Поиск:z orchestra

A deep dive into the one of most collectable jazz catalogues in the world, a selection of some of the rarest and most sought-after recordings from the 60s and 70s, a time when British jazz began to find its own identity. Drawn from the iconic labels of Decca, Deram, Argo, EMI Columbia/Lansdowne Series, Fontana, Mercury, & Philips.



2LPs (+ audio download code voucher)
Vinyl audio remastered & cut by Gearbox Records
180grm Optimal Pressing
16-page 12x12 insert with 20,000 word essay detailing this crucial era of British jazz with track commentaries and artist biographies
2CD Set, hard cover book includes a 20,000 word essay detailing this crucial era of British jazz with track commentaries and artist biographies
Track list below (2CD set is same tracks split LP1 & LP2)









i c1. Neil Ardley, Ian Carr, Don Rendell | Greek Variations: VI Kriti edit

The finest and rarest chapter of EMANUELLE saga by the cult maestro Nico Fidenco and his loyal orchestra director Oscar Lindok (Giacomo Dell'Orso). Majestic original soundtrack of the sex thriller movie "EMANUELLE IN AMERICA" from 1977 directed by the legendary Joe D'Amato. Sexploitation cult and acclaimed director's third instalment of Black Emanuelle film series starring Dutch actress Laura Gemser. The deepest, intense and most thrilling volume of Black Emanuelle adventures with the best music cuts of the whole series. Spellbinding, breathtaking and wordless music with dreamy orchestral movements, unbelievable downtempo Funk and timeless beats, mental Afro-beat and dancing percussion, sweet Psychedelic guitars, subtle female chorus, heavy strings and orchestra, loungy sounds, driving funky drums and so on. Essential Italian OST masterpiece!

The Bluetones’ second album “Return To The Last Chance Saloon” was preceded by another Top 10 single “Solomon Bites The Worm” in February 1998. Featuring some orchestral arrangements, the album was released in March, going straight into the Top 10 of the album chart. Two more hit singles were taken from the album: “If…” and “Sleazy Bed Track”.
There was an extremely limited edition version of the vinyl release of the album – a gatefold sleeve with two opening ‘wild west’ saloon doors affixed to the inside of the gatefold sleeve. Demon Records is very proud to recreate this edition!

"Behold! Arise! Vast distances from Earth’s dimension, in a galaxy millions of light-years away, the WIZARDTHRONE resurges! Traversing vivid sci-fi multiverses in the spirit of H.P. Lovecraft via comprehensively established technical death- power- and symphonic black metal, Hypercube Necrodimensions (out July 16 via Napalm Records) is a bombastic journey through hyperspace and otherworldly realities. Featuring members of ALESTORM, GLORYHAMMER, AETHER REALM, FORLORN CITADEL, NEKROGOBLIKON and more, the musical brilliance of WIZARDTHRONE is absolutely undeniable. Title track “Hypercube Necrodimensions” is a hard-hitting, astronomically technical trip through portals of the Euclidean reality, entering the fifth dimension with whirlwinding synth and guitar leads. Throughout the runtime of Hypercube Necrodimensions, WIZARDTHRONE effortlessly sear from one fast-paced sonic romp to another, evident with frost-bitten “Frozen Winds Of Thyraxia”’s orchestral blast beats, or “Forbidden Equations Deep Within The Epimethean Wasteland”’s incredibly elaborate, multi-faceted songwriting. Hypercube Necrodimensions finds its grand finale in the extensive 14-minute sci-fi experience “Beyond the Wizardthrone (Cryptopharmalogical Revelations of the Riemann Zeta Function)”, taking you through the prismatic light of the twin stars of Thyraxia into the cathartic revelations of WIZARDTHRONE’s cosmos! Featuring guest appearances from Aleksi Munter (SWALLOW THE SUN/INSOMNIUM), Florian Magnus Maier (DARK FORTRESS/ALKALOID) and Evan Berry (WILDERUN), Hypercube Microdimensions is a spectacular display of WIZARDTHRONE’s musical finesse, constantly pushing the boundaries of heavy metal and thus offering a one-of-a-kind Extreme Wizard Metal listening experience!

