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Barnt - ProMetal Fan Decor Only Product

You might know Barnt as one of the people behind the idiosyncratic imprints Magazine and Schalen, through which he released his most of his EPs and the incomparable 2014 debut album, Magazine 13.; or maybe you know the thread of beautiful, unpredictable club hits he’s woven with labels like Cómeme and Hinge Finger.

Despite living in Cologne, and being friends with the label, Barnt has not put out anything on Kompakt yet, apart from an one-off appearance on Pop Ambient 11 over a decade ago. An EP had been in the air for several years, but it took Barnt a bit of time to get into the right state of mind, because he wanted to make sure the music paid tribute to “the ceremonial, emotional, grand sprit” that he connects with Kompakt.

Typical to the producer’s modus operandi, ProMetal Fan Decor Only Product spins out a surprising narrative, catching the listener unawares, while remaining fundamentally Barnt. After the elegiac opener “Fan”, stately in its melancholic, epic flourish, “You Know What’s Gone” stomps into earshot, the pounding thud of the drums pinning clanging patterns to the dancefloor, a Sturm Und Drang symphony, the tones all clashing metals and silvers.

After that, there’s release – the hypnotic psychedelic reels of “This Is For Decor Only” are Barnt gone trance, a sensual glide of a track that pirouettes out an eternity of sizzling hi-hats and strip light melodies. While you might want to be alone when listening to “Fan”, you might have the time of your life dancing to “This Is For Decor Only”, played by your favourite DJ at your favourite festival this Summer.

With ProMetal Fan Decor Only Product, wrapped in a sleeve by artist Lukas Heerich, Barnt and Kompakt finally come together, equal parts refined elegance and sweaty fervour.

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11,13

Last In: 12 months ago
Various - Nervous Records 30 Years (Part 1) 4x12"
 
13
also available

part 2[37,77 €]


Nervous Records, the iconic label synonymous with the rise of house from the streets of New York City, will mark 30 years in the music industry by releasing the celebratory compilation LP ‘Nervous Records: 30 Years’ on October 1st (Part 1) and October 15th (Part 2).

Featuring original mixes of the label’s biggest tracks, plus remixes by some of its most celebrated acts, ‘Nervous Records: 30 Years’ is both a celebration of the past and of the future. Featuring a who’s who of electronic dance music, the long player sees names including Louie Vega, David Morales Darius Syrossian, Tensnake, Monki, Franky Rizardo, Danny Howard and more take on iconic Nervous cuts: ‘You Make Me Feel Mighty Real’, ‘Treat Me Right’, ‘Future Groove’, ‘Feel Like Singing’, ‘Get Up Everybody’, ‘Break You’, ‘Hot’, ‘End This Hate’, ‘Unspeakable Joy’, ‘Can Ya Tell Me’, ‘Jerk It’, ‘The Anthem’, ‘It Makes A Difference’, ‘Learn 2 Luv’ and ‘Don’t You Ever Give Up’.

The album marks one of the most enduring, extraordinary legacies to grace America’s illustrious music history, not just in electronica but far beyond. Founded in 1991 by Michael and his father Sam Weiss, and recognizable immediately by its distinctive character logo, the label grew rapidly, in no small part due to Michael Weiss’ practically unmatched passion for discovering new music.

“Louie Vega and Kenny Dope woke me at 4am on Tuesday night, Wednesday morning from their studio telling me they had something really different that I needed to hear,” Michael recollects. “I asked if they could play it over the phone. They said if I wanted to hear it I had to come to the studio. So of course I got myself up, got dressed and went there. That “really different track” ended up being ‘The Nervous Track’, a tune that became our signature release and was also highly instrumental in the emergency of London’s ‘Broken Beat’ movement.”

The label’s willingness to take chances on fresh sounds and innovative concepts rising up from the melting pot sidewalks of NYC ensured a body of work that has become a living musical history of the city. House cuts ‘Unspeakable Joy’ and ‘Nitelife’ (Kim English), ‘Get Up (Everybody)’ (Byron Stingily) and ‘Feel Like Singing’ (Sandy B) bump up against hip-hop anthems like ‘Who Got Da Props’ (Black Moon) and “Bucktown” (Smif-n-Wessun) and reggae cut ‘Take It Easy’ (Mad Lion); soulful flows from Mood II Swing (Kim English ‘Learn 2 Luv’, Loni Clark “Rushing”), Armand Van Helden (‘The Anthem’) and Nuyorican Soul (‘Mind Fluid’) sit alongside seminal techno singles like Winx’ ‘Don’t Laugh’. The young artists and producers who joined the Nervous Records’ family have gone on to become some of the most hallowed and celebrated dance acts of all time: Louie Vega, Kenny Dope, David Morales, Tony Humphries, Roger Sanchez, Armand Van Helden, Kerri Chandler, Kim English, Byron Stingily, Josh Wink, to name just a handful.

“We did a release with Josh Wink under his Winx alias entitled ‘Nervous Build-Up’,” Michael said. “It did well and it was obvious how talented Josh was. Subsequent to that release I was pretty persistent in asking him to continue to play me his new demos. During one phone conversation he said, “Mike I’m gonna play you something over the phone but don’t laugh when you hear it.” That demo ended up being ‘Don’t Laugh’, which became one of our biggest international hits and still to this day is one of America’s earliest and most impactful techno hits.”

