour.
His deft melodies and mechanical, electro-tinged beats have made for some classic albums in his repertoire, from his incredible run of albums for Rephlex Records, up to 2020’s ’Ghost Bubbles’ long player for Terrestrial Funk. And so ‘Loose Gears’ marks DMX Krew’s fourth album for British stalwarts, Hypercolour, and fans will not be disappointed.
Armed with an arsenal of hardware, and a head full of futuristic visions, ‘Loose Gears’ collects eleven tracks of the customary quality we have come to expect from DMX Krew.
From the funk laden ‘Solar Transit’ to bleepy chugger ‘Dejected Ambient Twerp’, the vibrant synths and spongy rhythms of ‘Torpedo Tube’ to the beatless wiggle of ‘Xpansion 2’, there’s much in store to be savoured on ‘Loose Gears’, as DMX Krew serves up another fine selection of electronic goodies.
The five members of Sun June spent their early years spread out across the United States, from the boonies of the Hudson Valley to the sprawling outskirts of LA. Having spent their college years within the gloomy, cold winters of the North East, Laura Colwell and Stephen Salisbury found themselves in the vibrant melting-pot of inspiration that is Austin, Texas. Meeting each other while working on Terrence Malick's 'Song to Song', the pair were immediately taken by the city's bustling small clubs and honky-tonk scene, and the fact that there was always an instrument within reach, always someone to play alongside. Coming alive in this newly discovered landscape, Colwell and Salisbury formed Sun June alongside Michael Bain on lead guitar, Sarah Schultz on drums, and Justin Harris on bass and recorded their debut album live to tape, releasing it via the city's esteemed Keeled Scales label in 2018. The band coined the term 'regret pop' to describe the music they made on the 'Years' LP. Though somewhat tongue in cheek, it made perfect sense ~ the gentle sway of their country leaning pop songs seeped in melancholy, as if each subtle turn of phrase was always grasping for something just out of reach. Sun June returns with Somewhere, a brand new album, out February 2021. It's a record that feels distinctly more present than its predecessor. In the time since, Colwell and Salisbury have become a couple, and it's had a profound effect on their work; if Years was about how loss evolves, Somewhere is about how love evolves. "We explore a lot of the same themes across it," Colwell says, "but I think there's a lot more love here." Somewhere is Sun June at their most decadent, a richly diverse album which sees them exploring bright new corners with full hearts and wide eyes. Embracing a more pop-oriented sound the album consists of eleven beautiful new songs and is deliberately more collaborative and fully arranged: Laura played guitar for the first time; band members swapped instruments, and producer Danny Reisch helped flesh out layers of synth and percussion that provides a sweeping undercurrent to the whole thing. Throughout Somewhere you can hear Sun June blossom into a living-and-breathing five-piece, the album formed from an exploratory track building process which results in a more formidable version of the band we once knew. 'Real Thing' is most indicative of this, a fully collaborative effort which encompasses all of the nuances that come to define the album. "Are you the real thing?" Laura Colwell questions in the song's repeated refrain. "Honey I'm the real thing," she answers back. They've called this one their 'prom' record; a sincere, alive-in-the-moment snapshot of the heady rush of love. "The prom idea started as a mood for us to arrange and shape the music to, which we hadn't done before," the band explains. " Prom isn't all rosy and perfect. The songs show you the crying in the bathroom,, the fear of dancing, the joy of a kiss - all the highs and all the lows." It's in both those highs and lows where Somewhere comes alive. Laura Colwell's voice is mesmerising throughout, and while the record is a document of falling in love, there's still room for her to wilt and linger, the vibrancy of the production creating beautiful contrasts for her voice to pull us through. Opening track 'Bad With Time' sets this tone from the outset, both dark and mysterious, sad and sultry as it fascinatingly unrolls. "I didn't mean what I said," Colwell sings. "But I wanted you to think I did." Somewhere showcases a gentle but eminently pronounced maturation of Sun June's sound, a second record full of quiet revelation, eleven songs that bristle with love and longing. It finds a band at the height of their collective potency, a marked stride forward from the band that created that debut record, but also one that once again is able to transport the listener into a fascinating new landscape, one that lies somewhere between the town and the city, between the head and the heart; neither here nor there, but certainly somewhere.
Somewhere Between: Mutant Pop, Electronic Minimalism & Shadow Sounds of Japan 1980–1988 hovers vibe–wise between two distinct poles within Light In The Attic’s acclaimed Japan Archival Series—Kankyō Ongaku: Japanese Ambient, Environmental & New Age Music 1980–1990 and Pacific Breeze: Japanese City Pop, AOR & Boogie 1976–1986. All three albums showcase recordings produced during Japan’s soaring bubble economy of the 1980s, an era in which aesthetic visions and consumerism merged. Music echoed the nation’s prosperity and with financial abundance came the luxury to dream.
Sonically, Somewhere Between mines the midpoint between Kankyō Ongaku’s sparkling atmospherics and Pacific Breeze’s metropolitan boogie. The compilation encompasses ambient pop, underground electronics, liminal minimalism and shadow sounds—all descriptors emphasizing the hazy nature of the nebula. Out–of–focus rhythms wear ethereal accoutrements, ballads are shrouded in static, and angular drums snake skyward on transcendent tones. From the Avant–minimalism of Mkwaju Ensemble and Yoshio Ojima, to the leftfield techno-pop of Mishio Ogawa and Noriko Miyamoto (featuring members of YMO), and highlights from the groundbreaking Osaka underground label Vanity Records, these are blurry constellations defying collective categorization.
These tracks also exist in a space of transition when the major label grip on the Japanese recording market began to give way to the escalation of independents. Thanks to the idyllic economic climate and innovations in domestically–manufactured music gear, creators on the edges were empowered to focus on satisfying their artistic visions in the open headspace of home studios. While labels like Warner Music and Nippon Columbia explored new sounds through traditional channels, it was possible for Vanity, Balcony and other indie labels, not to mention self–released artists like Ojima and Naoki Asai, to publish their work via affordable media such as cassettes, 7" vinyl, and flexi–discs.
Expertly curated by Yosuke Kitazawa and Mark “Frosty” McNeill (dublab), Somewhere Between is a collection of music, much of it released for the first time outside Japan, that is bound more by energetic vibration than shared history, genre or scene. They are the sounds of transition and searching—a celebration of the freedom found in floating.
Note: The track “Days Man” by Yoshio Ojima is only available on the LP and Cassette versions.
IZIPHO SOUL RECORDS are thrilled to collaborate once again with Sound Of Superbad. If you thought ‘I Want ‘Cha’ was great, the bar has well and truly been raised with ‘Vibration’!
We are honoured to welcome Chicago-based singer extraordinaire Robert IMtume Owens. Robert’s rich and mellifluous voice, layered over Sound Of Superbad’s sophisticated production values are a match made in musical heaven.
On the B Side we present the ’S.O.S. Vibe Mix’, which is heavier on the percussion, with extra strings and synths; all are fuelled by Robert’s trademark soaring vocals.