Dark Nights: Death Metal war eine siebenteilige DC-Comicserie mit einer Erstauslieferung von 250k Einheiten, die an über 1,2 Tausend Graphic Novel- und Fachgeschäfte verteilt wurde. Um die hemmungslose
Ehrfurcht vor der Comic-Serie zu untermalen, präsentieren Tyler Bates und Loma Vista Recordings den ”Dark Nights: Death Metal-Soundtrack” mit Beiträgen von u.a. Rise Against, HEALTH, Denzel Curry, Soccer Mommy oder Manchester Orchestra.

Tyler Bates ist nicht nur ein Meister im Entwerfen von Musik für Film, Fernsehen und Videospiele, sondern auch ein gefragter Multiinstrumentalist, Autor und Produzent. Zu seinen Filmen zählen Dawn of
the Dead (2004), 300 (2007), Watchmen (2009), mehrere Kollaborationen mit Rob Zombie, darunter The
Devil’s Rejects (2005), Halloween (2007) und Halloween II (2009), die Guardians of the Galaxy-Saga (2014,
2017), die John Wick-Serie (2014, 2017, 2019), Atomic Blonde (2017), Deadpool 2 (2018), Fast & Furious
Presents: Hobbs & Shaw (2019 ), und viele mehr.

Dark Nights: Death Metal war eine siebenteilige DC-Comicserie mit einer Erstauslieferung von 250k Einheiten, die an über 1,2 Tausend Graphic Novel- und Fachgeschäfte verteilt wurde. Um die hemmungslose
Ehrfurcht vor der Comic-Serie zu untermalen, präsentieren Tyler Bates und Loma Vista Recordings den ”Dark Nights: Death Metal-Soundtrack” mit Beiträgen von u.a. Rise Against, HEALTH, Denzel Curry, Soccer Mommy oder Manchester Orchestra.

Tyler Bates ist nicht nur ein Meister im Entwerfen von Musik für Film, Fernsehen und Videospiele, sondern auch ein gefragter Multiinstrumentalist, Autor und Produzent. Zu seinen Filmen zählen Dawn of
the Dead (2004), 300 (2007), Watchmen (2009), mehrere Kollaborationen mit Rob Zombie, darunter The
Devil’s Rejects (2005), Halloween (2007) und Halloween II (2009), die Guardians of the Galaxy-Saga (2014,
2017), die John Wick-Serie (2014, 2017, 2019), Atomic Blonde (2017), Deadpool 2 (2018), Fast & Furious
Presents: Hobbs & Shaw (2019 ), und viele mehr.

Dark Nights: Death Metal war eine siebenteilige DC-Comicserie mit einer Erstauslieferung von 250k Einheiten, die an über 1,2 Tausend Graphic Novel- und Fachgeschäfte verteilt wurde. Um die hemmungslose
Ehrfurcht vor der Comic-Serie zu untermalen, präsentieren Tyler Bates und Loma Vista Recordings den ”Dark Nights: Death Metal-Soundtrack” mit Beiträgen von u.a. Rise Against, HEALTH, Denzel Curry, Soccer Mommy oder Manchester Orchestra.

Tyler Bates ist nicht nur ein Meister im Entwerfen von Musik für Film, Fernsehen und Videospiele, sondern auch ein gefragter Multiinstrumentalist, Autor und Produzent. Zu seinen Filmen zählen Dawn of
the Dead (2004), 300 (2007), Watchmen (2009), mehrere Kollaborationen mit Rob Zombie, darunter The
Devil’s Rejects (2005), Halloween (2007) und Halloween II (2009), die Guardians of the Galaxy-Saga (2014,
2017), die John Wick-Serie (2014, 2017, 2019), Atomic Blonde (2017), Deadpool 2 (2018), Fast & Furious
Presents: Hobbs & Shaw (2019 ), und viele mehr.

