Buscar:vivid

Nach ihrem Auftritt auf der We Are Not Alone Pt. 9 Compilation präsentiert Sarah Sommers nun VIVID, ihre Solo-Debüt-EP auf BPitch - eine lebendige, kinetische Reise durch farbenfrohe Basslines, scharfe Percussions und lebhafte Atmosphären.

Die vom Planeten Pink stammende und in Berlin lebende Sarah Sommers hat mit ihren euphorischen, jenseitigen Livesets Dancefloors in ganz Europa und den USA zum Glühen gebracht. Seit sie in einer Spur von Glitzer auf der Erde gelandet ist, hat sie sich einen einzigartigen Raum geschaffen, in dem sie 90er-Jahre-Rave-Referenzen, dublastige Basslines und rohe Techno-Energie miteinander verbindet. Bekannt für ihren Old-School-Ansatz, bei dem nur Hardware zum Einsatz kommt, fängt diese Veröffentlichung sowohl die Körperlichkeit der Tanzfläche als auch die emotionale Energie ein, die über den Club hinausgeht. VIVID kanalisiert eine Reihe prägender Dancefloor-Erinnerungen - gefiltert durch einen ausgeprägten Produktionsinstinkt und durch die Vermischung von federnden Rhythmen mit rauen Texturen. Es bewegt sich auf dem schmalen Grat zwischen Funktion und Gefühl und fängt sowohl die rohe Energie der Tanzfläche als auch die emotionale Tiefe ein, die noch lange nachhallt.

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

Suburban Architecture continue their series of sought after 4 track EP releases with their 7th offering, 'Vivid'. This latest release once again draws heavily on influences from the jazzier, atmospheric strains of mid to late 90s Drum & Bass. Putting a contemporary spin on sounds rooted in this golden era of dance music, this new 4 track collection spans sounds from jazzy atmospherics to slightly harder edged sonics.

Opening track 'Vivid' sets the mood with atmosphere by the pound. Deep, melancholy keys drowned in reverb underpin cycling chimes and haunting vocal samples before giving way to a tearing drum track. 'Waiting' meanwhile is all about layers and texture. Lush textured vocals marry with atmospheric pads, shimmering arps and flutes before releasing into punchy, intricately programmed drums.

Over on the flip 'After All' is led by a powerful vocal refrain which carries lush pad work into crashing breakbeats and a bassline that delivers matching energy. 'Rising' closes out the release with a jazzy roller that continually shifts gears, from horn-laden atmospherics and complex drum arrangements to rowsing vocals and strings.

Composer and performer Stina Stjern have for over 25 years been a steady presence in the Norwegian music scene – starting out as a vocalist in the rock band Supervixen while studying jazz in Trondheim, Stjern’s road has been anything but predictable, and has over the years shown a will to experiment and explore new areas in her music making. Her new album ”Vivid Peace Restored” is perhaps her most radical musical statement yet, as the entire album is made using cassette tape. The sound sources vary from found sounds, various instruments and Stjern’s own voice, but there is no hierarchy, the different elements are given equal importance, and through considerate looping, layering, cut-ups, re-arranging the bits and pieces it forms a rich tapestry of sound. This blurring is intentional, Stjern wants us to get lost in her sound world, a place where nothing is forced or overstated. Tape hiss, subtle melody lines, distant location recordings, gentle waves of noise, and voices melt together creating lush soundscapes

As one of the most influential rock groups in the late eighties, Living Colour proved that blending Hard Rock with Funk, Soul, Rap and Punk can be a very successful undertaking. Their debut Vivid (1988) took some time to build up steam, but eventually turned heads worldwide as the sheer quality of this album inevitably rose to the surface. A combination of intelligent lyrics dealing with personal emotions and social/political issues, laid on top of eleven groovy and diverse songs enriched by Vernon Reid’s monster riffs is what makes Vivid a highly powerful album. Vivid spawned the hits “Glamour Boys” and “Cult Of Personality”, which was awarded a Grammy for Best Hard Rock Performance in 1989.

Available as a limited edition of 1000 individually numbered copies on
transparent pink coloured vinyl. The package includes an insert.

Die bekannteste ungarische Metalband der Welt kommt mit neuem, unberechenbarem Material zurück. "Vivid Black" bezeichnet nicht nur das bereits vierzehnte Studioalbum mit neuem Material von EKTOMORF, sondern ihr brutalstes und düsterstes jeher! Die Band beweist auch nach fast 30 Jahren Bestehen, dass sie intensiver, erbarmungsloser und ehrlicher klingen können als je zuvor.
Die Corona Pandemie hat ihre Spuren in der Welt hinterlassen. So auch bei Sänger Zoli Farkas. Aufgrund von Isolation hatte er mit Depressionen zu kämpfen, welche er auf dem neuen EKTOMORF Album verarbeitet. Geschrieben in nur drei Wochen (!) ballert sich dieser Hassbatzen direkt in die Gehörgänge und spendet auf eine obskure Weise jedem Trost, der während der Lockdowns ähnliche emotionale Schwierigkeiten hatte. Gleichzeitig ist "Vivid Black" eine persönliche Abrechnung mit alles und jedem die Hass schüren und Menschen zwingen etwas zu sein, was sie nicht sind und sein wollen.
Eben ein neues, ehrliches und wahnsinnig brutales Album von EKTOMORF. Seit bereit für die Zerstörung von "Vivid Black" - der Name ist Programm.

