Die mit einem GRAMMY ausgezeichnete Singer/Songwriterin und Multiinstrumentalistin Amanda Shires meldet sich mit Nobody's Girl zurück. Produziert von Lawrence Rothman und aufgenommen in den Sound Emporium Studios in Nashville, ist das neue Album Amandas bisher stärkstes Werk. Nobody's Girl ist eine Reise durch Herzschmerz, Verlust, Widerstandskraft, Selbstfindung und Ermächtigung. Auf dem Album sind Amandas ergreifender Gesang und ihre unverwechselbare Fiddle zu hören, untermalt von sorgfältig ausgearbeiteten Songs, die von ergreifend rauen Balladen bis zu rockigen Hymnen reichen.
Der Salzburger Musiker Thelema ist während der Suche nach einer Stimme für seine Klangkompositionen nur per Zufall auf R o n i a gestoßen. Sofort war klar, dass hier eine musikalische Seelenverwandtschaft besteht und gar nicht viel geredet werden muss. Denn die Musik beider lebt von Stille, von den Pausen und den Tönen zwischen den Tönen. Thelemas in ihrer Reduktion aufs Wesentliche erstaunlich facettenreichen und verspielten Kompositionen lassen sich nie festnageln und unterstreichen die mysteriöse und fantastische Aura von R o n i as Texten und Gesang.
Reissue des dritten American Football-Albums aus 2019 auf hellblauem Vinyl samt Download-Code. Nachdem die Band auf ihrem sensationellen Debütalbum 1999 die beiden ungleichen Geschwister Emo und Post-Rock miteinander verband, was sie auf dem 2016er Nachfolger "LP2" fortsetzte, entwicklete sie ihren Sound auf "LP3" in Richtung Shoegaze. Zu den markantesten Tracks gehören die Kollaboration "I Can't Feel You" mit Rachel Goswell von Slowdive, das eingängige "Uncomfortably Numb" mit Hayley Williams von Paramore sowie der Song "Every Wave To Ever Rise" mit dem französisch eingesungenen Part von Elizabeth Powell (Land Of Talk).
High Focus Records is delighted to announce the return of Verbz & Mr Slipz on ‘THE WAY FWD’, the anticipated full-length follow up to their 2019 LP ‘Radio Waves’.
An album fuelled by evolution, ‘THE WAY FWD’ pays respect to the signature sonics that are synonymous with the duo; the dust laden, sample driven boom bap energies are present throughout, with a greater focus on arrangement, form and musicality this time around.
Sourcing from the many adventures both Verbz & Slipz have been on in the five years separating the 2 x LPs; experiments across genres and BPMs informing the direction of travel before they completed the circle, ‘THE WAY FWD’ combines new spirit with a dizzying timelessness; Slipz’ sophisticated brushstrokes informing Verbz’ penmanship across 12-tracks of true introspection.
With features from Cappo, Cam Thomas and additional vocals from India Shan, ‘THE WAY FWD’ has all the makings of a classic release, especially if it ends up being Verbz & Mr Slipz’ last collaborative contribution to the genre…
Die erste Veröffentlichung des achtzehnten Albums der Melvins unter dem Namen „Melvins Lite“ erschien ursprünglich am 5. Juni 2012. Es war das erste, auf dem eine der alternativen Besetzungen der Melvins mit Trevor Dunn am Kontrabass zu hören war.
Frontmann Simon Neil erklärt:
„Futique ist eine Reise durch Gedanken, Dinge und Beziehungen, die über die Zeit hinweg existieren – wir wissen nie, wann wir etwas zum letzten Mal tun. Und genau darin liegt eine gewisse Schönheit, aber auch eine Traurigkeit. Was wird dein Futique sein?“
Der Titel basiert auf Simons Überlegungen, wie sich unsere Erinnerungskultur im digitalen Zeitalter verändert hat. Früher klebte man seine Lieblingsfotos sorgsam ins Album, heute sind sie als endloser Strom aus Bildern in Sekunden auf dem Smartphone abrufbar.
