Suche:3 quartet

We are happy to continue our series of Electric Bird reissues in collaboration with King Record with the a killer jazz-funk release, saxophonist Toshiyuki Honda's "Burnin' Waves", originally released in 1978. Son of jazz critic Toshiyuki Honda, the Japanese composer was a skillful flute and saxophone player, and in the 70's he worked with George Otsuka and the Burning Waves ensemble. In the 1980s he worked with Chick Corea, Tatsuya Takahashi, and Kazumi Watanabe, lead his own ensemble, Super Quartet as well as being a member of the ensemble Native Son. His 1978 debut album "Burnin' Waves" boasts with hectic saxophone explorations over funky bass and happy keyboards, making it one of the grooviest releases of the Electric Bird catalog, now available on vinyl again for the first time!

Im Rahmen der BLUE NOTE CLASSIC VINYL EDITION erscheinen in der neuesten Staffel zwei moderne Klassiker. Beide Alben gab es bisher nicht auf Vinyl und diese Doppel-LPs enthalten nun auch die bislang nur in Japan veröffentlichen Bonustracks . Stereo, von Kevin Gray von den Original-Masterbändern gemastert, bei Optimal auf 180g-Vinyl gepresst, Gatefold-Sleeves. Nachdem er zuvor auf drei Blue-Note-Alben des Trompeters Terence Blanchard auf sich aufmerksam gemacht hatte, erhielt Pianist Aaron Parks 2008 die Chance, mit “Invisible Cinema” sein erstes eigenes Album für das Label einspielen. Zu hören ist er hier mit einem exzellenten Quartett und einem Programm von durchweg eigenen Kompositionen, die allerdings musikalische Einflüsse von Wayne Shorter bis Radiohead verraten. Jetzt erscheint “Invisible Cinema” zum ersten Mal als Doppelalbum auf Vinyl. Mit “Ten”, seinem achten Album für Blue Note, feierte der Pianist Jason Moran 2010 das zehnjährige Jubiläum seines Trios The Bandwagon. Das noch heute in unveränderter Besetzung spielende Trio hat - ähnlich wie z.B. The Bad Plus oder das Robert Glasper Trio - das Image des klassischen Piano-Trios radikal modernisiert. Auf “Ten”, das nun erstmals als Doppelalbum auf Vinyl veröffentlicht wird, bietet The Bandwagon neben Originalen von Moran auch einzigartige Interpretationen von Stücken aus der Feder von Thelonious Monk, Jaki Byard und Conlon Nancarrow.

Initially formed in southeast London in the mid-1960s as the Coloured Raisins, obscure black rock quartet Black Velvet infused their sound with soul and reggae undercurrents, a testament to the Caribbean origins of the group members, and the pervasive styles inspiring the black communities that inhabited London’s marginal outskirts. Produced by Don Lawson for the Beacon label, which was launched by the Antiguan businessman and future politician Milton Samuel, Black Velvet’s powerful debut is a snapshot in time of London’s black underground that will appeal to anyone interested in the black British music scene of the early 1970s.

Fresh from their US tour supporting Black Sabbath, Brooklyn-based heavy metal trio Sir Lord Baltimore expanded to a quartet for the recording of their self-titled sophomore album, released by Mercury in late 1971. The new addition was uitarist/keyboardist/vocalist Joey Dambra, brother of guitarist co-founder, Louis Dambra, adding a dual-guitar element to their hefty sound. The album begins with the epic “Man From Manhattan,” a symbolic allegory of a resurrected Christian icon in a new setting; in contrast, “Where Are We Going” captured the rawness of the group in live glory and “Chicago Lives” a twin-guitar attack. Somehow, the band did not survive long after its release, though Joey later recorded with John Lennon; this reissue spins at 45 RPM for maximum fidelity.

The Swedish quartet Goran Kajfes Tropiques present Tell Us, an album consisting of three long pieces composed by the group, is "slow music" to the bone, a deep body of work utilising the language of jazz as its core mode of communication but echoing way beyond. The quartet is expanded with strings, adding wings to the music and helping it lift off the ground in a personal, highly engaging manner.

NOTHING MORE, das dreifach für den Grammy nominierte Quartett aus San Antonio, Texas, meldet sich mit ihrem spannungsgeladenen 8. Studioalbum CARNAL zurück, das am 28. Juni über Better Noise Music erscheint. Das Album enthält 15 Songs mit selbstreflektierten, philosophischen Texten und ungeschminkten, massiven Hymnen. Seit ihrem Debüt im Jahr 2003 haben NOTHING MORE zwei #1 Singles "This is the Time (Ballast)" und "Go To War" im US Active Rock-Radio platziert und waren insgesamt sieben mal in den Top-10 vertreten. "CARNAL" demontiert eindrucksvoll ihre musikalische Kompetenz innerhalb des Rock-Genres und weit darüber hinaus.