Bang on trend grooves from the Vivid camp, exploring the current fascination for all things that intersect both the garage and breaks genres. Lead track 'Wicked & Wild' is the one that leans furthest into UKG territory, its bumpy bassline and MC-style vocal giving it heaps of energy and attitude. Flip side instrumentals 'Push Past It' and 'Ronin' meanwhile, evoke the early 2000s spirit of breaksteppers such as Horsepower Productions, the latter especially maintaining the bassline pressure and adding it to the more hardcore vibe of rawer, sampled percussion. Maximum respect!

The Vivid label is yet another one from Burnski who also runs Constant Blanc and Instinct. He is s single handed garage hit making machine and he knows how to tap into the next gen, too. Here he calls upon Peaky Beats for a naughty and nasty three track affair that has retro feels but contemporary style. 'Can't Stop' opens up with a 2-step shuffle and steely hits, then 'Get Ready' gets more free and melodic with some boxing little melodic patterns and oscillating bass. Last of all is the most menacing and dark - 'Wildcat' flips into a dub wise swagger mid-way through that is going to blow up the clubs.

Clear Vinyl

Downwards’ deep bonds with NYC catalyse the debut LP by Jim Siegel’s Vivid Oblivion, a reveberating post-industrial salvo produced by adopted Brooklynite Karl O’Connor (Regis), and co-mixed by Anthony Child (Surgeon) and Simon Shreeve, who also mastered it. It’s a super deep, highly atmospheric beast somewhere between Valentina Magaletti’s most expressive percussion work, Bark Psychosis, and classic, moody 4AD, which is coincidentally referenced via the artwork, made by Chris Bigg - legendary graphic designer and longtime assistant to Vaughan Oliver.

Invoking the density, vertiginous scale, and dark grimy nooks of NYC, ‘The Graphic Cabinet’ was realised by Jim Siegel - hardcore legend and occasional/regular drummer with everyone from Raspberry Bulbs to Damo Suzuki and Boredoms, made in close collaboration with Karl O’Connor aka Regis during 2021.

Stemming from intently deep listening sessions immersed in LPs by Viennese aktionist Hermann Nitsch and the myriad eras of Killing Joke, while also absorbing the atmospheres of classic Tarkovsky flicks, the album began life as gonzo field recordings of Siegel smashing the f*ck out of his drum kit, zither, scrap metal and gongs in an array of abandoned warehouse spaces. The recordings formed the basis of Karl’s compound productions, which add depth charge bass and sonorous metallic atmospheres to the mix, along with birdsong and gibbon hoots, plus guitar textures by Nick Forté (Raspberry Bulbs, Rorschach) for a dread-lusting jag deep in the belly of the Big Apple.

With a palpable tang of rust and blood in the air and grime under the fingernails, the seven tracks evoke a resoundingly brutalist portrait of space and place. Siegel’s nervy percussive discipline is framed in alternating barometric and light settings from cut to cut, variously snaking from the poltergeist clang and haunted resonance of ‘Converging and Dissolving’ to slamming motorik thrum in ‘Oblivion’ via imaginative descent into cyberpunk simulacra of the city as jungle-at-night in ‘Remnant Corridor’, replete with animalistic atmospheres that recall Organum.

While the raw attack and devilish swerve of the rhythms are utterly fundamental to the record, Karl’s atmospheric content and the animist mixing magick of Anthony Child and Simon Shreeve most potently give flesh to its bones. Patently evident on the stepping pulse and searching zither that keens into detuned orchestration on ‘Immediate Possession’, the zoned-out klang of ‘Stand Aside’ or in the flooded warehouse chaos of ‘Test For Traps’. The attention to spatial, textural and proprioceptive detail is tightened throughout, peaking with ‘Bargemaster’, a dense slab of tension that sounds like Jon Mueller’s Silo recordings fed through The Caretaker’s fogged machinery.

It’s one of the most impressive records on Downwards for a long while, bound to gnaw and spark the nerves of experimental rock and post-industrial’s greats, anything from The New Blockaders to Faust, Flying Saucer Attack and into iconic Blackest Ever Black releases in the modern era.

