The latest set of releases for Decca's The Collection - Mozart, The Piano Works (W. A. Mozart, A. Schiff) and Beethoven, Symphony No. 5 (L. Beethoven, Vienna Philharmonic Orchestra, H. Schmidt-Isserstedt) are out 30th May 2025. These titles focus on composers and their most famous pieces of all time, whilst encompassed in beautiful hand-drawn packaging in an expressionist style and pressed on coloured vinyl.
Der 1999 veröffentlichte Soundtrack zu Eyes Wide Shut enthält eine einzigartige Trackliste mit Hits wie „Baby Did a Bad Bad Thing“ von Chris Isaak sowie Originalkompositionen von Jocelyn Pook, die den unheimlichen und spannungsgeladenen Ton des Films perfekt ergänzen. Ein herausragendes Stück, „Masked Ball“, wurde wegen seiner eindringlichen, atmosphärischen Qualitäten zur Ikone. Das Album wurde für einen Grammy Award in der Kategorie „Best Score Soundtrack for Visual Media“ nominiert, was die Anerkennung der Kritiker unterstreicht.
"Irrepressible, off-the-wall and utterly unique - the late 70s/early 80s Latin jazz-funk and leftfield electronic boogie of Japanese composer and pianist Izumi ‘Mimi’ Kobayashi collected for the first time.
A star in Japan, she moved to Europe to record global hits with Depeche Mode and Swing Out Sister, toured the world with the Reggae Philharmonic Orchestra and made beats with Attica Blues’ Tony Nwachukwu. Now based in London, Mimi currently fronts Tokyo Riddim Band - the intergenerational live Japanese Reggae outfit born from Time Capsule’s acclaimed 2023 compilation of the same name - playing live shows and releasing a trio of recordings.
Choice Cuts 1978-1983 collects eight recordings from four of Mimi’s first five albums – Sea Flight (1978) recorded with her group Flying Mimi Band, and Coconuts High (1981), Nuts Nuts Nuts (1982) and Tropicana (1983) under her own name.
The compilation opens with a syncopated electro-funk cover of Sergio Mendes’ ‘Mas Que Nada’ (Tropicana) and the crisp and stripped back techno-pop of ‘Coffee Rumba’ (Nuts Nuts Nuts) with a keyboard bass line that would have made Stevie Wonder weep.
Alongside the off-beat synth jam ‘Quiet Explosion’ (Nuts Nuts Nuts) and piano samba of ‘Espresso’ (Tropicana), there’s two low slung soul-jazz numbers, ‘Naze’ and ‘Angel Sky’, from Sea Flight (1978) that recall the collaborations between Herbie Hancock and Kimiko Kasai. But it is around the two tracks from Mimi’s 1981 album Coconuts High that this compilation revolves (and from whose cover shoot it borrows).
Released on legendary guitarist Takanaka’s Kitty Records label, Coconuts High was recorded in LA with a jazz fusion backing band, including Alex Acuña, Abraham Laborial, Harvey Mason and the Tower of Power horns. A riot of playful Latin-tinged jazz, funk and fusion with the off-beat spirit of Kid Creole & and the Coconuts, the album became a cult hit. Here it’s the sultry, Minnie Riperton-esque ‘Crazy Love’, with its addictive groove and bittersweet melodies that makes the cut, alongside the steel drum-infused carnivalesque bounce of ‘Palm St’.
Choice Cuts 1978-1983 will introduce the idiosyncratic energy and playful verve of this under-the-radar pioneer to a wider audience for the first time. Welcome to the world of Izumi ‘Mimi’ Kobayashi."
WOW. Daniel O'Sullivan's transcendent new album, Eros, is one of the greatest things we've ever heard. A simply stunning song cycle of hypnotic, experimental contemporary chamber music composed for a 14-piece ensemble. Combining minimalism, complex syncopation, detailed acoustic textures, weird intervals and samurai precision, this record will elegantly blow your mind. When Daniel first sent us this, he pitched it as “Liquid Swords meets Michael Nyman”. Trust us, he wasn't wrong. A "unique hybrid orchestral music", it presents a confluence of Daniel's longstanding fixations; indeed, there's elements of Nyman, Antonio Carlos Jobim, Magma, Aaron Copland and RZA. But this is wholly O'Sullivan's. Originally commissioned for the Sonoton Music Library in Munich, Eros now receives a deluxe vinyl release courtesy of Be With Records, bringing this meticulously crafted work to a wider audience. Limited to just 500 copies for the world, these are gonna fly.
An English composer and multi-instrumentalist, Daniel O'Sullivan’s career has been marked by versatility and innovation. In addition to his work with Sonoton, he has composed extensively for the legendary KPM music library, contributing to its storied legacy of production music. As a deep virtuoso and collaborator, O'Sullivan has also played in a number of influential projects, including Ulver, Sunn O))), This Is Not This Heat, Grumbling Fur and Miracle (with Steve Moore), leaving an indelible mark on the contemporary experimental music landscape.
O’Sullivan’s first foray into classically informed chamber music, Eros is a culmination of his long-standing fixations and expansive musical influences. The album features arrangements that are as detailed as they are emotionally resonant, showcasing his unparalleled ear for intervals and mastery of counterpoint. The music brims with complex rhythmic syncopation and a sensitivity to texture and space, resulting in a soundscape that is both intoxicating and dauntingly precise.
Recorded June 2023 and February 2024, in Brussels, London and Carmarthenshire, Wales, Eros features members of Echo Collective (Neil Leiter and Margaret Hermant), Thighpaulsandra (from seminal post-industrial band Coil), and jazz pioneer Oren Marshall. Daniel's sonic weapons of choice, in his own inimitable words, were "Big Bad Drum, Pee Anne Oh, Low End Brass, Willowy Winds & Samurai Strings." You get the picture. As a cyclical suite, this is a record that really needs to be heard in its entitreity, from start to finish, to truly appreciate the genius at work here.
A jaw-dropping statement of intent, the minimalist "Golden Verses" sets the tone with its complex cue which has your neck snapping right when it feels like it needs to. Listen and you'll understand. A syncopated tangle of sharp strings, crunchy bass, drums percussion and bright piano and mallets vie for position with French horn and woodwind melody in the most compelling and unexpected ways. Quite simply, it's one of the finest album openers I've ever heard. It's followed by the atmospheric rippling minimalism of "Lyre Lyre", a gorgeous gem with shimmering chimes, bright melody, human percussion and syncopated pizzicato strings. It kinda comes on like a less-abstract Boards Of Canada, bursting with typical wonderment. The piano and string-drenched "Dolorous Stroke" effortlessly builds its warm, pastoral orchestration with flowing piano arpeggio, steadfast drums, expressive string quartet, rich low brass, woodwind and lyrical flute. Just sublime.
The insistent frenetic propulsion of "Plain Paper" is utterly beguiling, featuring a determined string motif, urgent drums and percussion, driving low brass and breathless, energetic flute. The haunting, interweaving string arpeggios that propel "Grapes Draped" presents a claustrophobic minimalism for chaos and darkness, with growling low woodwind and brass, spiky harpsichord, skittering flutes and tight drums. Up next, "Xanix Annum" is a stately minimalist waltz with expressive lyrical string quartet and delicate woodwind, anchored by drums and percussion. "Painting Rose" is a bouncy stop-start track with angular syncopated strings and a piano pulse underneath bright harpsichord and flutes. "Rotunda Garden" presents ethereal textural minimalism for landscapes and reflection with flowing string arpeggios, warm, low woodwind drones, floating choir and cymbal swells. Closing out this extraordinary side of music, the glowing, flowing minimalism of "Flowry Orb" features urgent organ, piano and woodwind arpeggios, half-time drums with shimmering cymbals, a soaring, beautiful violin solo and hypnotic vocal chant.
Side 2 opens with "Theia Mania" a determinedly off-kilter, angular track featuring low wind, brass and drum stomp in dialogue with lively string trio, woodwind and solo horn. The light, airy minimalism of "Painting Percy" is built around an interplay of rhythmic motifs for piano, low brass, bassoon, fluttering flutes, urgent strings, drums and percussion whilst "For Archetypes" is a delicate, gently syncopated chamber cue for nostalgia, nature, reflection and moments of calm, with steady piano motif, intimate woodwind and French horn, and warm, graceful strings. The urgent Ars Memoriae is a propulsive march for progress, processes and industry, underpinned by driving tuba, with determined strings, resolute drums, and vivid, expressive flute, clarinet and French horn.
The syncopated energetic minimalism of "Mirrored Seven" presents layers of melodic and cyclical piano, drums, low brass, harp, flute and strings. "Pure Ornament" follows, a slowly evolving chamber cue with flowing clarinet, string and harp arpeggio, plodding tuba and percussion, fluttering flute and graceful, lyrical solos. Stunning! Up next, "Brave Boy" moves from its tender, warm, lullaby-like intro with lyrical flute, clarinet and strings before opening into a playful backend driven by a bouncy tuba riff and syncopated piano, woodwind, string trio, and drums and percussion. Rounding out this astonishing piece, "Waxen Waned" is a warm, pastoral chamber cue with light lyrical woodwind, tender French horn and subtly pulsing string trio.
The album's title is a reference to Plato’s conception of Eros, which is more than romantic or physical desire. It is a dynamic and creative force that drives individuals to seek perfection whether in art, relationships, philosophy or the pursuit of truth. Wholly appropriate, here, we think. When asked what his influences were in making this astounding record, he answered thusly: "Non-musical: Householding, Pythagoras, Goethe, Grail romances, Hermeticism, Doctrine of Signatures (Parcelsus, Bohme, Pliny), Eric Rohmer, John Stezaker, Yasujiro Ozu. Musical: Duke Ellington (late suites), Smile-era Brian, early RZA, Wagner (Parsifal Overture), Magma, Mancini, Axelrod, YMO, Hildegard, Nyman, Penguin Cafe Orchestra, Jobim (Stone Flower), Alessandro Alessandroni, Tavener, Moondog, Orthodox Music, Secular Music." That's some pretty deep shit. Makes you want to dive in, no?
Mastering for this vinyl edition was overseen by Be With regular Simon Francis, and it was cut by the esteemed Cicely Balston at Abbey Road Studios to be pressed in the Netherlands by Record Industry. Truly, Eros is a work of extraordinary depth and sophistication. It invites listeners to immerse themselves in its intricate layers, to lose themselves in its hypnotic rhythms, and to marvel at the precision of its execution. With this release, O’Sullivan reaffirms his position as one of the most inventive and uncompromising voices in contemporary music. Do. Not. Sleep.
" New collector Blue Turquoise Vinyl repress, following November 2024 Crystal Clear LP reissue sold out.
" What Are You Going to Do with Your Life?' is the eighth studio album by British post-punk legends Echo & The Bunnymen, released on April 16, 1999. The album saw the band continue a trajectory set with 1997's 'Evergreen', embracing more introspective themes and melodic approach to its arrangements.
" Featuring an inspired selection of collaborators including strings from the London Metropolitan Orchestra and two songs featuring the American rap rock band Fun Loving Criminals, 'What Are You Going to Do with Your Life?' featured two singles, the title track, and the atmospheric fan favourite 'Rust', which would mark the band's final Top 40 UK single.
" Celebrating 25 years of 'What Are You Going to Do with Your Life?', the album is issued on vinyl for the very first time.
Dune: Prophecy is an HBO original series based on the
best-selling books by Frank Herbert and Brian Herbert, and a spin-off to the blockbuster movies of Dune.
The music for the series was composed by Academy Award-winning composer Volker Bertelmann (All Quiet on
the Western Front, Conclave, Lion), whose evocative, futuris- tic ambience, meets bold, powerful orchestral tracks on this score, accompanying the story.
Set 10,000 years before the ascension of Paul Atreides, Dune: Prophecy follows two Harkonnen sisters as they combat forces that threaten the future of humankind and establish the fa- bled sect that will become known as the Bene Gesserit. Dune: Prophecy is inspired by the novel “Sisterhood of Dune”, writ- ten by Brian Herbert and Kevin J. Anderson.
The soundtrack of Dune: Prophecy is available as a limited edition of 1000 numbered copies on orange “Spice” marbled vinyl and includes a 4-page booklet with pictures from the series.
Album "My Life - Preisner's Music is a live recording from a concert held in November 2024 in Bielsko-Bia?a, marking the occasion of Zbigniew Preisner receiving Honorary Citizenship of his hometown, Bielsko-Bia?a.
This year, on May 20th, Zbigniew Preisner will celebrate his 70th birthday, and the album is a his gift he made to himself.
The album includes 17 iconic themes composed by Zbigniew Preisner among others from Three Colours, Decalogue, The Secret garden, The double life of Veronique, Damage, When a man loves a woman, Eminent Domain, Aberdeen, Mouvements du desir, Lost and Love, but also Lacrimosa from Requiem for my Friend in the interpretation of Dominik Wania.
Few words from Zbigniew Preisner:
"For years, I've been thinking about reducing my orchestral themes to a single instrument. As a composer, I pay special attention to melody-each of my compositions always has melodic themes.
Ten years ago, I met Dominik Wania, now a jazz star and a brilliant pianist who records albums for ECM. I knew he was the perfect person to bring my idea to life.
The concert you are about to listen to is the result of our collaboration, which has given me great satisfaction. Dominik Wania's interpretation went beyond my wildest expectations. I hope you will enjoy the album."
Reviews of the album:
"When I teach the films of Krzysztof Kieslowski at Columbia University, I always mention that Zbigniew Preisner is one of the world's greatest film composers. He has many fans among my students. And now there is a new album, a haunting distillation of his movie scores into solo piano performances. It demonstrates how he is the master composer of the tritone, trill and tremolo. Listening to his compositions in their own terms - separate from the cinema screen - foregrounds his distinctive and often plaintive melodies.
Because orchestration, lyrics and narrative function are absent, the listener can focus on the richness of the "standalone" music, beautifully performed by Dominik Wania. For example, the memorable score from Kieslowski's "Double Life of Veronique" now feels more ominous than lyrical. From "Mouvements du desir," the tinkling piano sounds grow into cascading notes that envelop the listener. Whether classical (as in "When a Man Loves a Woman" and "The Waltz from The Funeral") or jazz ("The Secret Garden"), the music reigns when there is no movie screen to distract us. This is equally true of the minor-key gems like "Dekalog" and the briskly upbeat "Transient from Twilight" (which invokes for me the joy of Jon Baptiste's compositions).
In addition to Preisner's scores, the mournful "Lacrimosa" is stripped down from a public performance - which included a choir - to a more personal evocation of grief via solo piano. Finally, listening to "Lost and Love" suggests that if Frederic Chopin and Keith Jarrett had an heir together, it would be Zbigniew Preisner".
Annette Insdorf, Film Professor Columbia University
Following ‘No Closer To Heaven’, The Wonder Years released ‘Sister Cities’, their most transformative work to date.
Recorded at Sunset Sound with Joe Chiccarelli (Manchester Orchestra, The Shins, Spoon) and Carlos de la Garza (Jimmy Eat World, Paramore), ‘Sister Cities’ is an album about distance, connectivity and the way humanity towers above boundaries.
What The Wonder Years do so effortlessly on ‘Sister Cities’ is no small feat; through poetic lyricism, ambient guitar swells and Jimmy Eat World-levels of crashing momentum. On ‘Sister Cities’, they take a massive, unexpected leap forward both sonically and thematically, now speaking confidently to the world at large.
Vocalist Dan Campbell on the inspiration behind ‘Sister Cities’: “It started with journals and photos. We started by documenting. We didn’t know where it would go or if it would go anywhere at all, but we wrote it all down. We took photos of everything. And
then when it came to put it altogether, we had this catalog of how we felt and what it looked like and sounded like and we built from there. Figuring out what the moments were that stayed with me the most. When did I feel most connected to the people around me and why? What did being in this place during this moment teach me? It was a difficult year personally and globally and we experienced that through this lens of being everywhere but home, kind of floating through places and seeing how being there altered our perspective.”
The album is housed in a 200-page, 13”x13”, full-colour book that includes photos, artwork, journal entries and lyrics. LP pressed onto Shinjuku Street Splatter coloured vinyl.
An overpowering sense of earnestness and vulnerability.” - Pitchfork
There is a lifetime yelled in every punk song, captured in the desperate and catchy ‘Sister Cities’.” - NPR MusicFrom the first notes, it’s already clear that The Wonder Years are stepping into uncharted territory.” - UPROXX
Inspired by Abba, early AC/DC, Beefheart and the dark heart of outsider pop, The Beyond and the Better Way is a record featuring warped orchestrations, extended autobiographical rants and sumptuous performances by a collection of Glasgow's (and Ireland's) finest musicians and singers The Gorgeous Pouting Mr AR is a pseudonym for Ronan Breslin - a recording studio owner, composer and academic who teaches sound and music at The Glasgow School of Art.
Ronan comes from an Irish family of musicians, with the most notable being his brother Niall Breslin, who helmed the iconic Irish band "The Blizzards" before becoming a highly regarded mental health podcaster and now presenter on BBC Radio 3. Niall's stellar guitar playing features on many of this record's tracks. The recording will be released on the 23rd May via Strength in Numbers Records on vinyl and digital platforms and will be accompanied by an online collection of song- related essays (aka rants). The album is distributed by Last Night From Glasgow. "The songs explore OCD, politics, anxiety, grief, regret, rage, lost love, but also reflect on joyous moments that define the transition from fearful child to fuck- you adolescence and finally reluctant adulthood. The album title song 'The Beyond and the Better Way' is morbidly confessional; however, it is also a statement of resilience, positivity and optimism for the human condition. There is always a better way." - Ronan Breslin
Three years after the release of her successful debut album 'Alma', Munichbased singer, pianist, and composer Alma Naidu unveils her long-awaited self-produced new album 'Redefine' She presents 13 original songs that showcase remarkable emotional depth, musical diversity, and intensity. The album features a wide range of arrangements, from classic band settings to string orchestras and intimate voice-and-piano solo pieces. It explores themes such as friendship, love, personal growth, and thought- provoking topics like equality and the redefinition of gender roles. The record is further enriched by collaborations with renowned artists, including Mark Lettieri (Snarky Puppy), Raphaela Gromes, Nils Landgren, Jason "JT" Thomas, Lisa Wulff, and Simon Oslender.
La Pambelé Unveils Nací Mestizo, A Bold New Album Reviving Salsa with a Contemporary Twist Bogotá’s heavy guaguancó orchestra, La Pambelé, proudly presents their highlyanticipated second studio album, Nací Mestizo, now available on all major digital platforms as of November 27th. This album pays tribute to the golden era of salsa, particularly the 1970s, while breathing new life into the genre with modern lyrics and stories that resonate deeply with Latin communities.
All while maintaining a distinct Bogotan essence that highlights the city’s unique cultural flavor. Nací Mestizo seamlessly blends the timeless salsa brava sound with contemporary themes, reflecting the everyday lives of people across Latin neighborhoods. The album’s songs capture the struggles, passions, and joys of ordinary people, presented through the vibrant rhythms of salsa, creating a musical experience that connects the past with the present. Building on Their Rising Popularity Prior to the album’s release, La Pambelé debuted the singles “Amargura” and “Perdí mi Corazón”, which quickly captivated audiences and set the stage for the full album's success. The band’s electric performance of these tracks at the MedPlus Coliseum in Bogotá, before an audience of 22,000 attendees awaiting Marc Anthony, was met with enthusiasm as fans danced and applauded.
This moment marked a significant milestone for the orchestra, cementing their place as a rising force in the global salsa scene. Additionally, La Pambelé’s growing visibility has been marked by their appearances at major festivals such as Salsa al Parque and features on prominent radio stations, including Radio Nacional de Colombia and Latina Stereo. These platforms have helped introduce La Pambelé’s signature sound to a wider audience, building anticipation for the release of Nací Mestizo and reaffirming their influence in Colombia’s tropical and alternative music scenes. A Contemporary Salsa Sound with Classic Roots La Pambelé’s unique blend of traditional salsa brava and contemporary Latin storytelling is showcased through their distinctive nine-piece orchestra, which includes piano, conga, flute, trumpet, trombone, timbales, bongos, and baby bass. The dynamic vocals of Miguel RoRebolledo and Lorena Contento elevate the album’s themes, creating a sound that invites listeners to their feet and onto the dance floor. Under the direction of Camilo Toro Morato, the orchestra has honed its signature style, pushing the boundaries of salsa while staying true to its roots. As a proud defiance of stereotypes about Bogotá’s musical abilities, La Pambelé’s name pays homage to legendary Colombian boxer Kid Pambelé, symbolizing resilience and strength.
The name also draws from the Bantú language, meaning "defender of one's own," reinforcing the band’s connection to their Colombian heritage and pride in their distinctive sound. Global Recognition and Continuing Influence Since the release of their self-titled debut album in 2022, La Pambelé has gained international recognition, especially within the vinyl collector community. Theirdebut album was released in both 45” and LP vinyl editions, further solidifying their unique position in the contemporary salsa movement. Influenced by salsa greats such as Markolino Dimond, Eddie Palmieri, Edy Martínez, and Ismael Miranda, La Pambelé has carried forward the torch of salsa brava with passion and innovation. Nací Mestizo marks a significant evolution in the orchestra’s journey, melding the old and the new, and cementing La Pambelé as a driving force in the future of salsa music. A Collector’s Dream With their 2022 debut album garnering international recognition, La Pambelé’s vinyl releases—including 45” and LP editions—have become coveted items for salsa collectors worldwide. Their music is a bridge between classic salsa traditions and a modern vision, appealing to seasoned fans and new listeners alike. About La Pambelé La Pambelé is a heavy guaguancó orchestra from Bogotá, Colombia, known for their vibrant, rhythm-driven sound that blends 1970s salsa brava with modern Latin influences. With a unique nine-piece lineup and powerful vocals, the band continues to break boundaries, defying expectations and inspiring audiences around the world
Piero Piccioni undoubtedly was the most “dandy” of Italian film music composers. The most stylish one, in art as in life. On the centenary of the composer’s birth, CAM Sugar celebrates his art with a compilation that draws from both his well-know and lesser-known works, alongside a precious handful of tracks that, surprisingly, have remained fully unreleased until today. The result is a journey of rediscovery of the unique, dazzling and unmistakable sound of the Turin-born composer. The silky, sensual and emotional “Piccioni's touch” can be detected in every single composition he happened to work on during his long career which spanned jazz, bossa nova, funk, disco, and orchestral music. It is a touch that gives harmony and coherence to a corpus of soundtracks that stands out as one of the most prestigious and important discographies in the world: eternal music destined to last forever, without ever sounding out of place, just like the timeless elegance of Italy and Piccioni.
Drummer and Composer Nadav Schneerson, based in London has been making moves in the UK Jazz scene having already played with the likes of Charlie Stacey (Yussef Dayes), Steamdown, Dargz, Finn Rees (Allysha Joy), Don Glori and many more across the UK scene and beyond. Highly in demand as a drummer, he's been bubbling as a bandleader with his full 7 piece ensemble gracing many stages in and around London. Having met many of his musical collaborators through Tomorrows Warriors such as Sultan Stevenson, his ensemble line ups feature musicians who have played with many great artists such as Ebi Soda, Levitation Orchestra, Hak Baker, Moses Boyd and much more. Nadav's music is a unique blend of contemporary jazz with various influences from around the Middle East and all being informed by the bustling UK Jazz styles which surround him.
Nadav Schneerson's debut album, Sheva was recorded over two days at the Fish Factory Studio in London. All tracked live, the impressive 7 piece outfit shines through the dynamic range of tracks on the album. Featuring Drums, Double Bass, Grand Piano & Fender Rhodes, Trumpet & Flugelhorn, Tenor Sax, Trombone & Live FX and Oud, there are tracks that are more modal and freeform, allowing the soloists to really let loose. Whereas there are compoisitons more thoroughly arranged, with intricate parts intearweaving through each voice.
2025 marks the 10th anniversary of world-famous DJ Pete Tong, conductor Jules Buckley, and The Heritage and The Essential Orchestra coming together to create orchestral versions of some of the greatest electronic dance songs as you’ve never heard them before. Alongside his Royal Albert Hall shows in May Pete has curated a special 2LP neon coloured vinyl, featuring hits from all four albums such as ‘Pjanoo’, ‘Lola’s Theme’ ‘Killer’, ‘Insomnia’, ‘9PM (Till I Come)’, ‘Your Love’ & many more. The releases also feature new Mark Ralph 2025 edits of fan favourites ‘Finally’, ‘Man With A Red Face’, ‘Yeke Yeke’ & ‘Cafe Del Mar’ which all previously featured on medleys and a new 2025 single. This limited edition release features brand new artwork and notes from Pete.
La Scimmia Records presents: PLANISFERO by Roberto Porzio LSCM05
Renowned Neapolitan keyboardist and composer Roberto Porzio (Parbleu, Psyché, Fitness Forever, The Funkin' Machine and others) makes his highly anticipated solo debut album with Planisfero—a breathtaking sonic journey where tropical rhythms, Mediterranean lyricism, and cinematic orchestrations collide, shaping an intimate and personal musical landscape.
Planisfero blends salsa, samba, and vintage sound library aesthetics with the bold energy of an imaginary Afro-Cuban orchestra. Entirely written, arranged and composed by Roberto, the album is recorded completely live, with no digital shortcuts, becoming a manifesto to pure musicianship and analog authenticity—a rare gem in an era of synthetic production.
Step into a new musical geography—where imagination knows no borders
"Non Rompere" is a dark, decidedly experimental song from the disco era, a style embraced in the second half of the 70s by Amanda Lear and then in the early 80s by Italian showgirls such as Nadia Cassini, Patrizia Pellegrino, Pamela Prati, who considered disco-music the most transgressive genre of the time (which later often became ''trash''). G.Bri, namely Vanna Brosio, a seductive actress and TV presenter, follows this trend with an equally bold approach, making use of the shameless lyrics of Cristiano Malgioglio (Cristiano Facile) and the arrangement and orchestral direction of Beppe Cantarelli, one of the key figures of Italian music in the world (with over 100 million records sold). The record production of ''Non Rompere', longed for by followers for decades, nevertheless needs to be enriched. Dave Mathmos takes care of it, choosing to keep the original version intact and faithful to his style he creates two alternative versions: the ''Remix'' oriented towards High Energy, replacing the rock guitar with synthesizers that evoke the sounds of artists such as Giorgio Moroder and Patrick Cowley; the "Italo Dub", draws on the roots of Italo-Disco, highlighting the melodies of the chorus and adding another layer of melodic depth, all through the use of synthesizers (Additional instruments used: Linndrum drum machine, Roland TR-707 drum machine, Moog V - Synth, Jupiter 8V - Synth, Diva - Synth). This approach shows once again the talent of the Italian-Australian DJ in fusing and reinventing the genre, while preserving the energy and innovation, characteristics of the Italian Disco music scene of that time.
NOW is proud to present the next instalment in our ongoing ‘Yearbook’ series, and the final one representing an individual year from the 1980s: NOW – Yearbook 1989. 78 tracks across 4CDs – celebrating a magnificent and eclectic year in pop! This release is available as a standard 4-CD set, and as a special edition 4-CD set in ‘hardback book’ packaging, which includes a 28-page booklet packed with notes about all of the 78 featured tracks. Also available as 42 tracks across 3LPs, pressed in stunning pink vinyl…celebrating a magnificent and eclectic year in pop!
Carwyn Ellis & Rio 18 release their new album "Fontana Rosa". Possibly the world's only musical group to fuse Latin music of all kinds with the Welsh language, this time Rio 18 draw inspiration from slightly different musical corners, including Chicano Soul, Nuyorican pop, and Salsoul disco plus Latin sounds filtered through the cultural spectrum of the USA.
Most significantly though, the album was among the last ever to be recorded by the acclaimed producer Liam Watson at his legendary studio and shrine to all things analogue, Toerag Studios - a huge inspiration and influence on Rio 18's Carwyn Ellis. The "Fontana Rosa" sessions saw Ellis draw together an all-star band at the fabled studio which is perhaps best known through its place in the White Stripes history.
Talking about the story and gestation of the album, Carwyn said:
"I was in Mexico City with Baldo Verdú when I heard that Toerag Studios in London was going to close. It came as a shock - Toerag and Liam Watson, its owner and resident producer had been a massive influence on me. Liam, along with Edwyn Collins, had taught me much of what I know about recording, had hired me as an instrumentalist on countless sessions and had helped me to get started when I began my own solo career. And over the years, I'd still go in to record with Liam whenever the opportunity arose. When I heard that Liam was shutting up shop, I took it upon myself to try and ensure he went out with a musical bang. I rounded up the best band I could get: the aforementioned Venezuelan percussion wiz and singer, Baldo Verdú: American drummer, multi-instrumentalist and producer Shawn Lee: the Isle of Wight's finest drum and percussion master, producer and composer Rupert Brown (whom I'd originally met at Toerag many moons ago): Elan Rhys, one of Wales's finest voices and long term collaborator with Rio 18, as well as being one third of the wonderful folk group, Plu: and Kassin - my Brazilian brother from Rio de Janeiro, bassist and producer with artists such as Jorge Ben, Caetano Veloso, Gilberto Gil and a multitude of others, including Carwyn Ellis & Rio 18.
So this was my dream team, assembled to make beautiful music one more time at Toerag (I have to add at this point that Shawn and Rupert hit it off so well at our sessions that they booked their own session shortly afterwards! Look out for the brilliant Shawn Lee's Toerag Orchestra 'Percussion Discussion' album). Toerag, if you're not familiar with the place, made its name as London's foremost analogue studio for some 30 years, recording directly to tape which in essence means musicians playing live, together in a room until they get it right. And the sound? Oh the SOUND!! And this is all Liam Watson's doing, his sonic aesthetic - a real master engineer. The studio is perhaps best known as the place where the White Stripes recorded their monster hit album 'Elephant' but for me it's where I got to record with James Hunter, Lay Low (from Iceland), Quruli (from Japan), Fabienne Delsol (from France) and made many lasting friendships, learnt a great deal about popular music, as well as making a bunch of my own best recordings with Colorama.
Over the course of five days we laid down as much music as we could. We had some visitors too: guitar slinger Little Barrie (Primal Scream, The The and Liam Gallagher among other things, but also my dear bandmate in Edwyn Collins's band): sax and flute maestro Jim Hunt (Amy Winehouse, Primal Scream, Duffy and very many others): and Diego Laverde Rojas, the Colombian Latin harp virtuoso.