As much a celebration of the label’s future as it is of their past, Nervous Records: 30 Years is but a marker in the imprints’ history, a clear sign of where they’ve been and also where they’re going. With 30 years behind them, the label’s determination to unearth new raw diamonds in the rough is as unwavering as ever.

“I’ve always been one to look at what others are doing (the industry at large) and think, “ok, are they doing this specific thing for a reason, or doing it because everyone else is doing the same thing” and make my decision based on that,” says Nervous Records’ General Manager Andrew Salsano. “In an age where data metrics and analytics reign supreme, I remain steadfast that they should be complementary to your decision and not the sole indicator to make one. So many songs today are written with 15 second hooks in mind for social media, and while there’s nothing wrong with that business model you will always be chasing the wave instead of carving out your own path and identity.

“My primary focus for the sound of the label has and will continue to revolve around signing good songs and music that has the ability to react at the street level first. The best results come from artists that are firstly given a bit of local love that grows into a global impact. Fresh ideas that express child-like curiosity and artists showing vulnerability in their music are also something I look for, artists and producers that are not making music with certain markets in mind, but rather their own style and signature that is unique but able to straddle the fine line of underground and overground.”

Still as raw, as underground and as finely tuned to the dance floor as they ever have been, perhaps the secret to the success - and the longevity - of Nervous Records has something to do with that hard, dogged, no-holds-barred NYC edge that runs through the veins of the label. With the next generation of producers rising from the clubs of New York, one thing is certain; Nervous Records will be there to find them, nurture them and bring them to the world at large, over the next decade and beyond.

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33,57

Last In: 17 months ago
Martina Topley Bird - Forever I Wait (Deluxe Edition)

Martina Topley Bird’s new studio album ‘Forever I Wait’, features collaborations and arrangements from Robert Del Naja of Massive Attack, Euan Dickenson, Rich Morel, Christoffer Berg, Benjamin Boeldt and Tiadiad.

'Forever I Wait' is Topley-Bird’s fourth long awaited studio album and her very first self-produced and curated piece of work to date. The album, set for a digital release on September 10th, with a vinyl LP available to pre-order now, captures an extensive journey confronting, exploring, analysing and reflecting on the devastating fragilities of life as it ultimately seeks to make peace with what life is.

A sentient and sensual presence framed Tricky’s trip-hop pioneering white label debut release, Aftermath. Hauntingly unique and immediately recognisable, that voice became the defining timbre of a new music movement. Behind this voice was mysteriously soft-spoken, London-born Martina Topley-Bird, whose exquisite voice came to inspire and infuse other pioneering artists across all genres.

“It’s a trip through different emotional states and frequencies, mostly dark, from insecurity and desire, all the way through to serenity and acceptance with themes that resonate from my young teens all the way through till today. Things that I’ve seen and things I’ve felt and worked through, although sometimes I sense them trying to return”

“Forever I Wait”, as the title alludes, was written and re-written over a long period of time.

“I had to change my way of relating to music and the music industry in order to make the record I wanted to make.…and that took time. And I took the time I needed. I started in London, moved and lived in America for the first time in my life, then briefly moved back to London and finished the record in Spain.”

“After trying to work on a new record for a couple of years, I came to a realisation that in order to move forward I had to separate the concept and vision I had for this record from me as a person. I had to shift my perspective. That was a big personal win and the beginning of “Forever I Wait.”

'Forever I Wait' leans on a multitude of tense sounds, dubby atmospherics and natural instrumentation to demand the listeners attention leading to over two decades of observations, experiences and musical sacrifices. It is a bi-product of the new perspective featuring carefully selected and tailored supporting arrangements from a handful of collaborators including Robert del Naja (Massive Attack), Rich Morel (Deep Dish), Christoffer Berg (Fever Ray) and Benjamin Boeldt (Adventure).

A truthful expression of desire and heartache “Forever I Wait “Is Topley Bird’s most precise and accurate album to date.

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23,32

Last In: 4 years ago
Elliott - Transcendence

Elliott

Transcendence

12inchRP009
Ritual Poison
20.01.2022

One of the promoters and DJs behind South London party Big Dyke Energy, Elliott is part of a new wave bringing contemporary queer energy and attitude to clubland. Following an EP on Kouncil Cuts as one half of Faff, working alongside Ornography, ‘Transcendence’ marks their debut solo EP.

If you’ve ever wanted to hear more acid in garage, the epic bubbling 303 breakdown of two-step opener ‘Tender’ answers your prayers, its ghostly lead out-emoting even Four Tet. ‘Loose Tooth’ then lands in clubbier territory, dubby rave synths again deployed with a canny melodic ear.

On the flip, ‘Metamorphic’ is noir electro, UV bleeps and infrared bass cutting through its heavy, murky atmosphere. Working her trademark magic on the remix, Naive boss Violet bumps up the tempo, turning in a cut of booming, bottom-heavy machine-funk, a dub siren and half-time section nodding to the influence of UK rave culture.

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10,71

Last In: 2 years ago
Portrayal Of Guilt - Christfucker

We each have our own idea of what it means to live through a period filled with perpetual dread, a slowly burning world, and overwhelming darkness. In the case of Portrayal of Guilt, their tortuous afterlife comes with grief, loss, masochism, suffering, and pain.