Debütsoloalbum des renommierten Musikers Bobby Stoker. Bobby verbrachte er seine komplette Kindheit mit seiner Familie im Ausland. Schon früh war ihm klar, dass die Musik sein Leben ist. Seit dem Schulabschluss wagte der Künstler den Sprung und ist seitdem ununterbrochen im Musikbusiness tätig. Stoker hat u.a. mit Größen wie Bobby Kimball (Sänger von Toto) auf der Bühne gestanden, organisiert bzw. begleitet mit seinen Bands große Events und spielt seit Anfang der 90er Jahre jedes Jahr etwa 100 Auftritte. 1995 - 1996 wirkte Bobby bei dem Musical "Tommy" von "The Who" in Offenbach mit und gründete sein eigenes Tonstudio in Frankfurt am Main. Dort lernte er 1999 auch die Ausnahmesängerin Melanie Thornton kennen und schrieb Songs für ihr Debut-Solo-Album "Ready To Fly", das 2002 den Gold-Status und Platz 3 der deutschen Album-Charts erreichte. Ebenfalls 2002 gründete Bobby die Produktionsfirma "Vivid Music Productions" (V.M.P) für den Bereich Eventplanung. Bis heute hat sich "Vivid Music Productions" als Künstlerpool etabliert und führt rund 100 Events jedes Jahr durch. Seit 2018 ist Bobby Mitglied bei Go Music, der Tour-Band von ex Klaus Lage-Bassist Martin Engelien und spielt dort zusammen mit Ausnahme-Musikern, wie Pitti Hecht (Percussions - Scorpions), Cherry Gehring (Keyboarder - Pur), Benne Neuner (Drums - Glasperlenspiel) oder Dirk Brand (Drums - Axxis). Während der Pandemie gründete er sein eigenes Label und begann mit den Arbeiten zu seinem Soloalbum "Everglow" 12 eingängige Rock Songs entstanden, die mit einem gehörigen Schuss Blues & Soul versehen wurden. Als Studiomusiker begleiten ihn bekannte & etablierte Namen wie Willy Wagner (Fish/Marillion, Bobby Kimball, Tony Carey/Rainbow) am Bass und Sänger wie Oliver Hartmann und Ina Morgan von Avantasia, die den Part der Background Vocals übernahmen. Konzerte für Herbst/ Winter 2022 sind in Vorbereitung.

The latest from Burnski's Vivid label is a three way split, six track affair with Oldboy, Xander and Longeez each dispatching a pair of tunes in the label's trademark roughneck breakbeat style. - Oldboy kicks off proceedings with the speedy junglisms of 'Blackbird' before the chunkier, funkier and a little more traditionally paced breaks heft of 'Walrus Party'. Xander's 'If I Tell EM' and 'Get To The Point' both plays off two step rhythmic twists and menacing bass against dreamy synths and more breakbeaty flourishes, before Longeez closes proceedings with the slightly sparser 'Evermore' - super sharp hi hats and echoing rasta dialogue - and the appropriately spinback-peppered 'Wheel Up'.

Prolific London producer Lxury returns to the Lost Palms catalogue, this time with his second-ever solo long play - a honey-dipped journey through the rainbow colours of house music and its adjacent styles.

Living up to his name, no room is spared in Lxury's careful curation of full-bodied soundscapes which make for a truly immersive listening experience. Emotion-laden melodies and glistening pads grant permission for shameless self indulgence, whilst flickers of cooler, harsher tones add dynamism and depth. At times, this sounds like anthemic melodies, reverberating claps and sunshine-doused pads ("Motion" and "YT Storm"); at others, like mournful female vocals which are chopped and looped beneath a shuffling drum pattern ("Get Down On"). Elsewhere, highly-processed flutes and video-game-esque samples transport you to a neon speedway ("Ninja H2R Flyby") before industrial-sounding textures and down-tempo rhythms ease things to a blissful close ("Ride"). No matter where it is that Vivid Night Experience takes you, playfulness and warmth are guaranteed: two descriptors which have become synonyms with the Lxury's musical output.

Vivid Night Experience LP drops 29th April via Lost Palms

Since joining forces as Soul Mass Transit System a couple of years ago, Baby J and D Jason have released a wealth of club-ready 12" singles, many of which explore their love of vintage UK garage. This EP on Vivid is a little more eclectic but no less celebratory or peak-time ready. For proof, check saucer-eyed opener 'Set You Free', where giddy old school piano stabs, stretched-out sub-bass and spinetingling female vocal samples ride a rolling breakbeat, and the revivalist hardcore hedonism of the ludicrously bass-heavy 'Nah Nah Nah'. They doff a cap to their bassline roots on crunchy breakbeat roller 'Phat Booty', before drawing a fine EP toa close with the two-step-goes-Niche heaviness of 'Smoke'.

After some wicked EPs by Yosh, Etch and Tom Jarmey, here is some proper underground UK flavour courtesy of Burnski's Vivid imprint - a new sub label of Constant Sound. The latest one this week is by the enigmatic Tamoshi. On the A side, we have the snarling minimalist roller called 'The System' which is quite reminiscent of early DJ Krust. Over on the flip, hear a convincingly old school junglist stepper, the fittingly titled 'Darkside' that goes all the way back to '95. One for the heads.

Vivid does a fine line in breakbeat, techno and bass and has killer cuts from Borai and Tomashi in its discography. Now they look to Yosh who has two EPs ready for the label. This one kicks off with the rinsing old school jungle breaks of 'Bless', which is all dark energy and jerking rhythms. 'We Come In Pieces' is just as kinked with devastating drum programming, and 'Too Dread' gets a little more euphoric with its warm pads strewn over the top of the knotted bass and busy drums. Closer 'All Out' is another bit of pure dance floor bliss.

