Old style, Tip-On Jacket, and 8pp heavy insert featuring a treasure trove of newly discovered photos, and a 6,000 word essay by Kris Needs.
In 1962, Karen summoned Richard Tucker to join her in Colorado, extolling the healthier lifestyle, and plentiful gigs at Boulder folk club The Attic. Upon his arrival, the pair solidified their personal and professional relationship, riding horses in the mountains, and performing as a duo at parties and venues throughout Denver and Boulder. Stories of the spell they conjured - and rumours of tapes! - have circulated among friends and musicians who witnessed them, but until now, no recorded evidence had turned up.
Shuckin' Sugar is the glorious result of three reel to reel tapes that miraculously found their way to us in November, 2018; which featured two complete shows from The Attic in January '63, and a benefit concert for The Congress of Racial Equality (CORE) recorded the following February. Their gigs would often include brief solo sets from Karen and Richard, in addition to the duets, and all seven solo songs of Karen's found on the three reels are included here, as well as five duets, sequenced as close to how it all went down as humanly possible. To describe the record would take a poet, but all I can say is that unveiling a missing chapter in the Karen Dalton story - with six songs we've never heard her sing before - is cause for celebration in Delmore's world.
"From her opening, jaw-dropping lift-off with early blues standard "Trouble In Mind," the unique
otherworld Karen conjured springs into vivid life. Playing to audiences inevitably bound to the era's formalities and traditions, Karen instinctively pushed the envelope, straying into uncharted territory beyond the established borders. She must have bewildered many who came to see her in those winsome Peter, Paul and Mary times." From the liner notes by Kris Needs
Die Singer-Songwriterin, Multiinstrumentalistin und Produzentin Lindsay Olsen aus der Bay Area ist der brillante Kopf hinter dem schrägen und magischen Projekt Salami Rose Joe Louis. Auf der Grundlage ihres Studiums der Planetenwissenschaften erschafft sie eine einzigartige Erfahrung: Sie erforscht Ideen von Multiversen und Klimawandel durch die Linse eines fiktiven postapokalyptischen Erdenbürgers mit Keyboard, einer Taschenlampe, einer Dose Cashews und einem hoffnungsvollen Optimismus. Durch die Verschmelzung von Einflüssen aus Jazz, Rock und Hiphop, wie bspw. Shuggie Otis, Captain Beefheart, Stereolab oder R. Stevie Moore, schafft sie eine einzigartige Mischung aus experimentellen Klängen aus der Galaxis mit jazzbeeinflusstem Gesang und Keyboard.
Das neue Album folgt auf kürzliche Kollaborationen mit Toro Y Moi oder Alice Phoebe Lou für ihr Strongboi-Projekt, auf einen Remix für die Brainfeeder-Labelbuddies von Hiatus Kaiyote und auf die Mitwirkung am Song „Scapegoat“ des mit einem GRAMMY ausgezeichneten Rappers Baby Keem. Olsen hatte außerdem die Ehre, mit Flying Lotus, The Cinematic Orchestra, Toro Y Moi, TuneYards, Clairo, MNDSGN, Homeshake, The Comet is Coming und Still Woozy zu touren. „Akousmatikous“ ist die erzählerische Fortsetzung von ihrem letzten Studio-Album: Nachdem das Metropolis-Raumschiff am Ende von „Zdenka 2080“ auf die Erde gestürzt ist, kommt es zu einem dimensionalen Kollaps. In der Folge verwandeln sich die Köpfe und Hände der Erdbewohner:innen in Bildschirme, womit das neue Album beginnt. Die Erdbewohner:innen stecken in einer nicht enden wollenden Video-Feedback-Schleife zwischen ihren Köpfen und Händen fest. Ein interdimensionales Wesen, Zeeanori, manipuliert diese Rückkopplungsschleife, weil es will, dass die Pflanzen die Erde zurückerobern und die Natur wieder blüht und gesund wird. Ein alter Freund und frühere Liebe des Monsters, Akousmatikous (von einem fernen Planeten), kommt auf die Erde, um es zu sprechen, weil er neugierig auf seine Motive und die komplizierte ethische Situation ist. Akousmatikous stimmt zu, dass die Natur schön sein und blühen wird, ist aber besorgt über das Schicksal der Erdbewohner:innen, die in unendlichen Rückkopplungsschleifen gefangen sind. Akousmatikous hofft auf eine Lösung, die für jedes Wesen und jede Entität von Vorteil sein kann, einen Weg zur Symbiose.