On CHRISTFUCKER, their second full-length of 2021, Portrayal of Guilt plunges headfirst into unfathomable depths, creating a work of art that’s powerfully unsettling. “We think of it partially in the sense of scoring a horror movie,” guitarist/vocalist Matt King says. “We wanted to create an atmosphere of anxiety and fear.”

pre-order now14.01.2022

expected to be published on 14.01.2022

27,35
Portrayal Of Guilt - Christfucker

We each have our own idea of what it means to live through a period filled with perpetual dread, a slowly burning world, and overwhelming darkness. In the case of Portrayal of Guilt, their tortuous afterlife comes with grief, loss, masochism, suffering, and pain.

On CHRISTFUCKER, their second full-length of 2021, Portrayal of Guilt plunges headfirst into unfathomable depths, creating a work of art that’s powerfully unsettling. “We think of it partially in the sense of scoring a horror movie,” guitarist/vocalist Matt King says. “We wanted to create an atmosphere of anxiety and fear.”

pre-order now14.01.2022

expected to be published on 14.01.2022

27,35
Krissy Matthews - Pizza Man Blues

Released on Ruf Records in 2021, Pizza Man Blues is a snapshot of the
moment those certainties were snatched away
The Blues Boy of Matthews’ 2006 debut album has been around the block, and
the genre-crossing songs he now recounts on Pizza Man Blues are written from a
place of hard- won maturity. “This last year, we’ve all had to adapt to
circumstances,” refects Matthews. “I’ve been forced off the road, but I’ve tried to
keep the engine alive, keep earning, not lose my passion. I’ve done so many jobs,
like pizza and fower delivery driver, tree surgeon assistant, volunteering for the
NHS. These songs are all about the experiences I’ve had.”The opening charge of
Mayday would make Motörhead’s Lemmy nod approval, serving a feral fuzz lick
and a speaker-ratting chorus that asks the big questions. From the bruised organ
lines of Can’t Keep Us Apart to the thrilling torn-up guitar tone and Stax-worthy
brass on Anti-Social Media, these are songs that defy genre at every turn. “I just
wanted a ‘Krissy Matthews’ vibe,” he shrugs. “This album was the result.” But as
the indelible chorus of Grateful fades – ‘You’ve got to be grateful for what you’ve
got/ even if it ain’t a whole lot’ – it’s that sentiment that resonates. “Being a
professional world touring musician, in a pandemic, with a girlfriend in another
country, during Brexit, is not ideal,” Matthews considers. “But I’ve still found lots
of things to be grateful for and I’m a very lucky man. The only way to get through
hard times is to focus on the good times…”

pre-order now14.01.2022

expected to be published on 14.01.2022

45,17
TeenCanteen - This Is How It Starts (The Early Recordings)

Rare recordings featuring Carla J Easton & friends with guests Duglas T
Stewart (BMX Bandits) and Eugene Kelly (Vaselines) - This album was
shelved and never saw the light of day but now, for the frst time ever,
these recordings are re-mastered and presented to you on vinyl.In 2011,
Carla J Easton fnished her MFA at Glasgow School of Art armed with a
batch of newly written songs and wanted to start a band - Calling on longtime collaborator Sita Pieraccini and childhood friend Debs Smith, fat
rehearsals ensued and a frst gig was booked at The Arches in Glasgow
Aptly, the night the would debut as TeenCanteen was called The Love Club. Not
long after, Emma Kullander would join the ranks and the 4 headlined Henry's
Cellar Bar in Edinburgh. Through word of mouth, the place was packed. With only
5 songs to their name, a tentative version of All The Lovers by Kylie Minogue was
thrown in as a last minute encore before the band delved into replaying their song
Friends.Studio time was booked at the fedgling 45 A Side in Glasgow resulting in
the recording of How We Met (Cherry Pie), You're So Analog, Under My Cover and
Friends.Calling on mentors from the Glasgow music scene – Duglas T. Stewart
(BMX Bandits) and Eugene Kelly (The Vaselines) turned up to be part of this
session. Duglas, joining TeenCanteen on a heart rendering duet for the song
Under My Cover, and Eugene, providing a blistering electric guitar solo on You're
So Analog.Hearing themselves on record for the frst time, and with Easton's
repertoire for songs growing more, they quickly returned to the studio for another
weekend.Recording the songs Atlas, Fireworks (which would go on to be covered
by BMX Bandits on their album BMX Bandits in Space), It could Be Beautiful and
One More Night, TeenCanteen were ready to release into the world with an
album's world of recorded material.
This is the sound of four friends making music together, learning as they go. At
its core are the luscious three- part harmonies TeenCanteen would go on to
develop further and be known for.
It's not perfect. It's not polished. It's the sound of something new.
It was the precursor to the glorious full pop sound the band would introduce to
the world when their debut album Say It All With A Kiss was released on Last
Night From Glasgow.This is how it starts.