Nick Dunton has been involved with music since the early 90's and helped push the sound of UK Techno to it's very limits as one half of the 65D mavericks with Richard Polson (RIP). He has recorded and remixed for his own labels and many others and released music from the leading lights of the UK scene and beyond.

Exalt Records are pleased to release the first album from Nick Dunton under his Ever Vivid guise. These 12 tracks were recorded between 2003 and 2013 and reflect the most personal side of Nick's musical production, echoing around themes of movement, loss, bereavement and love.

Presented in a beautiful gatefold sleeve with original artwork and design from David Watson at Grid Pattern.

‘The Ultra Vivid Lament’ is the 14th studio album from Manic Street Preachers. It is both reflection and reaction - a record that gazes in isolation across a cluttered room, fogged by often painful memories, to focus on an open window framing a gleaming vista of land melting into sea and endless sky.

Musically ‘The Ultra Vivid Lament’ is inspired by a formative years record box (ABBA, post-Eno Roxy, the Bunnymen, Fables-era REM, Lodger) though the end result could only be the unique union of James Dean Bradfield, Nicky Wire and Sean Moore, collectively one of the UK’s most consistently brilliant rock’n’roll bands for over three decades.

They Say: “Contemporary scores for visual effect”.

We say: Synth-heavy, low-slung space-funk masterpiece.

The creator of the romping tunes that became the iconic themes to the BBC’s Grandstand programme and their televised Wimbledon Tennis Championship coverage, Keith Mansfield was perhaps KPM’s most prolific artist from the mid 1960s right the way through the 1980s. As well as the sort of pop orchestral sound that is all over these classic library records, he could also turn his hand to raw, edgy rock and funk. Quentin Tarantino is a big fan, going as far as including some of Keith’s work on the soundtracks to Kill Bill and Grindhouse.

This is it. This is THE ONE for us: Keith “The Man” Mansfield’s Vivid Underscores from 1977. A sample freak’s wet dream and one of Be With Rob’s favourite ever KPM records. A must for fans of Brian Bennett’s Voyage (yes, THAT good). And no, we’ve no idea either why it took us this long to get round to tackling this monster of a record. But then again some things are worth waiting for.

Attention! Calling all crate diggers, DJs, beat heads, Hip Hop junkies, MF DOOM fans! Behold! Vivid Underscores makes sampling easy. Prepare to be up all night, every night, chopping, looping and splicing these endless grooves and spacey synths. The highlights are too many and too mind-blowing so we’ll pull out a few particular highlights. Trust us, this library LP is just jaw-dropping.

“High Velocity” sets the tone with its aggressive horns, wah-wah guitars, funky baseline and wobbly synth refrain. So good and so hypnotic that Memphis Bleek just had to swipe the ominous, frazzled intro for “What You Think of That” featuring Jay-Z. Also, for real drama, the 1985 Lakers retrospective “Return to Glory” used it to soundtrack the footage from the legendary game five of the NBA finals at the Forum. Heady days. “Crash Course” - Stetsasonic horn refrain? Beautiful - jazzy chase-funk, amazing warm keys, percussion and funky horns - all action.

The more restrained “Matter Of Urgency” is an utterly amazing, brass-heavy underscore. The grandiose, uplifting “Dawn Of Aquarius” still sounds like the future with its tense, thundering drums, killer bassline and swirling synths. Version II loses the drums and percussion but is no less startling. “Staying Power” closes the first side with a relentless, pounding groove which *will* snap your neck. Be warned.

“Trucking Company” is a pacey, synth-and-string masterpiece and its accompanying parts (a–c) mess with the formula to great effect. Part (a) adds echo delay to really dazzle and part (c) plays the breezy, beautiful middle section without the tension. “Hot Cargo” and “Espionage” are both tense spy-funk themes par excellence. “Interplay” is a quiet killer, with flutes over a glistening piano refrain just waiting to be looped. The intro to the menacing “Omen” might’ve been sampled by 7L & Esoteric for their classic “So Glorious” but the entire 5 minute track is a mini-drama masterpiece, one only Mansfield could create.

Even though its a mix of short themes in-and-amongst longer, full-length tracks, Vivid Underscores is still thoroughly listenable from start to finish. That’s not something that can be said of all library records and it still manages to serve as rich resource to keep even the keenest samplers busy for a while.

As with all of our KPM re-issues, the audio for Vivid Underscores comes from the original analogue tapes and has been remastered for vinyl by Be With regular Simon Francis. And as usual, the sleeve reproduction duties were handed over to Richard Robinson, the current custodian of KPM’s brand ident

Yosh steps up on Vivid 01. 4 killer tracks for the floor. Rewind

Jungletrain resident Trainspotter debuts on Vivid’s first black label
series release. Spaced out ambient pads, noisescapes, and sparse
percussion take you far out and bring you to a place entirely new and
yet somehow familiar. This series is dedicated to individual, abstract
conceptualizations of the jungle / drum n bass landscape, exploring
freedom from formulaic beats while taking you to the fringe of
160-170+ bpm music. Fading Train EP is a truly unique take on this and excellent for bringing a sense of space to busy mixes.