Diese Reflexion rief Erinnerungen an Menschen seiner Jugend wach, an Dinge, die er heute vermisst – aber noch spannender war die Frage: Was werde ich in der Zukunft vermissen, das mir heute wichtig ist? Ein Gedanke, der ihn besonders während der Tour 2023 mit seinem experimentellen Metal-Projekt Empire State Bastard beschäftigte.
Er reiste gedanklich zurück zu den Anfängen mit seinen Bandkollegen James und Ben Johnston, zu holprigen Nirvana-Covers im Garagen-Proberaum im zarten Alter von 15 Jahren, zu Festivalbühnen, auf denen sich das Publikum bis zum Horizont erstreckte, und zu all den kleinen Dingen, die alles bedeuten. Insider-Gags, endlose Gespräche, stilles Einvernehmen, das lauter spricht als jedes Wort.
Wie in jeder langjährigen Beziehung gab es auch bei Biffy Höhen und Tiefen. Aber sie haben gelernt, das zu pflegen, was sie immer zusammengehalten hat: eine tiefe, unverbrüchliche Liebe – zueinander und zur Musik. Biffy Clyro gegen den Rest der Welt: ein sehr persönliches Narrativ, das trotzdem universell anfühlt. Denn Hand aufs Herz – wer vergisst im Strudel des Alltags nicht manchmal, wie wertvoll das Hier und Jetztist?
Frontmann Simon Neil erklärt:
„Futique ist eine Reise durch Gedanken, Dinge und Beziehungen, die über die Zeit hinweg existieren – wir wissen nie, wann wir etwas zum letzten Mal tun. Und genau darin liegt eine gewisse Schönheit, aber auch eine Traurigkeit. Was wird dein Futique sein?“
Der Titel basiert auf Simons Überlegungen, wie sich unsere Erinnerungskultur im digitalen Zeitalter verändert hat. Früher klebte man seine Lieblingsfotos sorgsam ins Album, heute sind sie als endloser Strom aus Bildern in Sekunden auf dem Smartphone abrufbar.
Diese Reflexion rief Erinnerungen an Menschen seiner Jugend wach, an Dinge, die er heute vermisst – aber noch spannender war die Frage: Was werde ich in der Zukunft vermissen, das mir heute wichtig ist? Ein Gedanke, der ihn besonders während der Tour 2023 mit seinem experimentellen Metal-Projekt Empire State Bastard beschäftigte.
Er reiste gedanklich zurück zu den Anfängen mit seinen Bandkollegen James und Ben Johnston, zu holprigen Nirvana-Covers im Garagen-Proberaum im zarten Alter von 15 Jahren, zu Festivalbühnen, auf denen sich das Publikum bis zum Horizont erstreckte, und zu all den kleinen Dingen, die alles bedeuten. Insider-Gags, endlose Gespräche, stilles Einvernehmen, das lauter spricht als jedes Wort.
Wie in jeder langjährigen Beziehung gab es auch bei Biffy Höhen und Tiefen. Aber sie haben gelernt, das zu pflegen, was sie immer zusammengehalten hat: eine tiefe, unverbrüchliche Liebe – zueinander und zur Musik. Biffy Clyro gegen den Rest der Welt: ein sehr persönliches Narrativ, das trotzdem universell anfühlt. Denn Hand aufs Herz – wer vergisst im Strudel des Alltags nicht manchmal, wie wertvoll das Hier und Jetztist?