Das Phänomen POWERWOLF: Innerhalb der deutschen Heavy-Metal-Szene findet sich wohl kaum eine
andere zeitgenössische Band, deren Erfolgskurve seit vergleichbar langer Zeit derart steil nach oben zeigt,
was mithilfe der im vergangenen Jahr veröffentlichten opulenten Werkschau „Best Of The Blessed“ zum
15-jährigen Bestehen deutlich sicht- und hörbar unter Beweis gestellt wurde. Nun, nur rund 12 Monate
später, steht das achte Studio-Album unter dem Titel „Call Of The Wild“ in den Startlöchern, von dem
mit Fug und Recht behauptet werden darf, dass es neue Maßstäbe setzt!
Zeitsprung ins Jahr 2005. Bereits auf seinem Debüt „Return In Bloodred“ etabliert das Quintett um den
Lead-Gitarristen und Haupt-Songwriter Matthew Greywolf einen in dieser Form nie dagewesenen Stil, der
klassischen Metal melodischer Spielart mit erhabenen Orgelklängen und orchestralem Bombast vereint.
Alles an POWERWOLF, von den elaborierten Texten - die mal augenzwinkernd humorvoll, mal bitterböszynisch von Phantastischem und Historischem handeln - bis zur omnipräsenten sakralen Symbolik, nährt
die mystische Aura des Fünfergespanns, die über die folgenden Jahre mit jedem weiteren Werk an
Bedeutung gewinnen und auf unzähligen Touren in eine einmalige, nicht von ungefähr als
„Metal-Messe“ bezeichnete Liveshow übersetzt werden soll. Die süßen Früchte der eisernen Treue zu den
traditionellen musikalischen Wurzeln, bei gleichzeitiger konsequenter Weiterentwicklung ihres ureigenen Sounds, ernten POWERWOLF aber nicht nur von den Bühnen ausverkaufter Konzertsäle aus, sondern
auch an der hart umkämpften Chart-Front. Dreimal gelang in den letzten Jahren der Sprung aufs
Treppchen der offiziellen deutschen Albencharts - zweimal davon auf die Pole-Position - und im
europäischen Ausland wurden die jüngeren Veröffentlichungen „Blessed & Possessed“ und „The
Sacrament Of Sin“ mit Gold, die Hit-Single „Demons Are A Girl' Best Friend“ gar mit Platin
ausgezeichnet.
Warum außer Frage steht, dass das am 16. Juli 2021 erscheinende Opus „Call of The Wild“ in Sachen
Popularität einen weiteren Quantensprung bedeuten wird, erklärt sich sowohl langjährigen als auch frisch
gewonnenen Fans schon im ersten Hördurchlauf wie von selbst: Gerahmt vom Eröffnungs-Titel ”Faster
Than The Flame”, der sich pointiert als „POWERWOLF in Reinkultur“ beschreiben lässt, und dem
großen Finale ”Reverent Of Rats” verströmen die elf enthaltenen Songs zwar stets Vertrautes, wagen aber
auf jedem Schritt des Wegs Weiterentwicklung in vielerlei Hinsicht. So mutet etwa das
unverschämt-eingängige ”Dancing With The Dead” regelrecht tanzbar an, während ”Alive Or Undead”
als Power-Ballade allererster Güte den Ruf des Frontmanns Attila Dorn als absolutem Ausnahme-Sänger
endgültig zementiert. „Call Of The Wild“, das sich einmal mehr als heißer Anwärter auf den
Chartstürmer-Titel ins Rennen stürzt, ragt anno 2021 als turmhohes Ausrufezeichen aus der
Musiklandschaft hervor und vermittelt wie kein anderes Werk das leidenschaftliche Credo
POWERWOLFs: Metal is religion!