Wex 003. A special double LP that that depicts the mind of the Dutch producer, Eversines. This album is his first release and explores much of the vast world of electronica. From ambient to techno and much in between this is a special album for both the dance floor and your home listening. For the rest we will let the music speak as let you explore the sounds. Be sure to grab this while you can as it will be a limited double LP press on 180 gram. Photography from label head, Marco Malpeso. Stay tuned with much more to come in 2019 and thank you to all who have supported us thus far.

Spanning over 14 tracks, the new Grimes album features collaborations with Janelle Monae and newcomer, Taiwanese rapper Aristophanes. It was recorded primarily in her home studio in Los Angeles, CA, where she relocated to in 2014. Like all of her previous albums, 'Art Angels' was written and recorded entirely as a solo endeavor. The new album features more live instrumentation than ever before on a Grimes record. She plays piano, guitar and violin, continuing her evolution as a musician and a producer for her most ambitious album to date.
LP - with 14 Exclusive Art Prints designed by Grimes and Download.
CD - With two bonus tracks to the LP.

Philipp Boss is a new cat to the scene but he is most definitely here to stay.
We're really happy to present his first long player titled BOSS'.
Expect nothing less then a future classic in house music history.

Following the premiere of their new documentary in London yesterday, BROCKHAMPTON have shared a new single. "J'OUVERT" is the latest offering from their major label debut album IRIDESCENCE out now via Question Everything/RCA Records. The single's accompanying visual is directed by Spencer Ford and was shot entirely with a thermal imaging camera, corresponding with the art direction of the group's forthcoming album. IRIDESCENCE is the first from a trilogy called The Best Years of Our Lives and arrives after the group recently returned home from an expansive European tour, where they spent time recording the album in London's iconic Abbey Road studios, with Australian and North American tours still on the way. Today, September 21st the group are live-streaming their show in Auckland, New Zealand on YouTube, where they will be performing IRIDESCENCE in-full for the first time.

hand-numbered clear mint vinyl LP in spray-painted sleeve limited to 200 copies (comes in different coloured sleeve, we cannot guarantee which one you will receive)

A lucid, dynamic, atmospheric trip through consciousness, incorporating an incredible range of texture, tone, and three-dimensional space. This is a glimpse into the most emotive, most personal of Dead Fader's extensive work. There are delicate moments of introspection, furtive agitation, and exuberance, all tightly interwoven into a singular, enthralling whole.

Boris Bunnik is no stranger in the worl d of electronic music. He released several albums and ep's under a variety of monikers since 2007 on labels like Delsin, Shipwrec, Frustrated Funk and his own Transcendent imprint. Fauxpas Musik welcomes him for a new project called Severnaya. Originally hailing from the Island of Terschelling, the most Northern and remote part of the Netherlands he now made a piece of music dedicated to this special place. Severnaya means north in Russian and refers to the bright frozen landscapes of the northern archipels. Boris often plays with the influences and elements of ambient in his music. If we have to believe the man himself, Polar Skies is his most personal sound trajectory to come from his mind. Drum programming is scarce and what remains is a lush and profound listening experience floating on scapes and melodies. We clearly hear his roots and intentions represented in the airy, tranquil sound design of this new album project. Things sound spacious, and life is at ease in these melancholic compositions. Crispy crackling percussions and icey pads place you in the midst of a resonant arctic landscape. You can hear influences drawn from producers like Biosphere, Pub, Brian Eno but we also hear more contemporary influences from modern day film composition but most of all we here Boris his own signature. The tracks were composed over a couple of years (2015-2017) in a more contemplative mindset. At some point this selection formed a consistent piece of music and as a result you hear his most personal and fragile works to date. Fauxpas Musik is proud to release this new project in 2018. written and produced by Boris Bunnik aka Conforce at the PasadenaOceanlab Studios Special thanks to family, friends and Fauxpas

FH10 marks Onirik's debut EP on his very own Finest Hour imprint. The A side, with Kaleidophon' and Vivid', carries the slightly darker and trippier sound recently embodied on his solo label, Garage Hermétique. On the flip, a more traditional stripped down deep house affair, an 11 minutes groover for the early hours, aligning perfectly with the label's aesthetics.

Top tip for Boards Of Canada fans! Gorgeous isolation wrapped in electric memories. 8-track electronica for homesick time travelers. 'Nothing Left To Abandon' is a slow rendering of brooding introspections and imaginary spaces. Memories, visions, eroded philosophies, tragedies in a few words. A childhood of livid skies, barren escarpments, homeless wastes. An absorbing contemplation of unlikely beauty and dusty melancholy that intersects with the creative territories of Vangelis, Boards Of Canada, Klaus Schulze, and Ulrich Schnauss, and the musings of Joe Frank and Robert Ashley. Clocolan is South African-born composer Emlyn Ellis Addison. A long formal training in music, his work centers on original writings and the found sounds of abandoned ideologies--generations of radicals and skeptics searching for meaning. From his childhood in South Africa--a landscape of neglected hinterlands, eroded topology, unconquered vastness--emerged clocolan's homesick, lo-fidelity electronica, expansive themes lost in the background noise of human affairs.