Chers legendäres Live-Album "The Farewell Tour" feiert 22 Jahre nach seiner ursprünglichen Veröffentlichung ein spektakuläres Comeback und erscheint erstmals auf Vinyl und digitalen Streaming-Plattformen.Die Doppel-LP wird auf hot-pinkfarbenem und lilafarbenem Vinyl erhältlich sein und enthält eine remasterte Version des Originalkonzerts. Zusätzlich zu den ursprünglichen 18 Songs der CD-Veröffentlichung beinhaltet die Kollektion drei bisher nur auf dem Konzertfilm enthaltene Bonus-Tracks: „Save Up All Your Tears“, „We All Sleep Alone“ und „Different Kind of Love Song“.Das Album nimmt die Hörer mit auf eine faszinierende musikalische Reise durch Chers einflussreiches und einzigartiges Werk. Es präsentiert kraftvolle Live-Performances von Hits wie „Believe“, „If I Could Turn Back Time“, „Just Like Jesse James“ und „All Or Nothing“ und repräsentiert jede Facette ihrer kreativen Karriere – von ihren klassischen Alben bis hin zu ihrer Arbeit für Film, Fernsehen und Theater. Diese Neuauflage ist nicht nur für Sammler ein Muss, sondern auch eine Würdigung von Chers phänomenaler Karriere und ihrem unvergleichlichen Einfluss auf die Popkultur.
Shhh. The command to be quiet is not just part of the title of one of the two sprawling compositions on this pioneering album. It's also an apt metaphor for the relaxed hypnotism and spaced-out atmosphere that define In a Silent Way, a record that pushes the boundaries of studio possibilities, artist-producer relationships, and rock-jazz chasms. Recognized as Miles Davis' first full-on fusion effort and part of his "electric" era, the 1969 landmark claims a Who's Who line-up that sends the music into an ethereal stratosphere.
Mastered from the original master tapes and pressed at RTI, this unsurpassed 180g LP edition lifts the veil on the cutting-edge assembly process that created the pair of lengthy suites. Helmed by three electric instruments, the bevelled compositions melt away all preconceived notions of "jazz," ˜rock," and "ambience," following a loose theory Davis dubbed "New Directions."
Few albums are so delicately textured. And on Mobile Fidelity's meticulous reissue, such sulcate elements pour over ink-black backgrounds on a canyon-wide soundstage. In particular, Tony Williams' inventive percussive touch – he causes the cymbals to shimmer as a pieces of silver tend to do when exposed to sunlight – is broadcast with lifelike three-dimensional qualities, the panoramic view extending to Davis' nocturnal trumpet, Wayne Shorter's ribbon-unfurling saxophone, Dave Holland's extrapolative bass, and the mosaic of keys.
If the record's only accomplishment is its introduction of guitarist John McLaughlin to the world, it alone would be enough. Yet In a Silent Way continues to bedazzle, puzzle, and inspire for myriad reasons – not the least of which is the seemingly telepathic communicative methods employed by the group's members. The line-up is great on paper, but, if it's even possible, the octet sounds even better in practice, with the instruments and tonalities conjoining in avant-garde communion like hyper-sensitive tentacles exploring the stippled landscapes of an undiscovered planet.
Diverting from expectation, tubular grooves twist, turn, and spin, sometimes piling atop of each other, always shying away from structure and melody. Ellipsoidal solos provide hesitant guidance, ranging from Chick Corea's Fender Rhodes phrases to Davis' decorative spirals. And as colour is the primary unit of currency on Davis' Sketches of Spain, laid-back episodes, geometric spaces, and quiet sensuality reign here, with the set's maverick reputation attained via musings on solitude rather than explosions of noise.
Controversial for the period, the heavily edited production of In a Silent Way blew open the once-locked doors on what producer's could attempt – and how artists could assist them. Knitted together as one would construct a cross-hatched quilt, songs contain grafts of repeat passages that provide unifying structure and experimental continuity. What a statement.
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Essential Liverpool psychedelic folk collective mapping their territory with a record rooted in place and memory.
For fans of: CSNY, Tim Buckley, Talk Talk, The Byrds, Sufjan Stevens and Love.
Like Tame Impala doing Nick Drake covers.
Professor Yaffle have created their most focused and expansive work yet. Following acclaimed previous releases, ‘Everyone Wants to Dream’ finds the band at their creative peak.