This time the music had a slightly different edge - although we still maintained our Brazilian/Welsh connection on 'Deffro'r Dydd' (written with and sung by Elan Rhys), our Cumbia vibe and some Merengue ('Mariposa' and 'Te Adoro', sung by Baldo Verdú) and even a traditional Afro-Venezuelan tune ('La Quichimba', again sung by Baldo) - the main influence for me this time was Latin music as recorded in the USA, both new and old. 'No More Secrets' is a straight up slice of Salsoul disco, while 'Hei Ti' is a punky funky but of Nu Yorican pop somewhere between ESG and the Beastie Boys. But one of my main influences in the last couple of years has been the current wave of Chicano Soul coming from California, particularly via the Penrose and Big Crown labels. I was turned on to this music when I was in Japan in early 2023 - Takashi-san at Pleased To Meet Me Records in Nara played me the Altons' 'Float' and I was hooked!
And that music has a similar aesthetic to Toerag: music recorded live to tape by excellent engineers, performed by fine musicians and singers. So our songs 'Impossible', 'Heartbreaker' and 'Lovesick' are very much in this vein. And that just leaves the title track, 'Fontana Rosa'."
"1980 was a huge year in pop music with every genre competing for hits. We have already included many tracks on the records of the 1980 Yearbook, the 80-84 Final Chapter, and their extras so far in our appreciation of the year…
Those tracks were generally the bigger hits of the year, with their chart achievement a factor in their inclusion – however – that’s not the whole singles story of the year, and our celebration of 1980 wouldn’t be complete without shining a light on some of the years’ singles that have been compiled much less frequently over the years.
Welcome to THE VAULT for 1980… Some of the tracks included were Top 40 hits, some missed the chart completely. Some were representative of massive selling albums, and some were big hits in the U.S. and not in the U.K… but all are part of the wonderful pop story of 1980. "
In a world where physical experiences are becoming rarer, artists are looking to connect their process to something more tangible, and with A/V rinsed, scent is an obvious next sense to plunder. Florian TM Zeisig - who last appeared on Somewhere Press as Angel R, goes the extra mile, teaming up with perfumer Angel Paradise to develop a suite of music that plays like a bouquet of memory-triggering aromas, coupled with a fragrance that captures the oily essence of their bucolic alpine setting. The project came about when both artists were living in Hinang, a small farming village in the rural Bavarian alps. Paradise was studying alpine plant behaviour and using her research to inform her approach to scent creation, developing natural perfumes based on the landscape. Zeisig, meantime, composed his own response to the mountains and forests that surrounded them. He wrote ‘Spool’ as a poignant farewell (or spiritual rebirth) as they prepared to leave, considering teenage nostalgia as well as the idyllic locale, and the pastoral suite of lulled loops, field recordings and dissociated instrumental vamps plays like a contemporary Heimatfilme soundtrack, locking into the genre’s idyllic, fantastical simplicity and romance. Drunken horn loops and mushy piano chords concertina around a wobbly axis on ‘Oneandhalf’, met by dreamy guitars and whispered, lysergic vocals. The sweet-smelling notes form an enigmatic compound, prompting us to think of Codeine or Galaxie 500 without solidifying completely. It’s music that works with outlines and traces, catching us off guard with flickers of samples and veiled base notes: the Cocteau Twins-like phased piano on ‘Threeandhalf’ that’s drowned out by gunked tape fog, or the smudges of ‘Spirit of Eden’ ambience on ‘Alright’ that creep between tweezed piano phrases. There’s depth too; Zeisig doesn’t restrict himself to Romance-cum-Basinski loopmuzak, he intersperses his GASeous orchestral waves with serene, relatively demure reflections that capture the pristine beauty of a dewy alpine morning. ‘Four’ is an ASMR-rich blend of crunching leaves and mossy, decelerated pads, and ‘Plus’ burns its drones down to crackling embers, letting the faint harmonies flicker through the coal dust. Importantly, it’s emotional music, but not overly melodramatic, finding peace in nostalgia and the calm of nature.
Soul Clap and Haven Star join forces for vibrant collaboration ‘Gone Stumblin’ on Crosstown Rebels.
Landing on 23rd May 2025, the track brings together years of musical evolution, late-night studio magic, and the unmistakable essence of a true party anthem. Genre-blending US house visionaries Soul Clap return to Damian Lazarus’ Crosstown Rebels with a deeply groovy and emotionally charged new release, teaming up with South Florida’s rising star Haven Star for the striking ‘Gone Stumblin’ - ushering in a new chapter of collaboration and cosmic storytelling.
Rooted in a near-mythical session at Brooklyn’s legendary Marcy Hotel, ‘Gone Stumblin’ began its journey with keyboardist John Camp crafting the original chord progressions and top-line melody. After years of floating in digital limbo, the track resurfaced thanks to Soul Clap’s Charles Levine, who reimagined it with a fresh twist and brought in Haven Star—whose soulful delivery launched it into orbit.
At just 24, Haven Star brings fresh energy and vintage soul sensibility to the table—having shared the stage with legends like Patti LaBelle, Jeff Beck, and Sam Moore, while cutting her teeth across genres from orchestral pop to funk-fuelled house. The original mix merges heady keys and rich chords with a bouncing, crisp low end, while the ‘Dub’ strips it back and introduces trippy sonics and heavy low-ends for after-hours introspection. ‘Unifying Force’ leans into Soul Clap’s psychedelic ethos, before the ‘Bonus Version’ of the title cut offers yet another club-ready rework with added punch.
Dark Horse Records veröffentlicht s tolz d as e rste S oloalbum v on J on L ord, d er v or a llem a ls Keyboarder und Mitbegründer von Deep Purple bekannt wurde. Diese limitierte Auflage a uf C olor-Splatter-Vinyl reproduziert das originale Gatefold-Artwork von 1971. Nach dem 1969 erschienenen Concerto for Group and Orchestra im klassischen Rock-Fusion-Stil wurde Jon Lord beauftragt, ein Nachfolgealbum zu schreiben. Dabei handelte es sich um die Gemini Suite, fünf lange Sätze, die von den Mitgliedern von Deep Purple inspiriert und erstmals im September 1970 in der Royal Festival Hall mit dem Light Music Society Orchestra live aufgeführt wurden. Jon Lord nahm es dann 1971 als sein erstes Soloprojekt im Studio auf, mit dem London Symphony Orchestra unter der Leitung von Malcolm Arnold und Solisten aus der Rockwelt – Gitarrist Albert Lee, Deep-Purple-Schlagzeuger Ian Paice, Sänger Yvonne Elliman und Tony Ashton sowie Deep-Purple-Bassist Roger Glover.
Yuno's full-length debut, Blest, out May 16 on Sub Pop, finds the enigmatic indie-pop visionary transforming the emo-tinged suburban malaise of his 2018 Moodie EP into more expansive, widescreen pop drama - suited for big moves and bigger stages. The kaleidoscopic sound he devised as a millennial hermit in his childhood bedroom in Florida has since broadened his horizons, taking him on tour with Unknown Mortal Orchestra and Superorganism, and soundtracking various series for Netflix and HBO. Imbued with elements of dream-pop, rock, trap, and psychedelia, his eclectic songs serve as bids for love and connection, which especially in the fractured era of social media, have resonated with many listeners who find solace in his vulnerability. Yuno's superpower lies in the way he mines a multitude of genres for their pop potential and surfaces with a tapestry that feels novel and fresh. Take, for instance, "Blest," the immediate, blissful, and bright title track, which is inspired by Rich Harrison-breakbeats and Neptunes-esque jangle. Or the breezy single, "True," in which Yuno moderates a lover's quarrel with slick, trap percussion. Amid the breakbeated dream-rock of "Gimme Ocean," he introduces his guitar solo with a searing emo scream, run through an EarthQuaker Devices pedal. Don't let his sanguine aura or his sherbet pink wardrobe fool you; he can shred as hard as he wants to when he wants to. All songs on Blest were written and performed by Yuno, co-produced by Yuno and Frank Corr (Morning Silk), who also contributed keyboards, drums, and guitar throughout the record, with additional production and instrumentation by Patrick Wimberly (Chairlift) at The CRC in Brooklyn, and Nick Sanborn (Sylvan Esso) at Betty's in Durham, NC. Blest was mixed by Steve Vealey and mastered by Joe La Porta.
"Something Soft", das zweite Album der irischen Post-Punk-Brandstifter M(h)aol, ist alles andere als soft. Von der ersten Note des Eröffnungsstücks von "Something Soft" bis zu den verzerrten Schreien des letzten Stücks fühlt sich die Platte antagonistisch gegenüber dem Konzept der Sanftheit an, klanglich und thematisch. Es ist eine unapologetische Annäherung an intersektionellen Feminismus, Tierschutz, Konsum und den Kampf um einen Platz in einer Welt, der es an Empathie mangelt. Was M(h)aol bietet, ist Katharsis in zwei Formen: die Art, die man bekommt, wenn man anderen gegenüber offen ist, und die Art, die man bekommt, wenn man mit Recht etwas kaputt macht. Wut und Empathie effektiv zu kanalisieren ist ein Akt der Widerstandsfähigkeit, und um "Something Soft" zu machen, mussten M(h)aol besonders widerstandsfähig werden. Nach ihrem gefeierten Debüt "Attachment Styles" änderte sich das Line-up von M(h)aol und bestand nun aus dem Kerntrio Constance Keane (Schlagzeug/Gesang, sie/ihr), Jamie Hyland (Bass/Gesang, sie/ihr) und Sean Nolan (Gitarre, er/ihm). Dieser Prozess veränderte die Herangehensweise der Band an das Songwriting und die Auftritte und führte zu einem unerwarteten Durchbruch. "Something Soft" zeichnet sich durch einen dringlicheren Sound aus, der sich eng um den Rhythmus von Hyland und Keane legt. In Songs wie "Pursuit" und "Snare" verbindet sich Keanes Gesang mit dem Schlagzeug, als würden ihre Worte durch ihr Spiel zum Leben erweckt und direkt aus ihrem Körper kommen. Vor dem Hintergrund dieser ängstlichen und schwadronierenden Tracks nimmt ihre Stimme den Raum eines inneren Monologs ein, in dem sie von einem angespannten Heimweg und von der Misogynie im Green Room aus einer Position der drolligen Beobachtung heraus erzählt - eine universelle Erfahrung, die in spezifischen Details wiedergegeben wird. Wie seine Vorgänger "Attachment Styles" und die "Gender Studies" EP wurde auch "Something Soft" von Jamie Hyland aufgenommen. Es ist die technisch ausgefeilteste der bisherigen M(h)aol-Aufnahmen, denn die Band, zu der auch Sarah Deegan vom Pixie Cut Rhythm Orchestra am Bass gehört, zog in das Dubliner Ailfionn Studio, wo sie die räumlichen Gegebenheiten und das Studio-Equipment nutzten, um ihrem Sound mehr Nuancen zu verleihen. Die zusätzlichen Sessions und das Können hinter den Reglern waren ein Segen, aber für eine Band, die es gewohnt ist, unter extremem Zeitdruck zu arbeiten, war dies eine unerwartete Herausforderung: Konnten M(h)aol das Gefühl der Unmittelbarkeit beibehalten, das ihre Musik bis zu diesem Zeitpunkt geprägt hatte? Songs wie "DM:AM" zerstreuten diese Sorge schnell, indem sie innerhalb von 20 Minuten aus einem Drone entstanden, den Nolan spielte, während Hyland ihr Aufnahme-Equipment aufbaute und sich beeilte, den Song einzufangen, sobald Keane und Deegan dazukamen. Eine der geisterhaften Hymnen von "Something Soft", "1800-Call-Me-Back", begann als Scherz, dass die Band einen Fußballgesang schreiben sollte, wurde aber weitaus komplexer - die köstliche Balance aus Chaos und Klarheit, die sie gefunden haben, wäre ohne Zeit unmöglich gewesen. "I Miss My Dog" ist weniger spontan, aber seine Meditation über Trauer baut sich in einem halsbrecherischen Tempo auf, von Rückkopplungen über Keanes Schlagzeugspiel und Gesang bis hin zu einem spektakulären Schluss, der die Trauer in Bass und Gitarre erstickt, eine der größten technischen Leistungen von M(h)aol bis heute. Der Feinschliff unterstreicht den schelmischen Charme von M(h)aol und lässt das Intime hymnisch wirken, indem persönliche Erfahrungen genutzt werden, um die allgemeinen Systeme, unter denen wir leben, zu beschreiben. Für diejenigen, die sich in den Songs von M(h)aol wiedererkennen, ist das Hören von "Something Soft" wie ein Sprung in einen lang laufenden Chat-Thread, voller Wut und Humor.
Sometimes records reflect life with an unsettling precision, your own breath sticking to a mirror, confounding or transforming reality. J.H. Guraj, real name Dominique Vaccaro, is back with ‘The Flip Side’, an accomplished work of grace and sprawling elegance documenting struggle and a near-death experience that summons ghosts of Western primitive masters, rollicking free folk, minimalist orchestrations, weeping guitars and smooth psychedelics.
Time stopped for J.H. Guraj in 2021 following a brush with mortality, extensive forced recovery and subsequent hints of depression after an almost fatal bike crash, leaving our wandering soul, once again, at the edges. While his previous record ‘Introspection / Migration’ hinted at Middle-Eastern influences and merged the artists’ Arbëreshë upbringing with stoic ecstasis, free-form structures and guitar wizardry under sepia tone curtains, ‘The Flip Side’ twists, turns, falls down and rises to new heights, the widescreen breadth of Dominique Vaccaro’s cinematic vision projects new colours, a stark contrast of pastoral emerald green and pitch black asphalt, urban decay and mercurial mystery.
Like passages from some archaic songbook what astonishes is how detailed the new compositions are, a warm embrace like ‘Way To Long Goodbye’, counterpoint pianos leading the way down a Gershwin avenue; ‘You Got It All Wrong So Did I’ with its Van Dyke Parks arrangement; the 9 minute epic ‘Us As Ghosts’ a haunting ballad that resolves into kosmische landscapes; the muted symphony of ‘Fake Af’ and the spectral disorientation of ‘Nothing I Can Do But Flow’. Gentle drumming from collaborator Gianluca Panici augment the eeriness of ‘The Flip Side’, motions that create a sense of suspension and yearning.
For its latest release, Last Year in Marienbad welcomes back French producer Moonee, who delivers an EP brimming with his signature blend of euphoric and emotive grooves.
One of François Lefevre’s main aliases, Moonee explores the airier side of dance music, crafting deeply immersive sonic experiences that evoke introspection and escapism. While initially focused on deep house, his sound has evolved across recent releases, particularly on his Sandquest LP for OATH. His finely curated approach highlights fluid, intuitive soundscapes that invite repeat listens.
His new EP, Brotherhood, is perhaps his most refined and carefully poised work to date. The title track’s Glitched version opens with a sense of urgency, combining a stepping garage beat, lo-fi vocal snippets, and deep basslines. Existenzfollows, elevating four-on- the-floor energy with intricate rhythmic textures and a rich, orchestral-like melodic palette. Panorama rounds off the EP’s initial arc with playful vocal samples and an uplifting bassline—perfect for late-night city wanderings.
Closing out the release, Oath affiliate Moomin reinterprets the title track with an electro-infused remix. More understated than the original, his version builds gradually, offering a masterclass in energy control.For those seeking enriching grooves, entrancing melodies, and warmth, Brotherhood delivers. It’s a journey through electronic currents, shifting effortlessly between moments of calm and surging energy—press play and dive in.
GREY OTTHON VINYL[24,79 €]
TÖRZS, Hungary's premier instrumental post-rock band, return with the understated sonic beauty of `Menedèk', their first new music in six years. Loosely translating as `Refuge', `Menedèk' sees the freshly bolstered trio in their element; finding shelter, comfort and joy in the act of creative collaboration whilst the storm of day to day life weathers ever on. A steadfast and admirable mission statement centred on staying true to themselves in the moment, being open to growth and documenting this process as honestly as possible has led to TÖRZS building a reputation as one of Hungary's most exciting musical collectives. Three stunning albums of organic and perfectly composed contemplation, as well as the band's transcendental live shows alongside acts including contemporaries We Lost The Sea, Oh Hiroshima, Föllakzoid and more have placed TÖRZS at the forefront of a post-rock movement that prizes the shared experience of band and listener above all else. The band's previous full-length release, 2019's `Tükor', was recorded live at Aggteleki Cseppkobarlang, a UNESCO World Heritage protected cave system, 500 metres below the Aggteleki National Park. Embracing the cave's utterly unique natural reverb almost as a fourth member led to `Tükor' receiving critical acclaim, with TÖRZS were subsequently nominated for the HEMI Music Awards 2022 and invited to perform at the likes of Moscow Music Week (2020), The Budapest Showcase Hub (2021) and 2024's Changeover Festival in Belgrade, Serbia. Whilst the intervening years have seen unprecedented change on a global scale, TÖRZS too found themselves in a state of flux. The band returned to the more traditional studio setting in 2023, working alongside long-time producer György Ligeti, in order to faithfully capture the intimate energy of songs meticulously crafted together in their small rehearsal space, a far cry from 2019's subterranean setting. However, having spent countless hours writing, orchestrating and recording the pieces that have become `Menedèk', the band's founding drummer Zsombor Lehoczky stepped away from the band and music as a whole. Where this might have been catastrophic for any other band, remaining members Soma Balázs and Dániel Nyitray soon found a connection with Tamás Szijártó, who approached TÖRZS' music with the same openness to creativity in the moment; not `performing' as such, but simply working together to produce breathtaking, musical escapism away from the daily humdrum. The album's themes of shelter, refuge and support resound clearly on lead single `Otthon'. Meaning `At Home' in Hungarian, `Otthon' serves as a de facto introduction to the record. The song's lilting groove, soaring yet soft guitar palette and the band's signature delicate dynamism all combine to invite the listener to reflect; not steering one way or another yet inviting us to close our eyes and join the flow. Elsewhere, the pounding, chiming `Levegovétel' proves TÖRZS are still staying true to their mission statement of documenting the inevitable process of change. Here the band embrace elements of post-rock's harsher, heavier side with a cacophony of driving half-time drums and distorted, open-chord guitars yet still provide brief havens of space for themselves, the song and the listener alike to breathe before the euphoric swell rises anew. Whilst TÖRZS' previous full-length effort was a spectacular collision of the band's tight-knit existence and the (literal) echo chamber of the world outside, `Menedèk' is introspective, understated and refreshingly brave in its honesty. TÖRZS have opened the doors to their inner sanctum, their rehearsal space, their songwriting process, their friendship; inviting us to live in it with them, to revel in the moment together. FOR FANS OF Godspeed You! Black Emperor, Explosions In The Sky, This Will Destroy You, Caspian, MONO, Sigur Rós
BLACK VINYL[22,65 €]
TÖRZS, Hungary's premier instrumental post-rock band, return with the understated sonic beauty of `Menedèk', their first new music in six years. Loosely translating as `Refuge', `Menedèk' sees the freshly bolstered trio in their element; finding shelter, comfort and joy in the act of creative collaboration whilst the storm of day to day life weathers ever on. A steadfast and admirable mission statement centred on staying true to themselves in the moment, being open to growth and documenting this process as honestly as possible has led to TÖRZS building a reputation as one of Hungary's most exciting musical collectives. Three stunning albums of organic and perfectly composed contemplation, as well as the band's transcendental live shows alongside acts including contemporaries We Lost The Sea, Oh Hiroshima, Föllakzoid and more have placed TÖRZS at the forefront of a post-rock movement that prizes the shared experience of band and listener above all else. The band's previous full-length release, 2019's `Tükor', was recorded live at Aggteleki Cseppkobarlang, a UNESCO World Heritage protected cave system, 500 metres below the Aggteleki National Park. Embracing the cave's utterly unique natural reverb almost as a fourth member led to `Tükor' receiving critical acclaim, with TÖRZS were subsequently nominated for the HEMI Music Awards 2022 and invited to perform at the likes of Moscow Music Week (2020), The Budapest Showcase Hub (2021) and 2024's Changeover Festival in Belgrade, Serbia. Whilst the intervening years have seen unprecedented change on a global scale, TÖRZS too found themselves in a state of flux. The band returned to the more traditional studio setting in 2023, working alongside long-time producer György Ligeti, in order to faithfully capture the intimate energy of songs meticulously crafted together in their small rehearsal space, a far cry from 2019's subterranean setting. However, having spent countless hours writing, orchestrating and recording the pieces that have become `Menedèk', the band's founding drummer Zsombor Lehoczky stepped away from the band and music as a whole. Where this might have been catastrophic for any other band, remaining members Soma Balázs and Dániel Nyitray soon found a connection with Tamás Szijártó, who approached TÖRZS' music with the same openness to creativity in the moment; not `performing' as such, but simply working together to produce breathtaking, musical escapism away from the daily humdrum. The album's themes of shelter, refuge and support resound clearly on lead single `Otthon'. Meaning `At Home' in Hungarian, `Otthon' serves as a de facto introduction to the record. The song's lilting groove, soaring yet soft guitar palette and the band's signature delicate dynamism all combine to invite the listener to reflect; not steering one way or another yet inviting us to close our eyes and join the flow. Elsewhere, the pounding, chiming `Levegovétel' proves TÖRZS are still staying true to their mission statement of documenting the inevitable process of change. Here the band embrace elements of post-rock's harsher, heavier side with a cacophony of driving half-time drums and distorted, open-chord guitars yet still provide brief havens of space for themselves, the song and the listener alike to breathe before the euphoric swell rises anew. Whilst TÖRZS' previous full-length effort was a spectacular collision of the band's tight-knit existence and the (literal) echo chamber of the world outside, `Menedèk' is introspective, understated and refreshingly brave in its honesty. TÖRZS have opened the doors to their inner sanctum, their rehearsal space, their songwriting process, their friendship; inviting us to live in it with them, to revel in the moment together. FOR FANS OF Godspeed You! Black Emperor, Explosions In The Sky, This Will Destroy You, Caspian, MONO, Sigur Rós
WINDOWS ist ein Live-Album von JON LORD und dem deutschen Dirigenten und Komponisten Eberhard Schoener . Es wurde bei einem Konzert in München 1974 aufgenommen und die Musik ist eine Mischung aus Progressive Rock und orchestralen Stilen der Spätromantik/Moderne. Zu hören sind Musiker aus der Rockwelt wie David Coverdale und Glenn Hughes. Dark Horse Records feiert den 50. Jahrestag von Windows mit einer limitierten Farbvinylpressung.
Regina Spektor’s 2016 album is available on limited edition Black Clouds double vinyl LP. Remember Us To Life is Spektor’s first collaboration with producer Leo Abrahams. Recorded in Los Angeles at The Village Studios, it lives in a world ranging from expansive orchestral and string arrangements to electronic and moody tracks. Includes “Bleeding Heart”, “Older and Taller”, “Grand Hotel”, “Small Bill$” and more.
Founding work of minimalism, Music with Changing Parts is a piece with free instrumentation.The musicians choose which part to play among the 8 staves of the score. At each indicated cue, the musicians can change part, which produces an abrupt change of instrumentation. While the music is based on a melodic material limited to a few notes that are repeated in patterns that expand or contract, the changes in orchestration refresh the listening experience by producing sonic contrasts. These techniques at work
in Music with Changing Parts , written in 1970, will lead Philip Glass to renew his language and move from the monochromatic works that precede it to more dramatic works such as music in 12 parts and especially the opera Einstein on the Beach. When Philip Glass began rehearsing the piece, he was surprised to hear long notes when everything was written in eighth notes. After making sure that none of the musicians were playing held notes, he realized that the fact that the same notes were played by all the instruments in the ensemble produced, through a psycho-acoustic effect, a harmonic substrate of resonant frequencies. He then decided to add to
the score the possibility of playing long notes to reinforce this effect
Heavily supported by Flight for years, we’re extremely excited to at last welcome the inimitable Quartz to p:m, who serves up a sublime 4-tracker for our 10th single. Deeper and more emotionally reflective than previous Quartz releases, this is transcendental music that takes you to outer space and beyond…
Tracklist:
A1. W.Y.N: cosmic pads, jungle-y breaks, and a colossal bassline evoke images of Jupiter and molten lava, while a seductive vocal riff you’ll hum for days weaves in and out. A dance floor favourite.
A2. Taking Me Down: tight rolling beats, sparkly vox, filtered fx, and bass snarls sound like a tug of war between Venus and Mars. Straight up D&B produced alongside Quartz’s childhood friend, Pennygiles.
B1. Trauma Response: diving further into Techno- and Autonomic-inspired territory, this title track is best described by Paul Woolford aka Special Request “Man this tune is f***ing nuts. Reminds me of Black Dog and half of Detroit but through our UK lens, but totally NOW.”
B2. What Is Real Love: an orchestral intro replete with timpani and violins gives way to the big question - what is real love? - almighty bass weight, and a healing, warm golden sun feel. Simply majestic.
Infinity Division is the alias of electronic producer Ash Luk. Best known for his innovative blend of euphoric melodies, scattered breakbeats and gabber infused rhythmic chaos drawn from his relentless live performances, Ash’s newest offering, debut album SATISFACTION (which also marks the launch of his label, SOFTCORE UNLTD.), explores his relationship with all things anthemic.
Featuring artwork from Spyros Rennt, the thirteen track album traverses a diverse array of sonic landscapes. Spanning doomy post-rave and trance-driven metal to breakbeat-infused industrial pop, the album is united by a genre-defying exploration of the elusive essence of anthemic sound.
Venturing beyond the safety of machines, Ash steps to the forefront with his vocals on Seven Demons and Like Heaven, while From Evil, Weather Prophets, and Satisfaction feature vocal contributions from Zastar of Violent Magic Orchestra, Coy Mistress, and Nova Bruise, enriching the album’s diverse soundscapes.
In addition to his work with Infinity Division, Ash is one half of the doom electronic live duo S.A.T.I.N. alongside Ireen Amnes and is possibly best known for his work in Minimal Violence, a project known for their raw, hardware, punk influenced live performances. Releasing on well known labels such as Tresor and Technicolour / Ninja Tune. Their work was characterized by a DIY ethos and an emphasis on analog equipment, allowing for a direct and visceral approach to production. Now, with Infinity Division, Ash continues to build on a body of work that explores the space between genres, combining an attention to detail through carefully constructed sound design with the spontaneity and raw energy of his live performances. SATISFACTION sets the stage for the next phase of Infinity Division, showcasing a collection of tracks that draw from the essence of the past while reaching out toward a mirage of the future.
James Taylor has been writing/recording albums and touring for the past 43 years, starting with The Prisoners and then The James Taylor Quartet (JTQ) from 1986 onwards, to great acclaim. Taylor was the pioneering force that spear-headed the Acid Jazz movement in the 90's, which saw a renaissance in live music. He has also virtually single-handedly driven the rediscovery of the Hammond organ, his trademark keyboard. He has developed his composition and arrangement skills and with these has recorded over 20 library albums. The most recent of the library albums include the four tracks on this very EP, which feature Taylor's innovative horn arrangement skills, placing JB style horns over a funk groove, but in this case he had the novel idea of incorporating two guitars; one funky, one rocky. Sort of James Brown meets The Rolling Stones, and the result can be heard on this slab of vinyl. The current live line-up for The James Taylor Quartet is James Taylor (keyboards and orchestration), Mark Cox (guitar), Andrew McKinney (bass) and Pat Illingworth (drums).
From the smoky clubs of Harlem to vibrant orchestral jam sessions, this exclusive collection celebrates the voices that fused the soul of jazz with the visceral feeling of blues and gospel. Legendary artists such as Billie Holiday, Nina Simone, Sarah Vaughan, Louis Armstrong, Ella Fitzgerald, and many others come alive through their original recordings, carefully remastered to o er a rich and authentic listening experience.
Each "Green Star" vinyl is a window into an era of fervent creativity, fiery improvisations, and contagious rhythms. This collection is an unmissable treasure for audiophiles, experienced collectors, or newcomers eager to discover the roots of modern music. In "Green Star" branded records you can find: carefully remastered audio to rediscover the depth and dynamics of the original recordings, visually striking colored vinyl in iconic covers, an opportunity to own pieces of music history to start, enrich, or collect private discographies. "Green Star" – let yourself be transported by the magic of an unforgettable era.
From the smoky clubs of Harlem to vibrant orchestral jam sessions, this exclusive collection celebrates the voices that fused the soul of jazz with the visceral feeling of blues and gospel. Legendary artists such as Billie Holiday, Nina Simone, Sarah Vaughan, Louis Armstrong, Ella Fitzgerald, and many others come alive through their original recordings, carefully remastered to o er a rich and authentic listening experience.
Each "Green Star" vinyl is a window into an era of fervent creativity, fiery improvisations, and contagious rhythms. This collection is an unmissable treasure for audiophiles, experienced collectors, or newcomers eager to discover the roots of modern music. In "Green Star" branded records you can find: carefully remastered audio to rediscover the depth and dynamics of the original recordings, visually striking colored vinyl in iconic covers, an opportunity to own pieces of music history to start, enrich, or collect private discographies. "Green Star" – let yourself be transported by the magic of an unforgettable era.
From the smoky clubs of Harlem to vibrant orchestral jam sessions, this exclusive collection celebrates the voices that fused the soul of jazz with the visceral feeling of blues and gospel. Legendary artists such as Billie Holiday, Nina Simone, Sarah Vaughan, Louis Armstrong, Ella Fitzgerald, and many others come alive through their original recordings, carefully remastered to o er a rich and authentic listening experience.
Each "Green Star" vinyl is a window into an era of fervent creativity, fiery improvisations, and contagious rhythms. This collection is an unmissable treasure for audiophiles, experienced collectors, or newcomers eager to discover the roots of modern music. In "Green Star" branded records you can find: carefully remastered audio to rediscover the depth and dynamics of the original recordings, visually striking colored vinyl in iconic covers, an opportunity to own pieces of music history to start, enrich, or collect private discographies. "Green Star" – let yourself be transported by the magic of an unforgettable era.
The Prince of Fried has brung forth 12 brand new humdingers: all hummable and lyrically compelling and replete with wah-acoustic guitars and beautiful orchestrations of Mellotron 400 from Liverpool’s Blondest. So inhale the garage fuzz dub of 'R in the Hood'; the mantric powerdrive of 'Four Jehovahs in a Volvo Estate'; the sentimental Pete Burns lamentations of 'In Spungent Mansions'… and who could resist the affectionate micro-trolling of 'Will Sergeant’s Blues'?
Stay cosy, defiant and edgy with these 12 fruits of FRIAR TUCK.
Combines Northern Soul, Psychedelia, 90s Indie Rock and an orchestral soundtrack feel into a homogenous, convincing work that looks promising and feels damn good in a not so rosy time.
The fourth album by the Frank Popp Ensemble, will be released on Unique Records. Written. recorded and produced in Spain in 2024. As with the predecessor ,Shifting", various guest singers can be heard on the lI brand new tracks.