Sonor Music Editions is continuing the dive into the glorious Sermi catalogue, a renomated Italian Library label that released, between late 60s and early 70s, some among the most sought-after and insane records of the whole Library/Soundtrack genre. This is the first ever reissue of another Italian Library grail from the catalogue - originally issued in 1972 on Gemelli label. Sandro Brugnolini's masterpiece "UTOPIA", originally pressed on a ridiculous run, and released on a beatiful tip-on sleeve reproducing painter Michel Seuphor's abstract art. The first official release after the recent maestro's passing, conceived with the great arrangements of Giorgio Carnini at the Hammond and piano, and the direction of maestro Franco Tamponi. A brilliant and inspired Jazz-Funk and Lounge Jazz session with just amazing sounds, driven by both dreamy and underground moods, Avant-garde Jazz refined orchestrations and gorgeous grooves.

180g Coloured Vinyl Series. Contains New Specially Prepared Liner Notes By Penguin Guide To Jazz’s Writer Brian Morton And By Paris’ Prestigious Jazz Magazine. “....The mood of their Verve recording together, though, was deliberately gentler, less taxing, more intimate. These tunes, light in their way, almost homespun, are invested with an extraordinary humanity. There isn’t an ounce of sentiment in “Under a Blanket of Blue” or “Isn’t This a Lovely Day?”, but there is deep feeling and a profound sense of human solidarity. They were not singing about civil rights, there is no erotic charge in the encounter; when they sing about breaking hearts, it’s clear that everything is mendable. The challenge of bebop had been met and quietly negotiated. Here was jazz with its original message: the individual matters, but others matter, too. The mutual respect with which Ella Fitzgerald, Louis Armstrong and the other four exceptional musicians go through a repertoire of unforgettable standards selected by Granz is readily apparent. Songs like “They Can’t Take That Away from Me”, “Tenderly” and “April in Paris” make Ella & Louis a jewel of simplicity and timeless humanity.” Vocals; Louis Armstrong, Trumpet & Ella Fitzgerald Vocals; Oscar Peterson, Piano; Herb Ellis, Guitar; Ray Brown, Bass; Buddy Rich, Drums Hollywood, August 16, 1956. Original Session Produced By Norman Granz. *Bonus track: Ella Fitzgerald (vc), Louis Armstrong (tp, vc) with Bob Haggart & His Orchestra. New York, January 18, 1946. 5 Stars - Down Beat Magazine Ella & Louis is one of the very, very few albums to have been issued in this era of the LP flood that is sure to endure for decades.” (Nat Hentoff)

180g Coloured Vinyl Series Contains New Specially Prepared Liner Notes By Penguin Guide To Jazz’s Writer Brian Morton And By Paris’
Prestigious Jazz Magazine. Frank Sinatra & Count Basie Sinatra Basie + 2 Bonus Tracks (Orange Vinyl) “Sinatra had long since mastered the microphone, which had become his instrument, capable of a full-on roar or a whisper so intimate it seemed to be spoken inside the listener’s head. Tackling things like “Nice Work If You Can Get It” and “I Won’t Dance” took him back to a kind of repertoire he had mastered
two decades before. The youthful sheen hadn’t quite left the voice and age hadn’t yet darkened it. Basie wasn’t the greatest sight-reader and may not have played on all the tracks, but his band knew the score and Sinatra-Basie remains a collaboration of great strength and naturalness.” Penguin Guide to Jazz “The following decade would see his comeback to stardom, and Sinatra-Basie remains one of the highlights of that period. In this summit meeting, the iconic sonority of Basie’s orchestra is sublimated by Neal Hefti’s arrangements, while Sinatra, impeccable from start to finish, draws from the prodigious energy of the horns, strings and drums of this triumphant big band a simply irresistible elegance.” Jazz Magazine