pre-order now14.01.2022

expected to be published on 14.01.2022

29,20
Ken Hollings - Destroy All Monsters

These recordings, made in 2001 in the weeks before September 11, constitute a unique historical document. They are spoken-word adaptations of scenes taken from Destroy All Monsters, the first book by acclaimed writer and 'pop culture alchemist' Ken Hollings. A multistranded postmodern epic, Destroy All Monsters offers a radical retelling of Desert Storm, America's military operation targeting Iraq, using imagery derived from MTV videos, CNN news reports, Japanese kaiju movies and anime, Hong Kong action flicks and tales of alien abduction. The book's entire narrative nervously unfolds in an unstable of world of terror monsters, wrecked cities and dangerously tall buildings: where an event like 9/11 is inevitable. The book was officially launched on September 13, but distribution in the United States was delayed when ports on the Eastern Seaboard were closed to shipping post 9/11, leaving copies of the book stranded in the Atlantic. 'Published the very week of the "attacks on America",' Toby Litt wrote at the time, 'Destroy All Monsters is genuinely, spookily prescient…as a progress report on Planet Earth, it seems to have timeslipped onto the front pages.' Lydia Lunch praised it as 'a hallucinogenic spiral into future nightmare', while The Scotsman called it 'mind bending reading.'

In the summer of 2001, Ken Hollings was approached by sound designer and electronic music composer Simon James, who wanted to create an audio adaptation of scenes from the novel to share with subscribers to a spoken word channel launched by totallyradio. The idea was to record Ken reading his own words and then embed them in a soundscape that evoked the fragmented complexity of the original text. Ken concentrated on a small handful of threads from the overall narrative, while Simon directed and engineered the final recording. This resulted in the two sequences of words, sounds and electronic tonalities contained on this audiocassette: an unsettling portrait of people about to be overtaken by events.

In October 2001, having just got married in London, Ken and Rachel Hollings went to New York for their honeymoon, just as they had originally planned. They spent an unforgettable week in a city struggling to recover from the seismic changes that had just taken place while a sudden wave of anthrax attacks on government and media offices filled the news cycles. Rachel took a photograph of Ken at Ground Zero, where crowds of onlookers continued to gather, and the air still smelled of burning.

Ken Hollings is a writer and broadcaster whose main concern is the relationship between culture and technology. He has written and presented numerous critically acclaimed features for BBC Radio 3, BBC Radio 4 and Resonance 104.4 FM His other books include Welcome to Mars, The Bright Labyrinth, The Space Oracle and Inferno all available from Strange Attractor/MIT Press. His latest book, Purgatory, is due from Strange Attractor in Spring 2022.

Simon James is a producer, musician and sound designer based in Brighton, UK, whose work combines electronic sources with field recording techniques and sound treatments, using sound to transport the listener to fantastical audio worlds. Simon's latest release, Electro Smog, collects electromagnetic field recordings from Shenzhen's electronic markets, recorded while he was in China at the invitation of Musicity and The British Council.

The Destroy All Monsters audio adaptations marked the first occasion Ken and Simon worked together – subsequently they collaborated on the 12-part series Welcome to Mars for Resonance 104.4 FM and Connecting, an audio portrait of the original 'phone phreaks', for BBC Radio 3. In 2021 they teamed up again to make Fast Forward, a six-part documentary series for Kasperksy Lab.

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9,45

Last In: 4 years ago
Deep Throat Choir - In Order to Know You LP

“I’m reeling, I’m restless,” sing Deep Throat Choir from the heart of their second album. That restlessness manifests in a set of tremendously abundant, original songs from the east London female and non-binary vocal collective, founded by Landshapes member Luisa Gerstein.

 Released via Bella Union, ‘In Order to Know You’ is a multi-layered assertion of freshly expansive range, driven by two core virtues: a sense of strength in unity and an open embrace of its singers’ personal experiences, shared through collective, supportive vocal expression.

 After 2017’s largely covers-based debut album, ‘Be OK’, the choir recognised the call to evolve. “Having been singing together for five-plus years, and having released an album of mostly covers, it felt like the logical next step to make our own music together,” says Gerstein. “This album is the alchemy of all the specific voices and players that make up the choir, and a collaborative process of writing and sharing music and ideas. Sonically, I wanted to move beyond just voices and percussion, to see what richness could be brought with acoustic instruments and electronics, and to transition from a choir that
does covers to a band with loads of vocalists.”

 ‘In Order to Know You’ heads towards its climax without seeming to touch the ground, from the title track’s devotional exhalation to the stealthy, smoky shimmer of ‘Unstitching’. Its lyrics drawn from a poem by Emma Cleave, the sublime ‘Field of Not Knowing’ closes the album in a vivid tapestry of folkgothic images (moon beams and pipistrelles) and serene-to-soaring arrangements, revelling in possibility: “It’s the place where I begin,” sing the choir.

 For Deep Throat Choir, the result is both an exquisite culmination of journeys taken so far and a lustrous, exquisite springboard for further adventures. Their travels began in 2013, when the collective took shape from a desire to strip music back to the basic elements of raw female voices and drums, united in a fashion that both honours and transmogrifies personal expression.