Gerry Love, once the lead singer of the legendary Teenage Fanclub, who, according to Popp, wrote and sang almost al of the Glasgow cult band's favorite songs. lends his captivating voice to an orchestral, soulful version of "Save", a rather unknown but brilliant piece that Love wrote for the Scots in 2004. Gerard Love already contributed a cover of Frank Popp's "The World Is Waiting" to the "Under Covers" compilation and has now done another wonderful job on Waves.
Another hero from Popp's record collection is Nicke Andersson. Formerly a drummer with the death &rollers Entombed. then singer of the incomparable Hellacopters and mastermind behind other top bands such as The Solution, Imperial State Electric, Lucifer, etc., can be heard on "Caught In AWeb". A Northern Soul stomper in classic "Magic Touch" mania.
Emma Noble, an up-and-coming soul singer from London sings on the girl-groupish soul anthem "Unstoppable". The second single from the album has what it takes to be the next UK floor filler and was already played and praised on Craig Charles' Soul Show on BBC a t the end of 2024.
An absolutely exceptional artist is J Mahon, who can be heard on 5 tracks on the album and contributed significantly to the album. His sweet voice works on his songs as well as on "Going Going Gone", which is the first single release and is reminiscent of certain young Motown artists in the early 70s with its catchy brass hooks and j's androgynous soul vocals.
Audrey Ollesen from Cologne, an old buddy from the Rhineland mod scene, joined by chance after Popp became aware of her singing skills through private recordings. On "Common Stranger" Audrey can be heard on a recording for the first time.
On "Waves" Frank Popp combines Northern Soul, Psychedelia, 90s Indie Rock and an orchestral soundtrack feel into a homogenous, convincing work that looks promising and feels damn good in a not so rosy time. We are all excited...
f Heartbreak (In A Really Good Way) [feat. J Mahon]
[f] Heartbreak (In A Really Good Way) [feat. J Mahon]
Mutant, in partnership with Back Lot Music, are proud to present the premiere physical release of Benjamin Wallfisch's incredible score to the 2025 Wolf Man. Leigh Whannell (Invisible Man, Upload) continues exploring the classic Universal monster series, and with Wolf Man hw again teams up with composer Benjamin Wallfisch for the score. Ben's score evokes the lush classic sounds of the original 1940s movie. It's a beautifully light score featuring incredible orchestration, evoking the mystery within the woods. The score is scary and brutal but also delicate and human when necessary. It's evocative and rich and helps add grounding to this very contemporary telling of this tale.
Newest Album by renowned Gamelan orchestra Salukat and award winning composer Jan Kadereit. Salukat is one of the most acclaimed ensembles dedicated to contemporary ethnological music in the world. This resulting album is full of unheard harmonies and beautifully intertwined melodies. It ranges from meditative pieces rich in sounds to burstful, highly joyous and energetic pieces that bring out the skill of the virtuosic musicians. They seem to effortlessly bend the fow of time, seemingly dancing through multiple rhythms like on the title track Ashira. In the same composition, the differently tuned sets of instruments are combined to create colors that no other ensemble in the world can replicate. A documentary about Salukat and the making of Ashira will be released alongside the album, deepening the immersion into this unique project and offering fascinating insights into this world of sounds.
Deutsche Grammophon veröffentlicht Shostakovich: The Piano Concertos | Solo Works, in einer mitreißend virtuosen Einspielung von Starpianistin Yuja Wang. Das Album krönt den zehnjährigen, mit vier GRAMMY Awards® ausgezeichneten Schostakowitsch-Zyklus des Boston Symphony Orchestra und erscheint anlässlich des 50. Todestages des Komponisten. Zu hören sind die Interpretationen der Pianistin mit dem BSO unter Leitung seines Chefdirigenten Andris Nelsons. Yuja Wang spielt Shostakowitschs kontrastierende Klavierkonzerte – Nr. 1 in c-Moll und Nr. 2 in F-Dur (sie »meistert beide Werke mit Ausdruckskraft und souveräner Technik« – Boston Globe) sowie eine Auswahl der teuflisch schwierigen Präludien und Fugen des Komponisten, selektiert von der Pianistin selbst. Diese wurden in Wangs ersten Studiosessions seit vielen Jahren aufgenommen und zeichnen sich durch faszinierende Virtuosität aus.
DESCRIPTION
The boundaries between contemporary art music and folk music are pushed as Apneseth and his all-star ensemble invite listeners into their very own musical universe. Hardanger fiddle player Erlend Apneseth, with his distinctive playing style, a long list of critically acclaimed Hubro releases, and explorative musical collaborations, has achieved the rare feat of becoming a favorite among audiences and critics in the worlds of folk music, jazz, and contemporary music. His latest album, Song over Støv, will be released on Hubro on April 4th, and the band he has assembled for the occasion can only be described as a supergroup made up of some of the most influential musicians on today’s Norwegian music scene. The project originated as a commissioned work for Oslo World and Riksscenen in 2023. As a composer, Apneseth has spent recent years working with orchestras and larger ensembles, and after being a member of Frode Haltli’s Avant Folkfor several years, he was inspired to write for a large band himself. For this project, he brought together 11 fantastic musicians, creating an immense musical playground. The commissioned work matured over time before Apneseth took the ensemble into Amper Tone studio in August 2024, with Bård Ingebrigtsen at the controls. Ingebrigtsen also mixed the album, which was produced by Anja Lauvdal and Apneseth himself
Dateline: April 10, 1970. Setting: The storied Fillmore West in San Francisco, CA. Context: Miles Davis, three days removed from his first session for Jack Johnson and, with newly recruited soprano saxophonist Steve Grossman in tow, opening shows for countercultural heroes the Grateful Dead on the latter’s home turf. Result: The initial rumblings of a thrilling era in which Davis and his cohorts would again upend jazz and popular conceptions of the genre with music steeped in groove, improvisation, and hang-on-for-your-life adventurousness. All captured on Black Beauty: Miles Davis at Fillmore West.
Mastered at MoFi’s California studio, pressed at Fidelity Record Pressing in California, and housed in a Stoughton gatefold jacket, Mobile Fidelity's numbered-edition 180g 33RPM 2LP set helps bring what went down that spring evening in Bill Graham’s venue to your listening room with exceptional clarity, balance, and presence. Originally only released in Japan in 1973 and unavailable in the United States until the late ‘90s on compact disc, this marks the first time Black Beauty has been issued on domestic vinyl. The wait is worth it.
Benefitting from quiet surfaces and excellent definition, these LPs present the band’s livewire energy and torrential storm of notes with captivating dynamics, pacing, and fullness. At its core, this audiophile reissue takes you into the walls of sound erected by a band learning on-the-fly the sheer power, will, and breadth of the electric jazz Davis was orchestrating and realizing, on the spot, would reach rock audiences that until that point had only a faint awareness of his mad-scientist experimentation. The sense of release and reach conveyed by these carefully restored records make it clear the veteran bandleader was in the process of a permanent shift that he’d chase for the next five years.
Given Davis was only a few months away from releasing the pioneering double album Bitches Brew, it shouldn’t come as a surprise that much of the fare here adheres to similar explorative approaches. Turbulent rhythms, provocative trumpet passages, and rich, saturated tonal colors that seemingly splash against a blank canvas take precedence over any traditional attempts at organization and melody. Davis and Co. intentionally play everything on a line with the bandleader signaling changes with his horn via coded phrases. The group speaks a common language — with each member having gone to achieve iconic status for their career contributions and technical prowess.
In the company of Grossman, Chick Corea (piano), Dave Holland (bass), Jack DeJohnette (drums), and Airto Moreira (percussion), Davis constructs themes around “Directions,” “Miles Runs the Voodoo Down,” “It’s About That Time,” the title track to Bitches Brew, and more from his then most-recent studio works and the in-progress Jack Johnson. His farewell to the popular standards that for nearly two decades remained a part of his repertoire arrive via a brief dalliance with “I Fall in Love Too Easily,” a shortened albeit aggressive “Masqualero,” and the “Theme” finale of “Spanish Key.” Initially, Black Beauty lacked specific track listings due to Davis’ increasing frustration with listeners over-analyzing his music.
In retrospect, it’s difficult to blame anyone for wanting to view what’s on display here with the aural equivalent of a magnifying glass. Leaning in rock directions, yet maintaining an ear for spaciousness and solos, Black Beauty survives as a snapshot of a thrilling moment amid a transitory period in which evolution came fast and furious. Just two months later, Davis would add another instrumentalist to the lineup in the form of organist Keith Jarrett, and the perpetually restless visionary would blast off to a more atmospheric and arguably more chaotic universe.
Consider, then, this live document a bridge to that galaxy and a breathtaking example of the possibilities of jazz itself.
Welcome to Forms World.
Our fi rst outing takes shape as a 4-tracker from ADMNTi, delving deeper into the sounds that have shaped the Londoners aural palette.
'Second Hand Sushi' kicks things off to a rowdy start - a real slab of energy that consists of paces drum patterns, twisting synths, and gritty, rattling basslines.
This one's a no-frills dancefl oor destroyer. The steppy drums of 'Lost Fruits' pull us further in, paired with shifting subs and laced with soundbites that echo the era of tape packs and pirate radio.
As we fl ip to the B-side, ‘Diptych’ delivers a still pacey yet more soothing vibe, blending lush orchestral strings with warped vocal chops, all while keeping the head-bopping grooves intact. Rounding things off , a dub-tinged stepper which comes in the form of 'Shrublands'. Eerie chords evolve throughout the track, accompanied by melancholic flutes that bode well with the heavily delayed sax and wobbing basslines. Dialogue from London graff royalty weave in and out, as well as a certain Brooklyn king.
The iconic Hôtel Costes music collection, a veritable benchmark of Parisian luxury and refinement, continues to captivate lovers of sophisticated sounds. Famous for its unique blends of warm vocals, funk, jazzy and pop grooves, fusing electronic sounds and acoustic instruments, this series is a must for connoisseurs of refined music.
This seventh volume, orchestrated by the talented Stéphane Pompougnac, offers light electro soul and racy house, perfect for livening up the most elegant evenings and keeping the most reluctant dancing until the wee hours. The Hôtel Costes series has revealed exceptional talents such as Pink Martini, Flight Facilities, General Elektriks, Angus & Julia Stone and Brigitte, while mixing hidden nuggets with masters such as Gotan Project, Femi Kuti, Trentemøller, Thievery Corporation, Shirley Bassey and Grace Jones.
With over 5 million copies sold worldwide, following the resounding success of the reissue of the first six volumes, this seventh opus is finally available for the first time on vinyl. A true gem that will delight long-time fans and appeal to a new generation of listeners worldwide.
The iconic Hôtel Costes music collection, a veritable benchmark of Parisian luxury and refinement, continues to captivate lovers of sophisticated sounds. Famous for its unique blends of warm vocals, funk, jazzy and pop grooves, fusing electronic sounds and acoustic instruments, this series is a must for connoisseurs of refined music.
This eighth volume, orchestrated by the talented Stéphane Pompougnac, offers light electro soul and racy house, perfect for livening up the most elegant evenings and keeping the most reluctant dancing until the wee hours. The Hôtel Costes series has revealed exceptional talents such as Pink Martini, Flight Facilities, General Elektriks, Angus & Julia Stone and Brigitte, while mixing hidden nuggets with masters such as Gotan Project, Femi Kuti, Trentemøller, Thievery Corporation, Shirley Bassey and Grace Jones.
With over 5 million copies sold worldwide, following the resounding success of the reissue of the first six volumes, this eighth opus is finally available for the first time on vinyl. A true gem that will delight long-time fans and appeal to a new generation of listeners worldwide.
The iconic Hôtel Costes music collection, a veritable benchmark of Parisian luxury and refinement, continues to captivate lovers of sophisticated sounds. Famous for its unique blends of warm vocals, funk, jazzy and pop grooves, fusing electronic sounds and acoustic instruments, this series is a must for connoisseurs of refined music.
This ninth volume, orchestrated by the talented Stéphane Pompougnac, offers light electro soul and racy house, perfect for livening up the most elegant evenings and keeping the most reluctant dancing until the wee hours. The Hôtel Costes series has revealed exceptional talents such as Pink Martini, Flight Facilities, General Elektriks, Angus & Julia Stone and Brigitte, while mixing hidden nuggets with masters such as Gotan Project, Femi Kuti, Trentemøller, Thievery Corporation, Shirley Bassey and Grace Jones.
With over 5 million copies sold worldwide, following the resounding success of the reissue of the first six volumes, this ninth opus is finally available for the first time on vinyl. A true gem that will delight long-time fans and appeal to a new generation of listeners worldwide.
Lee Pearson is back on Neroli after his feature on the 'inside' various artists ep from few months before...and together with Detroit's Javonntte Garrett (of NDATL and Sistrum fame) this time! The Larry Heard collaborator shows again his songwriting talent on 'What do you prefer' and 'Bye bye'. One for the headz!
2x12"[31,05 €]
Die Violinistin Esther Abrami wirft auf ihrem Album "WOMEN" neue und erhellende Schlaglichter auf Komponistinnen. "Women" legt den Fokus auf die außergewöhnlichen Talente von 14 Komponistinnen aus unterschiedlichen Epochen und Genres und enthält neue Kompositionen der Oscar-Preisträgerinnen Rachel Portman und Anne Dudley sowie neue Arrangements von Werken historischer Komponistinnen wie Pauline Viardot, Chiquinha Gonzaga, Teresa Carreño und Ethel Smyth. Esther Abrami hat selbst einige dieser Stücke neu arrangiert und mit "Transmission" ein eigenes Orchesterstück für das Album komponiert. Im Mittelpunkt von "Women" steht die Weltersteinspielung von Ina Boyles Violinkonzert, eine poetische, spätromantische Komposition. Esther Abrami hat jedes Stück für das Album aufgrund einer besonderen emotionalen Verbindung zu den unterschiedlichen Frauen hinter der Musik ausgewählt: "Solange ich mich erinnern kann, war die einzige klassische Musik, die ich je gehört habe, von männlichen Komponisten geschrieben. Ich habe über 15 Jahre lang klassische Musik an renommierten Musikschulen studiert, aber in all den Jahren kein einziges Stück von einer Frau gespielt. Es war nicht so, dass ich sie diese Stücke aktiv vermieden hätte - sie waren einfach nicht Teil des Kanons. Ich fragte mich 'haben Frauen jemals klassische Musik komponiert?' und es stellte sich heraus, dass sie es taten, und ich entdeckte einen verborgenen Schatz. Ich verbrachte Monate mit Recherchen und tauchte in eine völlig neue Welt der Musik und faszinierenden Geschichten von Frauen ein, die im Schatten der Geschichte geblieben waren. Dieses Album ist meine Hommage an sie und eine Reise durch Jahrhunderte der Musik, erzählt durch die Stimmen von Frauen, die trotz aller Widrigkeiten komponierten, kämpften, lebten und schufen. Die Geschichten dieser Frauen inspirierten mich für meinen Karriereweg und zeigten mir wie wichtig es ist, dass zukünftige Generationen diese entdecken können. Ich hoffe, 'Women' kann eine neue Generation junger Mädchen dazu inspirieren, zu komponieren." Über ihre gesamte noch junge Karriere als professionelle Musikerin hinweg hat sich Esther Abrami dafür eingesetzt, Komponistinnen eine Stimme zu geben. In ihrem Podcast "Women in Classical" spricht sie mit einflussreichen Musikerinnen über ihre Karriere. Auch mit ihrer EP "Spotlight" mit dem Londoner "Her Ensemble", das ausschließlich aus Frauen und non-binären Musiker*Innen besteht, hat sie bereits wortwörtlich ein Schlaglicht auf Komponistinnen geworfen. "Women" führt diesen Weg konsequent fort und versammelt eine Reihe außergewöhnlicher Mitwirkenden, wie das ORF Radio-Symphonieorchester Wien unter der Leitung von Dirigentin Irene Delgado-Jiménez, die Pianistin Kim Barbier, die Harfenistin Lavinia Meijer und das Esther Abrami Quintet."Ich bin unglaublich glücklich mit einem so großartigen Orchester und tollen Musikerinnen an einem so persönlichen Projekt zu arbeiten. Diese Kompositionen mit einem Orchester zum Leben zu erwecken, ist eine Erinnerung, die ich nie vergessen werde."
Red Vinyl[28,99 €]
Die Violinistin Esther Abrami wirft auf ihrem Album "WOMEN" neue und erhellende Schlaglichter auf Komponistinnen. "Women" legt den Fokus auf die außergewöhnlichen Talente von 14 Komponistinnen aus unterschiedlichen Epochen und Genres und enthält neue Kompositionen der Oscar-Preisträgerinnen Rachel Portman und Anne Dudley sowie neue Arrangements von Werken historischer Komponistinnen wie Pauline Viardot, Chiquinha Gonzaga, Teresa Carreño und Ethel Smyth. Esther Abrami hat selbst einige dieser Stücke neu arrangiert und mit "Transmission" ein eigenes Orchesterstück für das Album komponiert. Im Mittelpunkt von "Women" steht die Weltersteinspielung von Ina Boyles Violinkonzert, eine poetische, spätromantische Komposition. Esther Abrami hat jedes Stück für das Album aufgrund einer besonderen emotionalen Verbindung zu den unterschiedlichen Frauen hinter der Musik ausgewählt: "Solange ich mich erinnern kann, war die einzige klassische Musik, die ich je gehört habe, von männlichen Komponisten geschrieben. Ich habe über 15 Jahre lang klassische Musik an renommierten Musikschulen studiert, aber in all den Jahren kein einziges Stück von einer Frau gespielt. Es war nicht so, dass ich sie diese Stücke aktiv vermieden hätte - sie waren einfach nicht Teil des Kanons. Ich fragte mich 'haben Frauen jemals klassische Musik komponiert?' und es stellte sich heraus, dass sie es taten, und ich entdeckte einen verborgenen Schatz. Ich verbrachte Monate mit Recherchen und tauchte in eine völlig neue Welt der Musik und faszinierenden Geschichten von Frauen ein, die im Schatten der Geschichte geblieben waren. Dieses Album ist meine Hommage an sie und eine Reise durch Jahrhunderte der Musik, erzählt durch die Stimmen von Frauen, die trotz aller Widrigkeiten komponierten, kämpften, lebten und schufen. Die Geschichten dieser Frauen inspirierten mich für meinen Karriereweg und zeigten mir wie wichtig es ist, dass zukünftige Generationen diese entdecken können. Ich hoffe, 'Women' kann eine neue Generation junger Mädchen dazu inspirieren, zu komponieren." Über ihre gesamte noch junge Karriere als professionelle Musikerin hinweg hat sich Esther Abrami dafür eingesetzt, Komponistinnen eine Stimme zu geben. In ihrem Podcast "Women in Classical" spricht sie mit einflussreichen Musikerinnen über ihre Karriere. Auch mit ihrer EP "Spotlight" mit dem Londoner "Her Ensemble", das ausschließlich aus Frauen und non-binären Musiker*Innen besteht, hat sie bereits wortwörtlich ein Schlaglicht auf Komponistinnen geworfen. "Women" führt diesen Weg konsequent fort und versammelt eine Reihe außergewöhnlicher Mitwirkenden, wie das ORF Radio-Symphonieorchester Wien unter der Leitung von Dirigentin Irene Delgado-Jiménez, die Pianistin Kim Barbier, die Harfenistin Lavinia Meijer und das Esther Abrami Quintet."Ich bin unglaublich glücklich mit einem so großartigen Orchester und tollen Musikerinnen an einem so persönlichen Projekt zu arbeiten. Diese Kompositionen mit einem Orchester zum Leben zu erwecken, ist eine Erinnerung, die ich nie vergessen werde."
"Vilhelm Bromander Unfolding Orchestra returns with Jorden vi ärvde (""The Earth We Inherited""), the follow-up to their acclaimed 2023 debut, In This Forever Unfolding Moment. Set for release on April 25, 2025, the album deepens Bromander’s unique fusion of cosmic jazz, free jazz, folk music and Indian classical traditions while carrying a powerful message about environmental and social responsibility.
Bromander composed this work as both a dedication to his children and a reflection on humanity’s role as caretakers of the planet. “The album is an attempt to spread light, beauty, hope, and resistance while acknowledging the gravity of our times,” he explains. “Right-wing forces are rising, wars continue, and climate disasters escalate. How do we find the strength and hope to change?”
The music balances urgency with a deep trust in humanity. Bromander’s meticulous arrangements, performed by an all-star ensemble, offer moments of both fiery resistance and serene contemplation. Tracks like “Jorden vi ärvde, den skall oss också ärvas” unfold patiently, blending vibrant improvisations with lush orchestration. The evocative ballad “Erde”, with stunning solos by pianist Alex Zethson and the bass-player himself, nods to Charlie Haden’s Liberation Music Orchestra, while “For Dewey” pays tribute to the elastic interplay of Keith Jarrett’s legendary quartet, high-lighting the fire-y saxophone playing of Elin Forkelid. The closing piece, “Calliope,” channels Indian classical influences, with harp evoking a swarmandal’s shimmering resonance.
With Jorden vi ärvde, Bromander expands his artistic vision, weaving together intricate compositions with a passionate call to action. The result is an album that doesn’t just demand to be heard—it invites listeners to reflect, feel, and, ultimately, act."
Deutschland, deine Städte. Der Schauplatz aller Songs und Erzählungen des Berliner Duos Die Anteile ist klar umrissen: Sie interessieren sich für die dunklen Ränder, für Ecken, in denen lange niemand mehr gekehrt hat. Holzvertäfelte Eckkneipen, asphaltierte Garagenhöfe, aber auch mitten in die Scheinwerfer blicken sie, die ihr Licht werfen auf alles, was einmal subversiv und anders war. "Pelzwerk", das nun bei Tapete Records erscheinende Debütalbum der Anteile, wurde geschrieben in einem feuchten Berliner Kellerraum. Einige Meter unter der Erde erblickte eine Vielzahl an Figuren das Licht, die auch einem düsteren Varietétheater entstammen könnten: Nazi-Erben, die dem Sheriff hinterher reiten, Sammler, die Vergangenheiten in Vitrinen ausstellen und Zirkusdirektoren im Gewand von Bürgermeistern sind im "Pelzwerk" beschäftigt. Dabei sind Die Anteile keine Kinder von Traurigkeit: Das Debütalbum ist umspült von quirligen Synthielines, überschwänglichen Gitarrenriffs und liebevoll garniert mit allerlei Sounds aus dem Krautrock-Zauberkasten. "Ich beherrsche wenig / aber du würdest mir auch schon reichen", singen sie auf dem Titeltrack. Bass und Drum Machine zielen auf die Beine, die Stimme - mal als Sprechgesang, mal oddly elegant - auf den Kopf. Hinterher ist man immer schlauer - "Und ich wurde aufgeklärt / vernünftig ist was sich rentiert" - oder zumindest nass geschwitzt. "Pelzwerk" vereint viele Genres in sich. Ist es EBM, ist es IDM oder - Gott bewahre! - NNDW? Ein begeisterter Konzertbesucher beschrieb Die Anteile einmal als "freundliche DAF". Doch eigentlich sind Die Anteile auch dafür zu verspielt. Statt mit Diktatoren tanzen sie eher im 4-eck, packen den Vocoder aus und halten die tanzende Menge mit knarzigen Basslines in Schach. Die Anteile sind im Nebenberuf Gärtner:innen. Ungeachtet der heimischen Witterungsbedingungen pflanzen sie munter verschiedenste musikalische Gewächse an. Prominent im Rundbeet wurzeln die japanischen Elektropioniere von Yellow Magic Orchestra in der selben Erde wie Proto-Industrialisten der Marke Crash Course in Science und Pyrolator. Am Gartenzaun treiben Post Punk-Bands wie Talking Heads und Magazine Blüten, während im Nachbarbeet gerade neu mit Electroclash gedüngt wird. Reichlich Grünzeug also, sodass jeden Tag ein frischer Wildblumensalat den Weg aufs Die-Anteile-Buffet findet.
‘Devotion to a Noble Ideal’ is the first EP release on vinyl from The Revolutionary Army of the Infant Jesus. Part retrospective and part reimagining of their work – the EP contains 4 tracks, each produced in collaboration with a different creative partner, offering a sometimes radical reinterpretation of three previous works as well as one new piece. It is a startling body of material from the Liverpool based art house collective that, nearly 40 years since its inception, continues to evolve. Formed in Liverpool in 1985, the Revolutionary Army of the Infant Jesus is a unique experimental ensemble whose work goes beyond music. Their mesmerising recorded material is influenced by diverse cultural perspectives and stimulates a deeply personal and subjective awakening. Ethereal vocals, ambient compositions, chants, acoustic instrumentation and field recordings generate beautiful and emotionally intense soundscapes. Includes a double sided 12” insert of illustrations by Mr John Varley, Mr Prince and Miss Macfarlane from the publication THOUGHT-FORMS by Annie Besant and C.W. Leadbeater
"Movements of Air" is the highly anticipated fifth album from Daniel Herskedal's acclaimed trio, featuring Eyolf Dale on piano and Helge Andreas Norbakken on drums and percussion. Marking his tenth remarkable release with Edition Records, this album seamlessly bridges his foundational trio debut, "Slow Eastbound Train," with previous masterpieces like "The Roc" and "Voyage."
Over the past decade, Daniel Herskedal has consistently pushed the boundaries of the tuba, crafting music that is both profoundly introspective and expansively cinematic. At its core, "Movements of Air" delves into themes of hope, the pursuit of a better future, and the very essence of musical creation. With masterful performances from all members and intricate compositions, Herskedal navigates the delicate balance between good and evil, war and peace. Tracks such as "The Olive Branch" and "Peace River Crossing" showcase his ability to create emotionally resonant soundscapes, while pieces like "Elements of Harmony" and "Harmonic Allusions" highlight his innovative approach to harmony and texture.
This album stands as a testament to Herskedal's extraordinary talent, transcending the traditional limits of his instrument to deliver music that is both emotionally compelling and artistically groundbreaking.
Daniel Herskedal's exceptional achievements further underscore his artistic prowess and versatility. His notable arrangement of"San Francisco (Be Sure to Wear Flowers in Your Hair)" for the 2019 film "The Last Black Man in San Francisco," produced by Brad Pitt, was later featured in Coca Cola's global 'Open Like Never Before' advertising campaign. His extensive collaborations include performances with prestigious ensembles such as the BBC Concert Orchestra, the Royal Norwegian Navy Band, and the Russian Patriarchate Choir of Moscow. His collaborative project with Marja Mortensson won the Norwegian Grammy in 2019, and in 2021,he secured The Ambies Award for Best Original Score and Music Supervision for the podcast "9/12." Additionally, his work with artists like Keaton Henson and Emilie Nicolas on their album "Out of the Fog" further highlights his versatility and collaborative spirit.
"""Disguise In Love"" released in 1978, is the debut album of British punk poet John Cooper Clarke. Renowned for his quick-witted delivery and sharp humor, Clarke fuses punk rock with spoken word, resulting in a one-of-a-kind sonic experience. The album includes tracks such as ""I Don't Want To Be Nice,"" ""Valley of the Lost Women,"" and ""(I Married a) Monster from Outer Space,"" highlighting Clarke's talent for social commentary and dark comedy. Produced by Martin Hannett, known as (one of) the creator(s) of the ‘Manchester sound’, the album captures the unrefined energy of the late '70s punk scene. Other notable artists produced by Hannett include Joy Division, Magazine, New Order, Orchestral Manoeuvres in the Dark and Happy Mondays. ""Disguise In Love"" stands out not only for its incisive, observational poetry but also for its stripped-down and edgy musical accompaniment, solidifying its status as a pivotal work in Clarke's career and a significant contribution to the punk genre. The album comes as a limited edition of 500 copies on translucent blue coloured vinyl."
Meet Me in the Garden is a richly textured exploration of love, loss, and renewal. Co-produced by Felix Bloxsom (SIA, Genesis Owusu), Daniel Mougerman (The Bamboos), and Rita Satch herself, and mixed by Grammy-winning engineer Ben Kane (D’Angelo, Emily King), the album features contributions from some of Naarm/Melbourne’s finest, alongside a sweeping 12-piece string orchestra.
Blending smooth soul, contemporary R&B, orchestral flourishes, and stacked harmonies reminiscent of D’Angelo and Bilal, the album unfolds with cinematic beauty and emotional depth. It opens with a stirring string prelude by Mougerman before transitioning into the dreamy title track. Standouts include the meditative Breathe, the funk-fuelled Joyride, and Warrior Princess - a heartfelt tribute to Satch’s late grandmothers that helped her process grief through song.
Rooted in personal loss and spiritual growth, the album draws from Satch’s Kabbalistic studies and her belief in reunion beyond this life. With its timeless soul and modern edge, Meet Me in the Garden is a bold, soul-stirring debut that leaves a lasting impression.
When we last heard from Southern California's rock n' roll sorcerers Death Valley Girls, band orchestrator and mastermind Bonnie Bloomgarden was summoning the element of water and celebrating its tempestuous power on the triumphant 2023 single "I Am a Wave." Surrounded by a new cast of supporting musicians, Bloomgarden returns from a brief hiatus to pay homage to the magic of celestial bodies and to honor yet another classical element on a new two-song single. On side A, Death Valley Girls cover the Fleetwood Mac track "Sisters of the Moon," harnessing the original version's witchy mystery while bolstering its thunderous chorus by beefing up its ominous riffage. Bloomgarden's channeling of Stevie Nicks is downright eerie, pulling off such s striking timbral similarity you might almost mistake this rendition as a more electrified and tripped-out alternate take from the original Tusk sessions. On the flipside, Death Valley Girls pay reverence to the element of fire by taking on the Link Wray classic "Fire and Brimstone," summoning the original's swagger while transforming its tent-revival stomp into a mash-up of Phil Spector's girl-group majesty, Motown's hip-shaking soul, and punk's bombast. Surrounded by an ensemble of like-minded celestial witches, Bloomgarden takes Death Valley Girls' sound to new heights while elevating two beloved `70s tunes into modern day religious experiences.
1990's Recurring, the fourth and final studio album by Spacemen 3, is often considered the introduction of two brilliant solo projects (Spectrum and Spiritualized) rather than the work of a functioning band. While Spacemen 3's departing statement surely reveals a deep divide within the S3 camp – each side of the LP was written by Sonic Boom and Jason Pierce separately and, unlike previous releases, the two do not play on each other's songs – Recurring maintains a cohesive, dreamy feel with its chief sonic officers backed by fellow travelers Will Carruthers, Mark Refoy and Jon Mattock.