Eric Emm and Jesse Cohen of Tanlines are indie-rock lifers turned reasonable, happy middle-aged fathers of two, figuring out their place in a chaotic culture and industry that can no longer command their full attention. They are emblematic of a particular time and place that doesn't really exist anymore, yet here they are existing, and thriving, in 2023. The Big Mess came together when Emm and his family moved from Brooklyn to rural Connecticut, while Cohen launched a marketing career and a successful podcast and stayed in the city. Emm continued writing songs_hundreds of them _ through all the weirdness of the past few years, but he wasn't exactly sure who he was writing them for. "I spent years figuring out in my mind, `What is my musical life going to look like?'" he says. "I just kept writing." Cohen gave Emm his blessing to continue Tanlines, even if his own contributions would be limited due to his own non-musical obligations. "I'm like, `Whatever you can do to keep this thing going, do it,'" Cohen says. And with that, Tanlines was reborn. By January 2022 Emm felt he had a body of work that made sense as a Tanlines album. Cohen spent ten days with Emm at his Connecticut studio, along with unofficial third Tanline Patrick Ford (!!!). This was tied together with a sleek final mix from Peter Katis (The National, Interpol) at his famed Tarquin Studios, resulting in a clear vision of what Emm's musical life was going to look like: The Big Mess. The first sounds on The Big Mess are the title track's coiled guitars and thumping drums, building into the kind of outsize, choral rock anthem artists like Tanlines were almost a reaction to. It is warm and nostalgic, and Cohen likens a lot of the prevailing mood to "a sepia filter on a digital photo." He continues, "we were pretty intentional about making this the first song on the album, underlining the way that this is a new phase of the band." Cohen says. The moody, scintillating "Burns Effect" serves as one of the biggest pushes forward for the Tanlines sound, and for Emm as a lyricist. He says that the song is "deep and dark and dangerous, but in a fun way. It's one of the more personal tracks on the album where this ungrounded part of my personality surfaces, but with an over-the-top machismo, almost an ironic character." Other tracks like "New Reality" and closer "The Age of Innocence" are also demonstrably guitar-forward in ways that wouldn't seem obvious for Tanlines (despite Emm's pedigree in austere avant-garde math-rock outfits Storm & Stress and Don Caballero), but Emm is less sure The Big Mess is a total departure. "I'm trying to make these absolutely simple things," he says. "I think of these songs as Rothko paintings: They're big and they're bold and they're seemingly straightforward, but they have a lot of depth and they engage with you and make you feel something."
Before Aretha Franklin rose to fame, she was signed to Columbia Records. This 3LP compilation album is a collection of some of Aretha's most notable songs during her time at Columbia from 1960 to 1965. The Queen in Waiting highlights Franklin's jazz and big-band recordings, and includes the songs "Won't Be Long", "Walk On By", "Today I Sing The Blues" and "Try A Little Tenderness" a.o.
The Queen in Waiting: The Columbia Years 1960-1965 is available as a 3LP limited edition of 2000 individually numbered copies on gold & black marbled vinyl and comes with three printed inner sleeves.
One day, you wake up with a cloud in your head. You feel out of place and uninspired, and juggle so many worries the balance is skewed. That was Armin van Buuren three years ago. He put so much love and passion into his work and found it hard to cope with the fact that not everyone can be pleased. Something needed to change. So, he reformed his life routines, took up meditation to calm the storm and did everything he could to negate the numbness. And what he ended up with was a newfound love for music and an incredible three-part album: Feel Again.
From "No Fun" and "Computers Take Over The World" to "One More Time", "Come Around Again" and "Roll The Dice", the Feel Again album sonically represents the journey of an artist extraordinaire radically looking for harmony within himself. Its 34 tracks may be different in terms of sound, but together, they reflect an equilibrium that could only come from a man in balance.