 A small group of four or five singers steadily expanded, with Zara Toppin’s drums providing a propulsive energy. Cathartic live shows and collaborations followed, ranging from team-ups with Peggy Sue, Stealing Sheep, Horse Meat Disco and Matthew E White, to performances at Green Man, Wilderness, the Southbank Centre’s WOW festival, London’s Scala and beyond. ‘Be OK’ provided a gutsy showcase for the band’s close, collective strengths, bolstered by weekly gatherings at a church in east London to blow
the roof off. A fruitful collaboration with techno-pop duo Simian Mobile Disco on the 2018 album ‘Murmurations’ followed: a testament to the choir’s alchemical abilities.

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25,59

Last In: 4 years ago
David Bowie - Toy:Box 6x10" BOX

David Bowie

Toy:Box 6x10" BOX

10inch0190296773259
Parlophone
10.01.2022
 
38

Parlophone Records/ISO Records are proud to announce TOY:BOX. The previously unreleased TOY album will be released on 7th January 2022, the day before David Bowie’s birthday. Available in six 10” vinyl versions, TOY:BOX is a special edition of the TOY album. The ‘capture the moment’ approach of the recording sessions are extended to the sleeve artwork designed by Bowie featuring a photo of him as a baby with a contemporary face. The package also contains a 16-page full-colour book featuring previously unseen photographs by Frank Ockenfels 3.

TOY was recorded following David's triumphant Glastonbury 2000 performance. Bowie entered the studio with his band, Mark Plati, Sterling Campbell, Gail Ann Dorsey, Earl Slick, Mike Garson, Holly Palmer and Emm Gryner, to record new interpretations of songs he’d first recorded from 1964-1971. David planned to record the album ‘old school’ with the band playing live, choose the best takes and then release it as soon as humanly possible in a remarkably prescient manner. Unfortunately, in 2001 the concept of the ‘surprise drop’ album release and the technology to support it were still quite a few years off, making it impossible to release TOY, as the album was now named, out to fans as instantly as David wanted. In the interim, David did what he did best; he moved on to something new, which began with a handful of new songs from the same sessions and ultimately became the album HEATHEN, released in 2002 and now acknowledged as one of his finest moments.

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143,49

Last In: 4 years ago
Years & Years - Night Call

Years&Years

Night Call

12inch3838029
Polydor UK
07.01.2022
  • A1: Consequences
  • A2: Starstruck
  • A3: Night Call
  • A4: Intimacy
  • A5: Crave
  • B1: Sweet Talker
  • B2: Sooner Or Later
  • B3: 20 Minutes
  • B4: Strange And Unusual
  • B5: Make It Out Alive
  • B6: See You Again

Years & Years has today announced details of brand new album, ‘Night Call’, which will see a release on Polydor Records on January 7th. Olly further introduces the record today with a brand new track, the pulsating ‘Crave’, and its incredible video featuring some of the cast of ‘It’s A Sin’ (Omari Douglas, Nathaniel Hall, David Carlisle) plus the likes of Munroe Bergdof. The record-breaking show won Best New Drama at the National Television Awards earlier this month, continuing a phenomenal year for Olly (which has also seen the release of first single ‘Starstruck’, its rework with Kylie, and a show-stopping performance of ‘It’s A Sin’ alongside Elton John at the BRIT Awards).

A daring dance track about leaning into submission to the point of embracing it, ‘Crave’ – says Olly – “is a playful way of inhabiting the deranged sexual energy I’ve always wanted. In the past I felt like I’ve been dominated by toxic relationships, and I felt like it would be fun to turn it on its head.” Consider this a risqué cut of kinked-up, club-ready pop, and Olly Alexander using his platform to push the boundaries of mainstream superstardom.

From its iconic artwork to its euphoric, rejuvenated sound, ‘Night Call’ is a thrilling new chapter for Years & Years. Inspired as much by pioneering figures like Sylvester as it is French House, at the centre of the record is that mermaid of a muse: a beautiful icon luring men to their death, on an album partly about those searching for love (or a lover) but ultimately finding power in themselves. Embodying the new perspective of a character – like Ritchie in ‘It’s A Sin’ - also deeply influenced Olly’s songwriting, with songs that blur the line between fantasy and reality but are bound together by their explorations of queer life. Hedonistic and escapist, ‘Night Call’ captures that joy and anticipation of going out precisely because, says Olly, “I was writing from a fantastical space, stuck in the same four walls. I wanted to have as much pleasure as possible in the music.”

As Years & Years, Olly Alexander has become one of the world’s most trailblazing modern pop stars. Across two hugely successful albums to date, the singer, actor, fashion icon and cultural vanguard has earned 5 Brit Award nominations, surpassed 4.4 billion global streams, and played triumphant homecoming shows at London’s O2 and Wembley Arenas. Along the way, Olly has also become a fearless, once-in-a-generation voice on important discussions around mental health, and issues affecting the LGBTQ+ community - all of which, in its own way, has taken him to ‘Night Call’, and the most essential Years & Years album to date.