Opening saga "Big City (Everybody I Know Can Be Found Here)" marries ambient haze with narcotized indie rock, while "I Love You" manages to arrange a beautiful flute alongside a defiantly throbbing bass track. "Hypnotized," a reimagined fuzz-pop hymn, would become the group's first entry in the UK Singles Charts. Recurring lays bare the essence of Spacemen 3's persistent sound, rooted in both aural expansion and phenomenal songwriting.
Includes download card and new insert with liner notes by Marc Masters.
Looking behind the obvious, forming an orchestra out of everyday surroundings.
Finding the essence in the trivial, clarity in the complex, poetry in simplicity. All of this is part of the goal, meaning and character of Oh No Noh, the project of Leipzig-based guitarist, robot programmer, magnetic tape crumpler and composer Markus Rom. All of this floats and shines through "As Late As Possible", the third Oh No Noh album, which will be released on April 4th, 2025.
The focus of this album, as the title "As Late As Possible" suggests, was patience. A creative lingering, the selfimposed principle of letting ideas mature, consciously leaving them lying and looking at them again in order to discover and refine new things. Always looking for new ways of producing musical sounds, Markus Rom has been blurring the boundaries between LoFi, Indietronica, Postrock, Kraut and Pop with his solo project for several years. His main instruments for this are electric guitar, MIDI robots, tapes and samples. For “As Late As Possible”, Rom expands his setup with a new sound sources (acoustic guitar, banjo, organ) and musical guests: Damian Dalla Torre (Squama) on bass clarinet and Andi Haberl (the Notwist, Sun) on drums.
“As Late As Possible” continues the signature of past releases and adds new facets. Rom's distinctive looping in and over each other is particularly evident in the tracks “Missing the Point”, “Orb” and “Almost Everywhere”. With "Loot", a straightforward and folk-pop piece finds its way onto the album and coexists with math-trained tracks like "Dog Years" or "Dot", which conjure up associations with Weilheim bands like COUCH. The tracks "Bliss of Disconnect" and "Fawn" were created in collaboration with the featured guests Liz Kosack and KMRU. The confidently unplanned is one of the principles around which Oh No Noh itself is also continuously evolving. Part of this development: the radio series "Oh No Noh Radioh", which has so far consisted of over 40 parts, for which Rom invites a guest in each episode to research music together along roughly defined concepts, ideas and inspirations. Together with technology composer Hainbach, free jazz artist Limpe Fuchs and sound artist Elsa M’Bala, for example, encounters were created whose patient search and find and whose controlled coincidences also characterize “As Late As Possible” – but here concentrated, concise, and with all the love of sound and experimentation always committed to the song. With this will to create a song-like narrative, to move, to develop, “As Late As Possible” remains suspended and searching. Its concentration seems light-footed, its happy accidents well-placed, the melancholic beauty of outdated technologies, forgotten musical toys and broken noise sources always forward-looking. Music like the one that comes about when someone programs an entire robot band, which then becomes just a friendly part of the whole.
The artwork for “As Late As Possible” was created by Leipzig comic artist Anna Haifisch. The album was mixed by Adam Lenox and mastered by Frida Claeson Johannsson.
“Trustworthy”. is the meaning of “danama”, this Bambara word from Mali. Believing in oneself, in others, in the word given, in desirable futures. Advocating optimism, momentum towards the future, collective strength and the wise magic of cultural blending… especially during these troubled times of endless wars, of nationalist withdrawals or the abundance of naturals disasters, all encouraged by a carnivorous capitalism?
So confidence, we need tons of it. Maintained by the flame, the phlegm and the stratagem of these afro-groove scientists, without ignoring their sorrows nor the scandals of History. This is the athletic art of Arat Kilo, who remain without question the best ethio-jazz orchestra in France, on the trail of this fifth album recorded in the Spring of 2024. Confidence was also needed to change the way things worked. For all the previous albums, the band came together in the studio to play each track together, all in the same room, in the romantic idea of a warm, lively, organic gesture, in the manner of the great Ethiopian masters of the 60s and 70s.
For Danama, the music was initially collected in tandem: guitar/bass, drums/percussion, saxophone/trumpet, and the two voices. A few new instruments were added along the way : dark synthesizers, a bass clarinet, a tiny guitalélé (similar to the ukulele) and a Malian n'goni (sometimes described as ‘the griot's lute’). Then, and above all, there was the question of experimenting with real sound production, using sound design, multi-track exploration and effects applied to the textures collected over eight days at the Gong studios in Montreuil and OneTwoPassIt in Bagnolet just outside Paris.
In this way the band, all growing up influenced by the hip French Radio Nova's ‘Grand Mix’, were completely free to express their natural taste for fusion between genres. Borrowing from the frantic rhythms of Newark's jersey club, English 2-step or New Orleans brass bands, grafted onto Arat Kilo's musical base: tezeta, the famous minor pentatonic scale typical of Ethiopian jazz, melancholic to perfection. The result is layers of sound, collages of emotions, like the album cover, created by artist Clément Laurentin from multicoloured fragments of posters torn up in the street.
So Arat Kilo are back: The same band, the same collective strength, the same fight for values, their new album “Danama” carries the demand for a better world even further, with words of hope from singer Mamani Keita and the social critique of American MC and poet Mike Ladd ! The result is this luminous voyage down the Danama canal. In all, eleven songs and an instrumental, mixed by Mathieu ‘Gib’ Gibert - one of French band La Fine Équipe's beatmakers - set to drive the crowds wild and remind us how to stick together again.
A collaboration between US label Astral Spirits and Sweden’s Thanatosis Produktion, It could / If I marks the debut album from Stockholm-based duo Johan Jutterström (saxophone) and Alex Zethson (piano). Together, they reinterpret jazz standards and explore an eclectic mix of compositions by Leonard Cohen, Pet Shop Boys, John Lurie, and 19th-century composer Alexander Fesca.
Jutterström and Zethson’s musical partnership dates back to their teenage years, when they bonded over a love for jazz and the struggle to find their own voice within it. Their duo work has always been about navigating that tension—trying to capture jazz, failing, and finding another way forward. This album continues that pursuit, emphasizing not just what is played, but how it is played.
The record’s title reflects their approach: a process of reaching for something just out of grasp. Songs are deconstructed, rearranged, and treated like palimpsests—scrubbed clean and rewritten while allowing traces of the original to shine through. The result is a dynamic and deeply personal exploration of sound, filled with both reverence and reinvention.
Both musicians have extensive backgrounds in jazz, improvisation, and experimental music. Zethson, a prolific pianist and composer, has worked with ensembles like Fire! Orchestra and Trondheim Jazz Orchestra, and plays keyboards in ensembles such as Vilhelm Bromander Unfolding Orchestra, Goran Kajfes Tropiques, Vathres, and Angles (current with the jazzopera The Death of Kalypso). Jutterström, a saxophonist with an artistic PhD, has performed internationally and runs the ensemble STHLM svaga, a band who have performed commissioned pieces by jazz legends such as Ron Carter, Archie Shepp and Roscoe Mitchell.
With It could / If I, the duo crafts an intricate, ever-shifting dialogue—an ongoing attempt to "stick jazz music," as they put it, constantly approaching, never quite arriving, and finding beauty in the pursuit.
If Hawalat sounds like a world tour that’s because it essentially is. “As much as Marzipan is a picture of Lebanon from the inside, Hawalat kind of picks up from where Marzipan finished but more looking to the outside, the diaspora, to the notion of exile.” Megarbane says he is interested in the connections between the global and the domestic, the mundane and the cosmic, and wanted to create space for non-linear progression.
Hawalat is based on the idea of hawala, informal money transfers that you can make to certain countries impacted by a lack of currency or unstable political and economic contexts. His use of the term on this album is not a financial one, Megarbane explains, but a nod to notions of creative exchange between “places, persons, generations.” It is the first time Megarbane called on other musicians in this way to inform his sound, including a collaboration with Sven Wunder on the song Helia featuring strings by the Stockholm Studio Orchestra.
The album opens with first single Hanadi, a punchy Somali-inspired track with warm non-lexical vocals and saxophone. It immediately pivots to the Dreams of an Insomniac, which balances soft, effortless vocals and keys with urgent violin intrusions. Al Dollarji feels like Megarbane’s bread and butter, that is Mediterranean sounds with intricate strings, while Al Bahriye takes this staple and introduces hip hop inflections. The result is a rich 17 track album that effortlessly blends genres and styles.
Including 8 page, 12" sized booklet with unseen photos and liner notes by Armani Syed.
In many ways this is The Monochrome Set"s él Records album. Definitely not a rock album, more eclectic, with influences spanning the 1920"s to the early 1960"s. On this Album Bid is crafting his skills as a songwriter: the minimalist "Cowboy Country" could be a Burt Bacharach song without the orchestra, "Sugarplum" a Hoagy Carmichael song but with a pop group, "Jacob"s Ladder" an early 1960"s twangtastic beat song. There is a tangible Latin influence throughout the album, even a little Flamenco, especially on the songs "Cargo" and "Don"t Touch", all with a feather light touch. The very sparse and light nature of the album probably worked against it commercially in an 80"s world of heavy drums, rock guitar and New Romantic synths. 40 years later the quality of the songwriting shines through.
VERVE ACOUSTIC SOUNDS SERIE: Stereo, komplett analog von Ryan K. Smith bei Sterling Sound von
den Originalbändern gemastert, QPR-Pressung (180 g), stabiles Tip-On-Gatefold (Stoughton Printing),
wattierte Innenhülle.
Mit seiner unverwechselbaren, ungemein eleganten Phrasierung auf dem Altsaxofon war Johnny Hodges -
nur mit einer kurzen Unterbrechung in den frühen 1950ern - von 1928 bis zu seinem Tod 1970 eine der
prägenden Stimmen des Duke Ellington Orchestra gewesen. Dass ihre musikalische Komplizenschaft auch
im kleinen Rahmen hervorragend funktionierte, bewiesen sie 1959 bei einer lockeren Jamsession für Verve,
bei der einige der Aufnahmen für das Album “Side By Side” entstanden.
Wild ecstatic vocals, distorted electric guitars, rocket bass, and the amphetamine beat! // Unlike anything else, this is THE high life music you've always wanted // Ceremonial music played with abandon and extreme intent, honoring the living and dead alike // Recorded on location in SW Madagascar by Maxime Bobo // “Tsapiky music from Southwest Madagascar features wild ecstatic vocals, distorted electric guitars, rocket bass, and the amphetamine beat! Unlike anything else, this is THE high life music you've always wanted - ceremonial music played with abandon and extreme intent, honoring the living and dead alike. In Toliara and its surrounding region, funerals, weddings, circumcisions and other rites of passage have been celebrated for decades in ceremonies called mandriampototse. During these celebrations – which last between three and seven days – cigarettes, beer and toaky gasy (artisanal rum) are passed around while electric orchestras play on the same dirt floor as the dancing crowds and zebus. The music, tsapiky, defies any classification. This compilation showcases the diversity of contemporary tsapiky music. Locally and even nationally renowned bands played their own songs on makeshift instruments, blaring through patched-up amps and horn speakers hung in tamarind trees, projecting the music kilometers away. Lead guitarists and female lead singers are the central figures of tsapiky. Driven as much by their creative impulses as by the need to stand out in a competitive market, the artists distinguish themselves stylistically through their lyrics, rhythms or guitar riffs. They must also master a wide repertoire of current tsapiky hits, which the families that attend inevitably request before parading in front of the orchestra with their offerings. This work, a constant push and pull between distinction and imitation, is nourished by fertile exchanges between various groups: acoustic and electric, rural and urban, coastal or inland. What results during these ceremonies is a music of astonishing intensity and creativity, played by artists carving out their own path, indifferent to the standards of any other music industry: Malagasy, African or global. Recorded live on location by Maxime Bobo, this vinyl LP includes a 4-page full-color insert with detailed liner notes plus photos of the musicians and surroundings.”
Across eight tracks, Tilliander and Kajfes masterfully balance slow, lumbering machine pulses, delicate synth textures, and impeccable trumpet lines. Tilliander's use of both analog and digital synths carve out the structure of these sonic sculptures, while Kajfes's elegant trumpet playing pushes against them, infusing the dreamy soundscapes with both acoustic tension and melodic detail. Individually, Andreas Tilliander and Goran Kajfes have long been recognized as leading names in Swedish electronic music and jazz, respectively. Both have consistently pushed and transcended the boundaries of their genres. Tilliander has explored everything from techno, drones, and dub to clicks'n'cuts under monikers like TM404 and Mokira. Kajfes has been a relentless innovator in jazz, playing a central role in bands such as Oddjob, Subtropic Arkestra, Tropiques, Nacka Forum, and Fire! Orchestra. Now, they join forces, forging a new path for both ambient and jazz music.
Pink Vinyl[22,31 €]
Das vierte Album des Frank Popp Ensemble auf Unique Records. Geschrieben. aufgenommen und produziert 2024 in Spanien. Wie beim Vorgänger sind diverse Gastsänger auf den il brandneuen Stücken zu hören.
Gerry Love, einst Leadsänger der legendären Teenage Fanclub, der laut Popp fast alle Lieblingsstücke der Glasgower Kult-Band geschrieben und gesungen hat. verleiht hier seine hinreißende Stimme einer orchestralisch-souligen Version von „Save", ein eher unbekanntes aber geniales Stück, welches Love 2004 für die Schotten schrieb. Gerard Love trug bereits mit einem Cover von Frank Popp's "The World Is Waiting" zur Under Covers' Compilation bei und hat nun auf Waves ein weiteres Mal wundervolle Arbeit geleistet.
Ein weiterer Held aus Popp's Plattensammlung ist Nicke Andersson. Früher Schlagzeuger bei den Death&Rollern Entombed, dann bis heute Sänger der unvergleichlichen Hellacopters und Mastermind hinter weiteren top Bands wie The Solution, Imperial State Electric, Lucifer, etc., ist auf „Caught In AWeb" zu hören. Ein Northern Soul Stomper in klassischer Magic Touch* Manie.
Emma Noble, eine aufstrebende Soul-Sängerin aus London singt auf dem girl-groupigen Soul-Anthem Unstoppable*. Die zweite Single-Auskopplung vom Album hat das Zeug zum nächsten UK-Floorfiller und wurde bereits Ende 2024 in Craig Charles Soul Show auf BBC gespielt und angepriesen.
Ein absoluter Ausnahme-Künstler ist J Mahon, der auf 5 Stücken des Albums zu hören ist und erheblich zum Album beigetragen hat. Seine zuckersüße Stimme funktioniert sowohl auf seinen Stücken, als auch bei _Going Going Gone". welches die erste Single-Auskopplung ist und durch die eingängigen Bläser-Hooks und J's androgyne Soul-Vocals an gewisse junge Motown-Künstler in den frühen 70s erinnern.
Audrey Ollesen aus Köln, eine alte Bekannte aus der rheinischen Mod-Szene. kam durch Zufall hinzu. nachdem Popp durch private Aufnahmen auf ihre Gesangs-Skills aufmerksam wurde. Auf .C|om|mon Stranger* ist Audrey zum ersten Mal auf einem Tonträger zu hören.
Auf "Waves" vereint Frank Popp Northern Soul. Psychedelia, 90s Indierock und orchestralischen Soundtrack-Feel zu einem homogenen, überzeugenden Werk, was vielversprechend wirkt und sich verdammt gut anfühlt in einer nicht so rosigen Zeit. Wir sind alle gespannt...
Black Vinyl[20,13 €]
Das vierte Album des Frank Popp Ensemble auf Unique Records. Geschrieben. aufgenommen und produziert 2024 in Spanien. Wie beim Vorgänger sind diverse Gastsänger auf den il brandneuen Stücken zu hören.
Gerry Love, einst Leadsänger der legendären Teenage Fanclub, der laut Popp fast alle Lieblingsstücke der Glasgower Kult-Band geschrieben und gesungen hat. verleiht hier seine hinreißende Stimme einer orchestralisch-souligen Version von „Save", ein eher unbekanntes aber geniales Stück, welches Love 2004 für die Schotten schrieb. Gerard Love trug bereits mit einem Cover von Frank Popp's "The World Is Waiting" zur Under Covers' Compilation bei und hat nun auf Waves ein weiteres Mal wundervolle Arbeit geleistet.
Ein weiterer Held aus Popp's Plattensammlung ist Nicke Andersson. Früher Schlagzeuger bei den Death&Rollern Entombed, dann bis heute Sänger der unvergleichlichen Hellacopters und Mastermind hinter weiteren top Bands wie The Solution, Imperial State Electric, Lucifer, etc., ist auf „Caught In AWeb" zu hören. Ein Northern Soul Stomper in klassischer Magic Touch* Manie.
Emma Noble, eine aufstrebende Soul-Sängerin aus London singt auf dem girl-groupigen Soul-Anthem Unstoppable*. Die zweite Single-Auskopplung vom Album hat das Zeug zum nächsten UK-Floorfiller und wurde bereits Ende 2024 in Craig Charles Soul Show auf BBC gespielt und angepriesen.
Ein absoluter Ausnahme-Künstler ist J Mahon, der auf 5 Stücken des Albums zu hören ist und erheblich zum Album beigetragen hat. Seine zuckersüße Stimme funktioniert sowohl auf seinen Stücken, als auch bei _Going Going Gone". welches die erste Single-Auskopplung ist und durch die eingängigen Bläser-Hooks und J's androgyne Soul-Vocals an gewisse junge Motown-Künstler in den frühen 70s erinnern.
Audrey Ollesen aus Köln, eine alte Bekannte aus der rheinischen Mod-Szene. kam durch Zufall hinzu. nachdem Popp durch private Aufnahmen auf ihre Gesangs-Skills aufmerksam wurde. Auf .Co|mm|on Stranger* ist Audrey zum ersten Mal auf einem Tonträger zu hören.
Auf "Waves" vereint Frank Popp Northern Soul. Psychedelia, 90s Indierock und orchestralischen Soundtrack-Feel zu einem homogenen, überzeugenden Werk, was vielversprechend wirkt und sich verdammt gut anfühlt in einer nicht so rosigen Zeit. Wir sind alle gespannt...
Die Vintage Sounds Vinyl-Reihe ist zurück mit einer neuen Ausgabe, die diesemal der kubanischen Musik gewidmet ist. Eine Auswahl mit 16 Tracks der größten klassischen kubanischen Songs. Darunter: COMPAY SEGUNDO, JOHNNY PACHECO Y SU CHARANGA, PÉREZ PRADO und viele mehr!
Dennis Brown has always been cited as Jamaica’s favourite singer. While Bob Marley set out to conquer the world, Dennis’s popularity on the island grew with every year. Overseas success also came Browns way with crossover hits like the massive ‘Money In My Pocket’. He will always be fondly remembered on the sound systems across the caribbean as the Crown Prince of Reggae.
Dennis Brown (b Dennis Emanuel Brown,1957, Kingston, Jamaica) began his illustrious career at the grand age of eleven like many of the other child singers at Coxsonne Dodds Studio One stable. His first hit in 1969 a cover of Van Dykes ‘No Man Is An Island’ still stands the tests of time and also its follow up cut ‘If I Follow My Heart’ as Reggae classics. The 1970’s saw Dennis build on his reputation by working with all the top Jamaican producers and
studio’s perfecting his sound. Lloyd Daley, Impact, Joe Gibbs, Aquarius and Derrick Harriott to name but a few. But it was his work with producer Winston ‘Niney’ Holness that he enjoyed the most success and many say recorded his best work for. Where many of the other producers stayed with the tried and tested Lovers Rock formula that did prove so popular with Dennis’s voice, producer Niney the Observer as he is fondly called, pushed him into a more roots led direction, over stark rhythms created by Niney’s studio band Soul Syndicate.
Two outstanding albums were put together ‘Just Dennis’ (1975) built on a collection of singles they had recorded together, ’Cassandra’, ’Westbound Train’, ’No More Will I Roam’ and ‘Conqueror’. The second 1977 set ‘Wolf and Leopards’ made up again of singles the prolific two had cut including, ‘Here I Come’ (a live favourite that Dennis always liked to start his set with) and ‘Children of Israel’ made these both strong roots era albums.
We have stayed with this period for our Dennis Brown album. Some of the above-mentioned cuts are present alongside the timeless crossover hit ‘Money In My Pocket’ (1979) produced by Niney but often credited as a Joe Gibbs production as it was released (and sweetened by adding Orchestration for the foreign market place) on his label. By the way this is the original Jamaican version (unsweetened) that you will find on this album a more truthful version in our humble opinion. His voice reigns supreme across these Niney produced cuts ‘Smile like An Angel’ ‘Silver Words’, ‘Play Girl’ and the fantastic ‘Poor Side Of Town’ (helped along by the great harmonies of the Heptones group), ‘Tribulation’ and ‘We Will Be Free’. Dennis Brown’s prolific catalogue of tunes that also found an outlet on his own DEB inprint (named after his initials) stands to show what a great artist he was and what a fine team he and Niney made when in the studio creating these magical moments. So sit back and enjoy a killer set of tunes compiled by Niney himself...Tribulation Times indeed and long may the records of the Crown Prince of Reggae Dennis Brown rule the world.....
Finally, it's here: the new Kettel! And we certainly know we're on the Kettel estate: the delicate melodies, complex orchestrations, and the crisp sound design offer familiar musicality. The new Kettel hasn't skimped on ideas and details, and each track opens a courtyard that rewards surrender and attention--we want to linger there. One thing is clear from Dubio: if you thought you'd heard all of Kettel by now, you're mistaken. In the new Kettel, doubt (dubio in Latin) and dissonance have also become part of the beauty--and in doing so, it breathes more character and liveliness than ever.
Die mehrfach preisgekrönte norwegische Jazzsängerin und Songwriterin Silje Nergaard präsentiert ihr neues Album "Tomorrow We'll Figure Out the Rest". Dies ist eine zutiefst persönliche Hommage an ihre Eltern und eine musikalische Reise, inspiriert von Erinnerungen, Momenten mit ihrer Familie und Szenen aus ihrem Leben."'Tomorrow We'll Figure Out the Rest' ist nicht nur der Titel eines Albums, sondern auch das, was das Leben im Moment ausmacht - die Erlaubnis, nicht alles perfekt durchdacht haben zu müssen", erklärt Silje Nergaard. "Diese Inspiration stammt aus einer Quelle, die mir sehr nahesteht: meinen Eltern. Sie haben mir gezeigt, wieviel Freude die Musik in ein Zuhause bringen kann - die Freude und auch die Traurigkeit, die sie in unsere Herzen bringt. Sie haben mir beigebracht, dass das Leben nicht immer bis ins letzte Detail geplant sein muss."Mit ihrer besonderen Fähigkeit, bewegende Geschichten mit Musik zu erzählen, vereint Silje auf "Tomorrow We'll Figure Out the Rest" intime Jazzklänge mit orchestralen Arrangements. Dabei wird sie von führenden europäischen Jazzmusikern begleitet, darunter Helge Lien (Piano), Jarle Vespestad (Schlagzeug), Finn Guttormsen (Bass), George (Jojje) Wadenius (Gitarre) und Håkon Kornstad (Saxophon). Ergänzt wird das Ensemble durch das renommierte Stavanger Symphony Orchestra, dirigiert von Vince Mendoza, der die emotional-farbigen, bisweilen geradezu cineastischen Orchesterarrangements für das Album komponiert hat. Mendoza und Nergaard arbeiteten bereits bei dem Grammy-nominierten Album "A Thousand True Stories" zusammen.Besonders bewegend sind die persönlichen Einblicke, die Silje Nergaard in dieses Album eingebaut hat: "Es hat ein paar kleine Momente, die zeigen, wie mein Leben als Kind aussah. Ich habe eine alte Kassette gefunden, auf der ich mit meinem Vater spreche - da war ich gerade mal fünf Jahre alt. Darauf singen meine Schwester, meine Eltern und ich zusammen. Diese Aufnahmen haben mich tief berührt, und ich freue mich, sie mit euch teilen zu können."Das Album vereint die intime Atmosphäre eines Kammer-Jazzensembles mit dem majestätischen Klang eines großen Orchesters. Silje Nergaard beschreibt es als eine Sammlung von Erinnerungen, die die Vergangenheit feierlich nachvollziehbar machen, aber auch einen hoffnungsvollen Blick in die Zukunft werfen. "Das Cover des Albums zeigt ein altes Foto meiner Eltern, als sie jung und frisch verliebt waren - ein Moment purer musikalischer Freude, ohne Gedanken an den nächsten Tag. Dieses Bild und diese Stimmung haben mich inspiriert."Mit "Tomorrow We'll Figure Out the Rest" zeigt Silje Nergaard einmal mehr, warum sie zu den herausragendsten Künstlerinnen der Jazzszene gehört: persönlich, authentisch und musikalisch brillant.
LINER NOTES BY BOOM BASS
A FIRST ALBUM AFTER SIGNING THE CONTRACT TO RELEASE OUR DEBUT ALBUM, WE WERE SUDDENLY INUNDATED WITH AN OVERWHELMING NUMBER OF TASKS.
TOWARD THE END OF THE 20TH CENTURY,MUSIC PRODUCTION WAS STILL A HEAVILY INDUSTRIAL PROCESS. FACTORIES MANUFACTURED CDS, VINYL RECORDS, AND EVEN AUDIO CASSETTES, WHICH WERE THEN SHIPPED BY TRUCK TO WAREHOUSES BELONGING TO VARIOUS FRENCH MAJOR LABELS. DEDICATED TEAMS BRAINSTOR-MED IDEAS, DEVISED STRATEGIES, AND ORCHESTRATED PLANS TO DISTRIBUTE THESE RECORDS TO SPECIALIZED STORES. AT THE TIME, RADIO, TELEVISION, AND THE PRESS HELD THE KEYS TO SUCCESS.
WITHOUT THEIR SUPPORT, REACHING THE GENERAL PUBLIC, OR EVEN A NICHEA UDIENCE, WAS NEARLY IMPOSSIBLE.OUR FIRST ALBUM AS CASSIUS, SLATED FOR RELEASE IN JANUARY 1999, SPARKED GENUINE EXCITEMENT WITHIN THE VIRGIN RECORDS TEAM. AS A FORMER ARTISTIC DIRECTOR, I KNEW THIS LEVEL OF ENTHUSIASM WAS RARE. FOR PHILIPPE AND ME, STEPPING INTO THE SPOTLIGHT WAS A COMPLETELY NEW EXPERIENCE.
AFTER YEARS OF WORKING BEHIND THE SCENES FOR OTHERS,FOCUSED AND IMMERSED IN THE STUDIO, WE WERE NOW AT THE FOREFRONT, ENTIRELY INCONTROL. THIS SHIFT BROUGHT A WHIRLWIND OF EMOTIONS: AMBITION FUELED OUR FEARS,AND CREATIVE CHAOS OFTEN BLURRED OUR JUDGMENT ABOUT WHEN TO STOP REFINING OURWORK.NAVIGATING DECISIONS AS A DUO, WE QUICKLY DISCOVERED THE COMPLEXITIES OF PARTNERSHIP AND PRODUCTION. WITHOUT MANAGEMENT, WHOSE CRITICAL ROLE IS OFTEN TO SHIELD ARTISTS FROM THEIR OWN TENDENCIES, WE OCCASIONALLY STRUGGLED TO MAKE THE RIGHT CHOICES.
YET, EXCITEMENT AND SHEER JOY ULTIMATELY PREVAILED, AND WE THREW OURSELVES WHOLE HEARTEDLY INTO THE ADVENTURE. AS POSITIVE FEEDBACK ROLLED IN FROM SUBSIDIARIES, MARKETING BUDGETS EXPANDED, AND THE ALBUM'S RELEASE STRATEGY SKYROCKETED TO NEW HEIGHTS.
DAFT PUNK'S GROUNDBREAKING ALBUM HOMEWORK HAD JUST OPENED THE DOOR FOR FRENCH ELECTRONIC MUSIC TO REACH GLOBAL AUDIENCES. FOR ARTISTS ROOTED IN DJ CULTURE,THIS WAS A TURNING POINT. FRENCH ACTS WERE FINALLY BEING INVITED TO PLAY AT BURGEONING FESTIVALS AND ICONIC CLUBS. THE BRITISH AUDIENCE WAS THE FIRST TO EMBRACE US, AND WEEKEND AFTER WEEKEND, WE TOURED THE UK.
INSPIRED BY THOSE NIGHTS BEHIND THE DECKS, WE SUGGESTED RELEASING A VINYL FEATURING EXTENDED VERSIONS OF TRACKS FROM 1999. DESIGNED AS A PROMOTIONAL DJ TOOL, IT CELEBRATED EXPANSIVE, LONG-FORM TRACKS REMINISCENT OF THE ONES WE LOVED TO PLAY, AN HOMAGE TO OUR EARLY EXPERIMENTS WITH NDLESS LOOPS, LIKE DINAPOLY FROM 1996.
THE VINYL WAS PRESSED IN AN EXTREMELY PROMO LIMITED SERIES, ECHOING OUR EARLY MAXI-SINGLES AND THE RARE RECORDS WE USED TO HUNT FOR AS COLLECTORS. FOR FANS, IT WAS A CHANCE TO OWN SOMETHING TRULY UNIQUE; FOR US, IT WAS A FINAL OPPORTUNITY TO RE-EXPLORE THEA LBUM'S MUSIC.PRODUCED IN THE STYLE OF LA FUNK MOB'S EP, WITH THE TWO OF US IN A RECORDING BOOTH SURROUNDED BY FLOPPY-DISK MACHINES AND TWO OR THREE SYNTHS, THE ALBUM'S SONGS WERE STRUCTURED AND MIXED DIRECTLY IN STEREO ON A DAT (DIGITAL AUDIO TAPE).
MOST TRACKS, ORIGINALLY VERY LONG, WERE EDITED INTO A COHERENT, HOUR-LONG LISTENING EXPERIENCE. THE DJ TOOL WAS ASSEMBLED FROM THOSE ORIGINAL MIXES, AS A FINAL, FREE WHEELING VARIATION OF OUR THREE WEEKS OF FUN IN THE STUDIO.HOLDING THAT VINYL TODAY BRINGS BACK VIVID MEMORIES OF THOSE EARLY TRAVELS, THE NIGHTCLUBS AT THE CUSP OF TRANSFORMATION, THE CROWDS GETTING YOUNGER AT NEW PARTIES, AND THE VINYL RECORDS THAT WERE JUST STARTING TO FADE FROM DJ BOOTHS.
I ALSO RECALL BEING 32 YEARS OLD, NAVIGATING THIS EVOLVING WORLD. NOW, AS I PREPARE FOR THE UPCOMING CASSIUS CLUB TOUR, I'M STRUCK BY HOW CLOSELY IT MIRRORS THE ERA OF THE DJ TOOL RELEASE. TWENTY-FIVE YEARS LATER, I FEEL INCREDIBLY FORTUNATE TO STILL BE DOING THIS.