From reconnecting to friends, family, and fans to finding inner peace, Feel Again means acknowledging harsh truths, finding out what really matters and letting that power a new step forward. Because in the evergreen words of Armin van Buuren himself, “we're still learning and will never stop learning till the day we die”.
Feel Again is available as a deluxe limited edition box set, including 3 LP's, which are housed in printed innersleeves. The set also includes 5 exclusive Armin van Buuren lithos. This deluxe boxset is limited to 3000 individually numbered copies on turquoise marbled (LP1), white marbled (LP2), and orange marbled (LP3) vinyl.
BENNY THE BUTCHER THE PLUGS I MET 2 THE PLUGS I MET 2 IS NOW AVAILABLE IN A LIMITED EDITION BURGUNDY PRESSING
Mere months after releasing an undisputed AOTY contender for 2020 with Burden Of Proof and only three months after being shot, Benny got back on his feet (way ahead of schedule) and re-immersed in his element “back to that little pot, that little flame.” While he has separated himself from his peers, Benny from Montana Ave knows the game is to be sold and never told and he has put all of these accolades in his rearview mirror to focus on his next lick; The Plugs I Met 2. The Plugs I Met 2 is the coronation of a true G going from worker to the PLUG---and never looking back. “I came in as an underdog, to filling out my position as one of the elite rhymers in the industry. Plugs 2 expands upon that mindset; the same confidence, same attitude, cocky, but I still have something to prove” Benny asserts. Produced entirely by Harry Fraud, the Brooklyn bred producer describes The Plugs I Met 2 as “the story of a hustler who’s realized success but understands how fragile it is. Lyrically the album shows Benny reflecting on what he’s sacrificed to get here and what he’ll need to do to continue his rise to the top. With this project we set out to transport the listener into a world that was lush but still gritty, triumphant but still emotional and sonically diverse across the board.”
Svart Records unveils “Sutra”, the new album from grand master avant-garde overlords Yakuza. An genre crushing album of forward thinking metal for the modern age, “Sutra” is a powerhouse of unlimited expression and molten riffs. Formed in 1999, Chicago based heavy hybridizers Yakuza, are in a genre all of their own, which Pitchfork describe as a “a specialized and strange alloy”. So eclectic and hard to pigeon-hole, their music has been described over the years as everything from avant-garde metal, progressive metal, alternative metal to experimental rock, jazz metal, art metal and post-metal. Incorporating psychedelic rock jams that sprawl into heavy, sludging Doom with jazz influences, while also incorporating breakneck grind riffs and grooves, makes Yakuza’s new album “Sutra” a long awaited and insanely enjoyable feast of frequencies. From their break-out debut album “Amount to Nothing” in 2000, which was met with critical acclaim, Yakuza have been a phenomenon in the world of heavy music, hot on the tongues of those who know. Their second album “Way of the Dead” in 2002 landed Yakuza a deal with Century Media and worldwide notoriety, securing them live slots with like-minded progressive heavyweights like Candira, Opeth, The Dillinger Escape Plan, Lacuna Coil and Mastodon.
Svart Records unveils “Sutra”, the new album from grand master avant-garde overlords Yakuza. An genre crushing album of forward thinking metal for the modern age, “Sutra” is a powerhouse of unlimited expression and molten riffs. Formed in 1999, Chicago based heavy hybridizers Yakuza, are in a genre all of their own, which Pitchfork describe as a “a specialized and strange alloy”. So eclectic and hard to pigeon-hole, their music has been described over the years as everything from avant-garde metal, progressive metal, alternative metal to experimental rock, jazz metal, art metal and post-metal. Incorporating psychedelic rock jams that sprawl into heavy, sludging Doom with jazz influences, while also incorporating breakneck grind riffs and grooves, makes Yakuza’s new album “Sutra” a long awaited and insanely enjoyable feast of frequencies. From their break-out debut album “Amount to Nothing” in 2000, which was met with critical acclaim, Yakuza have been a phenomenon in the world of heavy music, hot on the tongues of those who know. Their second album “Way of the Dead” in 2002 landed Yakuza a deal with Century Media and worldwide notoriety, securing them live slots with like-minded progressive heavyweights like Candira, Opeth, The Dillinger Escape Plan, Lacuna Coil and Mastodon.