pre-order now07.01.2022

expected to be published on 07.01.2022

30,13
YEAR OF NO LIGHT - CONSOLAMENTUM

Transparent Red Single Colour Vinyl Edition! YEAR OF NO LIGHT`s lengthy, sprawling compositions of towering walls of guitars and sombre synths irradiate a sense of dire solemnity and spiritual gravity, and couldn't be a more fitting soundtrack for such grim medieval scenarios. But there is also the element of absolution, regeneration, elevation, transcendence in the face of death. Consolamentum is dense, rich and lush and yet somehow feels starved and deprived. With debut album Nord (2006) and sophomore release Ausserwelt (2010), the band made themselves a name in the European avant-metal scene. Extensive tours of Europe, North America and Russia in 2013 and 2014, including two appearances at Roadburn festival, Hellfest and a spectacular performance in a 17th Century fortress in the Carpathian mountains introduced them to a broader and quickly growing international audience. The cinematic scope of their music implies that YEAR OF NO LIGHT are a group of artists that pay a great deal of attention to their visual representation, from the classy album artworks and merch designs to the carefully designed lighting design of their live show. With their seminal 3rd album Tocsin, released in 2013, YEAR OF NO LIGHT reached the peak of their career thus far - a logical decision that Consolamentum was made with the same team again: recorded and mixed by Cyrille Gachet at Cryogene in Begles / Bordeaux, mastered by Alan Douches at West West Side. "We wanted this album to sound as organic and analog as possible", comments the band. "All tracks were recorded live. The goal was to have the most natural, warm and clean takes possible, to give volume to the dynamics of the songs. We aimed to have a production with a singular personality." Consolamentum is huge, poignant, frightening, sublime, smothering and cathartic - and, much like its predecessor, "audacious, memorable and supremely confident." (Decibel magazine).

pre-order now07.01.2022

expected to be published on 07.01.2022

21,22
TEX PERKINS AND THE FAT RUBBER BAND - TEX PERKINS AND THE FAT RUBBER BAND

The latest thrilling incarnation of master rock'n'roll storyteller Tex Perkins (The Cruel Sea, Beasts of Bourbon, Thug, Tex Deadly and the Dum Dums, Tex, Don et Charlie.) and the Fat Rubber Band began with a rare vinyl copy of Link Wray's Beans and Fatback album, recorded in 1971. Perkins and his respected musician, songwriter, producer and bandmate Matt Walker share a mutual admiration of the American electric guitar innovator, whose iconic power chords in his signature 50s rock'n'roll instrumentals, had a profound influence on the evolution of rock guitar. The Fat Rubber Band is borned with this rare vinyl, the pair have enjoyed countless musical conversations over the decade while hanging out backstage and on the road. Walker offered the debut album's opening track, the wide-screen drama of "Pay The Devil's Due". Perkins responded with the plaintive blues of "My Philosophy". Walker replied with the album's fuzz driven debut single "Danger Has Been Kind" and Perkins countered with the glacially-paced, intimate "Poor Simple Minded Fool". The pair road-tested their works in progress as a duo before enlisting bassist Steve Hadley, drummer Roger Bergodaz and Evan Richards on percussion to complete the Fat Rubber Band line-up to record the album's ten tracks at Walker's Stovepipe Studios in Victoria's Dandenong Ranges. "At Matt's studio - you open the door to the studio and nature floods in," Perkins says. "We wanted it to sound rural, to feel the dirt and the grass and the leaves." Even after all these decades, when you think you know that gravelly baritone inside out, Perkins finds new emotional tones in the service of the Fat Rubber Band's songs vivid narratives, with their characters wrestling, but sometimes dancing, with the tougher, darker qualities of the human condition. This is truly existential blues. Bubbling underneath those upfront vocals and raw harmonies are intricately entwined guitar conversations and unexpected percussive flourishes. "Another aspect that we wanted was for the sound to be sometimes a collision and sometimes a marriage of acoustic and electric instruments. We wanted that tension between mandolins and bouzoukis meeting fuzz guitars." "We also considered percussion to be a vital element of the sound we were going for; we noticed in the recordings we loved from the 50s and 60s that often the tambourine hit, or the maracas, or whatever percussion, was right up there in the mix, right next to the vocal," Perkins says.

pre-order now30.12.2021

expected to be published on 30.12.2021

27,52
Sonar Base - Sonar Bases 4 - 10 (2x12")

Sonar Base

Sonar Bases 4 - 10 (2x12")

2x12inch17UTRQDM2
U-Trax
27.12.2021

The second release in January to celebrate the 25th anniversary of Frank de Groodts career as a recording artist is a re-press of his legendary Sonar Bases 4 10 double 12 . Exactly 21 years ago, in January 1997, Frank elevated to electro stardom with this astonishing combination of dark electronica and electro beats.

Frank at the time lived just outside the city of Amersfoort, which is where he was born and lives again these days, some 30 minutes northwest of Utrecht. His first ever release in January 1994 was a techno EP on U-TRAX, as Pieces of a Pensive State of Mind. Later that year, he released his first 12"-es on Djax records as The Optic Crux, and he continued to keep making up artists names in the following 25 years, like Fastgraph and The Operator. He is also one half of the live outfit Random XS (together with DJ Zero One), collaborated with Arno Peeters (a.k.a. Spasms) as Urban Electro and with Detroit's Dennis Richardson as Ultradyne. And that s not even all of his alter egos.

The sound of these eight unique tracks called for a new moniker back in the nineties: Sonar Base (ironically misspelled on the original release as Sonar Bass). All track on this re-press have been remastered for maximum impact. The double vinyl goodness kicks off with Earth Probe, that very subtly creeps towards us, before it kicks in with a rather obese bassdrum. As if Frank wanted to ease his listeners into his then new sound, this track basically is in techno/acid style, but has the slower tempo that characterizes the rest of the electro tracks of this release.