The album turns on Everton Brow - an unremarkable Liverpool hill offering the city's finest view. Rogers returns to this vantage point throughout eight tracks, using it as both setting and metaphor for looking back on life without nostalgia. From here, you can see the Mersey stretch toward Snowdonia, the city spread below like a living map.
'Lost in a Dream (On Everton Brow)' weaves Lee Roger’s lyrics as an eighteen-year-old lyrics with newly composed music. 'Everyone Wants to Dream' confronts the disorientation when your children grow and your role shifts. 'On Top of the World' becomes what Rogers calls 'a stoned love letter to Liverpool'.
This is Professor Yaffle's first release with Violette Records, marking the beginning of a partnership between two Liverpool entities who've circled each other for years before finding their moment.
Featuring a 1979 Karl Hughes photograph of a policeman surveying Liverpool from Everton Brow, capturing something essential about the record: that those who maintain order might dream the biggest dreams of all.
"Songs that speak clearly about things that are difficult to articulate - the changing nature of purpose, the ways we dream our fears away, the view from unremarkable hills."
Because sometimes you need to be above it all to see what's been right in front of you.
Black Truffle is pleased to announce Melopea, presenting two new pieces highlighting the incredible voice of Amelia Cuni (1958-2024), the great Italian singer, based in Berlin in later life, whose mastery of the classical Indian dhrupad developed in parallel with a commitment to contemporary experimental approaches. After two stunning archival releases documenting traditional dhrupad performances in India in the 1990s (BT079 and BT092), the two side-long pieces here embody the freedom with which Cuni explored new contexts and settings for her singing.
Both make use of a long recording of Cuni singing the pentatonic Raag Bhoop (or Bhopali) made in 2012 by her partner Werner Durand in Berlin. ‘Melopea’ began from Cuni and Durand’s superimposition of this recording with violinist Silvia Tarozzi and cellist Deborah Walker’s performance of Éliane Radigue’s ‘Occam River II’. Inspired by the beauty of this chance encounter (and other experiments with non-synchronous collaboration during the pandemic years), Tarozzi and Walker recorded independently, without hearing Cuni’s voice but ‘having her present in memory’. Tarozzi and Walker’s bowed strings places Cuni’s magisterial performance in a new context, emphasising, as Radigue commented upon hearing the initial layering of her piece with Cuni’s voice, a shared ‘searching toward the partials, overtones, these natural constituents of acoustical sounds in their richness’. Beginning with whispered bowed harmonics, the violin and cello swap the stability of dhrupad’s traditional tanpura drone for a slowly evolving, uneasy web of harmonic interactions recalling some of Harley Gaber’s work, sometimes sitting on dissonances for long periods or allowing changing interference patterns to come to the fore. Primarily focusing on her lower register, Cuni’s performance demonstrates her mastery of microtonal pitch subtleties, elegant sweeping glissandi and meditatively unhurried pacing.
The continuation of the same recording by Cuni forms the foundation of ‘Bhoop-Murchana’, with Anthea Caddy on cello and Werner Durand on soprano saxophone. In contrast to the randomised layering of the first piece, here Durand and Caddy have carefully selected pitches based on the raag Cuni sings, using the ‘Murchana’ form, which uses the constituent notes of the raag as tonics of new raags, retaining the same interval structure. Both players who have developed tones of striking depth and harmonic purity on their instruments, Caddy and Durand’s patient long tones are simultaneously rigorously grounded in the physical properties of sound and possessed of an immaterial, floating quality. Combined with Cuni’s voice and, near the piece’s end, her contributions on hammered and plucked tanpura, the effect borders on miraculous. To surrender to this music is like slipping into an onsen pool, feeling the instantaneous release of every tension. Accompanied by liner notes from Durand, Tarozzi and Walker, Melopea is both a moving tribute to the profound art of Amelia Cuni and, for the uninitiated, a perfect introduction to it.