Radien began its descent early 2014. The band draws creativity from the deepest depths of the world and the mind, balancing between crushing heaviness and ethereal atmospheres. This Helsinki-based group from Finland vows in the name of serious amplifier worship and offers their atmospheric blackened sludge with intensity and integrity. Unissa Palaneet will be the second album by Radien with a release date May 19th, 2023, by Svart Records. The album is mixed by Sanford Parker and mastered by James Plotkin. It features international guest appearances by Dylan Walker (Full of Hell), Mike Paparo (Inter Arma) and Italian multi-instrumentalist Lili Refrain.
After the mind blowing success of Witchcraft's Legend (2012), mastermind Magnus Pelander outdid himself once again with the band's 2016 offering Nucleus. Combining what made it's predecessor the modern classic it quickly became as well as elements of the band's earlier days makes Nucleus a melancholic, raging, fragile, melodic and at times noisy masterpiece filed somewhere between classic rock, doom and ambient music. With a renewed line-up (Rage Widerberg on drums and Tobias Anger on bass) the band sounds more hungry and powerful than ever. In combination with the thrilling, yet very down-to-earth production by Pelander, Philip Gabriel Saxin and Anton Sundell, Nucleus throws you in dreamy sonic landscapes that will mesmerize and haunt you alike. Svart Records are proud to release an official reissue of this album on black and limited green vinyl on May 19th
After the mind blowing success of Witchcraft's Legend (2012), mastermind Magnus Pelander outdid himself once again with the band's 2016 offering Nucleus. Combining what made it's predecessor the modern classic it quickly became as well as elements of the band's earlier days makes Nucleus a melancholic, raging, fragile, melodic and at times noisy masterpiece filed somewhere between classic rock, doom and ambient music. With a renewed line-up (Rage Widerberg on drums and Tobias Anger on bass) the band sounds more hungry and powerful than ever. In combination with the thrilling, yet very down-to-earth production by Pelander, Philip Gabriel Saxin and Anton Sundell, Nucleus throws you in dreamy sonic landscapes that will mesmerize and haunt you alike. Svart Records are proud to release an official reissue of this album on black and limited green vinyl on May 19th
Schottlands hottest Superstar Lewis Capaldi meldet sich mit seinem langersehnten 2. Album zurück - nachdem er mit seinem Überhit ”Someone You Loved” 2019 alle UK Rekorde knackte und sein Debüt ”Divinely Uninspired To A Hellish Extent” weltweit wie heißeste Semmeln über die Ladentheken ging (7fach Platin in UK, Gold in DE und aktuell wieder #4 in den UK Albumcharts).
”Broken By Desire To Be Heavenly Sent” enthält neben der Uptempo Single ”Forget Me” auch die aktuelle Ballade ”Wish You The Best”, die Lewis zum mittlerweile das fünfte Mal auf den UK Singlechart Thron
katapultierte.
Nahezu täglich nimmt er seine über 6,5 Millionen Instagram Follower auf unterhaltsamste Art und Weise mit auf seine Reise und beherrschte zuletzt sogar wochenlang die #1 der UK Netflix Charts mit seiner sehr berührenden mental health Doku ”How I’m Feeling Now”.
Niemand vereint herzzerreißende Songs, eine einzigartige Stimme, Humor und die Zerbrechlichkeit aufgrund andauernder mental health und Tourette Erkrankungen wie der 26-Jährige. Trotz aller Widrigkeiten spielt er weltweit in den größten Hallen und mit befreundeten Kollegen wie Niall Horan, Sam Smith, Jonas Brothers und zählt u.a. Elton John und Harry Styles zu seinen Fans.
Mo H. Zareei (mHz) returns to Imprec/Cassauna with Proof Of Identity, an album of pulsating, pattern-based electronic pieces that evolve in ways reminiscent of Steve Reich's early work or Philip Glass' Music In 12 Parts. With Proof Of Identity, Zareei confronts issues surrounding identity and authorship in composition specifically when created by non-Western musicians. He simultaneously tackles orientalism and the normative take on identity politics.