IN THE STUDIO, PHILIPPE ONCE SHOUTED, "CASSIUS IN THE HOUSE !" INTO MY EAR. TODAY, I FEEL LIKE TELLING HIM, "I'M GOING BACK TO OUR ROOTS."BOOMBASS.
'199 DJ TOOL", 2025 UNRELEASED ALBUM BY CASSIUS FEATURING 8 EXCLUSIVE EXTENDED VERSIONS OF THE MOST ICONIC TRACKS FROM THE ALBUM 1999 AND THIS EXCLUSIVE SHORT STORY BY BOOMBASS.
Bethesda Game Studios und Laced Records haben sich zusammengetan, um die Musik von 'Starfield' auf Deluxe-Vinyl zu bringen.
In allen Titeln der Bethesda Game Studios ist die Musik ein wesentlicher Bestandteil der Reise des Spielers und ein ständiger Begleiter während seines Abenteuers. Die langjährige Zusammenarbeit zwischen dem Komponisten Inon Zur und dem Studio begann bereits 2008 mit der Veröffentlichung von Fallout 3. Die Musik zu 'Starfield' sollte sowohl die Weite des Weltraums als auch die Neugier der Menschen auf das Unbekannte zum Ausdruck bringen. So verwob Zur traditionelle und nicht-traditionelle orchestrale und elektronische Klänge zu einem Klangteppich aus Organischem und Synthetischem.
Während der Entwicklung hat das Team ein eklektisches Spektrum an Referenzpunkten durchlaufen: Es begann bei den Sci-Fi-Grundsäulen von John Williams und Jerry Goldsmith, durchquerte einen klassischen Nebel von Debussy, Ravel und Prokofiev, flog an Vangelis' überragendem Synthesizerwerk vorbei und warf einen Blick auf die experimentellen Arbeiten der Einstürzenden Neubauten und von John Cage.
In den Orchesterstücken von Starfield, die vom Budapester Filmorchester eingespielt wurden, beschwören verschiedene Instrumentalgruppen oft imaginäre Aspekte des Weltraums herauf. Schnelle, sich wiederholende Sequenzen in den Holzbläsern stellen Partikel dar. Streicher, die wellenförmige Akkorde spielen, imitieren lange Wellen interstellarer Energie. Die Blechbläser werden zum Leuchtfeuer der Melodie, das über die Galaxie hinaus strahlt. In ähnlicher Weise erhalten die eher elektronischen Cues ein Gefühl von Erhabenheit durch schwere Synthesizerflächen, die kryptische, sich wiederholende Muster und ungewöhnliche perkussive Schläge untermauern.
Aeralie Brighton (DEATHLOOP, Ori-Serie) ist auf dem Soundtrack als Sängerin zu hören.
A sprawling patchwork of the artist’s dreams and fears, Parannoul’s third album After the Magic explores the enigmatic solo artist’s life in the wake of his second album’s overnight success.
Expanding on the shoegaze-shaded emo that made Parannoul’s To See the Next Part of the Dream so beloved by lo-fi and indie rock fans alike, After the Magic sees the anonymous auteur striving to write a follow-up as worthy of acclaim as the last.
Across the album’s ten songs, Parannoul plunges yet deeper into his diverse pool of influences, coming back to the surface with a record that captures and extends the magic of its predecessor. Unexpected flashes of orchestral ambient and glitched-out electronica meld seamlessly with Parannoul’s signature passages of noisy, distortion-laden shoegaze, offering a real time glimpse into the maturation of one of indie rock’s most exciting artists.
In the artist’s own words, “This album is not what you expected, but what I always wanted.”
Bethesda Game Studios und Laced Records haben sich zusammengetan, um die Musik von 'Starfield' auf Deluxe-Vinyl zu bringen.
In allen Titeln der Bethesda Game Studios ist die Musik ein wesentlicher Bestandteil der Reise des Spielers und ein ständiger Begleiter während seines Abenteuers. Die langjährige Zusammenarbeit zwischen dem Komponisten Inon Zur und dem Studio begann bereits 2008 mit der Veröffentlichung von Fallout 3. Die Musik zu 'Starfield' sollte sowohl die Weite des Weltraums als auch die Neugier der Menschen auf das Unbekannte zum Ausdruck bringen. So verwob Zur traditionelle und nicht-traditionelle orchestrale und elektronische Klänge zu einem Klangteppich aus Organischem und Synthetischem.
Während der Entwicklung hat das Team ein eklektisches Spektrum an Referenzpunkten durchlaufen: Es begann bei den Sci-Fi-Grundsäulen von John Williams und Jerry Goldsmith, durchquerte einen klassischen Nebel von Debussy, Ravel und Prokofiev, flog an Vangelis' überragendem Synthesizerwerk vorbei und warf einen Blick auf die experimentellen Arbeiten der Einstürzenden Neubauten und von John Cage.
In den Orchesterstücken von Starfield, die vom Budapester Filmorchester eingespielt wurden, beschwören verschiedene Instrumentalgruppen oft imaginäre Aspekte des Weltraums herauf. Schnelle, sich wiederholende Sequenzen in den Holzbläsern stellen Partikel dar. Streicher, die wellenförmige Akkorde spielen, imitieren lange Wellen interstellarer Energie. Die Blechbläser werden zum Leuchtfeuer der Melodie, das über die Galaxie hinaus strahlt. In ähnlicher Weise erhalten die eher elektronischen Cues ein Gefühl von Erhabenheit durch schwere Synthesizerflächen, die kryptische, sich wiederholende Muster und ungewöhnliche perkussive Schläge untermauern.
Aeralie Brighton (DEATHLOOP, Ori-Serie) ist auf dem Soundtrack als Sängerin zu hören.
With a growing international reputation for championing forward-thinking artists in the contemporary jazz space, Denmark"s April Records proudly presents the third album from instrumental collective Andorra. Their most ambitious undertaking yet, the audio-visual release invites audiences to fully immerse themselves in the energetic grooves, lyrical melodies, and colorful modern production that define their sound. Andorra"s eponymous 2021 debut reunited five friends who met at the Funen Music Conservatory and went on to work across a range of disciplines, from film music and orchestral work to large ensembles and chamber jazz. Realising their long-held desire to explore their collective creative potential, the ensemble describes their sound as "modern vintage", bringing together the nostalgic warmth of analog synthesis, present-day digital audio manipulation techniques, and jazz musicianship steeped in tradition. Taking a decisive step to perfect the production of their music, the quintet recorded at Lundgaard Studios - one of Denmark"s most prestigious studios - and placed the responsibility of mixing in the hands of their own synth-guru Peter Moller, whose deep understanding of the band"s sound made him best suited for the role. Taking a step back from the dark, brooding music often associated with the Nordic countries, "III" is a playful, high-energy, deep pocket collection of seven original pieces that are unapologetic in their grooving, in-your-face attitude. Driving complex drum parts, shimmering guitar textures, squelching synth pads, thick old-school bass tones, and lush timbres from Mads La Cour"s horns deliver catchy and danceable hooks as easily as they do spacious explorations of texture and vivid harmony. The entire album has been shaped into a concert film directed by photographer Jesper Van, set to premiere at select cinemas across Denmark - soon to be available online - offering global listeners a comprehensive experience of Andorra"s creative vision.
Four Flies Records is proud to present Paesaggio Bellico, a collection of unreleased music from legendary composer and multi-instrumentalist Alessandro Alessandroni.
Available digitally starting on the centenary of the maestro's birth on 18th March 2025 and on vinyl on 21st March, Paesaggio Bellico is a true gem hidden within the vast treasure trove of Italian film scores and library music.The album brings together themes and atmospheric pieces inspired by the world of war, viewed not just from a military standpoint, but also through a deeply human and existential lens.
The LP version features 18 tracks, while the digital release expands to 29, including alternate takes and thematic variations. These compositions were meticulously unearthed from scores written and recorded by the maestro between 1969 and 1978 for television documentaries and war films.
Alessandroni's war-inspired music masterfully balances action, suspense, and introspection. Expansive, panoramic themes give way to anxious, tormented moments. Horrifying visions are countered by calmer atmospheres, and glimmers of hope soften the intensity of pain.
Each track embodies the unique sound that has made Alessandroni an irreplaceable figure for soundtrack and library music enthusiasts. His signature whistle – so unmistakable for generations of fans of the genre – soars above delicate 12-string acoustic guitar arpeggios. More dramatic pieces feature his iconic Fender Stratocaster, equipped with a fuzz distortion pedal. And, of course, Alessandroni's vocal group, the Cantori Moderni, a constant presence in his arrangements, contribute, this time lending their voices to the more unsettling aspects of military psychology. An elegant string section adds depth and emotional impact to the more orchestral tracks, completing the picture of this monumental work.
The result is a sonic journey that delves into the darkest, most martial sides of war, but also explores its intimate and deeply painful dimensions, creating a powerful dialogue between the atrocities of conflict and the human emotions it evokes.
The release is enriched by original artwork from Eric Adrien Lee, who reimagined the 1970s graphic design of Italian war-themed library albums. The vinyl LP is housed in a tip-on hard cover (the kind used for higher-end productions during the golden age of Italian soundtracks), with an inner sleeve featuring a color-inverted variation on the cover art, which makes the physical record even more unique.
The Quireboys trafen 2022 auf ein kleines Orchester! Ein Abend, an dem klassischer Rock auf klassische Musik unter dem Dach des legendären O2 Forum Kentish Town traf. Bei diesem Meilenstein in der Geschichte der Quireboys wurde die Band von einem Streichquartett und einem Bläsertrio begleitet, die dem bewährten Sound der Gruppe eine neue Dimension verliehen. Gemeinsam interpretierte das erweiterte Ensemble der Quireboys Stücke aus dem umfangreichen Backkatalog der Band neu. Ein ziemlich einzigartiger Abend. Zum Glück haben The Quireboys die Erinnerung an dieses einzigartige Live-Erlebnis in ihrem neuen Konzertalbum mit dem Titel ,Orchestral Quireboys Live" festgehalten. Auf dem Album mit sechzehn Titeln spielt die fünfköpfige Band live Fan-Favoriten wie ,There She Goes Again", ,I Don't Love You Anymore" und ,7 O'Clock", aber auch versteckte Perlen aus dem Repertoire der Gruppe. Jeder der dargebotenen Songs wurde dank der Streicher und Bläser zu neuem Leben erweckt. Orchestral Quireboys Live funktioniert. 10-Song-Vinyl-LP & 14-Song-CD mit 16-Song DVD!
On Chrystia Cabral's fourth album as SPELLLING, the Bay Area artist transforms her acclaimed avant-pop project into a mirror. Cabral's lyrics for Portrait of My Heart tackle love, intimacy, anxiety, and alienation, trading the allegorical approach of much of her previous work for something pointed into her human heart. The album's thematic forthrightness is echoed in its arrangements, making it the sharpest, most direct SPELLLING album to date. From the dark minimalism of her earliest music to the lavishly orchestrated prog-pop of 2021's The Turning Wheel to this newly energetic expression of her creative spirit, Cabral has proved again and again that SPELLLING can be whatever she needs it to be. The title track, with its propulsive drum groove and anthemic chorus of "I don't belong here," is the most potent embodiment of the album's turn toward emotional directness. Once the main melody emerged, Cabral used the song as a tool to process her anxiety as a performer and opted for a tighter, more rock-oriented composition. This transformation mirrors the album's broader shift toward energy and immediacy, driven by the core band of Wyatt Overson (guitar), Patrick Shelley (drums), and Giulio Xavier Cetto (bass), whose collaboration uncovers new contours of the SPELLLING sound. Cabral still writes and demos in isolation, but presenting the songs for Portrait of My Heart to her bandmates helped her discover their eventual lively, organic forms. So did working with a trio of producers_The Turning Wheel mixing engineer Drew Vandenberg, SZA collaborator Rob Bisel, and Yves Tumor producer Psymun. Key guest contributions further shape the album. Chaz Bear (Toro y Moi) delivers SPELLLING's first duet on "Mount Analogue," Turnstile guitarist Pat McCrory turns Cabral's original piano demo for "Alibi" into the crunchy, riff-y version that appears on the record, while Zulu's Braxton Marcellous gives "Drain" its sludgy heft. These parts aren't just incorporated seamlessly into the album; they feel like an integral part of its universe. Ultimately, though, Portrait of My Heart is nobody's record but Cabral's. She fearlessly draws the curtain back on parts of herself that she's never included in SPELLLING before_her feelings of being an outsider, her overly guarded nature, the way she can throw herself recklessly into intimate relationships and then cool on them just as quickly. "It's very much an open diary of all those sensations," she says.
Toy Tonics Music Berlin presents "Para Mytho Disco". The 2nd "Kapote" album of label founder and creative director Mathias Modica.
Keyboarder, DJ, producer, music nerd, graphic designer, multi-instrumentalist, sub-culture impressario and artist (formerly known as Munk of Gomma records.)
Kapote & Toy Tonics
In the last years Kapote was in the spotlight mainly for building the Toy Tonics label with his friends. Developing a platform for new positive quality dance music with a human touch. Toy Tonics is the opposite of the dark, druggy Techno and Trance sounds of the last years.
The warm inclusive music of Toy Tonics represents a new vibe that a young generation of diverse, stylish and culturally intersted generation of dancers loves now. Kapote's Toy Tonics became the key label for that vibe. (In 2024 Toy Tonics made 150 Toy Tonics events in 18 countries. With more than 150.000 people dancing. 90 millions streams on their music.)
Toy Tonics is more than a music label: It's a audio - visual universe. A community, almost a movement.
Based on a new positive attitude and aesthetic diversity. Mixing musicianship with DJ culture, analogue music with electronic, ideas from the past with sounds from now. To create something new. Connecting dance music with graphic design, art and underground fashion.
Kapote and his gang release vinyl, posters, shirts, art fanzines and make exhibitions and partys.
Toy Tonics started in Berlin as a underground niche project. But now became the key label of the new house, wild style disco and organic dance music scene.
Probably one of Berlin's biggest electronic music phenomena along with Keinemusik and Live from Earth.
It went fast: 2020 Kapote's crew started to make small parties in Berlin's off spaces. The "Toy Tonics Jams". The parties became "talk of the town", and Berlin clubs like Griesmühle and Panorama Bar invited the crew. Then international clubs and festival called. Toy Tonics were invited to SONAR (playing the mainstage with Kaytranada and DJ Tennis), KALA festival, Montreux Jazz festival.
Now TT has a residency at Panorama Bar Berlin and sold out events in Europe leading clubs like Phonox in London, Rex Club in Paris, Tunnel in Milan.
Toy Tonics now is the reference brand of a new generation of music loving dancers. Similar to Gomma records, Kapote's former label (2003 - 2015) that was one of the key labels of the "indie dance" scene of the Y2K years (along with DFA and Output Records).
Kapote created a multi-cultural movement with graphic designers, photographers, illustrators from the Berlin scene.
They publish the Toy Tonics Pocket Poster magazine, posters and design shirts. They organize the Toy Tonics Pop Up Galleries mixing music and art. In underground venues in Berlin and in new gallery spaces and museums around Europe.
Toy Tonics has been invited by Palais de Tokio museum in Paris, Triennale Museum Berlin, Design week Milano to create events.
The new Kapote album
The 12 tracks have a very own style. Based on dance music, but going much further. "Para Mytho Disco' is a futuristic mix of sounds. It's far away from the dark monotone techno and trance music from Kapote's hometown Berlin. Instead, he creates warm friendly atmospheres full of sonic colours and little musical surprises.
Kapote's knowlege of music history and his backround as a jazz piano student and son of classic music composer is clearly inside this music. Before turning into a DJ and electronic music producer he has been playing in bands since he was 13 years old.
The album is full of emotional chord progressions played by Kapote on various keyboards. Sometimes reminding music from the past, without being retro at all. The basslines and melodies are inspired by jazz fusion from the 1970ies. And he programmed syncopated grooves that come from afro-american dance music. There are influences from Japanese electronic music (Yellow Magic Orchestra), from 1980s Synthwave and from 1990s electronica (like Squarepusher and Luke Vibert).
Kapote plays keys, bass, flutes and percussions, he plays synth solos and sings on a few tracks. The complexity of the arrangements makes this music never boring. Lot of melodies and solos that catch the listener. Colourful soundscapes that make you want to listen or dance to this album more, and discover details also after you heard it several times.
Kapote background
Before starting Toy Tonics, Kapote used to run a label called Gomma. He produced four albums under the name Munk and music for other artists.
He produced music with Peaches, Franz Ferdinand founder Nick McCarthy, with New York street art legend The Rammellzee, Italian actress Asia Argento, the first three albums of WhoMadeWho and worked with LCD Soundsystem (listen to "Kick out the chairs", the Munk song with James Murphy )
In those "Gomma days" Kapote aka Munk was also one of the main DJs for VICE magazine parties and made music for art projects and fashion brands (Margiela, Prada, Colette).
In 2015 he stopped Munk and Gomma and started Toy Tonics. He found young producers and helped to develop their sound (Coeo, Cody Currie, Gee Lane, Barbara Boeing, Sam Ruffillo). Later he founded the sublabel Kryptox to release music by Berlin based bands that make new forms of jazz or neo classical sounds.
Under the name Kapote Mathias didnt release much:
Only his Kapote debut album "What it is" (2019) and an EP called "Electric Slide" (2022) and a collabo EP with Italian producer Sam Ruffillo ("Robot Salsa").
An although his Munk and Kapote music was an underground phenomena his music has always been a favourite of many great people from the scene.
Supported by DJs like Harvey, Chromeo, Moodymann, Jennifer Cardini, Gerd Janson, MYD, Andrew Weatherall to Blessed Madonna, Justice and Laurent Garnier… to name just a few.
In their new album Bagola, Trio Da Kali present newly composed songs accompanied on balafon and ngoniba, that provide a rich accompaniment to the spectacular voice of Hawa Kasse Mady Diabaté. She inherits her singing style from her father, the late Kasse Mady Diabaté, who was widely recognized as one of Africa"s all-time greatest singers and won a Grammy nomination in 2004. Hawa"s voice has an exquisite purity and expressiveness, with a wide emotional range. She is equally at home in the lively, 9/8 rhythms of the title track Bagola, a light-hearted critique of men in Malian society, to the soulful Orpaillage, a song that laments the destruction of land from gold-panning. Orpaillage was in fact composed on the spot in the studio, reflecting the creative chemistry between these three musicians. The musical director of the trio is balafon (xylophone) player Lassana Diabaté, born in Guinea into a well-known family of balafon musicians. His remarkable dexterity on the balafon earned him a place in Toumani Diabaté"s Symmetric Orchestra, and later on in the group Afrocubism (featuring Eliades Ochoa). He has collaborated with many musicians, including bluesman Taj Mahal on the album Kulanjan. With two balafons of 22 rosewood keys each, tuned to play chromatic scales, Lassana Diabaté achieves a perfect balance of rhythm, melody, harmony and virtuosic embellishment. David Harrington, leader of Kronos Quartet, compares him to none other than JS Bach. Underpinning the balafon with compulsive groove, is the large ngoniba, played with brilliant musicality by Madou Kouyaté (son of Bassekou Kouyaté and member of his group Ngoniba). Madou, the youngest member of Trio Da Kali, also adds rich harmonies with his deep breathy voice to the songs. Trio Da Kali were founded in 2013 under the initiative of the Aga Khan Music Programme, with the help of three-times Grammy-nominated music producer Lucy Durán. The Trio first rose to international fame with their sublime album Ladilikan (World Circuit Records 2017), featuring an unprecedented and multi-award-winning collaboration with Kronos Quartet, the legendary classical string quartet from San Francisco. Bagola is a showcase of Trio Da Kali"s entrancing and unique sound, only equaled by their magical performances on stage.
Laurin Rinder & W. Michael Lewis's Seven Deadly Sins is a hugely influential, synth-powered, atmospheric space-disco masterpiece. It's arguably the best American Disco LP ever made. It's certainly one of the most important albums in the history of dance music. And, like its innovative producers, it's absolute genius.
During the mid to late seventies the production team of Laurin Rinder and W. Michael Lewis helped to define the Disco sound that was coming out of Los Angeles with studio projects such as El Coco, Saint Tropez, Le Pamplemousse (with vocals from The Jones Girls), In Search Of Orchestra and many others.
Like all of their work, Seven Deadly Sins comprises beautifully arranged and incredibly well produced deep disco that is revered by aficionados. A seven track, largely instrumental concept album covering each of the sins, it was recorded for AVI in 1977. It's a brilliantly conceived, groove-fuelled album that layers moogy keys and druggy synths over club-ready rhythms. The idea that this record is celebrating rather than condemning the sins is said to be another factor that made the record a big one in the underground clubs.
Opening sin “Lust” is an intense, swelling, seven minute blockbuster synth journey. An ethereal Loft/Garage classic, it's a sprawling, brooding slice of epic dancefloor dynamite that remains a firm favourite of discerning disco heads like Harvey. So ahead of its time, it still sounds ridiculously fresh today, drifting through a multitude of melodies over a smooth, lightly percussive mid-tempo beat. A slow-mo sexy killer.
Up next, the sprightly-manic “Sloth” is nothing like its title. A driving, swaggering instrumental incorporating the same Euro-disco elements as our Daft Parisian friends did a few decades on, it's certainly not for the faint-hearted.
A clear highlight, the cosmic, throbbing proto-techno of “Gluttony” gets things firmly back on track. Pure industrial vibes with dark synth bass punctuated by uplifting melodic sequences that brilliantly utilise guitar and horns, is this the sound of Wax! Trax being born? You won't be able to get enough of this.
Opening up the B-Side, “Pride” is a breezy slice of classic late seventies jazz/funk with deft Hammond and clavinet grooves and expansive horn sections. It's absolutely fantastic. The wicked leftfield vocal cut “Envy” provides more disco pump with squelchy acid synth flourishes, funky guitar and neck-snapping percussive breaks.
The dark proto-techno/house cut “Anger” is a fully on top tour de force of drums. With heavy African percussion throughout and a short Afrobeat section towards the end, it was sampled by Carl Craig and Laurent Garnier for their Tres Demented project and was also a massive Ron Hardy / Music Box favourite. The album is rounded out by the hard-grooving “Covetousness”, another driving jazz-funk workout par excellence with liberal use of the syndrum.
As Laurin Rinder recalled in an interview with Dream Chimney, the duo essentially lived in the studio: “we really had cots, beds and the whole thing, we were just pumpin’ them out. 7 days a week, 3 different projects at the same time. I played drums on everything but had to play a little differently. I had to ask the engineer ‘What’s the name of this group?‘”.
Evidently, their prolific output was the result of a crazy cocaine-fuelled production schedule: “The amount of coke we did, to do all this, you can’t even imagine. $300 a day. I had to have plastic inserts in my nose so I could do more.” Looking at the frankly terrifying cover, you'd have never known!
Be With is beyond delighted to present the first ever legit vinyl reissue of Seven Deadly Sins, carefully remastered by Be With's engineer Simon Francisco to ensure it sounds better than ever. Cicely Balston's expert skills have made sure nothing is lost in the cut whilst the records have been pressed to the highest possible standard at Record Industry in Holland. The unforgettable cover artwork has been reproduced here at Be With - dare you stare back at it for too long?
Im Jahr 2023 veröffentlichte James Elkington "Me Neither", ein Doppelalbum mit Solo-Gitarrenimprovisationen und -Experimenten. Am Ende betrachtete er es als eine wortlose Sammlung von Library Music, eine Fundgrube anonym produzierter Klänge, die für jede Art von Verwendung geplündert werden können, und Elkington, der in Chicago lebende britische Gitarrist, findet in dieser Musik eine Freiheit, die aus dem Nichts zu kommen scheint. Er lässt "Me Neither" mit "Pastel De Nada" ein neues 2xLP-Set folgen, dessen 27 Tracks eher einem Werkzeugkasten als einer Bibliothek gleichen. Helle, optimistische Strums wie 'The Lyre Concordia', vielschichtige Meditationen wie 'Morny in the Earling' und 'The Caves at Aurangabad' und Stücke wie 'The Equal Spacing', die wie kleine Maschinen ticken und surren, um Freude zu erzeugen. Elkington stellt seinen Gitarren Texturen, Atmosphären und flüsternde Perkussionsinstrumente gegenüber.
The debut album from Whitney Johnson & Lia Kohl has evolved over several years from their initial practice of free improvisation on viola and cello into (for the moment), this: a neophonic orchestral expression. At once stimulating and soothing, For Translucence is a living, breathing meditation in which layers of acoustic strings, synthesizers, field recordings, radio and sine waves illuminate each other as they twine and grow.
Der gefeierte Komponist (A Scanner Darkly, Before Midnight, Hit Man) und musikalische Außenseiter Graham Reynolds veröffentlicht sein erstes Soloalbum für Fire Records. Gepresst auf limitiertem lila/weißem Splatter-Vinyl in einem Deluxe Die Cut Mountain Sleeve. Eine sozio-geografische Reise entlang der Sierra im Kopf. Der herausragende Titeltrack "Mountain (Part 1)" ist voll von romantischen orchestralen Schwüngen, die das Bild einer weiten Landschaft heraufbeschwören, die von einem einzelnen Gipfel unterbrochen wird, während "...Part 2" einen zerklüfteteren Weg einschlägt, der einen kantigen Bergrücken überquert, bevor er sich in einem Hermann-esken Hitchcock-Stück festigt. "Mt. Monadnock" in New Hampshire wird namentlich erwähnt, während der "Enchanted Rock" (ein donnerndes, an die Einstürzenden Neubauten erinnerndes Wiedererwachen der Sinne, das von Grahams charakteristischer dröhnender Orchestertrommel begleitet wird) etwas außerhalb von Austin, Texas, steht, wo Reynolds seit über 30 Jahren zu Hause ist. Das Album wurde von Reynolds komponiert und eingespielt, mit Beiträgen vieler seiner musikalischen Freunde. Produziert und abgemischt wurde es von geheimnisvollen englischen Duo PeterTalisman. Das Album birgt einige Überraschungen, Austin-Nachbar Jad Fair (Half Japanese) taucht mit Backing Vocals auf, ebenso die italienische Chanteuse Marta del Grandi, deren beschwörende Worte auf "Linger In Silence" das exquisite siebenminütige "Prophet Harmonic" wieder zum Leben erwecken. ,Dieses Album ist sehr persönlich. Es beginnt mit Monadnock, dem ersten Berg, den ich je bestiegen habe, oben in Neuengland. Die erste Seite endet mit dem Enchanted Rock, dem ersten Berg, den ich in meiner Wahlheimat Texas bestiegen habe. Und obwohl ich schon mein ganzes Leben lang Musik veröffentlicht habe, ist dies das erste Mal, dass ich für etwas Eigenes, das nicht an einen Film oder ein anderes Medium gebunden ist, echte Labelunterstützung bekomme. In gewisser Weise ist es also mein erstes echtes Soloalbum", so Graham Reynolds.
Quiet Village announces new label, The Quiet Village, and new single, ‘Reunion'. Matt 'Radio Slave' Edwards and Joel Martin's critically acclaimed project's first official single under the Quiet Village name in seventeen years!
Beginning life as a 'heady 6/8-time urban jazz odyssey, 'Reunion is a stunning piece of modern, Hi-Tech Jazz that draws influences from Pat Metheny, Timeline, Innerzone Orchestra, and Clyde Stubbelfield's drumming.
While previous Quiet Village material was hewn from a myriad of samples extracted from Edwards' and Martin's notorious digging, 'Reunion' and its follow-ups are drawn from a tight-knit crew of session musicians, including the likes of Jon Hester and Thomas Gandey, adding further depth and feel to the QV sound. Already a firm favourite with Gilles Peterson and Luke Una, the latter of which leaked a clip of the release via his inimitable Instagram presence and called it 'something so fucking beautiful. Tony Allen, Sun Ra meets Carl Craig, Underground Resistance, house, tech, funk, everything rolled into one'.
'Reunion’ is the first single on The Quiet Village, Quiet Village's new imprint. Despite continually producing new music and a slew of remixes, most recently for Running Back and Isle of Jura, the long-term friends and collaborators have been unable to release under their Quiet Village moniker since their LP 'Silent Movie' in 2008. While a few releases under QV and their sometime DJ aliases of Maxxi (Edwards) and Zeus (Martin) have emerged, 'Reunion' is the beginning of a new and re-energised Quiet Village that will see more original material and remixes, DJ and live touring that began in Japan in May and curated compilations of treasures, old and new, in the coming months and years.
Color Vinyl[59,87 €]
Unverfälschter, kaputter Art-Punk aus San Diego's Gravity-Szene Mitte der 90er Jahre. Hier gibt es drei Alben von Clikatat Ikatowi - "Orchestrated And Conducted By...", "River Of Souls", und eine erstmalige Vinyl-Pressung ihres 1993er Demos, alle neu abgemischt und remastered von den analogen Originalbändern. Das 24-seitige Begleitbuch enthält Tony Rettmans farbenfrohen Essay mit Dutzenden von Fotos und Flugblättern aus dieser Zeit, die die Geschichte einer Stadt und einer Szene erzählen, die die spätere Form des kommenden Lärms definierte.
Black Vinyl[57,35 €]
Unverfälschter, kaputter Art-Punk aus San Diego's Gravity-Szene Mitte der 90er Jahre. Hier gibt es drei Alben von Clikatat Ikatowi - "Orchestrated And Conducted By...", "River Of Souls", und eine erstmalige Vinyl-Pressung ihres 1993er Demos, alle neu abgemischt und remastered von den analogen Originalbändern. Das 24-seitige Begleitbuch enthält Tony Rettmans farbenfrohen Essay mit Dutzenden von Fotos und Flugblättern aus dieser Zeit, die die Geschichte einer Stadt und einer Szene erzählen, die die spätere Form des kommenden Lärms definierte.
Francesco Sotgiu has forged a unique and very swinging project of songs. With a quintet consisting of Luigi Bonafede on piano, Emanuele Cisi and Riccardo Luppi on woodwinds, Salvatore Maiore on bass, Francesco on drums, and with special guest Paolo Fresu on trumpet to cap off this heartfelt collection. There is also a nice diversity of groups within this larger collection. A nice trio piece called “Calm” featuring Paolo Birro sitting in with Marco Micheli and Francesco. And one called “Lotus Blossom” where Francesco shows his considerable skills and soul on violin. But the bulk of the material is straight-ahead jazz and is totally swinging and soulful, proving that jazz has no borders and is a worldwide language to which Francesco has added to that tradition with this project and all the great voices he has included here. Bravo maestro.
This is the comment of Gil Goldstein, American accordion player who won 5 Grammys and collaborated with giants such as Gil Evans, Wayne Shorter, and Michel Petrucciani.