After teasing its release at SXSW recently, Kaytranada presents his highly anticipated debut album '99.9%' via XL Recordings. The album finds the Haitian born, Montreal raised producer delivering on the promise of his early self-released EPs and remixes. Since the age of fourteen, when he first began to DJ and when his brother introduced him to music production software, his output has been relentless. He explains, after he showed me the basics, from that day on I couldn't stop making beats,' pumping out a handful of tracks per day for the next couple of years.
Single releases like 'Drive Me Crazy' with Vic Mensa and 'Leave Me Alone' with Shay Lia soon spread his name like wildfire. With that release Kaytranada cemented his reputation and his sound, an undeniable swing of the drums comparable to Dilla's, a signature soulful touch in the melodies and a healthy dose of funky basslines.'99.9%' continues that tradition and new track 'Bus Ride', which features acclaimed percussionist / producer Karriem Riggins as well as rising Toronto vocalist River Tiber, demonstrates that Kaytranada has stayed within his canon while demonstrating growth on the new album.

Exploring the boundaries between Grime, IDM and Dubstep, this four-track EP is a worldwide first: The first vinyl release of Japanese Grime.

Repress incoming!

Following the success of two collaborative releases (EMC “The Show”/2008 and Ace & Edo G “Arts & Entertainment” /2009), Masta Ace joins forces with the metal faced MF Doom for Son of Yvonne, a highly personal concept album that celebrates the life and legacy of Ace’s recently departed Mother. Like his 2004 landmark Disposable Arts, Son of Yvonne is meticulously constructed with stories, settings, and characters that resonate with flesh and bone humanity. Interstitial vignettes provide a thematic backbone to the experience, and each track complements and completes the previous to form a narrative whole: a sometimes visceral, sometimes nostalgic slice of Ace’s young life in Brownsville, Brooklyn. Entirely underscored by MF Doom’s iconic Special Herbs instrumentals, Son of Yvonne features the Juice Crew general Big Daddy Kane, new comers Pav Bundy (The Bundies), Reggie B and even MF Doom on the mic. It’s Masta Ace’s no frills flow, however, that looms largest above the dusty samples and digger loops that define Doom’s production. Ace’s photo-realistic rhymes about stick-up kids, spraycan artists and wack emcees add extra gravity to his already celebrated reputation as “truly an under-appreciated rap veteran and underground luminary” (Allmusic Guide). Like Eminem recalls in his 2008 autobiography The Way I Am, “Masta Ace had amazing storytelling skills. His thoughts were so vivid.” TRACKLIST: A1. DJ Ski's Intro A2. Ninteen Seventy Something A3. Son Of Yvonne B1. Da Pro B2. Store Frontin B3. Me & My Gang B4. Crush Hour feat Pav Bundy C1. Think I Am feat Big Daddy Kane & Mf Doom C2. Fresh Fest Reggie B C3. Hoe-Tel-leftovers C4. Slow Down D1. Home Sweet Home feat Pav Bundy D2. Dedication D3. I Did It D4. In Da Spot feat Milani The Artis D5. Outtakes

A few words for the album
Moment’s Aeternity:
a 12/8 composition celebrating the raw power of the “moment”, marked by whirling improvised moments between drums, bass clarinet and Harris P’s Armenian duduk.

Pajko, fire in the forest on the mountain:
in Sokratis own words: “I have a really vivid memory as a child. I was staring at the Djena mountain from my window in Archangellos which sits on the Pajko mountain. A little beam of light shone far in the horizon; it was a fire that in my little eyes looked as if the giants of Almopia were trying to communicate with each other using phryktoria (a way of contacting through fire in Ancient Greece).”

Footprints of some Giant Steps:
While the classic compositions of two true Jazz Giants- Wayne Shorter and John Coltrane- are certainly different, they do both connect in a mystical way. Rearranged in 5/8 combining half of each melody and half of each one’s chord progression, keeping the form of the piece for improvisation, still in 5.

Oson Zeis Fainou (Seikilo’s Epitaph):
found in a tomb stone in the Northeast of Greece, this is the only melody saved from the ancient times. It is accompanied by lyrics contemplating the meaning of life:
Ὅσον ζῇς φαίνου
μηδὲν ὅλως σὺ λυποῦ πρὸς ὀλίγον ἐστὶ τὸ ζῆν τὸ τέλος ὁ xρόνος ἀπαιτεῖ.
‘’While you live, shine
don’t feel blue for anything because our life is short and time demands an end.’’

Here is to Oghene K:
’’Hey man, where is the groove?’’, he would say, just to trigger another wave of inspiration for Sokratis. Oghene was a true force of nature, a well of kindness, a masterful artist that left this world too early. This one is for him.

Balkan Riff (for Milcho Leviev):
Milcho Leviev (1936-2019), was a long-time friend and collaborator and a true inspiration for expression, creativity and colorfulness. Expressing the deep sentiments evoked by the Balkan sound and history, this is a sorrowful dialogue between bass clarinet and contrabass.