Contains new specially prepared liner notes by Penguin Guide To Jazz’s writer Brian Morton and by Paris’ prestigious Jazz Magazine.
6 bonus tracks (Green Vinyl) “The question of whether Etta James became a pop singer, a jazz singer, or a blues singer needn’t detain you long. She was all of those, as At Last bears out, and more besides. James touched on gospel, doo-wop and rhythm’n’blues
with equal facility. “Dance With Me, Henry” was a hit, but renamed “The Wallflower” and covered by Georgia Gibbs. Because James had a composition credit, it made her some money, but she didn’t like to be bested. She made sure that the next time it would be her name on the label.“ Penguin Guide to Jazz “At Last!, her debut LP, made for the celebrated Chicago label Chess, certainly is one of her most memorable. It’s impossible to not be moved by the power of her voice, beginning with the opening notes of “Anything to Say You’re Mine”.
Every phrase, every word is attacked with an energy that commands respect. But beware, this young woman (she was only 22 at the time) could also take on the sweetest forms of a melancholy ballad, such as “Stormy Weather”, and manage to achieve tenderness. At Last! is one of the key soul music albums of the early 1960’s.” Jazz Magazine ETTA JAMES, lead vocals; The Riley Hampton Orchestra. Arranged and conducted by Riley Hampton. Recorded in Chicago, Illinois, 1960 and 1961. Original sessions produced by Phil and Leonard Chess.

Im Jahr 2008 war Portugal. The Man seit etwas mehr als zwei Jahren eine Band und ritt auf einer kreativen Welle, wie man sie nur selten sieht. In den ersten zwei Jahren ihres Bestehens hat die Band drei Alben, eine EP und ein paar Singles veröffentlicht und dabei knapp 500 Shows gespielt. Die junge Band aus Alaska fuhr von Stadt zu Stadt, kaufte säckeweise Reis und gönnte sich nur selten etwas von ihrem Taco Bell-Feed The Beat-Geld. PTM waren engagiert. Sie beendeten die Tour im Dezember 2008 und anstatt eine dringend benötigte Pause einzulegen, trafen sie die Entscheidung, den Höhepunkt dessen aufzunehmen, was ihre Live-Performance geworden war. Sie fanden ein seltenes Juwel von einem Studio in den Vororten von Portland, und versammelten sich dort mit ihrem Live-Equipment und einer Handvoll Freunde mit Handkameras. Der langjährige Mitarbeiter und Filmemacher Graham (Baclagon) Agcaolli und der Tontechniker/Mixer Jacob Portrait (der später zu Unknown Mortal Orchestra stoßen sollte) halfen bei der Dokumentation. Sie spielten ihr komplettes Set einmal durch - ohne Nachvertonungen oder Overdubs - nur die Band in ihrer natürlichen Form. Ein paar Wochen später gingen sie ins Studio, um ihr nächstes Album, "The Satanic Satanist", aufzunehmen, und "Oregon City Sessions" wurde in ein Regal gestellt. Dort lag es über ein Jahrzehnt lang. Nur wenige sahen den ganzen Film. Die Band, ihr Manager oder Tour-Manager boten gelegentlich an, zu den Leuten nach Hause zu gehen und ihn für sie zu zeigen. Manchmal zeigte die Band auf dem Parkplatz eine Handvoll Songs für die lokalen Fans. Sie knüpften Freundschaften, aber wann immer sie gefragt wurden, war die Antwort: "Ja, wir werden das irgendwann veröffentlichen." Jetzt ist die Band seit über einem Jahr nicht mehr unterwegs, die mit Abstand längste Pause seit ihrer Gründung, und die Zeit scheint einfach reif. Hier ist "Oregon City Sessions", ausgegraben aus den Archiven. Unberührt, unverändert von dem Tag, an dem es fertiggestellt wurde. Es ist eine Zeitkapsel einer Band, die ihren Weg findet. Ein Schnappschuss von jungen, rohen Talenten, bevor sie Preise gewannen, bevor sie Millionen von Platten verkauften, bevor sie Headliner von Festivals waren. Nur ein paar Kids aus Alaska, die die Welt bereisen und Musik machen wollten.