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In for the Kill! is the fourth studio album by Welsh rock band Budgie. It was released through MCA Records in May 1974.
The album includes the song "Crash Course in Brain Surgery," originally released in 1971
as a single and was included on their self-titled debut album.
The song was covered by Metallica for their 1987 EP The $5.98 E.P. - Garage Days Re-Revisited,
while the album's title track was covered by Van Halen during the group's club days
• nicht nur Blues - es ist ein Aufschrei.
• 2025 wird Trout sowohl im Sommer also auch im Oktober auf Deutschland Tournee sein.
• Umfassende Online-Kampagne über Facebook/Instagram, YouTube und alle wichtigen Webseiten.
• ’Sign Of The Times’ ist Walter Trouts Statement zur Lage der Welt
Walter Trout - Sign Of The Times
Große Künstler sind immer am Puls der Zeit. Der unverwüstliche Blues Gitarrist Walter Trout hat in dem halben Jahrhundert in dem er auf den Bühnen dieser Welt steht, seinen Fans nie gesagt, was sie denken, wie sie fühlen, wo sie politisch stehen oder was sie auf ihre Protestplakate kritzeln sollen.Aber in einer Zeit, in der sein Heimatland - und die ganze Welt - an den Fronten des modernen Lebens zerreißt, ist das neue Album mit dem Titel 'Sign Of The Times' ein Urschrei und ein Druckventil, das wir alle dringend brauchen. „Ich wollte die Wut und die Angst, die in der Welt vor sich geht, zum Ausdruck bringen“, erklärt der 74-Jährige. "Für mich ist das Schreiben dieser Songs eine Therapie. Sie handeln nicht nur von dem, was da draußen passiert, sondern auch davon, wie es sich in deinem Kopf auswirkt. 'Sign Of The Times' war einfach der naheliegende Titel..."
Sign Of The Times erscheint am 5. September bei Artone / Provogue
The Marshall Mathers LP turns 25. To celebrate, a new edition of Eminem’s groundbreaking album arrives with two live bonus tracks: “The Real Slim Shady” and “The Way I Am,” captured at the 2000 MTV Video Music Awards.
Iconic, uncompromising, and more relevant than ever — this is an album that redefined hip-hop for a generation and now expanded for a new one.
Tapete Records präsentiert eine Werkschau der Ausnahmeband der Hamburger Schule Mit "Ich möchte auf deinem Plattenteller liegen (1988-1992)" erscheint erstmals eine umfassende Werkschau der Band Huah!, die zwischen 1988 und 1992 mit ihrem eigenwilligen Mix aus Rock"n"Roll, Beat, Theorie und Pop die Hamburger Musikszene aufmischte. Gegründet von Knarf Rellöm, Sonny Motor, Nixe, Bernadette La Hengst und Claudia Bollig, war Huah! das einzige gemischtgeschlechtliche Bandkollektiv der Hamburger Schule - und musikalisch wie textlich eine Ausnahmeerscheinung. Die Songs dieser Sammlung zeigen, wie Huah! zwischen Liebeslied und Agitation, Analyse und Tanzbarkeit changierten - oft alles zugleich. Ihr Stil ist spleenig, eklektisch, politisch, aber nie belehrend. Statt sich in Szene-Codes zu verlieren, setzen sie auf Offenheit, Witz und Haltung. Die Band war ihrer Zeit voraus - und passt gerade deshalb perfekt in unsere Gegenwart. Diese Werkschau ist ein magischer Reminder daran, was in der Hamburger Schule neben den bekannten Namen alles möglich war - und was davon heute wieder relevant ist.
This exceptional release feature both the first and the last track in the highly collectable King Horror series.
Released in 1969, DRACULA PRINCE OF DARKNESS was the very first title in the series.
It is widely believed the performer on the track is Laurel Aitken. Incredibly this Boss Reggae killer has never been reissued until now..
GHOST HOUR was the last in the King Horror series and was only released as a B side on a white label that never got released in
1970 on the REGGAE label. This is therefore the first official release of GHOTS HOUR.