This record was recorded in the middle of the pandemic times, and most of the work for preparing this record took place via the telephone: the selection of the songs on paper, the exchange of ideas on arrangements, staff and instruments, a sort of “phone rehearsal” of the structure of the songs, with the choice of a solo; everything else, everything that will happen in the recording sessions, is the result of a controlled improvisation, a jam session masterfully captured in the studio through the use of well-positioned ribbon microphones.
This is why “Passing,” literally “passing” or “crossing”: because the musicians have gone through listening to these songs as teenagers, and find themselves today, as a mature meeting of old friends who create an informal game made of nostalgic fun, great personality, confrontation, and deep spirituality. In the classic “Caravan” by Ellington and Tizol or “Afro Blue” by Mongo Santamaria, Coltrane toning, the Latin accent of the rhythm section supports the interpretation of the theme and the interplay in the solos between the soprano and tenor saxophones by Cisi & Luppi, and the piano by Bonafede.
A certain elegance in the execution distinguishes pieces such as Duke Ellington’s “Sound of Love,” yet another tribute by Mingus to the Duke, with a calibrated solo on the double bass of Maiore and the flute by Luppi, the immortal “Take Five” by Paul Desmond, with the highlighted soprano by Cisi, “Wishes,” “7th Street,” and the eponymous “Passing,” all pieces composed by Sotgiu, characterized by the precise medium/fast drive of the drums and a certain “cinematic” taste of the main themes.
In songs such as “Black Bats and Poles,” composed by trumpeter Jack Walrath for the Mingus Orchestra, and in “Stranatole,” an original piece in which Sotgiu writes a theme of Monk’s influence and enjoys overturning the traditional “Anatole Jazz” structure, the quintet opts for an effective hard bop language, with exciting moments of dazzling virtuosity in Bonafede’s solo. While in Coltrane’s “Wise One” and McCoy Tyner’s “Ballad for Aisha,” we enter a modal, mystical, and ceremonial jazz, of a cosmic depth, which seems to hover in the sweet volume of the great hall of the recording studio. These are truly magnificent interpretations.
A special separate mention for two classics such as “My Foolish Heart” by Victor Young, performed in trio by Sotgiu, Maiore, and the unmistakable trumpet by Paolo Fresu, and the (unfortunately very short) “Lotus Blossom” by Billy Strayhorn and Duke Ellington, which in the piano-violin duo of Birro and Sotgiu, in a minute gives a suspended momentary magic, sums up the roots of African-American jazz music, and also referencing an old-fashioned Italian musical sensitivity, typical of Nino Rota’s music for Federico Fellini’s films.
Sedlmeirs digitaler EP-Zweiteiler aus 2024 kommt nun endlich als Vinyl-Platte. "Befehl aus dem Weltraum I & II" enthält darüber hinaus zweieinhalb 2025er Bonustracks. Emotional wie nie präsentiert Sedlmeir hier wieder stahlharte Chansons und zarteste Punkrock-Unterhaltung. E-Gitarre, E-Drums und E-Rock"n"Roll bilden das knisternde Fundament für Sedlmeirs Beobachtungen, oft herzerwärmend zynisch, immer präsent und echt. Stargäste und Gastsars: Yvy Pop (Mondo Sangue) und Matthias Wyder (Sound 8 Orchestra).
After digging deep into the overwhelming archives of Discos Fuentes and Codiscos in our previous volumes, this third instalment in the series "Cumbia Cumbia Cumbia!!!" comprises a selection of 28 Peruvian cumbia bangers for the dance floor from the deep vaults of Discos MAG, all of them originally released between 1964 and 1987. "Cumbia Cumbia Cumbia!!!" combines well-known classics and rarities that are difficult to find in their original formats. An invitation to enjoy and be amazed, above and beyond ethnographic and academic concerns. The historical origins of cumbia are nebulous and imprecise. The mythology surrounding it suggests an ancient past when Amerindian, African and European musical sounds were mixed together. MAG had released porros since the label was set up, and by 1957 it was already selling records by the Colombian Lucho Bermúdez, a leading figure in porro and cumbia in orchestra format, from Buenos Aires. Colombian cumbia has come a long way in Peru since those years and put down its own roots, just as it has in other Latin American countries. This third volume of the series "Cumbia, cumbia, cumbia" demonstrates how the rhythm has persisted over three decades of Peruvian recordings, ranging from versions by orchestras and ensembles to original cumbias with electric guitars, with lingering echoes of Caracas-born Hugo Blanco, Tulio Enrique León, Los Teen Agers and Amparito Jiménez. These records were played nonstop in the Peruvian coast, mountains and jungle to the cry of "¡que sigue la cumbia!". Double vinyl LP!
Das dritte Album von Courting aus Liverpool wird 'Lust for Life', Or: 'How To Thread The Needle And Come Out The Other Side To Tell The Story' heißen und ist eine kühne Erforschung der Dualität, die Indie-Pop-Hooks mit gewagtem Experimentalismus verwebt. Jeder Track paart sich mit einem anderen und erschafft eine dynamische, miteinander verbundene Welt, in der orchestrale Intros in Dance-Punk-Hymnen übergehen und Dubstep-inspirierte Beats auf Saxophon-Soli treffen - alles mit raffinierter Präzision gemacht.
Florence + The Machine feiert gemeinsam mit Jules Buckley und seinem Orchester Lungs, ihr mit dem
BRIT Award ausgezeichnetes Debütalbum, das vor 15 Jahren mit großem Erfolg veröffentlicht wurde. Am
11. September 2024 wurde Symphony of Lungs bei den BBC Proms mit einer herausragenden Performance von Florence + The Machine und Jules Buckley zum Leben erweckt, die das Album Lungs in seiner
Gesamtheit neu interpretierten. Dazu gehörten die meistverkauften und bei den Fans beliebten Singles
„Dog Days Are Over“, „You’ve Got The Love“ und „Cosmic Love“ sowie Raritäten, die Florence nach
eigenen Angaben seit mindestens 15 Jahren nicht mehr gespielt hatte, darunter „Bird Song“ und „Falling“.
Jules Buckley und sein Team von Arrangeuren verwandelten das bereits wunderschön produzierte Album
in ein orchestrales und chorisches Meisterwerk.
Zusätzlich zur Live-Übertragung der Aufführung auf BBC Radio 3 wird Universal Music Recordings in
Zusammenarbeit mit der BBC die Live-Aufnahme dieser Aufführung offziell veröffentlichen, zunächst auf
digitalen Streaming-Plattformen im Oktober 2024, gefolgt von 2LP schwarz, 2LP farbig und 2CD-Formaten
im März 2025. Die physischen Produkte enthalten atemberaubende Bilder des Auftritts sowie eine herzliche
persönliche Notiz von Florence selbst.
At the border of genres, OGIVES is an ambitious musical project, initiated and led by composer and musician Pavel Tchikov. This large ensemble leads us onto a path to a sacred universe, to a cathedral of sounds, whose foundations are rock and classical music. Born in Liège (Belgium), OGIVES offers a resolutely intense personal and poetic work, dominated by layers of melodious, polyphonic, shouted or lyrical voices. This first album from OGIVES, 'La mémoire des orages' (The Memory of Storms), is build and orchestrated around poems written by two members of the group. These texts revolve around the themes of the perception of time and the perspective of death. We find here all the group's influences, ranging from post-rock, prog' to contemporary music, baroque and medieval music, through electronic music and noise, all exploited to forge a homogeneous and singular material. From the first choral notes to the last sharp riff, it is a dense and melancholic epic, carried by inhabited and versatile musicians. The album was mixed by Steve Albini.
*Repress*
180gr) 10 YEARS ON, ARTHUR VEROCAI'S ENCORE GETS A VINYL RELEASE. The highly anticipated follow up to Arthur's eponymous debut album from 1972, Encore saw Arthur joining the dots over 35 years to createa modern classic of Brazilian music that, like his debut, combined Brazilian influences with his take on American soul and cinematic experimentation, and shows Arthur's sound is as poignant now as it ever was.
To celebrate the album's 10th anniversary, Far Out Recordings announces the first ever vinyl edition of Arthur Verocai's 2007 masterpiece Encore. Remastered from the original tapes, Encore features 11 original compositions from Arthur with guest musicians including Azymuth, Ivan Lins and a nine-piece string section. The highly anticipated follow up to Arthur's eponymous debut album from 1972, Encore saw Arthur joining the dots over 35 years to create a modern classic of Brazilian music that, like his debut, combined Brazilian influences with his take on American soul and cinematic experimentation, and shows Arthur's sound is as poignant now as it ever was.
In the mid-2000's, following on from Marcos Valle, Joyce and of course Azymuth, Arthur Verocai joined the long-line of Brazilian musicians whose music was to be introduced to a whole new legion of fans by Far Out. The story of 'Encore' of course begins with Joe Davis, Far Out's head honcho who stumbled upon Arthur's debut in a dusty record store in downtown Rio in the late 80s. At the time of its release in 1972 critics panned Arthur's debut and both the album and artist subsequently vanished into obscurity. Fast forward to winter 2004 and Joe's at the studio of Far Out Recording artists Harmonic 313 - aka production duo Mark 'Troubleman' Pritchard and Dave Brinkworth - playing them some of his favourite Brazilian albums. Dave recalls the moment Joe put on Arthur's debut, 'As soon as the needle hit the record and we heard the fantastic arrangements, songs and sounds, Arthur completely blew our minds'.
Three months later and Dave was in Brazil with Arthur Verocai, and the plans for what was to become 'Encore' were being laid down. Produced by Dave, 'Encore' sees Arthur on incredible form, the 35 plus years between the recording of his debut and this the follow-up just melting away as Arthur picked up the (conductor's) baton once again to create 11 epic tracks of stirring samba-soul and experimental cinematic movements that sees him creating a record to rival his debut.
Born in Rio de Janeiro on 17 June 1945, Arthur Verocai began his professional music career in 1969 and over the next few years he was responsible for the orchestration of albums by Ivan Lins, Jorge Benjor, Elizeth Cardoso, Gal Costa, Quarteto em Cy, MPB 4 and Marcos Valle, among others. In the 1970s he was hired by Brazil's biggest TV station, TV Globo, as musical director and wrote the arrangements for many of the stations biggest shows. In 1972, following the success Arthur had with the production of Ivan Lins 1971 album "Agora", Arthur recorded his self-titled debut album on Continental Records. 'Arthur Verocai' challenged the musical conventions of the day, combining Brazilian influences with folksy soul and lo-fi electronic experimentations of American artists like Shuggie Otis or the orchestration of producer Charles Stepney.
Milky Chance are preparing to release their first official live album, "Live From Vienna (FM4 Session)". The recording captures the magic of Milky Chance's captivating performance with the ORF Vienna Radio Symphony Orchestra. This special release features fan favorites across all of their catalog including "Flashed Junk Mind," "Don't Let Me Down", a stunning rendition of "Tainted Love," all reimagined with breathtaking orchestral arrangements. Most recently, their global smash "Living In A Haze'" reached over 100 million streams and 1.2 Billion Tiktok views. Along with hits "Colorado" and "Synchronize", "Living In A Haze'" featured on their fourth studio album of the same name which was released in June 2023 on their own Muggelig Records. Delivering over 600 million streams, achieved Gold certification in Germany and Canada and debuted on charts across the globe including the US, Canada, Germany, Austria, Switzerland and France. In 2024, the band achieved the highest streams ever for some of their biggest hits including 'Stolen Dance', 'Flashed Junk Mind' and 'Down By The River' of which all songs have been reimagined on this special live release. Pre-order "Live From Vienna (FM4 Session) now and get 'Flashed Junk Mind', 'Living In A Haze', 'Cocoon' and 'Fado' instantly and experience Milky Chance like never before. Milky Chance: "After ten years of our band's journey, it was exciting to give our music a new form and let the songs shine anew. Instead of merely accompanying our tracks with an orchestra, we aimed to create a cohesive band experience. Through the new arrangements, we have built a bridge between modern electronic music and the classical orchestral world. It has exceeded our expectations, and we are very happy to have had this opportunity."
NOW Music proudly presents NOW That’s What I Call Gold – The Ultimate Hits – this essential 3-LP set brings together 46 tracks by legendary artists with timeless anthems, celebrating some of the greatest hits of all time, including chart-topping classics and enduring favourites.
LP1 sets the stage with Queen’s electrifying ‘A Kind Of Magic’, followed by Philip Bailey & Phil Collins’ #1 ‘Easy Lover’. The Police feature with their #1 smash ‘Message In A Bottle’, while The Killers follow with their record-breaking anthem ‘Mr. Brightside’. The massive ‘Stick Season’ from Noah Kahan is up next before the first side finishes with Lana Del Rey’s stunning ‘Video Games’. Flip the LP over for contemporary classics from Coldplay and Duran Duran. Sinéad O’Connor’s ‘Nothing Compares 2 U’ still sounds raw and breath-taking and is followed by classics from the Pretenders, Shirley Bassey, Dusty Springfield, and Soft Cell’s ‘Tainted Love’, one of the best-selling UK singles of the ‘80s, whilst another of those closes out the first LP: Ultravox with their masterpiece, ‘Vienna’.
LP2 delivers a legendary lineup, including Billy Joel with his Grammy-winning ‘Just The Way You Are’ and Céline Dion’s powerful version of ‘All By Myself’. John Denver’s ‘Take Me Home, Country Roads’ and Paul Simon’s groundbreaking ‘Graceland’ are featured along with the pop genius of Electric Light Orchestra with ‘Last Train To London’. While on the other side timeless ballads from Elton John with ‘Tiny Dancer’ and Lewis Capaldi’s ‘Someone You Loved’ come ahead of Wings, Simply Red and ‘60s gems from Stevie Wonder, The Supremes and the peerless ‘Walk On By’ from Dionne Warwick.
LP3 opens with Neil Diamond’s universally beloved singalong anthem, ‘Sweet Caroline’ and Cliff Richard’s mid-70s classic, ‘Devil Woman’. Disco legends Donna Summer (‘MacArthur Park’) and Gloria Gaynor (‘I Will Survive’), lead into Sophie Ellis Bextor’s ‘Murder On The Dancefloor’ which became a smash for the second time recently. Ed Sheeran and Pharrell Williams had enduringly popular hits with ‘Galway Girl’ and ‘Happy’, and the side closes with the harmonic vocals of All-4-One and their beautiful signature song ‘I Swear’. The final side is packed with anthemic and uplifting classics kicking off with Spandau Ballet’s ‘Gold’, Survivor’s ‘Eye Of The Tiger’, and Take That’s soaring ‘Rule The World’. The remainder of the collection celebrates and showcases some of the ‘70s greatest tracks including Bonnie Tyler’s ‘Lost In France’, Marianne Faithfull’s poignant ‘The Ballad Of Lucy Jordan’ and Blondie’s era-defining and genre-defying #1 ‘Heart Of Glass’.
NOW That’s What I Call Gold is a must-have for all music lovers —packed with legendary artists, timeless hits, and unforgettable moments in pop. Don’t miss out on this golden treasure trove of musical brilliance!
Das dritte Album von Courting aus Liverpool wird 'Lust for Life', Or: 'How To Thread The Needle And Come Out The Other Side To Tell The Story' heißen und ist eine kühne Erforschung der Dualität, die Indie-Pop-Hooks mit gewagtem Experimentalismus verwebt. Jeder Track paart sich mit einem anderen und erschafft eine dynamische, miteinander verbundene Welt, in der orchestrale Intros in Dance-Punk-Hymnen übergehen und Dubstep-inspirierte Beats auf Saxophon-Soli treffen - alles mit raffinierter Präzision gemacht.
Five for Fighting achieved a hit record with "Superman (It's Not Easy)" in 2001 leading to his America Town album going Platinum.
For the follow-up, The Battle Of Everything, John Ondrasik went into the studio with Bill Bottrell, best known for his production work with Sheryl Crow.
On the influences behind Battle and its recording, Ondrasik said, "When I was a kid I could put on Dark Side of the Moon, turn up the sound in my headphones, lie down in the dark, and go away. I wanted that experience again, and so Bill and I were ambitious to the point of absurdity. If we wanted drama, we'd get a thirty-piece orchestra. If we wanted a rock edge, we went after it with reckless abandonment. It was like doing my own private Quadrophenia."
The Battle for Everything was released in 2004. The first single, "100 Years" was a top 40 hit on the Billboard Hot 100 chart. The album itself was certified Platinum in 2009. and is now finally available on vinyl for the first time.
This is a limited edition of 500 individually numbered copies on gold coloured vinyl. The LP contains a 4-page booklet with lyrics and pictures.
CRYO is the first album by the duo of cellist Nikos Veliotis (GR) and pianist Alex Zethson (SE). Veliotis is best known for the pioneering electronic group In Trance 95, MMMD and his collaboration with Giannis Aggelakas of the rock group Tripes. Zethson is a member of groups such as Goran Kajfes’ Tropiques, Martin Küchen's Angles, Fire! Orchestra, Vathres, and more. The duo met in Athens when Tropiques played at the legendary record store, gallery and concert venue Underflow, where Veliotis was invited for an opening solo set. The day after, the duo entered the Athens studio Artracks and created CRYO, consisting of two long pieces in which the duo explores slow forms and waves of sound, with the piano's bass register creating rumbling clouds and sparkling overtones that the cello blends into and transforms. Together, they’ve crafter an organically undulating, intense, heavy and dark drone music. The album was meticulously mastered by Mell Dettmer, who has collaborated with drone metal bands like Earth and Sun O))).
Best known as a founder member of Submotion Orchestra, as well as Matthew Halsall’s pianist for many years & lately keyboardist for Portico Quartet, Taz Modi now returns with his long-awaited second solo album - the haunting and elegant ‘Involuntary Memories’ on Sehnsucht Records.
Recorded across the country on a number of different pianos, the album builds upon the eclectic nature of his debut ‘Reclaimed Goods’ by aiming to bring as wide a range of expression into post-classical piano music as possible, whilst also melding subtle electronic influences.
CLEAR VINYL[26,01 €]
Clear marble vinyl. Hailing from Kansas City, Missouri, Shooting Star made history as the first American band signed to Virgin Records. Their 1980 self-titled debut, produced by Gus Dudgeon (renowned for his work with Elton John), showcased a powerful blend of melodic rock, soaring harmonies, and violin-infused arrangements. Recorded in England in 1979, the album gained national attention with AOR radio staples like "You Got What I Need," "Bring It On," and "Tonight." However, it was "Last Chance" that truly stood out_later praised by AllMusic as "one of the finest songs ever." With a lineup featuring Van McLain, Gary West, Charles Waltz, Bill Guffey, Ron Verlin, and Steve Thomas, Shooting Star blended classic rock with orchestral textures, crafting a unique and memorable sound. Though they never reached mainstream superstardom, their debut album remains a hidden gem of heartland rock, capturing the energy and ambition of a band on the rise.
Clear Vinyl. Hailing from Kansas City, Missouri, Shooting Star made history as the first American band signed to Virgin Records. Their 1980 self-titled debut, produced by Gus Dudgeon (renowned for his work with Elton John), showcased a powerful blend of melodic rock, soaring harmonies, and violin-infused arrangements. Recorded in England in 1979, the album gained national attention with AOR radio staples like "You Got What I Need," "Bring It On," and "Tonight." However, it was "Last Chance" that truly stood out_later praised by AllMusic as "one of the finest songs ever." With a lineup featuring Van McLain, Gary West, Charles Waltz, Bill Guffey, Ron Verlin, and Steve Thomas, Shooting Star blended classic rock with orchestral textures, crafting a unique and memorable sound. Though they never reached mainstream superstardom, their debut album remains a hidden gem of heartland rock, capturing the energy and ambition of a band on the rise.
Best known as a founder member of Submotion Orchestra, as well as
Matthew Halsall's pianist for many years & lately keyboardist for Portico
Quartet, Taz Modi now returns with his long-awaited second solo album - the
haunting and elegant 'Involuntary Memories' on Sehnsucht Records
Recorded across the country on a number of different pianos, the album builds upon
the eclectic nature of his debut 'Reclaimed Goods' by aiming to bring as wide a range
of expression into post-classical piano music as possible, whilst also melding subtle
electronic influences
Showcasing whip-smart spikiness remains, and a gorgeous weirdness
matched by very few others, it's easy to see why wonk pop 7-piece KEG are
one of the most talked about bands of 2024
Soon they'll be THE band of 2025.
Their forthcoming debut album Fun's Over represents the culmination of KEG's initial
forays into life, and as such leaps all over--from the melodic to the demented with all
the enthusiasm of a very lively bean salad. Sharp angling guitarwork that would be at
home both on a Fugazi or a Wilco record. Cascading synths and drums, pepperings of
trombone and lyrics which invite you into a baffled man's brain full of joy and anxiety.
Contrary to the previous releases the album takes its time, allowing Keg to showcase
the orchestral leanings of the band, melding textures and battering- ram rhythms,
whilst all the time managing to hone their carefully manipulated balance of chaos and
order.
The complete album - pressed on limited edition 180g vinyl
Tenor saxophonist Ben Webster (1909 - 1973) had already enjoyed a long and fruitful
career by the time this 1957 session was recorded. However, as Bob Blumenthal
explains in the original liner notes, he still wasn't known for the sensual ballad feeling
that became his trademark during the last two decades of his life. At that time, he was
still recognized for the hard blowing fast tenor sax style he played with both the Duke
Ellington Orchestra and his own multiple small groups.
Even though his repertoire was generally linked to that of Duke Ellington, this classic
Norman Granz produced session presents Webster playing four popular ballads and
two of his own bluesy compositions, Soulville and Late Date. On hand in support are
the incredible Oscar Peterson Trio (Herb Ellis, Ray Brown), and drummer Stan Levey.
"The by turns grizzled and vaporous-toned Webster really hit his stride on the Verve
label. This 1957 date with the Oscar Peterson Trio is one of the highlights of that
golden '50s run. After starting off with two bluesy originals, Webster gets to the heart
of things on five wistful ballads. Providing sympathetic counterpoint, Peterson
forgoes his usual pyrotechnics for some leisurely compact solos; his cohorts -
guitarist Herb Ellis, bassist Ray Brown, and drummer Stan Levey - are equally assured
and splendid. Newcomers shouldn't hesitate to start here." - ***** Stephen Cook,
AllMusic
Introducing the ultimate Rock and Power Ballads collection - NOW That’s What I Call Rock Anthems – Out 31st May! Get ready to crank up the volume and let the music take you on a journey through 79 epic hits, spread across 4 CDs.and with 45 epic hits on 3-LP’s pressed in stunning Neon Violet Vinyl
De Ti Depende is salsa legend Hector Lavoe’s second solo album, released on Fania Records in 1976, in which he steps out as the leader of his own orchestra for the first time. Hit tracks include Tite Curet Alonso’s “Periódico de Ayer,” the ever popular anthem “Hacha y Machete” and Perucho Torcat’s uplifting “Vamos a Reír Un Poco.” Featuring (AAA) lacquers cut from the original master tapes, this remastered reissue is pressed on 180-gram vinyl and housed in a classic tip-on jacket.
Blend Mishkin & Soul Sugar - Theory of Mind
Cultural Collaboration Sparks New Sound:
Athens and Paris Unite for Soulful Jazz-Reggae Fusion Album.
A collaboration between two creative musical minds, Blend Mishkin from Athens meets Parisian Soul Sugar to co-create a genre-bending album titled “Theory of Mind”
This album features nine compositions which uniquely fuse vibes of jazz, soul, reggae, afro-beat and even some 70’s b-movie soundtrack all brought to life through the warm tones of vintage keyboard instruments such as the Hammond Organ, Clavinet and Fender Rhodes electric piano, played by virtuoso keyboardist Soul Sugar aka Guillaume Metenier paired with flawless orchestration, arrangements and production by Blend Mishkin.
Soul Sugar, a disciple of jazz master Dr. Lonnie Smith on the Hammond organ, known for his
intricate reggae-jazz masterful improvisation, brings a distinctive mellowness and complexity to the album. His use of the Hammond organ, Clavinet and Fender Rhodes electric piano adds a layer of depth and authenticity that transports listeners back to the golden age of soul and reggae. Blend Mishkin, a versatile artist, who has mixed and moved across reggae, dub, soul, as well as world music, introduces elements of funk and reggae rhythms to the mix. His production techniques, combined with the rich, analog sound of the vintage instruments, creates a sonic landscape that is both timeless and inspired.
Guest vocalists are featured in four out of nine tracks. Greek-French funk powerhouse Georges Perin delivers a heavy soul tune called “I Miss Those Days” , Fae Simon from London lays a velvety vocal on an old school steppers groove, Thaliah from Athens brings her smokey jazz flavour with “Moonlit Letter” and Jeffrey Diop from Senegal adds the perfect chant in “Big Boss in a Small Town”.
The recording sessions, split between Athens and Paris, were as much about cultural exchange as they were about musical experimentation. The result is a collection of tracks that resonate with the energy of live performance, while also echoing the rich musical background of both artists.
"We wanted to create something that felt organic and real," says Guillaume. "Using these incredible vintage instruments allowed us to tap into a sound that feels both timeless and brand new."
Blend adds, "This album is about mixing our roots, our sounds, and our experiences. It's a celebrationof music that transcends borders and eras."
“Theory of Mind” it's a cross-cultural journey. The project emerges from the vibrant, sun-soaked melodies of Athens with the sophisticated, urban grooves of Paris, resulting in a sound that is both nostalgic and refreshingly modern.
I wrote The Shit Punx Hate for Realicide in 2005. This version was made for Decide Today around a decade later, maybe 2015? It was about the pathetic narrow-minded dogmas that were common in Cincinnati punk, being discriminated against when our approach defied dominant aesthetic criteria, chronically misunderstood and rejected without consideration.
This experience in my formative years led to a long path of thought as I entered adulthood. Those feelings of being "other"ed, treated poorly based on who I was, started to seem less significant compared to the prejudices I saw friends faced with. Targets of bigotry due not to a subcultural choice, but aspects of themselves they were born into. Of course I mean things like race, gender, class, abilities. If being dissed by punk rockers sucked for me, imagine what it must feel like being the only black kid in a social circle that can't even recognize its own racism, the only woman in places misogyny is the celebrated standard, having a non-white family at risk of deportation, growing up "male" or "female" when you've always known they are wrong about you, etc. This was my mental gateway into prioritizing these struggles, wanting to become an ally, then even more so an accomplice.
Revolutionary Reason was written in 2018 during my time working with Mass Action for Black Liberation, and revised abruptly this year while recording for this record, as it was inconceivable not to address the epitome of merciless colonial atrocity orchestrated by the state of Israel. While I write this, the IOF is massacring families in the West Bank. The death toll in Palestine is currently estimated at around 41,000 and it hasn't even been a year since this modern Nakba began. I hope these songs help make apparent that whatever you said you "would do" during Jim Crow America, Nazi Germany, Apartheid South Africa, any archetypal history now synonymous with wrongness, yes I can confirm NOW IS THAT TIME to do it ...if you were for real about it that is.
Big respect to my Arab friends who are so patient while I learn the stuff my school conveniently omitted, to my Jewish friends tirelessly combating the violence of their ethnicity being shackled to a cult of Zionism, to native resistance across Turtle Island that articulates so well that this fight is also still/always very domestic, to contemporary hiphop telling today's stories while rock music often merely offers retro fashion, and of course to Kieren and Borg my homies in OZ.
All my love to intifada direct action everywhere dismantling the imposed global suicide pact that is white supremacist capitalism.
~ Robert Inhuman 28 August 2024
Modern Obscure Music is proud to present Pierre Bastien & DJ Low's "Swing Low", a work that fuses the poetic inventiveness of Pierre Bastien with the visionary legacy of the late DJ Low (Tom Deweerdt), a central figure in Belgian independent music and founder of the influential Lowlands label. This album, which interweaves memory and experimentation, represents Bastien's debut on the Barcelona label's catalog and a testament to the creative bond between the two artists.
The album, composed of seven pieces, stands out for its hybrid nature: five reinterpretations of Bastien's previous works, some of them coming from his influential Mecanoid (originally released by Rephlex), and two unreleased improvisations, A Pupa and Reviver, which seal the unique character of the project.
Pierre Bastien, recognized as a composer, inventor and builder of sound machines, has been a tireless explorer of the frontiers between the mechanical and the musical. From his contribution to the Belcanto Orchestra, his collaboration with the PRSNT project to his participation in Pedro Vian's Earth, Our Planet or his collaboration with Tomaga for the Other People label, his career illustrates a constant commitment to experimentation and the intersection of disciplines. Among the artists he has worked with are names such as Robert Wyatt, Jac Berrocal, Jaki Liebezeit and designer Issey Miyake. His works have found homes on iconic labels such as Marionette, Morphine and Discrepant to name a few.
The album is presented with a visual design by Koen Bruyneel, reinterpreted as a tribute to Tom Deweerdt, a decade after his departure.
Ajay Saggar is BHAJAN BHOY. "With BHAJAN BHOY, Saggar synthesizes all of the stylistic approaches he’s explored over the years, swirling them into an intoxicating musical blend, with an earthy spirituality. Even the project’s name reflects the dual aspects of Saggar’s upbringing coming together in harmony. In Hindi, a “bhajan” is a devotional song, sung in the mandir, or temple, while “bhoy” is a Scottish and Irish derivation for a young man. There’s a searching quality to Bhajan Bhoy, as if Saggar is still hunting for transcendence with each track, whether through an expansive drone, an orchestral facility on the piano, or an electronics-augmented raga that threatens to dip into noise” (Erick Bradshaw / writer and WFMU DJ). This album presents a rich and varied set of compositions that showcase Saggar’s skills as an incredibly talented and accomplished composer and musician. With each and every Bhajan Bhoy LP, you are are carried to a higher place. With ‘Bhoy On The Wire’, the 35 minutes laid out unfolds like a cosmic tapestry, an extraordinary exploration that shimmers and reverberates with newfound vibrancy. The songs were broadcast as part of a session on Steve Barker’s “On The Wire” radio show in April 2024. They were a gift to Steve and his team for 40 years of broadcasting. “On The Wire” is simply the greatest radio show in the world. As Ajay explains in his own words : “In September 1984, I started a degree course at the University of Lancaster. On a wet and soggy Sunday afternoon towards the end of September, I sat in my room staring out at the grey Lancashire landscape, and decided to alleviate the boredom by seeing if there was anything to listen to on the radio. Most of the stations I tuned into were as dull as the weather outside. However, as I neared the end of the FM dial (and was about to give up hope), I chanced upon a station where I was taken by the music being played. That show was “On The Wire”, introduced by Steve Barker. From there on in, every Sunday, between 2-5pm, I tuned into Radio Lancashire to listen. Steve’s shows had an incredible and wide reaching selection of music and genres, that thrilled your ears and left you wanting more. Tied to that, his deep knowledge of the material he played helped the listener dig into the sounds even more, and also left you in admiration of this trait. In 1985, I started putting on DIY shows in Lancaster (inviting the likes of Bog-Shed, bIG fLAME, The Membranes, The Wedding Present, etc etc) and Steve was kind enough to mention the shows on-air, which helped in getting people from different parts of the county to come to the shows. At the tail-end of 1985, he invited me to the studio to come and hang out. When in 1988, the group I was in, Dandelion Adventure, released our first (demo) cassette, it was Steve, who not only played tracks off it, but invited the group to the studio for an interview. Now if you’re a young band, that is a massive thrill! And in 1990, when Dandelion Adventure did a John Peel session, I actually used “On The Wire” jingles (that Steve had put on a cassette and given to me a few years before) on the track “All the World’s A Lounge”. Since then, the show has been a mainstay for me, and so many others around the world, to get turned onto incredible sounds from around the world. And over the course of 40 years, Steve has always supported my music. These six tracks are a 40th birthday gift to the “On The Wire” team (Steve, Michael “Fenny” Fenton (an absolutely critical part of the show), and Jim Ingham (engineer who keeps the technical side of things going)) for sharing so much amazing music, and making the world a better place. They were originally broadcast as an exclusive session in April 2024 on “On The Wire", and are here for your listening pleasure. Music like shower”. Artwork by Jake Blanchard
Metaphon is thrilled to present this collection of 14 phenomenal electronic and electro-acoustic works by French composer Fernand Vandenbogaerde, realized between 1967 and 1984.