Repress

Calibre's mighty wind has blown through the drum 'n' bass scene ever since his first tentative forays into production in 1998. As a trained musician and student of the genre, he quickly developed a unique sound that was warm, orchestral and hypnotic. Attracting the attention of tastemakers like Fabio, the Belfast-born producer and DJ was encouraged to work harder and faster on this liquid funk, resulting in what would become his signature sound. By the time his sophomore album, "Second Sun", came into orbit, Calibre was recognised as a shining star of the scene.

One of the few who had realised the potential of the album format, he crafted dubbed out house grooves, jazzier downtempo numbers, and introspective vocal-led tracks amongst the more trad tempos the largely dancefloor single-based genre was known for.

The album is awash with high points, from the anthemic "Drop It Down", to the more reflective MC tracks like "Timeout" and "Blink Of An Eye". Most producers would labour over such delicately balanced arrangements for weeks, but the fact that Calibre can knock such masterworks out in a matter of hours tells you how effortlessly and naturally his music comes to him.

"Working quickly gives me a unique and personal sound," says Calibre. "It also helps that I like to sample my own playing. Any type of instrument I could get my hands on, I'd record it live. Maybe quite badly, but I still did it. It helped create my own sound. If you can play an instrument, and you can play it with a little bit of passion and a little bit of love, it'll give you something back."

In the fourteen years that have passed (Second Sun dropped in October, 2005) Calibre has written more material than quite possibly anyone else in the scene, and this year shows no sign of him slowing up. Besides the usual wealth of remixes in the pipeline, and a forthcoming techno album on Craig Richards' label, a sixth Shelflife compilation of unreleased Calibre material will be dropping on his own Signature Records label. But for now, let's rewind the story, as the man himself takes us, track by track, through Second Sun.

The Spaces Between were formed out of creative studio sessions in the summer of 2020 and comprises of bona fide house legend Terry Farley, electronic music producer Wade Teo and renowned author and co-owner of Club Chi’ll Records, Ian ‘Snowy’ Snowball. The idea for ‘Ghosts’ came from Terry’s idea to reference the Jazz greats who have gone to glory leaving behind their astonishing musical legacies. Within days of emailing a comprehensive list of jazz artists to Chicago House luminary and The It/ Jungle Wonz member, Harry Dennis, an answer with Harry’s sparse, haunting vocals was received. These were laid down over a bed of live instruments and electronic sounds and the combined talents of The Spaces Between created the compelling jacking jazz vibe of ‘Ghosts’.

Snowy ran the track past Jo Wallace at F*CLR Records – it was love at first listen. Jo suggested the track should be part of an EP with remixes from the newly reformed Black Science Orchestra. It was agreed and provided an ideal opportunity for Ashley to work with Terry once again, reinforcing the Junior Boy’s Own heritage.

The first incarnation of Black Science Orchestra began life in 1992 when Ashley Beedle joined forces with Rob Mello and their debut release, ‘Where were you’ exploded onto the global dance scene via the iconic UK house label JBO. Broken in the US by the Godfather of House, Frankie Knuckles, ‘Where were you’ entered into the hallowed halls of immortal dance music. Black Science Orchestra has become one of the most respected deep house acts of the 1990s, with the revered album ‘Walter's Room’ and the legendary genre crossing 'New Jersey Deep' track that is considered one of the top dance tracks of all time and rarely leaves discerning DJs' record boxes. Fast forward 29 years and original BSO founding fathers, Ashley and Rob decided that both they and the world needed the sound of Black Science Orchestra again and decided to reform, inviting long time musical and studio accomplice Darren Morris to join the collective now in its 6th incarnation!

When presented with the original version of ‘Ghosts’, Rob, Ashley and Darren loved it and all heard various ways it could be reworked in a true Black Science Orchestra way. Donning their pandemic production hats and remotely getting their feet back under the studio desk again, they worked together to create distinctly different remixes ranging from the deep, spacy electronic to the tough and psychedelic sleazy funk. With original BSO productions included on this EP, 'Ghosts' has helped square off the circle and the Black Science Orchestra conductors are back and mean dance floor business!