Immediately following, is the unrivaled beauty of Welcome To Sonar Base #4, a track that slowly builds up before it takes us on a deep space journey at two thirds. The 11 minute Sonar Base #5 has been a DJ favorite for 21 years, reaching out to both electro and techno lovers, while Sonar Base #6 is the type of ultra-pure electro that really puts your woofers to the test.

Arrival At Dwell Probe is another one of our favorites, with superfine beats, desolate voice samples and deep and moody synths. Very musical, truly a top piece that will leave you totally unprepared for Blunted. This track has the rolling type of hiphop-style beats that mix well with LL Cool J's Mama Said Knock You Out, but of course has the space-station atmosphere that makes it unmistakably a Sonar Base track.

The fast pace and merciless beats of Intergalactic Anecdote rush us to the finale: Sonar Base #10, a worthy closing track, with deep bassdrum patterns and melancholic strings that also please fans of broken beats. It stops and goes and keeps demanding your attention, making you wanting to go back again to the first track disc and start your Sonar Base trip all over again.

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15,76

Last In: 3 years ago
COMMON - A Beautiful Revolution Pt 2

A Beautiful Revolution Pt. 2 was created with hope and inspiration in mind. The spirit of the album was meant to emulate what a greater day would sound and feel like. We were in the midst of some tough political and socially challenging times. There was still hurt, anger and pain lingering, so I was thinking, “what is the next step in this revolution?” I thought about what being still in these times had brought me and that was a peace beyond understanding, a greater love for self, a closer connection with God, and more appreciation for my family, friends and the simple things in life. I wanted to write about that and create music that embodied that. What does a new day, a brighter day feel like being told through an emcee and some gifted musicians? How could this music be an example of the beautiful aspects of revolution that include joy, self-love, compassion, dreams, peace and good times? As a piece of art, I believe we took it to different places musically only to come back to the original intention. To bring joy to people’s hearts, fun to their lives and smiles to their souls. ABR2. Love Common RADIO: 6Music A List, Album Of The Week on 6Music, support across BBC R1, 1XTRA, Radio 2, 6Music. PRESS: Features in Huck, New Cue, DIY, Daily Star, The Guardian, Line Of Best Fit, MOKO, Clash, NME and more… “If ‘…Pt 1’ felt like a look at the progress we made last year, then this follow up stares down the road ahead – not with trepidation, but with boundless optimism” – DIY **** ‘A Beautiful Revolution, Pt. 2’ is the soundtrack to a new revolt. It’s about unity in the face of adversity and bringing awareness to the Black struggle. But at its core it’s a celebration of Black pride that sees Common in full swing as a champion of peace, love and freedom.” - NME “This is Common’s most hopeful album in years” – The Independent “A late career high” - Clash

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33,32

Last In: 4 years ago
Gogo Penguin - Fanfares LP

Gogo Penguin

Fanfares LP

12inchGONDLP008
Gondwana Records
17.12.2021

Manchester's jazz scene has produced some of the UK's brightest and most original jazz groups. Now with its eighth releaseMatthew Halsall's Manchester based Gondwana record label shines a light on another of Manchester's well kept musical secrets, the expansive, brilliant piano trio GoGo Penguin.
Featuring pianist Chris Illingworth, bassist Grant Russell and drummer Rob Turner (all still in their twenties), GoGo Penguin, draw on a heady brew of influences from Aphex Twin to Brian Eno, Debussy to Shostakovich and Massive Attack to EST. GoGo Penguin who have already developed a growing cult following in the North West as well as turning in storming performances at the Gateshead International and Manchester Jazz Festival's first came to Halsall's attention when he heard them at a friends night (Norvun Devolution) at the Roadhouse in Manchester. He was immediately drawn to their sublime collective empathy and the seamless fusion of jazz, classical and electronica influences in their music. 'I was blown away the first time I heard them, for me tracks like Last Words and HF are modern anthems and I knew immediately that I wanted to release their music". I am very proud to welcome them to the Gondwana label"

GoGo Penguin met whilst studying music at the RNCM in Manchester. After doing frequent gigs together with various other bands and musicians they started jamming together and started creating new music. They had no specific sound in mind, but just wanted to be free to create freely and honestly. The new band quickly became a vehicle to combine all the best bits from the music they where influenced by and loved. Individually Illingworth brings a lyrical and melodic style influenced heavily by classical piano music and electronica. Turner brings a driving modern style of drumming influenced by jazz, electronica, ambient, classical and dance music. Russell brings a gritty energetic double bass style influenced by the likes of Charles Mingus but also more modern electronic producers. The band's modus operandi is to have one of them bring an idea to rehearsal. Then there's a lot of experimentation, they try out as many different ways to play the piece as they can think of, until it begins to sound like something they all like.
It is their unique ability to synthesis and develop each others melodic and harmonic ideas while drawing on music from classical to electronica that makes GoGo Penguin's music so enthralling and their debut album such a powerful opening salvo from a powerful new voice in UK music.