After his science studies Fernand Vandenbogaerde (1946) studied at the Conservatoire de Roubaix and did various classes and courses with a.o. Jean-Etienne Marie, Olivier Messiaen, Pierre Schaeffer, György Ligeti, Karlheinz Stockhausen and Bruno Maderna. He wrote analytical essays on mathematic music, in particular the work of Iannis Xenakis. Vandenbogaerde taught electro-acoustic music at various institutions and was director at the National School of Music and Dance in Blanc-Mesnil, near Paris. As a composer he wrote works for orchestra, instrumental and chamber ensembles, sometimes in hybrid form including tape and electro-acoustic configurations. He also recorded numerous tape compositions in Bourges, Paris, Ghent and at his home studio. His works have been presented worldwide on various leading festivals and events.
The compositions included in this edition are primarily tape works, meticulously recorded and produced, radical and most of all timbre oriented which makes his compositions focus mainly on sound while other parameters hardly change. In Vandenbogaerde’s own words: “What determines my pieces, at least all the ones in this collection, is that it’s the material that dictates me, that will predetermine the form”. This particular approach distinguishes him quite a bit from many of his contemporaries within the field of electro-acoustic music.
Another interesting aspect in Vandenbogaerde’s work is the integration of micro tonal scales (conceived by Mexican composer Julian Carrillo), on the compositions 'Modifications III' and the intriguing trilogy 'Drei Nachdenken über Hymnen an die Nacht'. All tracks are previously unreleased except the proto power electronics piece 'Anschlag' which was self-released in 1971 on his own Point Radiant label, as a compilation LP which also included a track by Tristan Murail.
Find all the titles that influenced one of the greatest rock band of all times, on a double vinyl. With: B.B. King, John Lee Hooker, Elvis Presley, Little Richard, Bob Dylan, Joan Baez, Muddy Waters, Sonny By Williamson I... The tracklist was made up by the journalist Lionel Eskenazi, who is a true specialist of the what many consider as the best rock band ever
Black[32,73 €]
La Pambelé Unveils Nací Mestizo, A Bold New Album Reviving Salsa with a Contemporary Twist Bogotá’s heavy guaguancó orchestra, La Pambelé, proudly presents their highlyanticipated second studio album, Nací Mestizo, now available on all major digital platforms as of November 27th. This album pays tribute to the golden era of salsa, particularly the 1970s, while breathing new life into the genre with modern lyrics and stories that resonate deeply with Latin communities.
All while maintaining a distinct Bogotan essence that highlights the city’s unique cultural flavor. Nací Mestizo seamlessly blends the timeless salsa brava sound with contemporary themes, reflecting the everyday lives of people across Latin neighborhoods. The album’s songs capture the struggles, passions, and joys of ordinary people, presented through the vibrant rhythms of salsa, creating a musical experience that connects the past with the present. Building on Their Rising Popularity Prior to the album’s release, La Pambelé debuted the singles “Amargura” and “Perdí mi Corazón”, which quickly captivated audiences and set the stage for the full album's success. The band’s electric performance of these tracks at the MedPlus Coliseum in Bogotá, before an audience of 22,000 attendees awaiting Marc Anthony, was met with enthusiasm as fans danced and applauded.
This moment marked a significant milestone for the orchestra, cementing their place as a rising force in the global salsa scene. Additionally, La Pambelé’s growing visibility has been marked by their appearances at major festivals such as Salsa al Parque and features on prominent radio stations, including Radio Nacional de Colombia and Latina Stereo. These platforms have helped introduce La Pambelé’s signature sound to a wider audience, building anticipation for the release of Nací Mestizo and reaffirming their influence in Colombia’s tropical and alternative music scenes. A Contemporary Salsa Sound with Classic Roots La Pambelé’s unique blend of traditional salsa brava and contemporary Latin storytelling is showcased through their distinctive nine-piece orchestra, which includes piano, conga, flute, trumpet, trombone, timbales, bongos, and baby bass. The dynamic vocals of Miguel RoRebolledo and Lorena Contento elevate the album’s themes, creating a sound that invites listeners to their feet and onto the dance floor. Under the direction of Camilo Toro Morato, the orchestra has honed its signature style, pushing the boundaries of salsa while staying true to its roots. As a proud defiance of stereotypes about Bogotá’s musical abilities, La Pambelé’s name pays homage to legendary Colombian boxer Kid Pambelé, symbolizing resilience and strength.
The name also draws from the Bantú language, meaning "defender of one's own," reinforcing the band’s connection to their Colombian heritage and pride in their distinctive sound. Global Recognition and Continuing Influence Since the release of their self-titled debut album in 2022, La Pambelé has gained international recognition, especially within the vinyl collector community. Theirdebut album was released in both 45” and LP vinyl editions, further solidifying their unique position in the contemporary salsa movement. Influenced by salsa greats such as Markolino Dimond, Eddie Palmieri, Edy Martínez, and Ismael Miranda, La Pambelé has carried forward the torch of salsa brava with passion and innovation. Nací Mestizo marks a significant evolution in the orchestra’s journey, melding the old and the new, and cementing La Pambelé as a driving force in the future of salsa music. A Collector’s Dream With their 2022 debut album garnering international recognition, La Pambelé’s vinyl releases—including 45” and LP editions—have become coveted items for salsa collectors worldwide. Their music is a bridge between classic salsa traditions and a modern vision, appealing to seasoned fans and new listeners alike. About La Pambelé La Pambelé is a heavy guaguancó orchestra from Bogotá, Colombia, known for their vibrant, rhythm-driven sound that blends 1970s salsa brava with modern Latin influences. With a unique nine-piece lineup and powerful vocals, the band continues to break boundaries, defying expectations and inspiring audiences around the world
(Limited edition to 500 copies, remastered audio, pressed and printed in Indonesia) The 13 tracks contained in this compilation “Begadang: Soneta Group Best Songs, 1975-1980” are some the most innovative music that came out of Indonesia’s music scene in the 1970s, tunes that has cemented Rhoma Irama’s status as the king of the genre.
Dangdut is the biggest musical genre in Indonesia. Dangdut, onomatopoetic name from the sound of hand drums used in this type of music, is what reggae to Jamaicans, country to Americans or skiffle to mid 20th century British people. And in this genre of dang dut, the name Rhoma Irama looms large. He is until today the undisputable king of dangdut and his role as pioneer of the music is already in the history book. In fact, there's one book documenting the outsized role of Rhoma in establishing dangdut as the father of this music. The book is aptly titled Dangdut Story, written by Pittsburgh University music professor Andrew N. Weintraub.
Among Indonesian fans of dangdut, there’s this one misconceptions that dangdut music is that it is an indigenous art form from Indonesia and that it constitutes an amalgamation of local, traditional music of this Southeast Asian nation, with Malay music being the most prominent feature in the mix.
Dangdut pioneer Rhoma Irama is among the first to reject this assertion. “Dangdut music may have originated in Deli (in North Sumatra) but then got the influences from the West and India”, he said.
Indeed, most of Rhoma’s well-known compositions may have been influenced by Indian tunes but some of his best quality works owed much to the West.
Rhoma had long found home in Western pop music. In the early 1960s, after honing his guitar playing skill, Rhoma set up his first band Gayhand to play the tunes of The Beatles, Paul Anka and Tom Jones. In 1972, Rhoma won best singer title in a Southeast Asia singing competition in Singapore playing Tom Jones “I Who Have Nothing.”
Yet, nothing changed Rhoma’s fortune in the music industry, to a point where he decided to leave pop and switched to playing Orkes Melayu (Malay Orchestra) music, first with Orkes Melayu Purnama and later with Soneta Group.
His career soon took off with Soneta, especially after he introduced what ethnomusicologist William H. Frederick considered as “theatre”, through which Rhoma borrows many elements from stage performances of British and American rock bands. These elements, kitsch and pomp, he liberally adopted and became an inseparable part of dangdut itself; tight pants, long hair, platform shoes, glitter and glamour which would not be out of place in Elton John and David Bowie stage show.
And this is actually the contradiction of Rhoma’s brand of Malay music. “One might legitimately ask how imaginative, not to say bizarre, costuming and dancing with abandon could be related to some of the objectives of Rhoma has set for himself and soneta group”, Frederick wrote on his seminal work on the singer, Rhoma Irama and the Dangdut Style: Aspects of Contemporary Indonesian Popular Culture, published in 1982.
From technical point of view, Rhoma not only replaced the acoustic elements from Melayu Music with electric instruments but also created new synthetic sounds that has never been attempted before in Indonesia’s music industry.
Detractors like to point out how much he was indebted to Deep Purple, but a closer inspection reveals how he in fact had mined his influences even deeper.
Notice how Rhoma reproduced funk, which is all the rage in early 1970s, in the song “Santai” (Relax), this album’s closer or “Credit Title (Instrumentalia)” which opens this Darah Muda (Young Blood) soundtrack. The rubbery bass lines that open both songs can easily find home in any Sly and the Family Stone’s or Isaac Hayes’ tunes from that era. Other highlights of the song is the funky guitar licks and the droning Hammond a la George Clinton that stabs deep in the record groove. In the guitar solo, you can also hear the bark of George Harrison’s licks from “Taxman”.
The 13 tracks contained in this compilation “Begadang: Soneta Group Best Songs, 1975-1980” are some the most innovative music that came out of Indonesia’s music scene in the 1970s, tunes that has cemented Rhoma Irama’s status as the king of the genre. Only 500 copies were pressed for this compilation.
Le Mot De Passe is the fifth studio album by the successful French singer Patricia Kaas, released in 1999. Following the success of Dans Ma Chair, this album was once again a huge success throughout Europe. The album went platinum in France and gold in Belgium. The album was made with the help of French singer-songwriter Pascal Obispo. The album is accompanied by an orchestra, giving it a great sound experience. The singles Ma Liberté Contre La Tienne and Une Femme Comme Une Autre became some of her biggest hits. La Mot De Passe is a limited edition of 1000 numbered copies on translucent yellow vinyl.
“Eerie, wailing sounds over distorted feedback drones… Vibrato-heavy harmonies chirrup and throb in agonisingly slow motion.”
The Guardian, Album of the Month
“Cinematic...carefully orchestrated...delicately explores unfamiliar territory with uncanny finesse.”
The Wire
Acclaimed Icelandic theremin musician Hekla returns with Turnar, her third album of devastatingly heavy, spectral soundscape-songwriting, entering a sublime paranormal plane of haunting dread.
Now augmenting her virtuosic solo theremin work with cello, voice, and the sacred church organ of Icelandic master Kristján Hrannar, the evolution of Hekla’s unique magic summons new worlds with Turnar. The album was recorded partly in (and named after) a medieval castle tower in rural France, its ruinous black broken in spare beams of angelic stained-glass light. But, writes Hekla, “the sound of theremin kind of opens up a portal into a new realm that both looks into a dark old world and to the future.” The record is an alternately beautiful and crushing space voyage into a glacial underworld cascading with phosphorescence and cave drip, conjuring ancient choral ritual just as readily as redolent sci-fi gloam.
Opener “Inni” begins with swooning and shimmering lines of theremin that shiver with electrified energy before subfrequency bass elevates them into a glowing plasma, hovering above a crystallised surf. Key moment “Gráminn” wails with ghostly harmonics while distorted drones crash together in a stormy and blackened netherworld sea. It traces a neat progression from Hekla’s last album - the acclaimed Xiuxiuejar - while also welcoming an expanded timbral palette and flourishing compositional confidence. At the end of side A, “Var” delicately places sonic artefacts about a desolate negative space, creating a dense inverse gravity. As with the rest of the record, a claustrophobic gauze hangs over music that could otherwise be called subverted songwriting, aligning Hekla’s sonics with avant-garde, musique concréte and sound-art.
When Shadows Dance is the new album from Eyolf Dale’s acclaimed trio with Per Zanussi and Audun Kleive, building on theexcitement of his previous trio album Being the Wayfarer, and his recent collaboration with the Norwegian Radio Orchestraconducted by Miho Hazama. Dale’s compositions and performances have been praised for their cinematic scope, blendingflowing lyricism with atmospheric depth, and this new release promises to push those boundaries even further.This album reflects Dale’s unmistakable style—rich in melodic and emotional narrative—while showcasing his sophisticatedcompositional approach. The trio creates dynamic landscapes, shifting seamlessly between delicate, impressionistic textures andmoments of energetic intensity. As always, Dale’s music draws from his deep connection to the Nordic tradition, while exploringnew and evocative sonic territories. His ability to craft music that feels both ethereal and grounded ensures that When theShadows Dance resonates with listeners, inviting them into a contemplative, poetic space.Known for his wide-ranging collaborations, from his trio to working with orchestras, Eyolf Dale continues to innovate, blendingelements of jazz, classical, and folk in a way that feels timeless yet forward-thinking. With the support of Per Zanussi’scommanding bass lines and Audun Kleive’s masterful percussion, this album is poised to captivate audiences, solidifying Dale’sposition as one of Norway’s most versatile and visionary musicians.
In 2016 an internet user discovered Panchiko’s discarded 2000 demo CD, D>E>A>T>H>M>E>T>A>L, in a Nottingham charity shop and posted it to 4chan to intrigue and fanfare. It took four years for Panchiko’s legions of dedicated fans to find the people behind the music as millions of curious listeners were swaying to the band’s adolescent creations. Upon discovering their own virality, the band reformed with original members Andy Wright (keyboardist and producer), Owain Davies (vocalist and guitarist), and Shaun Ferreday (bassist) alongside new members Robert Harris (guitarist) and John Schofield (drummer), toured the world and wrote, recorded, and released their first album in 20+ years, 2023’s Failed At Maths. But after the thrill of the whirlwind came a new question. What comes next when your dreams come true? The answer is Ginkgo, a 13-track project that finds the band making some of their most introspective, cinematic, and moving music yet. “The whole production has gone up ten-fold,” says Wright of the new album.“ Standout track "Shandy in the Graveyard" feat. rapper billy woods sees the band channeling their youth and tapping into the typical audience at Panchiko shows. That youthful spirit can be felt in the song’s sonic world, as its production genre-shifts between trip hop and orchestral folk, creating a fresh juxtaposition of soundscapes. The same wrenching honesty that attracted legions of fans to their teenage demos is the same truthful ethos that keeps them listening to new material like title track, “Ginkgo.” On it, Davies sings “You command the leaves to fall/The Ginkgo bends at will.” A rumination on the limits of control, collaboration, and fate, the song is an apt meditation for a band whose resurgence came about through a mix of luck, artistry, and then clear-eyed energy.
"Hachiku ""The Joys of Being Pure at Heart"" LP - Electric Blue Bio-Vinyl (140g)
Melbourne’s dream-pop outfit Hachiku return with their second album The Joys of Being Pure at Heart—a heartfelt exploration of vulnerability, resilience, and connection. Featuring contributions from members of the Melbourne Symphony Orchestra and collaborations with harpist Mary Lattimore, the record fuses shimmering indie-pop with orchestral touches, making it Hachiku’s most expansive and collaborative work yet.
Anika Ostendorf - the creative force behind Hachiku - shaped her inclusive, community-minded ethos by her time working at the queer-run Melbourne label Milk! Records, which also released Hachiku’s self-titled EP (2017) and debut album I’ll Probably Be Asleep (2020). The Joys of Being Pure at Heart (2025) sees Ostendorf lean into a new mode of emotional openness and radical honesty: not only with others, but with herself. As the saying goes, to be loved is to be known – with these 10 songs, Ostendorf lets her guard down and reminds us to hold onto the little joys that make life worth living in spite of it all.
Pressed on Electric Blue, GreenPower Bio-Attributed Compound "
Before they were Alligators, They were Ladies.
Ben Avgay (Silvi Jan) and Eden Atiya (Rasco) met in 2020, both working on their own musical projects and bands. In 2021 love has sprung and it was inevitable that the two would start their own musical project. Thus came Alligator Ladies to the world, a love-child of two people who share excitement for the same genres and aesthetics. Influenced from garage, freak folk and mystical creatures such as Ramases & Selket, Thee oh Sees, Ty Segall, MGMT and more, Ben and Eden begun writing songs and recording Demos in their home studio. Eden's song writing qualities and Ben's production, sound engineering and orchestrations mesh together to form the two-headed monster we call - Alligator Ladies.
"It was only natural for us to make this album the way that it is - short, funny and emotional"
Artist Leon Ivey Jr., better known as Coolio, was one of the most influential rappers of the 90s. With his slick flow, witty wordplay, and ability to tell stories in his music, he is often credited for changing the course of hip hop by bringing it to a wider audience. Arguably his best-known track, the 11 x platinum single "Gangsta's Paradise" reached No. 1 in 14 countries and won the Grammy Award for Best Rap Solo Performance. In addition to "Gangsta's Paradise," this 10-track greatest hits collection also includes the hip hop classics "Fantastic Voyage," "C U When U Get There," and "Rollin' with My Homies" from the Clueless soundtrack.
g B2 1, 2, 3, 4 (Sumpin' New) [Timber Mix]
[j] B5 C U When U Ge There [Bill & Humberto's Orchestra Mix]
A lost paradise, a lost innocence, and a lost culture; these are the dominant themes presented in Nicolas Roeg's 1971 masterpiece Walkabout, a survival story of two children lost in the scorched Australian wilderness. Together with other seminal Australian surrealistic outback films, (e.g. Wake In Fright) Walkabout was a film that reshaped the Australian film industry and defined the country's New Wave. On the cusp of the film's 45t h anniversary it is pertinent to observe that for decades the film's original soundtrack has also been considered lost. Composed and conducted by the acclaimed British film composer John Barry, the score is a hallucinogenic mix of exotic romanticism, children's nursery rhyme and potent psychedelic experimentation. For decades, the consensus among soundtrack circles was that the master tapes were officially missing with little chance that the music would ever see a legitimate release, but The Roundtable is pleased to announce that this is no longer the case. The complete soundtrack to one of cinema history's most visually spellbinding films has now finally been re-discovered, sourced from the original stereo master tapes and prepared to the guidelines of the original ill-fated 1970s LP release.
The premiere soundtrack release to Nicolas Roeg's 1971 New Wave Masterpiece.
Lost hallucinogenic orchestral score from acclaimed film composer John Barry.
12-track LP re-mastered from the original stereo master tapes.
180g vinyl and deluxe packaging including archival film stills and original press material.
6 Panel digipack CD.
Box 1[96,01 €]
4LP set containing 29 original / extended / full-length / 12” versions of Queer club classics – 1980-1989
‘More Sin’ features Pet Shop Boys, Sylvester, Divine, New Order, Eartha Kitt, Grace Jones, Hazell Dean, Desireless and many more.
Highlights include the hard-to-find 12” version of ‘Can’t Stop The Music’ by Village People and the rarely compiled underground club anthems ‘Pistol In My Pocket’ by Lana Pellay and ‘After The Rainbow’ by Joanne Daniëls.
All tracks fully annotated and with a foreword by Ian Wade – author ‘1984: The Year Pop Went Queer’. Following the success of the first ‘Box Of Sin’ in 2023, Demon / Edsel and Disco Discharge are proud to announce the sequel – ‘More Sin: Box of Sin 2’ will be released on 31st January 2025.
Over 4 LPs, ‘More Sin’ presents 29 choice selections from the music you might have heard on Queer dancefloors between 1980 and 1989 – a decade of dance in all its devilish delights. Meticulously researched from the published gay club charts at the time, the LP set encompasses full-length versions of Diva, High Energy, Alternative, Pop, Europop and House classics. Not only were the ‘80s Queer clubs where you were most likely to hear the latest groundbreaking developments in dance music, there was a lot of diversity on offer – on a given night you might hear a legendary soul singer’s new opus right next to some post-punks from Manchester and the latest European pop chart topper.
‘More Sin’ aims to reflect this. On ‘More Sin’, the space-age soulful club sound of Jean Carne rubs up against the widescreen Europop beauty of Desireless and cutting-edge house music from London courtesy of Wee Papa Girl Rappers… and along the way come some of the most important and era-defining artists of the decade – from Sylvester to Siouxsie & The Banshees, from Pet Shop Boys to Divine, from Hazell Dean to Grace Jones. Producing and mixing these classics is like a roll-call of the era’s studio giants – Trevor Horn, Larry Levan, Clivillés & Cole, Ian Levine, John Luongo, Bobby “O”, Martin Rushent and Stock, Aitken & Waterman to name a few. It’s time to give in to sin again.
WRWTFWW Records is very excited to announce the first ever release of the highly-sought after original soundtrack from 1987 cult horror movie Dolls by multi-instrumentalist, composer, producer, music man extraordinaire Fuzzbee Morse. The limited-edition LP is a miracle of lostthen-found VHS era film scores and is housed in a heavyweight 350gsm sleeve with a bloody cutout sticker and exclusive composer notes.
Directed by Stuart Gordon (Re-Animator, From Beyond, Robot Jox...) and released by Charles Band’s infamous Empire Pictures (which later morphed into Full Moon Productions), Dolls is 80s campy VHS horror in all its glory, a fan-favorite with all the attributes needed for a frightening popcorn night, including one hell of a soundtrack with a very welcomed heavy dose of menacing synths, thunderous orchestrations, and quirky interludes.
The haunting score comes from master Fuzzbee Morse who composed it in Richard Band’s garage with a Yamaha QX-1 sequencer, an arsenal of vintage synthesizers, and a wide array of instruments. The result is a must-have (and never released before!) soundtrack that blends horror tropes with influences ranging from Igor Stravinsky’s The Rite of Spring to Bernard Herrmann, Frank Zappa, Beethoven, Charles Ives and Eleanor Rigby!
Dolls follows the WRWTFWW release of Fuzzbee Morse’s Ghoulies II (1988) as well as 3 other soundtracks from the Empire Pictures vaults: Richard Band’s Ghoulies (1985), TerrorVision (1986), and Troll (1986). All still available – complete the collection now!
Points of interests
- For fans of soundtracks, horror, cult, synth, ambient, classical, 80s, VHS, Charles Band, Full Moon Productions, Stuart Gordon, John Carpenter, b-movies, sci-fi, Gremlins, toys, evil toys, Toys R Us, the good old days, toys you can play with at 33rpm, Christmas presents.
- First ever release for the soundtrack of cult horror movie Dolls (1987), with cut out sticker and composer notes.
Bursting forth from the darkness of this pre-apocalyptic winter comes 'The Cabanists', the first release of an improvisational project of the same name, comprising three members of the UK's seminal avant-rock band, Nøught. Garnering a cult following since their initial self-titled debut, Nøught became known in the London experimental underground for their tightly orchestrated yet highly complex compositions, ranging from heavy atonal riffage to mesmerizing and hypnotic meditations. 'The Cabanists' builds on Nøught's musical language and are a boundary-pushing trio fusing intricate guitar riffs, dynamic keyboard textures and explosive percussion into a sound that defies convention. Featuring James Sedwards on guitar (most recently known for his involvement with the Thurston Moore Group and This Is Not This Heat), Luke Barlow on keyboards (who co-runs Copepod Records with musician Alex Ward) and Bo Mapper on drums, the band recorded their groundbreaking material during an extended session at London's Lonely Man Studio, marking a defining moment in their musical journey.
With influences spanning progressive rock, experimental jazz and post-punk energy, The Cabanists weave a sonic tapestry that is as cerebral as it is visceral. They challenge standard rock and jazz norms while crafting deeply resonant soundscapes, inviting listeners into a thrilling journey of sound and intense emotion.
Prepare to lose yourself in the intricate chaos and undeniable groove of 'The Cabanists' - where every note is a revelation.
"In celebration of its 20th Anniversary, Waxwork Records is proud to present THE RING Original Motion Picture Music by Hans Zimmer! This long anticipated release marks the first time that The Ring will be available on vinyl. The Ring is a 2002 supernatural horror film directed by Gore Verbinski and starring Naomi Watts and Brian Cox. It is a remake of Hideo Nakata’s 1998 Japanese horror film Ringu, based on Koji Suzuki’s 1991 eponymous novel. The plot follows a journalist who investigates an urban legend of a cursed videotape that seemingly kills the viewer seven days after watching it. The Ring was released on October 18, 2002 to positive reviews praising its atmosphere, visuals, and Watt’s performance. It is one of the highest grossing horror remakes and paved the way for English-language remakes of other Asian horror films such as The Grudge and Dark Water. The score by composed by Hans Zimmer is a dark symphonic orchestration that shifts from ghostly and melancholic to frightening and terror stricken. Constructed from a base of a piano, violins, synthesizer, and two cellos, Zimmer’s score is thoroughly effective in bringing the listener into the haunting space that is The Ring with dreadfully anxious strings, mournful keys, and rolling percussion. Zimmer creates a shadowy ambience that pulls you into the gripping ghost story. Waxwork Records is thrilled to present the full score to The Ring composed by Hans Zimmer for the very first time on vinyl as a deluxe double LP for the film’s 20th Anniversary. Featuring 180 gram “Samara & The Well” Green & Black Marbled Vinyl and “Cursed VHS Tape” Black with White Splatter Colored Vinyl, heavyweight gatefold jackets with matte satin coating, new art and design by Matt Needle, exclusive liner notes by director Gore Verbinski, a 12”x12” printed insert, and enthusiastic album packaging approvals from director Verbinski and composer Hans Zimmer.
Italian composer and saxophonist Laura Agnusdei returns with “Flowers Are Blooming In Antarctica” a career defining record that sees the artist diving into uncharted waters, a profound timeless meditation on our relationship with planet Earth, the eco-conflicts arising and the fascination with non human forms of life, backdropped to a vivid soundtrack of coral exotica, spiritual Jazz, fourth-world minimalism, tropical electronics, tribal futurism and contemporary elegance.
Every step of Laura Agnusdei’s path, from electroacoustic experimentation to her constant research based upon the acoustic dimension of wind instruments and their interaction with polymorphic electronic sounds, seems to have pivoted into a new sense of awareness, as if the mind and intellectual practice has finally caught up with the body, the heart and the soul, resulting in her most organic and transcendent work yet. “Flowers Are Blooming In Antarctica” is loosely inspired around a trifecta of pioneering ideas that explore unconventional reality: James Bridle’s ‘Ways Of Being’ with his radical story that mixes ecology, tech and intelligence; Luigi Serafini’s late-70s fantastical ‘Codex Seraphinianus’, an unparalleled collection of flora, fauna, anatomies metamorphosed into new fragile beings; J.G. Ballard’s climate-fiction foreshadowing sci-fi ruminations. These influences shift Agnusdei’s musical trajectory injecting doses of terrestrial malaise, the earthy sub-saharan ‘Ittiolalia’ with its wah-wah filtered sax and trance inducing groove; the rubbery playfulness of ‘Oasi Bar’; the gentle eco-system of ‘P.P.R.N’ reminiscent of Herbie Hancock’s innovative synthesis of funk, space and synthesizers; the kaleidoscopic northern lights of ‘Emperor Penguin Lullaby’, where south-east Asian echoes reach icy shores; the Jon Hassell hyper-ambience of ‘Cuttlefish REM Phase’; the post-apocalyptic march of ‘The Drowned World, a jazz standard for an artificial civilization on the brink of self-destruction. Nothing feels out of place and it’s no coincidence that one of the most powerful messages on the record is delivered on centerpiece ‘Are We Dinos?’ via an interview conducted with two preschoolers. Radical optimism or sonic liberation?
Laura Agnusdei’s tenor sax cuts deep all across “Flowers Are Blooming In Antarctica”, a laser baton raised up to the clouds, a conductor orchestrating devotional soundscapes for a three-eyed dolphin, guiding us through prismatic pastures and acidic oceans. Her tropicalized realm is pin-pointed with Miles-like sheer clarity, a bristling nakedness on the verge of exploding at any time, creating an album where ascension becomes the unifying code.
The title of the brand new album from Brussels hybrid pop quartet FABIOLA refers to the fruit of the gigantic network known as mycelium. A fitting image to describe an album rich in luxuriant sound worlds. This unique collage of 90’s hip hop basses, vivid drums, ominous synthesizers, fields recordings and almost no-wave guitar pizzicati perfectly blends with Fab Detry’s lush vocal lines. If lyrics can express political concerns, crucifying conservatism, icons and orchestrated social division, they also hearten contemplation and a return to simplicity and nature. Fabiola’s pop is utterly smiling, even if it lacks a few teeth.