Both tracks are very rare and very much in demand with original pressings
commanding high prices on the vinyl market. Just 500 worldwide!
Am 26. 9. 2005 erschien mit Fortschritt unser siebtes deutschsprachiges Album auf unserem bandeigenen Label Dritte Wahl Records. Zu hören gibt es 13 neue Songs, eine Coverversion des Rote Gitarren Hits Weißes Boot und eine plattdeutsche Fassung von Hoch im Norden. Musikalisch und textlich geht es quer durch den Gemüsegarten: Da gibt es schnelle, harte, politische Stücke, groovige Songs mit Geschichten aus dem Leben, Reggae-Beats bis hin zum vollakustischen Lied Auf der Flucht in dem es um Abschied, Hoffnung und natürlich auch um Busch"n (Bassisten und Gründungsmitglied von DRITTE WAHL) geht, der im Januar des Jahres 2005 nach schwerer Krankheit verstorben ist. Unterstützt wurden wir bei den Aufnahmen durch Kollegen von Corvus Corax, den Crushing Caspars, Daily Terror, Final Virus, Freygang, Höart! Höart! Höart!, Lady Godiva, Mainpoint und Tanzwut. Zwanzig Jahre später erscheint nun eine Jubiläumsausgabe des Albums auf Kassette.
The latest release from Berlin-based label PÚCA sounds is a double side fully equipped for the dancefloor, leaving room to explore across both tracks. Cola Ren’s remix of title track King Puck comes smooth and dubby into the chug, swelling with harmony between original percussions spun with Cola’s unmistakable touch.
Bleating is pushed through a late 90s/00s hall of mirrors, rolling with high energy glimmer in the hands of Tornado Wallace. Some ways towards spacey and ultra-danceable, this is a liquid gem of a B-side made to measure as it complements both tracks.
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An elusive cult gem resurfaces through Glossy Mistakes. Originally released in 1986, L'Empire Des Sons is an otherworldly blend of synth pop, folk experimentation, and cinematic percussive layers-dreamlike, poetic, and wildly ahead of its time. L'Empire Des Sons was a fleeting yet powerful transmission from the fringes of the French underground-an album that blurred genre lines and evaded easy classification. Fusing experimental folk, lo-fi synth pop, and avant-garde textures, the record exists in its own sonic universe: poetic, layered, and fiercely independent. Formed in Saint-Étienne by percussionist and composer Dominique Lentin (Dagon, Fille Qui Mousse) and first-time vocalist Bipé Redon, L'Empire Des Sons emerged from the vibrant DIY spirit of the early 1980s. Their paths crossed during the interdisciplinary project L'Opéra Quotidien, and what followed was an intuitive, deeply collaborative process. "I would bring in lyrics and my voice," Bipé recalled, "and Dominique would shape the music around the atmosphere or rhythm suggested by the words." The result is a collection of songs that feel both meticulously constructed and completely free. Ethnic percussion, marimbas, xylophones, and synthesizers dance around Bipé's surreal, fragmented lyrics-little sonic postcards from imagined worlds. There's a theatricality here, but it never feels forced; rather, it's playful, intimate, and raw. Despite their inventiveness, L'Empire Des Sons remained a well-kept secret-circulating only in select avant-garde circles and eventually becoming an extremely sought-after collector's item. Now, thanks to Glossy Mistakes, this lost artifact returns to the world with new life: remastered from the original tapes, pressed on vinyl for the first time with extended liner notes. L'Empire Des Sons was never meant to be boxed in. Like the quote from Brian Eno that opens their liner notes-"For the world to be interesting, you have to be manipulating it all the time"-their music resists stasis. It evolves, shifts, surprises. And now, it finally gets the audience it always deserved.