Dublin's Splitradix delivers an EP of intense and melancholic acid / braindance with plenty of ''light in darkness'' to quote Yellow Magic Orchestra. Opener Laplace Formal is a moody, hyper melodic piece for a dreamy dance floor. The oddly titled second track, The Dry Canal, is the centerpiece of the EP. Dry, deep and stomping acid taking you through a tunnel of sound - the two dark droney melody lines slowly but surely turn the piece into something truly epic and unforgettable... Opening the flipside, Empty Sea 1000 is a slow, lazy acid cut from another dimension, very nice! Lucan 303 Distribution Service is heavy on the kick. Basic at first, it later turns into a wonderfully melodic Rephlex-like cut. Last one, Laplace Formal (Navs' No Jacket Required Remix) is a laidback and more euphoric version of the EP's opening track.

fter a hiatus of over eight years Fuzzy Lights are making a welcome return. Burials is the follow-up to the critically acclaimed album Rule of Twelfths, and the fourth album from the Cambridge-based post-folk collective. 

Their sound has been stripped back to its component parts, deconstructed and rebuilt under less obvious influences. There’s a bedrock of folk-rock - predecessors like Trees and Fairport Convention - but this is then built upon through multiple layers, from the stillness of Talk Talk to the orchestral chaos of Godspeed You! Black Emperor. With Burials Fuzzy Lights have cultivated these sounds and influences into something new and fresh that distances the album from the rest of the folk-rock crowd.

The most striking element of these songs is how intimate they are. Lyricist Rachel Watkins has revealed a lot about herself in these seven songs, which have been written from a very personal perspective. Raw experiences have been distilled into each piece, her translucent vocals often betraying the content of the songs themselves. The album is bookended with the most personal of these. Opener ‘The Maidens Call’ reveals her loss from suffering a miscarriage, whilst album closer, ‘The Gathering Storm’ frames the rallying cry of women’s rights around how individuals must work together now, and in future generations, to destroy prejudice. There is also engagement with humanity’s immediate surroundings and the environment. ‘Under The Waves’ deals with devastation of coral reefs, ocean resources and our natural world, and ‘The Graveyard Song’ imagines the perception of time from the juxtaposed views of a yew tree and a young woman.

As scenarios, paths, and outcomes shift around us, Burials’ amalgam of glowering, intense instrumentation, timeless, weightless melody, and exactingly revealing lyricism carves a very particular path through the world. This is music that tears us away from the everyday not just as a form of escapism, but as a means of self-reflection on hardship and the strategies we develop to overcome it.  It is the band’s rawest yet most accomplished statement to date.

A GROOVY SELECTION IN THREE ORIGINAL VINYLS TO DISCOVER THE GOLD NUGGETS OF FUNK, SOUL & HIP-HOP ! Selection by the journalist Olivier Cachin and illustrations by the artist LAZOO.

The latest collection by Cascadian resident loscil aka Scott Morgan is a stunning meditation on light, shade, and decay, sourced from a single three-minute composition performed by a 22-piece string orchestra in Budapest.
The subsequent recording was lathe-cut on to a 7-inch, then “scratched and abused to add texture and color,” from which the entirety of Clara was sampled, shape-shifted, and sculpted. Despite their limited palette, the compositions summon a sense of the infinite, swelling and swimming through luminous depths. Certain tracks percolate over narcoleptic metronomes while others slowdive in shimmering shadowplay, sounding at times like some noir music of the spheres.
Although Morgan's compositional premise for Clara was quite defined, the resultant work is wonderfully opaque and spatial, equal parts lush and lurking, traced in fine-grained gradients and radiant silences. The album's title comes from the Latin for ‘bright': a fitting muse for this masterpiece of celestial electric currents and interstitial ether, where “shadows are amplified and bright spots dimmed.”