Artist's Statement:
More than a decade ago, I made a piece of beat-based electronic music and titled it "Middle Eastern IDM" for a course assignment. After listening to it in class, my professor asked what was Middle Eastern about it. It was only a year after I had left Iran to study in the US, and I didn't know that I could say "I am. I made the piece". So I went back and superimposed a sample of Egyptian protest chants on top of the piece, to make it "sufficiently Middle Eastern".
What prejudiced conservatism and performative liberalism share is gatekeeping practices that box one in a preconceived state of otherness. While the former overtly regards that otherness as inferior, the latter exoticises it through patronising paternalism. To me, it is especially troubling when exclusionary practices are driven by some form of overzealous "diversity and inclusion" agenda. If you don't fit the diversity box they've made for you, too bad. It's your fault for being "insufficiently diverse". "Poor thing, you've been colonised!", they tell you, as they claim ownership over a collection of frequencies and rhythms. When you look at who gets to decide if something's indigenous enough, you see how decolonisation itself has been colonised.
When you listen to this piece, I'm very happy for you to keep in mind that it was made by someone from Iran. But I might need to clarify that this piece has nothing to do with sufism and the whirling dervishes, the interweaving patterns of the Persian carpet, the poetry of Rumi, or Islamic architecture. And if you hear those moments of "non-western" sonorities, that is because I have constructed this piece from samples of a piece of Iranian traditional music – an overplayed piece that was all over TV and radio while I was growing up Iran, one that I never found particularly inspiring or interesting. Here, I have tried to make it more interesting by completely taking it apart and reconstructing it through my personal compositional techniques, aesthetic preferences, and a wide range of musical influences. So in short, while this piece might not sound like your archetypical Iranian music, I assure you that it is Iranian enough.
Zum 20jährigen Firmen Jubiläum legt die Hamburger Indie Institution Grand Hotel van Cleef 20 Klassiker Alben aus ihrem Katalog als limitierte Marbled Vinyle neu auf. Alle 3 Monate erscheinen je 5 legendäre Alben. Mit dabei u.a. Kettcar, Thees Uhlmann, Tomte, Fortuna Ehrenfeld, Escapado und Fjort.
A digital twin is a computer system programmed in such a way that, receiving the same inputs as the physical object or process it is a twin of, it provides the same outputs.
Characteristics of digital twin technology
1 Connectivity
2 Homogenization
3 Reprogrammable and intelligent
4 digital traces
«There is no light without shadows and no fullness of mind without imperfections. Life requires for its realization, not perfection, but fullness. Without imperfection, there is no progress or growth.»
Deprived of sanity, Paul Régimbeau aka Mondkopf found new territories of expression with »Spring Stories«, a collection of post-rapture moods full of glorious chaos, ready to absorb and re-ignite all that is worn.
As a phoenix raising from the ashes, »Spring Stories« captures the earth in full bloom. Darkness & Insanity looses it´s grips as the roots and fresh leaves creates a slow dance towards the sun. Similarly sine-wave drones move around exploding electric guitar improvisations as new light beams on shadow cast corners. The album feels like a 60ies jam set in the post-world psychedelic underground. Heavy, absurd, beautiful and ready to sooth burnt out, depleted minds. Paul has citied that he´s affected as much by folk improvisors such as Master Wilburn Burchette & Robbie Basho as well as the doom drone of giants Earth & Sunn O))). Spring Stories invokes on these, while feeling like a personal blow-out, coming right from the core. Touching and grand, like spring itself.
The album also features Frederic D. Oberland on two tracks playing variously Duduk & Alto Saxophone. Lastly, The Necks drummer Tony Buck shakes & rattles all over the final - and seriously epic - piece “Continuation”, as the world aligns while the sun rises over its near-dead shape.
180 Gram Vinyl Following the success of the 2021 reissue of Ambient Warrior’s cult classic Dub Journey's (1995), Isle of Jura is pleased to present their unreleased second album, II. Born from the same oceanside fusion of instrumental dub, reggae, bossa nova and tango music that made Dub Journey's so distinctive and memorable, II is an equally sublime collection of eleven unheard tracks from the brilliant minds of Ronnie Lion and Andrea Terrano.