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“New York’s Harlem River Drive is a dividing line, a highway where the rich zip past the poor,” says singer Jimmy Norman. Eddie Palmieri’s Latin-funk band of the same name tackled these hard truths, playing prisons and speaking to the common man. Ultimately, Norman and Palmieri made a powerful socio-political statement that continues to resonate to this day." Pablo Yglesias/Wax Poetics. When initially released in 1971, many critics panned Eddie Palmieri’s album Harlem River Drive. Those critics were wrong. Regardless of critical opinion, the release was not the crossover success Palmieri and Roulette Records had hoped for, at least in the immediate. Over the years the release has developed a following among listeners, DJs, and aficionados of rare-grooves. The record may have been recorded towards the end of the Latin soul era, yet it features that genre's wonderful mix of Puerto Rican soul, Spanish Harlem Latin, and New York funk. Palmieri worked with an incredibly talented crew of Latin and R&B session musicians to create this quintessential New York vibe, a synthesis of funk and Afro-Cuban sounds. Contributors include Victor Venegas from Mongo Santamaria’s band, Palmieri’s brother Charlie, an accomplished musician in his own right, Bruce Fowler who went on to join Frank Zappa’s band, Dick Meza who went on to great things with Tito Puente, Ray Barretto and Celia Cruz, as well as Andy Gonzalez who’s pedigree includes recordings with Barretto, Johnny Pacheco, Willie Colon and even Chico O’Farrill. Also appearing Randy Brecker and one of the all-time greatest of the greats Bernard Purdy. An over-arching theme of Harlem River Drive is the thought that, as Palmieri puts it “The U.S. is richest country, all this immense wealth, side by side with the most intense poverty, racial prejudice; how is that possible?” A question that’s perhaps more even more relevant today than it was in 1971. A question that can be further explored with Get On Down’s reissue of this seminal recording.
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GAISTER (Olivia Salvadori, Akihide Monna and Coby Sey) release their self-titled LP.
The record captures the embodiment of an encounter, one moment of the trio’s ongoing relationship as artists who communicate with each other through sound, voice and music.
After orbiting in the same circles at each other's shows around 2016 in London, Sey and Salvadori eventually crossed paths. In 2017 Sey joined Salvadori’s artistic collective Tutto Questo Sentire on a residency in Capalbio, the southernmost part of Tuscany, Italy, and started working together. Down the line the pair ended up joining with Akihide Monna (of Bo Ningen), performing together in 2019 at Camden Art Centre on Cork Street in London.
When the trio come together something new is created, brought out after laying dormant, like an Icelandic Geysir. The setting of this particular encounter amongst the trio is essential in the album’s sonic palette, process and emotion. The album was recorded in Iceland at
Greenhouse Studios, where the trio formalised a set of intuitions; how nature can provide a guideline in the choices of the instruments, their materials and related rhythms; reflections on the voice as a sculptural element, pure sound and words.
As Akihide has said of the experience during their short and intense recording period: “The sound spontaneously spun out as if we were pulling at each other's hearts and minds with a strange internal connection and sensation. Something pure was brought out.”
‘Gaister’ itself is a made up word, sprung from the German ‘Geist’ to mean ‘spirit’, and made into a sound of its own. A purity, spirit and essence is pulled from the trio, in spite of their varying mother tongues (Italian, Japanese and English), musical genres and identities to create something new. Olivia Salvadori’s operatic vocals run free, flowing and moving in
synergy with Monna’s rhythmic drumming. Sey sings freely with Salvadori, their voices braided together like a waterfall.
This flowing nature is reflected in the album itself, its timestamps and scores are marked by encounters rather than tracks themselves. This album can be considered as one constant piece and a journey of its own that is not foreclosed, in keeping with the band’s ethos of
constant conversation and collaboration.
As Sey speaks of the trio’s relationship: “Olivia, Monchan and I had performed live together once before, several years before this song and this album came to be… and yet, we fully trust each other’s intuition when performing and creating music together because of our unified belief in the ability of sound and music to communicate and connect.”
credits
releases November 1, 2024