Spirits of Djena:
one of the most esoteric and personal moments of the album. Composed and recorded during the challenging times of the COVID-era, you can hear the baritone and tenor saxophone firmly grounded on a crispy, hypnotizing contrabass groove.

Sokratis Votskos Quartet
Kostas Anastasiadis / Giorgos Klountzos - Chrysidis: Drums
Leandros Pasias: Piano
Vaggelis Vrachnos: Contrabass
Sokratis Votskos: Soprano Saxophone, Bass Clarinet and Compositions


Sokratis Votskos is a jazz saxophonist, clarinetist, composer, educator, and bandleader from Greece. Deeply invested in unearthing the folk sounds and heritage music of Greece and Eastern Europe, he weaves these into modern jazz compositions though the use of melodies, polyrhythms, and his reedy, timeless tone. He leads the Sokratis Votskos Quartet, he is one half of Kolida Babo and member of the Reggetiko Project. A highly regarded sideman and ensemble player, he has worked extensively with renowned jazz musicians with several highly acclaimed releases (MiC, Jazzman, Walt Disney and now Fair Weather Friends Records).

He has performed his music in numerous venues and festivals worldwide from Vinterjazz in Copenhagen, to the EFG London Jazz Festival where he performed at the legendary Ronnie Scott’s alongside Greg Foat.

He is also an archaeoacoustics researcher and enthusiast, having completed his Master studies on the field of ancient ritualistic caves of Greece research.

Leandros Pasias was born in Thessaloniki, Greece. At age 10 was introduced to piano, continuing his studies at the Modern Conservatory of Thessaloniki and later at the Conservatorium van Amsterdam in the department of jazz piano.Ηe holds a classical harmony diploma and a BA at the Department of Music Studies at the Aristotle University of Thessaloniki. In 2020 he received jazz improvisation lessons from Aaron Parks.

With a series of appearances in multiple international jazz festivals, Leandros has collaborated with a wide range of musicians from Nicolas Masson and James Wylie to Marina Osk, Ivo Papasov and Haris Lambrakis, among others.

A member of the Yako Trio, he released “OdesSea” on Fair Weather Friends Records (2021).

Vangelis Vrachnos was born in Thessaloniki, Greece, in 1989. While he started playing the bass at the age of 12, alongside his brother, his studies would commence a few years later. Introduced to double bass at the age of 23, he undertook jazz double bass studies at the Codarts Αcademy of Rotterdam. He has participated in several festivals such as the Technopolis and Odessa international jazz festivals. Since returning to his hometown, in 2015, he has been a founding member of Mordana and Yako Trio and has collaborated with a series of musicians like James Wyllie, Sokrates Votskos and Dimitis Agelakis, among others.

Kostas Anastasiadis is a tireless researcher, that has been diligently studying Tradition and its evolution, creating a fresh amalgam of sound moods. His mature improvisational virtuosity highlights a uniquely individual artistic expression and was recognized with the ̈Unique Individual Stylist" award by the PIT (Percussion Institute of Technology) in Los Angeles, California. He has been associated with various ensembles that have garnered significant interest in the global music scene. As an educator, he is the founder of "The Harmony of Rhythm" musical method, which aims to explore and establish the elements that constitute the concept of rhythm.

Giorgos Klountzos-Chrysidis was born in Thessaloniki in 1991. Following studies at the Modern Conservatory of Thessaloniki, he moved to France and the Conservatoire de Nice. With performances at well-known festivals like Nice Jazz Festival, Nuits du Sud and Jazz à Vienne, he had the opportunity to meet the American drummer Leon Parker, who encouraged him to move to Paris, where he spent the next two years under his tutoring and guidance.

In 2016, came a defining moment in his career as he traveled to New York for the first time. He participated in the quartet of saxophonist Diego Rivera for a series of performances and attended lessons by Rodney Whitaker and Randy "Uncle G" Gelispie at Michigan's State University.

Collaborations include Xavier Davis, Ricky Ford, Nicolas Masson, Diego Rivera, Craig Bailey, Baptiste Herbin, Marc Abrams, Pantelis Stoikos, Antonis Anissegos, David Lynch, Ziad Rajab and Ivo Papasov, among others.

When a Russian missile struck the ground not far from my studio in Kyiv, I vividly remember how my body reacted to the explosion, milliseconds before my mind did. That traumatic explosion reduced my essence to a primal state. There existed nothing but dread—the kind that, in scripture, accompanies the appearance of angels announcing, ’Be not afraid’.

The visions of Abbess, composer and mystic Hildegard von Bingen were preceded by bright, excruciating flashes of light. Modern medicine reduces them to cluster migraines, one symptom of which is the retinal aura, often accompanied by blurred vision and blind spots. Hildegard’s music can place great demands on the bodies of its performers, emphasizing uncomfortable intervals and the wide distance between the lowest and highest pitch. In comparison, Gregorian chant, the liturgical standard of the time, represents a tempered attempt to grasp God intellectually; indeed, Hildegard’s music was once described as a stick of dynamite thrown into a Gregorian chant.