Album features and was co-produced by Joseph Shabason. String arrangements by Owen Pallett. Thom Gill has written songs for Chaka Khan, in addition to contributing to albums by The Mountain Goats, Owen Pallett, Joseph Shabason, Bernice, and many others. Way Through is a collaborative album by Toronto musicians Chris Cummings, Joseph Shabason, and Thom Gill (as Cici Arthur). Inspired by moments of discovery in familiar places, the album's title reflects the feeling of uncovering hidden paths in life. Musically, it blends mid-century influences like Jobim and Sinatra, with producer-instrumentalists Shabason and Gill crafting lush, expansive soundscapes. Featuring a 30-piece orchestra led by Owen Pallett, the album brings a grand scale to Cummings' intimate, reflective lyrics. The project began in 2020 when Cummings lost his job and turned to full-time music for the first time in his life. His collaborators tailored the arrangements to showcase his understated vocal delivery against sweeping orchestral backdrops. Songs like 'Cartwheels for Coins' and 'Prior Times' explore themes of regret and emotional complexity, contrasting the grandeur of the music with Cummings' quiet introspection. Tracks like 'Damaged Goods' provide upbeat moments with doo-wop harmonies, while the cinematic closer 'No Fight Or Flight' emphasizes the filmic quality of the album. Through its orchestral richness and deeply personal lyrics, Way Through captures the tension between ambition and realism, offering a poignant reflection on life's unpredictable journey
'Erotic Probiotic 2' is Nourished By Time’s debut album on Scenic Route, following up from last year’s two track EP, Erotic Probiotic, which had support from Jamz Supernova on BBC 1Xtra and NTS shows; Yaeji, Shy One, Macca, Anu, and more. 2023 has already been a busy year for the singer/songwriter/producer, supporting 4AD’s sardonic post-punk band, Dry Cleaning on their 20 stop tour of North America. As well as remixing their playful album track, Gary Ashby, dropping on March 1st. Nourished By Time also collaborates with progressive electronic artist Yaeji on her debut album, With A Hammer, out on April 7th on XL Recordings.
Erotic Probiotic 2 showcases the range of this rising Baltimore pop star, telling his transformative story through impeccable songwriting, infectious ear worm melodies, vivid storytelling and intimate DIY production. The album traveresses a broad spectrum of sound, allowing his songwriting to dictate the ever changing mood he orchestrates; whether it is love or loss. Sitting somewhere between indie, pop, alternative RnB, ultimately carving out a fresh sound defined by his vulnerable vocals, raw guitar licks and undeniable groove. Quantum Suicide is the lead single with a bitter sweet sentiment brought to life through fuzzy shoegaze guitar riffs, glimmering synths and beautiful melancholy vocals, leaving you with a dizzying sense of possibilities.
The album was recorded mostly in 2021 - 22 in his parents basement in Baltimore. “At this time, I was in a beautiful and formative relationship that was running its course. Songs like ‘Unbreak My Love’ and ‘Rain Water Promise’ come from that place of dealing with the end. A story of lovers parting and making sense of the battling feelings of resentment and longing. As well as the existential aspect of having to end of a relationship. All while with dealing long-time depression, songs like lead single “Quantum Suicide” and “Shed That Fear” exhibit the importance of choosing to live and that getting out of pits of despair requires tremendous amounts of effort and intention and is a very difficult lifelong task. Whilst other tracks such as ‘The Fields’ and ‘Daddy’ and ‘Workers Interlude’ are attempts at trying to aim my anger at productive targets like Capitalism which both songs are a critique of.”
Vol 2[47,02 €]
Revolutionary DJ and producer Matador presents his exciting debut release for Hot Creations Wildside this July. It features two contrasting tracks that stay true to the ethos of the label synonymous with White Isle hedonism.
Wildside opens with spirited percussion of shakers and snare rolls, reverberating into a fuzzy and infectious bassline groove. The playful sample is looped over crazy effects and bright keys, before dropping into a final crescendo that will have feet stomping in unison. Sweet Release retains a classic deep house sound with dreamy chords and lush synth. The track develops with warm sub-bass, piano, arpeggiation and soulful vocals, resulting in a summertime anthem.
Matador has made his mark on the electronic music world since the very beginning, producing a BBC Radio 1 Essential Mix, becoming a brand ambassador for MODEL 1 and featuring in Resident Advisor’s ‘Top 20 Live Acts’ for three years in the early part of his career. In 2016 he launched his label RUKUS, releasing music from emerging and established artists alike. Spanning genres and formats he has made music for Sky TV and British Airways, his vinyl-only series Cyclone is firmly rooted in techno, whilst the stream only album Tuesday presents an exquisite take on ambient. His collaboration with Zurich’s Tonhalle Orchestra again highlighted his dexterity as a truly authentic musician. 2020 sees the launch of Matador’s podcast series focusing on studio gear and featuring interviews with touring artists. His new live performance ‘Live 2.0’ is also forthcoming and will feature hotly anticipated new music.
Black Vinyl[30,46 €]
The 1990 album Scène De Vie was the big follow-up album to her debut Mademoiselle Chante and it confirmed the singer's talent and potential. The album went straight to the top of the French charts and featured several successful singles, including ""Les Hommes Qui Passent"", ""Les Mannequins d'Osier"", and ""Kennedy Rose"". The album eventually reached 2 million sales worldwide and received a diamond status. The album also had great success in Germany, Switzerland, Belgium, Canada, and Russia. Scène De Vie is available as a limited edition of (1000?) individually numbered copies on crystal clear vinyl and includes an insert.
Coloiured Vinyl[23,91 €]
Wer Lacuna Coil kennt, weiss, dass jedes Album ihrer beeindruckenden Karriere mehr als nur einen typischen Bandsound liefer-te: Jedes Album ist ein reichhaltig strukturierter Soundtrack zur jeweiligen Epoche und zu einem bestimmten Ort. Bei "Sleepless Empire" ist dieser Ort düster, cineastisch und verströmt unverkennbar die Stimmung, die Lacuna Coil zu einem so gefeierten Eintrag in die Chronik der harten Musik gemacht haben. Ohne ihre spezielle Art von Gesang, Gitarrensound oder Schlagzeugarbeit wäre "Sleepless Empire" - der orchestrale Teil - ein cineastischer Soundtrack. Von den kolossalen Refrains des Album-Openers "The Siege" über das verrucht eingängige "I Wish You Were Dead" bis hin zum unbändig klassischen Feeling des Titeltracks von "Sleepless Empire" - die Souveränität von Lacu-na Coils neuestem Werk ist unüberhörbar, und doch hat es auch einige Überraschungen zu bieten. Sie erscheinen in Form zweier ganz besonderer Gastauftritte von niemand Geringerem als der New Years Day-Banshee Ash Costello auf ihrem Epos "In The Mean Time" und einem ohrenbetäubend überdrehten Beitrag von Lamb of God-Sänger Randy Blythe auf "Hosting the Sha-dow". Und wenn "Sleepless Empire" etwas Besonderes ist, dann ist es mehr als nur diese gesangliche Kreuzbefruchtung. Wie Sänger Andrea Ferro erklärt, liegt der Schlüssel zu Lacuna Coils ewig jugendlicher Ausstrahlung in ihrer Neugier und ihrer Fähigkeit, kreativ auf neue Inspirationen zu reagieren, ohne dabei die langjährigen Qualitäten aus den Augen zu verlieren, welche die Band zu dem machen, was sie ist - und er zählt Sleep Token, Spiritbox, Bad Omens und Bring Me The Horizon als Beispiele für andere Bands auf, die dasselbe tun, um die Szene und ihren eigenen Sound lebendig zu halten. Dieser unabhängige Geist ist der Schlüssel, um Lacuna Coils künstlerisches Vorrecht gegen das Gewicht der Erwartungen abzuwägen, und Ferro beschreibt mit Nachdruck, wie diese seltsamen Zeiten eine Fülle an Material hervorgebracht haben, die die gewichtigen Texte und die Stimmung von "Sleepless Empire" beeinflusst haben. Der Sound von Lacuna Coil ist düster, er spiegelt die Gesellschaft wider, in der wir leben - er ist ein Porträt unserer Zeit. Er zeugt von der Veränderung unserer Gesellschaft, dem "Sleepless Empire", in dem jeder immer am Handy ist, immer scrollt, immer et-was tut - von morgens bis abends, es hört einfach nie auf. Eine Philosophie, die sich in jedem Aspekt von "Sleepless Empire" widerspiegelt.
Black Vinyl[21,64 €]
Wer Lacuna Coil kennt, weiss, dass jedes Album ihrer beeindruckenden Karriere mehr als nur einen typischen Bandsound liefer-te: Jedes Album ist ein reichhaltig strukturierter Soundtrack zur jeweiligen Epoche und zu einem bestimmten Ort. Bei "Sleepless Empire" ist dieser Ort düster, cineastisch und verströmt unverkennbar die Stimmung, die Lacuna Coil zu einem so gefeierten Eintrag in die Chronik der harten Musik gemacht haben. Ohne ihre spezielle Art von Gesang, Gitarrensound oder Schlagzeugarbeit wäre "Sleepless Empire" - der orchestrale Teil - ein cineastischer Soundtrack. Von den kolossalen Refrains des Album-Openers "The Siege" über das verrucht eingängige "I Wish You Were Dead" bis hin zum unbändig klassischen Feeling des Titeltracks von "Sleepless Empire" - die Souveränität von Lacu-na Coils neuestem Werk ist unüberhörbar, und doch hat es auch einige Überraschungen zu bieten. Sie erscheinen in Form zweier ganz besonderer Gastauftritte von niemand Geringerem als der New Years Day-Banshee Ash Costello auf ihrem Epos "In The Mean Time" und einem ohrenbetäubend überdrehten Beitrag von Lamb of God-Sänger Randy Blythe auf "Hosting the Sha-dow". Und wenn "Sleepless Empire" etwas Besonderes ist, dann ist es mehr als nur diese gesangliche Kreuzbefruchtung. Wie Sänger Andrea Ferro erklärt, liegt der Schlüssel zu Lacuna Coils ewig jugendlicher Ausstrahlung in ihrer Neugier und ihrer Fähigkeit, kreativ auf neue Inspirationen zu reagieren, ohne dabei die langjährigen Qualitäten aus den Augen zu verlieren, welche die Band zu dem machen, was sie ist - und er zählt Sleep Token, Spiritbox, Bad Omens und Bring Me The Horizon als Beispiele für andere Bands auf, die dasselbe tun, um die Szene und ihren eigenen Sound lebendig zu halten. Dieser unabhängige Geist ist der Schlüssel, um Lacuna Coils künstlerisches Vorrecht gegen das Gewicht der Erwartungen abzuwägen, und Ferro beschreibt mit Nachdruck, wie diese seltsamen Zeiten eine Fülle an Material hervorgebracht haben, die die gewichtigen Texte und die Stimmung von "Sleepless Empire" beeinflusst haben. Der Sound von Lacuna Coil ist düster, er spiegelt die Gesellschaft wider, in der wir leben - er ist ein Porträt unserer Zeit. Er zeugt von der Veränderung unserer Gesellschaft, dem "Sleepless Empire", in dem jeder immer am Handy ist, immer scrollt, immer et-was tut - von morgens bis abends, es hört einfach nie auf. Eine Philosophie, die sich in jedem Aspekt von "Sleepless Empire" widerspiegelt. Sleepless Empire ist erhältlich als Ltd. Deluxe CD Box mit Symbolwürfel-Orakel, als Ltd. CD Digipak, als schwarze LP + LP-Booklet, als limitierte farbige LP + LP-Booklet sowie als digitales Album.
„Life has never been easy, so keep moving“ is the opening line of Making moves, the title song of SANTROFI‘s new album. Four years ago their celebrated debut ‚Alewa‘ introduced this 8 piece Highlife collective powerhouse from Accra to the world.
After five solid years on the road, SANTROFI is now ready to release some fresh material. co-produced and mixed by four-time Grammy Award winner Jerry Boys (REM, Ali Farka Toure, Buena Vista Social Club, Orchestra Baobab, Kronos Quartet). The band has continued an intense tour schedule, with 2024 seeing their first shows in the USA as well as a Japan tour of with 13 sold out shows 2024. where.
Making moves is both a celebration of SANTROFI’s roots and a leap into the future of Highlife. The opening track Amina is a Ghanaian childhood game turned Highlife Funk. It draws from the past, pushing it into the future. The title song Making moves sees Santrofi team up with the current booming Afrobeatscene in Ghana: It features Ghanas Newcomers Kofi Jamar and Arathejay. The song talks about trying to survive on the sometimes crazy streets of Accra without loosing your mind. Su nkwa sees Santrofi celebrating their love for typical Sikji Highlife music. And the nostalgic No money, no honey sums up yet another common truth from the streets of Accra. From the opening Highlife funk of Amina to the Ghanaian-childhood-game-turned- boogie-banger Gyae me how, this record will get you dancing.
Led by producer-bassist Kojo Ofori, SANTROFI unites 8 of Accra’s most gifted musicians with a passion for both vintage highlife grooves and a hip hop sensibility. Members of the band have played with leading Ghanaian artists including Ebo Taylor, Pat Thomas, Ambolley, AK Yeboah and highlife pioneer AB Crentsil with whom they recorded just before he passed away - watch out for that!
SANTROFI have shared stage and studio with rising stars of Ghana’s vibrant urban music scene such as Kidi, Yaw Tog, Black Sherif, AratheJay and even Nigerian superstar Wizkid (who has made Accra his second home). The upcoming album sees the band teaming up with some of the most exciting talents in Ghana‘s such as AratheJay and Kofi Jamar.
If you think it is impossible to play a funk groove (or even drill) over a pulsing Highlife clave: SANTROFI will prove you wrong. Listen to the phrasing of SANTROFI‘s horn section, hear the Highlife clave running through every bar of their music. Santrofi are pushing Ghanas Highlifegrooves into the future without loosing its sweet soul. And don’t forget to come and see them Making moves live in your city.
After five solid years on the road, SANTROFI is now ready to release some fresh material. co-produced and mixed by four-time Grammy Award winner Jerry Boys (REM, Ali Farka Toure, Buena Vista Social Club, Orchestra Baobab, Kronos Quartet). Led by producer-bassist Kojo Ofori, SANTROFI unites 8 of Accra"s most gifted musicians with a passion for both vintage highlife grooves and a hip hop sensibility. Members of the band have played with leading Ghanaian artists including Ebo Taylor, Pat Thomas, Ambolley, AK Yeboah and highlife pioneer AB Crentsil with whom they recorded just before he passed away - watch out for that!
Artist Leon Ivey Jr., better known as Coolio, was one of the most influential rappers of the 90s. With his slick flow, witty wordplay, and ability to tell stories in his music, he is often credited for changing the course of hip hop by bringing it to a wider audience. Arguably his best-known track, the 11 x platinum single "Gangsta's Paradise" reached No. 1 in 14 countries and won the Grammy Award for Best Rap Solo Performance. In addition to "Gangsta's Paradise," this 10-track greatest hits collection also includes the hip hop classics "Fantastic Voyage," "C U When U Get There," and "Rollin' with My Homies" from the Clueless soundtrack.
g 1, 2, 3, 4 (Sumpin' New) [Timber Mix]
[j] C U When U Get There (feat. 40 Thevz) [Bill & Humberto's Orchestra Mix]
Originally released and sold on their fall 2009 US tour, Flower-Corsano Duo’s “The Chocolate Cities” stands as one of the group's most spirited releases. Recorded live in Cambridge, England and Geneva, Switzerland these recordings capture the power and energy being harnessed by the duo at a time of frequent touring, just after the release of their monumental double-LP “The Four Aims.” Michael Flower is perhaps best known for his work in Vibracathedral Orchestra, along with a slew of other bands, collaborations, and solo work. Meanwhile, Chris Corsano is well known as one of the premier drummers of modern times, and a frequent collaborator of Joe McPhee, Bill Orcutt, Bill Nace, Paul Flaherty, and many more. As a duo Flower and Corsano present an endlessly shifting and transforming sound, meshing elements of free jazz, drone, and ecstatic psychedelia into something all its own. While Corsano guides with his nimble and dynamic drumming, Flower plays amplified Japan Banjo (also known as a Shahi Baaja) providing melody, lead, and drone, often simultaneously. Gripping even in its quietest passages, thoughtful even in its most unrestrained crescendos, “The Chocolate Cities” documents a duo at the height of their collective prowess. Saved from the obscurity of its original CDr format and presented for the first time on vinyl with stunning new artwork by Chris Corsano, “The Chocolate Cities” stands as testament to the power of two magnificent players even 15 years on.
When The World Was One is something of a companion piece to Matthew Halsall’s 2012 album Fletcher Moss Park (much of the music was written at the same time) but draws more explicitly on Halsall’s love of spiritual jazz and Eastern music as well as his own studies in meditation and travels in Japan. Beautifully recorded at Hasall’s favourite studio, 80 Hertz in Manchester, and engineered by Brendan Williams and George Atkins it features the recording debut of Halsall’s large ensemble, The Gondwana Orchestra, which utilises the exotic flavours of harp, koto and bansuri flute and Eastern scales to create a global palate for Halsall’s life-affirming sounds.
Hidden Harmony presents the first full-length LP from Estonian composer and keyboardist Volodja Brodsky. The six compositions on 'Whispering Ln.' were entirely recorded during Brodsky's trip to the USA in 2018-2019 and showcased his passion for the transformative power of minimalism as an art form. The follow-up to his keyboard duties on psych funk/rare groove Estonian outfits Estrada Orchestra, Centre El Muusa, Misha Panfilov Septet, on ‘Whispering Ln’ Brodsky reinventing himself as a minimalism evangelist in his own right. From space age pop shimmering sonatas to the monolithic drone/overtone hypnotics, Brodsky created an ascetic yet complex sonic landscape where less is more.
"During this period, I was deeply engaged in the study of this art form. The compositions are meticulously distilled to their most primitive form, crafting an immersive experience that beckons to embark on a journey into the very core of emotions and thoughts. Every pause and each meticulously chosen sound within the album serves a purpose, orchestrating a delicate interplay between simplicity and depth. I hope this music carries you to a place of introspection and serenity, where you may discover the profound beauty within the plainness of life" – Volodja Brodsky
Cold Blow proudly presents Bonus Beats: Rare & Unreleased Finnish Electro 1990–2002, a landmark compilation capturing Finland's underground electro scene from the late 1990s and early 2000s. This double-LP features 9 rare and 3 previously unreleased tracks from pioneering Finnish artists, showcasing a distinctly Nordic approach to the genre. With contributions from notable names such as Jori Hulkkonen, Mr. Velcro Fastener, Mono Junk, and the late Mika Vainio, this release highlights the experimental and DIY ethos that defined Finland's electronic music scene during this period.
Carefully curated by Erkko Lehtinen, a key figure in Finland's electro scene as a DJ and promoter, the compilation explores a broad sonic palette, spanning early techno influences, robotic allure, and dark, bass-heavy tracks. Standout contributions include Decepticons and Dr. Robotnik's unreleased dark electro cuts, with the latter veering into minimal wave territory. Feng Shui feat. Monsieur delivers a striking collaboration that fuses a trance-like lead with raw, industrial beats, uniting members of Huoratron, Nu Science, Polytron, and Op:l Bastards. Keeping alive the legacy of Perttu Häkkinen (aka Randy Barracuda), this release wouldn't be complete without Imatran Voima's bass-driven anthem from their debut EP. Also featured are Spektor's retro synth experiments, Tero's Commodore 64-based creations, Brothomstates' (later a Warp signee) futuristic soundscapes, and a rare cover of Kraftwerk's The Model by the anonymous duo Markus & Kristian. Erkko's extensive liner notes provide additional insight into this culturally and musically significant era. Available in double-LP, this collection is a must-have for electronic music aficionados and vinyl collectors.
j 10: Feng Shui - Hao Hao (I`m Back) feat. Monsieur
So 2020 was going to be the year of Van Weezer -- the big riffs rock album Weezer made as an homage to the metal bands they loved growing up -- until, thanks to the global pandemic, it suddenly wasn't. The entire time, however, Weezer frontman Rivers Cuomo was busy at the piano, writing a very different album that referenced another vital musical touchstone of his youth: The Beach Boys' Pet Sounds.
Throughout the summer of Covid-19, he and the band -- along with a 38 piece orchestra -- chipped away at masked recording sessions until the record was complete. The result is an album called OK Human -- a cheeky nod to Radiohead's technophobic future-trip OK Computer, but sounding nothing at all like that record. Taking the listener bit by bit through parts of Cuomo's every day, it's a Technicolor symphonic spree that meditates on how over-and-under-connected we all are, particularly in a year where we can see each other with greater ease, but actually can't physically be near each other at all.
OK Human is also packed to the brim with some of the best, most personal songs Cuomo has written in the last decade, all of which shine brighter and bolder with splashes of string and horn arrangements courtesy of album producer Jake Sinclair and arranger Rob Mathes. It's hard to imagine any other band who came up in the alt haze of the 90s creating a simply perfect orchestral pop album, but that is exactly what Weezer's done; OK Human is a testament to the excellent, enduring melodies Cuomo has written since Weezer's inception, and the ones he continues to write today.
Rauelsson's third solo album for Sonic Pieces focuses on simplicity and minimalism. It recalibrates his love for ambient with an austere approach that conjures an atmosphere of silence and solitude. On Niu, the artist has traded his craft for shimmering layers of sound clusters and electronic editing in favor of a predominantly raw and acoustic recording.
Recorded primarily in Sofia and Berlin and mixed at Saal 3 of Funkhaus Berlin, Niu presents a 9-song journey that includes orchestral compositions, delicate synth miniatures, and sparse brass and woodwind drones with room for spoken word and a hint of psychedelic noir fable. The result is an album that, despite the eclectic choice of instrumentation, paints a landscape of spiritual clarity; an album that without being typically classical, still feels like a classical album. Three themes vary across the 9 pieces, starting with the purely orchestral "Prelude No. 7" before moving on to airy synth bass arpeggio and pedal steel. With more changing instruments, Raúl next takes us into a fairytale flute composition with guest flutist Heather Woods Broderick and brass vibrations by the trio Zinc & Copper. Finally, Katrine Grarup Elbo recites a poem by Raúl, ending the piece on a somber but beautiful note. The rest of the album continues in this vein, creating a unique sound that surprises the listener at every turn. Niu is a real departure from the artist's previous works in both scope and musicality. Everything was recorded without overdubs and with only minimal editing, trying to preserve the feeling of music coming from a room where musicians play live. Overall, this is music that finds comfort in movement as much as in pause and silence; music in which tenderness and tension exist in the same gesture.
The album also follows a certain mysticism with its poetic interludes, alternate track lists and titles like "Podium Of Riddles", "A Keyhole-Shaped Island" and "Ceramic Swallows, Set Of 3". Perhaps, given enough time, a hidden meaning or a new perception will be revealed. Niu is also set to be expanded into an art book, containing poems and photographs by Raúl, as well as an exhibition. Perhaps the key lies somewhere in there.
Bonding over their disillusionment with exhausting world tours and the relentlessness of the music industry, David Bardon, Oscar Robertson and Olivier Huband formed Sunglasses For Jaws in 2017.
Over the course of their albums, they have collaborated with Clementine Brown (Penguin Café Orchestra), Miles Kane (Last Shadow Puppets) & Rosetta Carr (Alabaster Deplume). Hailing from London, this band takes you on a unique musical journey, skilfully blending the lounge, experimental and groovy influences of the 70s with a contemporary twist that leaves plenty to the imagination.
The Durutti Column, Linda Perhacs, Penguin Cafe Orchestra, Judee Sill. Hello and welcome to Decide Which Way The Eyes Are Looking, the new record by Lina Tullgren. It is a deeply gorgeous intervention, a carefully ornamented dilemma, the most inviting crisis. Made with a host of Los Angeles musicians, Decide exposes Tullgren's daring and trust. Each song is a ring of curious sound: the skip of harp strings, the flutter of woodwinds, the ratchet of percussion, the euphonium's sigh. And at the center of each wreath, Tullgren sings, finding this space between Judee Sill and Sam Jayne. It's a tone that signals weariness, but a weariness hand-in-hand with tenacity. There's a clarity, a kind of immovability. Lina Tullgren's first record came in 2016, a homemade, under-the-skin set of laments. Subsequent LPs and constant touring cemented Tullgren's reputation as a composer of "wide-eyed wonder paired with a resonant despair." 2019's Free Cell showed Tullgren lingering in the margins of their songs, finding places both aloof and spare. Floodgates opened; Tullgren spent the subsequent years exploring deep listening, improvised music, and extended technique. They developed a patience and faith in cooperation that ranged at the far edge of song. Collaborations with Mayo Thompson and Claire Rousay furthered this development. This was not a break with the past for Tullgren, rather it was an opportunity to see how far a song could go. And from that distance, deep in a landscape of drone and tension, Tullgren returned to the bright vulnerability of a lyric and a hook. Weaving together the affective and the radical, Tullgren took the quiet isolation of a shoreline cabin to write the songs that would become Decide Which Way The Eyes Are Looking. For Tullgren, Decide is a culmination of all the work they've done throughout their life: the melodic, the dense, the confessional, the unknowable. It's also a tribute to collaboration. Describing the sessions as having "a lot of space and a lot of ease,"" Tullgren invited musicians from a vast field of songmaking to play on the recording: Leng Bian, Zach Burba, Luke Csehak, Corey Fogel, Jenny Hirons, Tara Milch, Tim Ramsey, Michael Sachs, Jude Tedaldi, Marta Tiesenga and Ben Varian. Jonny Kosmo's backhouse was offered as a cozy, easygoing space for the players to create their parts together, and the record was completed by Tullgren and Luke Csehak together at their Los Angeles home. In Tullgren's words: "I feel really strongly that this album is a portrait of the community I found in Los Angeles." Decide Which Way The Eyes Are Looking is a quiet masterpiece: a generous, memorable journey. It is the result of five years of labor, the product of abandoning the pop song entirely and starting over. Whatever wanderings or doubt fueled it, Decide is also entirely at ease: a record on which Tullgren sings "and I know/what to do now" and "I know exactly what to do" in subsequent songs, clear in the revelations this path has given the
'Challenge Me Foolish' is an almost lost album of µ-Ziq material circa 1998-99, an era that saw Mike Paradinas release 'Royal Astronomy' on the now defunct Virgin subsidiary Hut records, and also tour with Björk.
It's an era of his music that's definitely worth re-exploring, in which Mike went against the grain by producing music that was baroque, melodic and whimsical, while the IDM movement he was lumped with made instrumental music that was often neurotic and complicated. His taste for melody and dreamy beauty above roughness and intricacy confused people who were hanging on too tightly to the rules. He even brought in Japanese vocalist Kazumi, adding an extra human touch.
'Challenge Me Foolish' is something of a companion to the Royal Astronomy record, arguably even better given the fresh ears selecting the material. It's imbued with a confident sense of pastoral colour, and a gentle optimism, utilising bells, studied orchestral arrangements and airy synthesisers that sit the album somewhere between, Jean Jacques Perrey (the French electronic composer whose whimsy was always balanced with serious innovation and chops) and the colourful, optimistic soundtracks of Joe Hisaishi. There's a strange sense of the old and new throughout, the sentimental and utopia, with nary a hint of darkness. Even when the album dips into the hyperkinetic rhythms of jungle, the melodies and mood still retain a sense of gentle warmth. Dive into peak time Paradinas.
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The sixteenth edition of Defected’s vinyl series continues to commit the label’s biggest digital releases to wax, delivering some of the best house music previously unavailable on vinyl. EP16 brings together four recent releases from Defected’s catalogue of world-class house. First up on the A-side is Claptone & Rune’s ‘Calabria’, a highly anticipated release from summer 2022 thanks to its warm familiarity, big rubbery bassline and brassy saxophone hook that captivated dancefloors instantly. Similarly, Jack Back’s ‘Feeling’ has a hint of noughties nostalgia, released in March of 2022 ready to sweep dancefloors with a rave-ready bass and electrifying vocal. The B-side opens with Ibiza stalwart Marco Faraone’s 2021 release ‘My Name’, featuring intoxicating vocals from Lolita Leopard; dripping with attitude. Closing out this club-focused collection is Payfone’s distinct ‘Day & Night’, featuring an orchestral approach to composition and a deep house groove that bursts in with ease.
Mr Bongo is proud to present an official reissue of Zé Rodrix E A Agência De Mágicos ‘O Esquadrão Da Morte’. Written, arranged and composed by the genius of Zé Rodrix and performed by his band 'Agência de Mágicos’, this Brazilian library funk beauty is the soundtrack to Carlos Imperial's 1975 film of the same title. Echoing European soundtrack maestros such as Roy Budd and Ennio Morricone, but with a Brazilian swagger, Zé Rodrix's score is a sublime gem that needs rediscovery.
Rich in 70's soundtrack cool, the score is packed with orchestrated jazz, chase scene-funk, breaks, psychedelic freakouts and plenty of drama. The loose and quirky break-beat jazz-funk of 'Assalto' feels almost tailor-made for today's hip-hop production aesthetic. The opening drum break of 'Esconderijo' is a sampler’s dream and has already been reinterpreted by the Turkish Rapper Anıl Piyancı, as well as Brazil's DJ Caique.
Carlos Imperial was a jack of all trades. As a songwriter and music producer, he created a highly impressive back catalogue. It includes working with or writing songs for Tim Maia, Elza Soares, Brigitte Bardot, and Wilson Simonal. He also co-wrote the rare cult Brazilian 7" compacto 'Lindo Sonho Delirante (L. S. D') by Fábio. Carlos Imperial wrote liner notes and was an actor, filmmaker, television presenter, and media figure. His film 'O Esquadrão da Morte' is a violent heist movie starring Beto Bandeira, Claire Chevalier, and Baby Conceicao; in the vein of exploitation films and gritty, raw B-Movie cinema of the day. Both the film and album share striking, macabre artwork by artist Benicio.
The instrumentalist, arranger, and singer-songwriter Zé Rodrix has a musical achievements list that is also one to admire. He’s worked with the cream of Brazilian music, having written songs covered by the greats, including Quarteto Em Cy, Ronald Mesquita, Elis Regina, Karma, and Célia, to name just a few. His written arrangements have graced the music of Luli Lucinha E O Bando and Helio Matheus. He was a member of the iconic group Som Imaginário and played piano and synthesizer on Secos & Molhado's classic 1973 album.
We are super pleased to make this dusty treasure available again. It is a wonderful soundtrack score that more than holds its own with its European and American counterparts of the era.
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Glitterbox resident Dimitri From Paris and remixing pioneer Tom Moulton present their retouched mixes of Ron Hall & The Muthafunkaz modern day soul classic 'The Way You Love Me' now available on 12' vinyl. Initially released in 2006, Marc Evans provides velvet-smooth vocals complimented by background harmonies and timeless disco production. For his iconic T.S.O.P. remix Dimitri From Paris enlisted the help of Salsoul Orchestra founder Vincent Montana, Jr. for fresh strings as well as a new full orchestra arrangement in his version, and here he gives it an update with his previously unreleased 'Dim's T.S.O.P. Version - Dimitri from Paris Glitterbox Retouch'. Tom Moulton's retouched sweet-sounding 'Philly Re-Grooved Remix', previously released on Harmless in 2013, comes laden with guitar riffs, dreamy harps and xylophone for even more instrumental glory. Two disco legends come together under one stunningly soulful Glitterbox release leasing new life into this timeless record.