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21,22

Last In: 3 years ago
Arrington de Dionyso - Orga Ar

Originally released on cassette in 1994 and now for the first time on vinyl, this is an incredible document from a teenage Arrington de Dionyso. All the seeds of his 30+ career are engrained on these fully formed Tascam recordings. From Arrington: "Orga Ar is how Old Time Relijun came into being. It was the first time I ever had a "real" drummer (Bryce Panic) come in to give me some tracks to build songs with, and then I had Aaron come in and play upright bass on one tune (Qiyamat). When they heard the tape they both asked me if I had ever thought about starting a band and getting some shows organized. It's so weird to imagine now, because I really didn't have my shit together to do the kind of live performance I wanted to do all by myself. So the idea was that we would start with the songs on the tape but allow them to "breathe" in the live setting. I think at first I really wanted the band to be mostly improvisational, and just using the lyrics as a way to have continuity. But after a lot of trial and error in setting up our own shows we decided that having a more structured setlist had better results in getting people to dance. The Olympia scene at that time was kind of "anti-dance party"- most of the punk shows downtown were heavily politicized and were more about the connected activism than about the music per se. For me at the time, I felt like the REAL "political statement" that needed to be made was for the music to be an affirmation of one's physicality, that movement and enthusiasm were both OK and sometimes necessary for self-and-social liberation. We weren't popular at all in the "scene" until years later, in fact all of our US tours were disastrous until we were invited to tour in Europe by an Italian fan who organized everything in 12 different countries. In pre-internet era Olympia, our only aims were playing fun shows for our friends, with little regard for reaching the outside world."

pre-order now17.12.2021

expected to be published on 17.12.2021

23,91
Henry Cow - Western Culture

Henry Cow

Western Culture

12inchRERVHC4LP
ReR Megacorp
17.12.2021

The last Henry Cow record made after the group had officially disbanded. I'm biased of course but I believe this was a milestone recording, and perhaps the closest we came to getting the music to sound the way we wanted on disc. Guest appearances by Irene Schweitzer and Anne-Marie Roeloffs.

pre-order now17.12.2021

expected to be published on 17.12.2021

20,29
P.A. Presents - Swirling Gas EP

P.a.presents

Swirling Gas EP

12inch18UTRQDM3C
U-Trax
17.12.2021

Legendary Utrecht DJ and producer P.A. Presents (Peter Aarsman) returns with his first new release since 2000 with this vintage techno stunner, Swirling Gas. This EP also marks the first new music on U-TRAX in more than 21 years, kicking the label s comeback into a higher gear.
Peter ironically is the only artist on U-TRAX that actually is born and bred in the city of Utrecht. Even more irony lies in the fact that he hasn t lived in the city (or stadsie in Utregs, the local dialect) for the past 25 years.
Peter knew he wanted to be a DJ since he was ten years old, in a time when this was still a very unusual career to dream about. Long before house music had landed in Europe, Peter was fiddling around with disco and italo 12 -es and all those years of training is what made him the superior DJ that he still is today. In terms of skills, flair, energy and feel for the dance floor, there are probably not a lot of DJs that can rival with Peter.
While the era of house of techno of the late 80s and the 90s brought him countless DJ gigs, his reputation didn t cross the city borders much, until he bought his first gear and started producing techno music himself. Again, his DJ background proved helpful with producing his tracks, as most of his tracks are dancefloor orientated and usually have an impeccable timing.
Peter debuted with the mini-album Salicylic Acid on U-TRAX in 1993, followed by the Flight Stimulator EP a year later. Both are classics today, but neither brought him as much fame as his 12 Entangled did on Deviate, a record label that was started by a couple of our friends from Utrecht a year prior to U-TRAX. Entangled made it to many charts and compilation albums, including Carl Craig s mix CD as part of !K7 s DJ-Kicks series.
Besides two releases on U-TRAX and three 12 -es on Deviate, Peter recorded a full length album for the latter label. Unfortunately, before the album ever saw the light of day, Deviate closed their doors and the tracks remained on the shelves for the next 17 or so years. These tracks still sound surprisingly fresh and original today and we are super excited to be able to release some of them on this Swirling Gas EP!
The title track Swirling Gas obviously gets its name from the documentary sample that the track kicks off with. The almost heartbeat-like electro rhythms, layered choruses and dreamy synths will give you goose bumps all the way to the soles of your feet.
Raw is quite another thing, but way more complicated and sophisticated than the title suggests. An in-your-face electro bass drum pattern supports layer after layer of additional rhythms, some even touching on salsa, and then big fat layers of pulsating synths take you away into deep space. A unique track that will instantly reward the DJ that has the guts to play it for her/his audience.
Drum Magic on the flipside is exactly that: a magic techno trip built around complicated syncopated drum rhythms, which should serve the adventurous DJ well as a foundation for mixing all sorts of weird stuff on top of. We can t wait to see videos appear with creative mixing ideas.
Final track Freaky is opening with some heavy pounding, yet jumpy beats before it opens up into a bit of a space trip around the 3 minute mark. Though the track has a touch of the Basic Channel sound, its echoing synth tones are very distinct and will light up any venue, no matter how big.
All tracks have been revamped and edited into more current lengths by DJ Zero One, blessed by DJ White Delight and mastered by Thee J Johanz. Label art by Bonk Artwork.

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10,29

Last In: 4 years ago
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