Evoking the delights of white sands, palm trees and sunsets, all set against clear waters and endless blue skies, Dub Journey’s and II document the golden moment when Ambient Warrior came together during the mid-90s to create some of the most Balearic Dub ever made. “Music is the greatest traveler, isn’t it?” says Ronnie. “It gets to places the actual artists can’t even get to really.”
The son of an orphaned Jamaican jazz trumpet player and professional boxer who enlisted in the military after stowing away on a boat to London, Ronnie grew up between Germany, Singapore and the UK before becoming a working musician in his mid-teens. A bass player by trade, he honed his skills playing in a series of soul, jazz-funk, blues, rock and reggae bands that performed throughout the UK.
By the time Ambient Warrior released Dub Journey’s, Ronnie and his business partner Ras Joseph were running the Lion Inc. recording studio and record label in Brixton, London. Having set up distribution arrangements with Roots Records (UK) and Semaphore (DEU/NL), they recorded and released a series of singles, compilations and solo albums from a who’s who of roots reggae artists, including Twinkle Brothers, Delroy Washington, Michael Prophet, Alton Ellis, Little Roy, and Ronnie’s own band The Amharic. “Lion was a regular port of call for visiting Jamaican artists,” reflects Ronnie. “When you were in London, it was on the route.”
An accomplished guitarist, producer and recording engineer from Trieste, Italy, Andrea grew up listening to Russian folk, Klezmer and the Italian harmony tradition in a Sicilian-Ukrainian family. After completing compulsory Italian military service, he moved to London to continue studying music. One night, he turned up at Lion Inc. and approached them about running audio engineering classes from the studio.
In Andrea, Ronnie found a collaborator who shared his desire to create borderless music that reflected the diversity of their backgrounds. “I wanted to do something that had no boundaries,” Ronnie explains. “If you’re working on a roots album, it has to sound a certain way, but with Ambient, especially in the nineties, it was just a license to let off. You could do whatever you wanted to do.” “It was a melting pot of influences like London itself,” adds Andrea.
Although they wrote most of II at the same time as they were recording Dub Journey’s, it took them several years to finish off the album. “Things never got done quickly,” Ronnie remembers. By the time it was complete, Roots Records had gone out of business, leaving Lion Inc. without UK distribution. Not long after, their Brixton studio flooded, bringing the label to a close.
These days, Andrea continues to work as a session guitarist, recording engineer and producer in London. Over the last two decades, he has collaborated regularly with Basement Jaxx and released several solo albums. Ronnie, on the other hand, lives on a boat equipped with an onboard studio, where he has recorded a series of oceanic dub albums off the British coast. Twenty-eight years after the release of Dub Journey’s, he recently started working on demos for a third Ambient Warrior album he hopes to record with Andrea in the not-so-distant future.
Artwork By Bradley Pinkerton.
Tom is in his purple period - and after nearly a decade of releasing delicately constructed songs that sit in the hinterland
between dance floor and home listening, he’s finally cracked the code for creating ABSOLUTE BANGERS, with all the class and lightness of touch present from his previous work.
Hidden Spheres is in turbo mode - and you’ve most likely heard these tunes without knowing it - TANZEN has been a staple in Bradley Zero’s set for the last year and has always, ALWAYS caused complete dance floor destruction. Add in the Italo flavoured Paula Tape remix and you have one of the most exciting dance floor propositions of the year.
Politics Of Dancing once again gets our vote here with some balmy deep house propositions from the eponymous production team working alongside French stylist Djebali. 'Close To Gate' layers balmy pads and smeared chords over punchy and dynamic drums with plenty of cosmic effects up top. There is a little more urgency to 'Soul Brothers' which skates and skips along nicely beneath shimmering vocals sounds and wispy melodies. 'Simple Minds' brings more physical drum work and infectious finger clicks while the Franco Cinelli remix gets things on more of a breezy and rolling tip. A useful, heartwarming EP of modern deep house music.