This album is not a historically informed performance. Hildegard’s persona and music are a starting point—a distant mirror, akin to the shield of Perseus, used to reflect Medusa. It allows us to reflect, comprehend, externalise, and transcend traumatic wartime experience, reinstating the embodied origins of Christianity, which contained suffering but also offered the promise of transcendence. Andriana-Yaroslava Saienko emphasises this physical aspect of Hildegard’s music by drawing on authentic Ukrainian folk singing, a form that survived despite efforts by the Soviet occupation to replace it with a simulacrum that is naive, harmless, and devoid of contradictions—an attempt to ‘civilise’ the body by disembodying it.
The musical approach is also informed by my ongoing practice of reimagining early music in modular synthesis. I accompany Andriana-Yaroslava’s fiery singing with drones—extended sounds that also occurred in medieval music. The drones alternate with improvisations, one taking its starting point in medieval polyphony, the other working with the concept of the interchangeability of sound and light, referring both to Hildegard’s visions and the space in which we recorded the album: the Cistercian abbey of Sylvanès in Occitania, known for contemporary stained glass windows whose patterns reference the dispersion of acoustic waves inside the church.


The album features two compositions by Hildegard von Bingen: O Ignis Spiritus Paracliti (O Fire of the Spirit and Defender), dedicated to the Holy Spirit, and O Tu Suavissima Virga (O Sweetest Branch), in honour of the Virgin Mary. Both pieces are performed radically slower than usual, expanding in time and space. On vinyl, the compositions are designed to reflect one another and can be listened to in either order. In the digital edition, there is a bonus track titled Zelenaia Dubrovonka (The Green Oak Grove). Based on a Ukrainian folk song from the Polissia region, Andriana Yaroslava adapted the lyrics to reflect our contemporary reality. The green oak grove does not rustle with the wind; instead, it resonates with a different sound—perhaps the missile that struck near my Kyiv studio.

NEIL ARDLEY – KALEIDOSCOPE OF RAINBOWS The Definitive 2LP Reissue of a Landmark in British Jazz Fusion
Analogue October Records proudly presents the long-awaited reissue of Kaleidoscope of Rainbows, Neil Ardley’s 1976 masterpiece, originally released on Gull Records. Produced by Neil Ardley and recorded at London’s famed Morgan Studios, the sessions were engineered and mixed by Martin Levan, capturing one of the most ambitious and beloved works in British jazz. Following the acclaimed reissues of Courtney Pine’s Journey to the Urge Within (AOR-001-ST) and Neil Ardley’s Harmony of the Spheres (AOR-002-ST)—both praised by the audiophile press including The Tracking Angle—this third release confirms Analogue October as one of today’s most meticulous and exciting reissue labels.
A Suite of Sound and Colour
Commissioned for the 1975 Camden Jazz Festival, Kaleidoscope of Rainbows is structured as a seven-part suite, each movement reflecting a colour of the spectrum. Ardley’s composition weaves together jazz improvisation, progressive rock energy, and orchestral elegance in one of the most imaginative British jazz recordings of the era. Featuring Ian Carr, Barbara Thompson, Tony Coe, Trevor Tomkins, and Geoff Castle, the album is a who’s who of the UK’s vibrant 1970s jazz scene.
Cut at Abbey Road, Pressed at Record Industry
For this definitive edition, Analogue October worked directly from the original Gull master tapes. Mastering was entrusted to Miles Showell at Abbey Road Studios, using his renowned half-speed process to extract every detail and dynamic from Ardley’s score. To give the music the headroom it deserves, the reissue has been expanded to a deluxe 2LP set, pressed on the highest-quality vinyl at Record Industry in Haarlem, Netherlands. The result is a presentation that finally does justice to the scope and brilliance of Ardley’s vision.
Deluxe Package – Restored from the Source
The artwork has been meticulously restored from the original film elements, ensuring a sleeve of unmatched vibrancy and fidelity. Inside, a 12-page booklet printed on heavyweight card features an in-depth essay on Neil Ardley and the making of Kaleidoscope of Rainbows, written by Jazzwise magazine editor Mike Flynn, alongside rare photographs from the period.
Curated and Produced by Craig Crane
As with every Analogue October release, Kaleidoscope of Rainbows has been curated and produced by label founder Craig Crane with a collector’s eye for detail and a deep respect for the music’s legacy. This reissue is not only the definitive vinyl edition of one of the great British jazz fusion albums—it also continues the label’s mission to restore and celebrate the most vital recordings of the era.
Neil Ardley’s Kaleidoscope of Rainbows—vivid, expansive, and timeless—returns as the essential edition for audiophiles and jazz lovers alike.
Retail-ready product description (short form):
Produced by Neil Ardley and recorded in 1976 at London’s Morgan Studios, engineered and mixed by Martin Levan, Kaleidoscope of Rainbows is a cornerstone of British jazz fusion. This definitive 2LP reissue, mastered at Abbey Road by Miles Showell from the original Gull master tapes and pressed at Record Industry (NL), finally gives the music the dynamic headroom it deserves. The deluxe edition includes restored artwork and a 12-page booklet featuring an in-depth essay by Jazzwise editor Mike Flynn.