Gambian kora virtuoso Dawda Jobarteh and Danish master drummer Stefan Pasborg join forces to release their exhilarating live album, "Live In Turku"Turku". A captivating fusion of traditional West African sounds and contemporary improvisation. Jobarteh was born and raised in Brikama, Gambia into a musical legacy - his uncle and grandfather before him are recognized as great masters of the kora. Initially learning calabash and all other kinds of percussion at the feet of his uncle, it wasn t until Dawda s travels to Denmark that he picked up the 2121-stringed kora. He s since gone on to tour worldwide with the famous Pierre Dorge & New Jungle Orchestra and release five albums under his own name to rave reviews from leading magazines such as Songlines. Stefan Pasborg, godson and protege of famous Danish drummer Alex Riel, is a world class drummer with a deep understanding of African music few western musicians possess, evidenced by his many collaborations with the likes of Morocco s Majid Bekkas and their joint project Magic Spirit Quartet, as well as Danish trio Ibrahim Electric. Drawing on their rich musical backgrounds and extensive experience, Jobarteh and Pasborg deliver an electrifying performance that transcends borders and genres. Recorded during a mesmerizing live set at a festival in Turku, Finland in April of 2023, the album captures the essence of their collaborative spirit and explorative energy. A followup to their landmark 2016 release "DUO"", at the heart of "Live In lies a deep connection between two extraordinary musicians. Jobarteh brings his soul soul-stirring melodies and innovative approach to the traditional instrument - going electric and drawing from the explosive energy of Jimi Hendrix in jangling improvisations soaked in psychedelic futurism. Meanwhile, Pasborg, renowned for his dynamic drumming style and eclectic musical palette sits somewhere between Art Blakey, Mitch Mitchell and John Bonham, providing a rhythmic foundation that propels the music to new heights. The album"s repertoire spans a diverse range of influences, from traditional West African rhythms to contemporary jazz and beyond. Tracks such as " first recorded in 1979 by a band of Ornette Coleman alumni, pay homage to the Jazz s origins in African music, while originals like "Communication of a Kind" showcase the duo"s improvisational prowess and boundless creativity.

For this classic encounter, the only collaboration ever between Duke Ellington and John Coltrane, Duke sat in with the John Coltrane Quartet for a set dominated by Ellington's songs; some performances have his usual sidemen (bassist Aaron Bell and drummer Sam Woodyard) replacing Jimmy Garrison and Elvin Jones in the group. Ellington always recognized talent, and Coltrane seemed quite happy to be recording with a fellow genius.

For the first time on 7'', the two grooviest tracks from the soundtrack composed by Riz Ortolani for "Confessione di un commissario di polizia al procuratore della Repubblica" (aka, "Confessions of a Police Captain"), the renowned 1971 crime drama by Damiano Damiani, starring Franco Nero at the peak of his career.

On Side A, "Serena e Lomunno" is a jazzy spell performed by an exceptional quartet - unfortunately uncredited - consisting of bass, electric guitar, drums, and piano. On Side B, the quartet reduces to a trio (sacrificing the piano) to give life to "Il ricordo di Serena," without losing any of the rhythmic essence infused in the previous track.

In both cases, the pieces' structure is entirely supported by the perfect interplay of bass and drums, with particularly striking and sharp timbres, complemented by electric guitar and piano with their refined phrasings.

The result? A succession of irresistible and elegant jazz-funk breaks, practically tailor-made for sampling.

This is an essential addition to the series of 45s that Four Flies is dedicating to the best Italian golden age soundtrack and library productions. A must-have for any serious Italian sound digger!

In the process, the saxophonist presents some of his fiercest playing yet. The quartet's synergy is of a unique blend, with each player's distinct voice adding to an ensemble sound capable of conjuring both the quietest storm and the most passionate crescendo. Hershkovits's bountiful stylistic reach and fluent technique swirl around Oded's unmistakable tenor tone with Klampanis providing both backbone and melody, adaptable yet guiding - just like his rhythm- partner Almeid

"Nonesuch Records releases Rectangles and Circumstance, an album of ten songs co-written and performed by Caroline Shaw and Sō Percussion. The album follows their 2021 Grammy Award–winning Nonesuch debut, Narrow Sea, and their first record as a band, 2021’s Let the Soil Play Its Simple Part, with Shaw on vocals backed by Sō – Eric Cha-Beach, Josh Quillen, Adam Sliwinski, and Jason Treuting. Grammy-winning engineer Jonathan Low (The National, Taylor Swift) co-produced with them on both Let the Soil… and Rectangles and Circumstance. Sō and Shaw’s upcoming performances will be announced soon.

Sliwinski says in the new album’s liner notes, “After a few years of touring Let the Soil Play Its Simple Part together, with a pandemic in between, we came to record our second album, Rectangles and Circumstance, as a road-tested band who knew each other’s strengths, weaknesses, and tendencies intimately.” He continues, “Most of the songs started with instrumental pieces or fragments of pieces from Jason or Eric.

“As both a songwriter and a classical composer, Caroline is accustomed to writing lyrics as well as setting them. Going over texts with her is like working on music: I collect a handful of poems and send them over to her, waiting to see if anything catches her interest, then I modify my search based on her feedback,” Sliwinski says. “For this album, Caroline, Eric, and I sourced a group of nineteenth-century poems that shaped its expressive mode and ended up using verses by Christina Rosetti, Emily Brontë, Emily Dickinson, Gertrude Stein, and William Blake … The lyrics on this album by members of the band contain wordplay that explores the same profound feelings explored by Blake and Dickinson.”

Caroline Shaw is a musician who moves among roles, genres, and mediums, trying to imagine a world of sound that has never been heard before but has always existed. She is the recipient of the 2013 Pulitzer Prize in Music, several Grammy awards, an honorary doctorate from Yale, and a Thomas J. Watson Fellowship. She has worked with a range of artists including Rosalía, Renée Fleming, and Yo-Yo Ma, and she has contributed music to films and TV series including Fleishman Is in Trouble, Bombshell, Yellowjackets, Maid, Dark, and Beyoncé’s Homecoming. In addition to her albums with Sō, Nonesuch has released her two Grammy-winning albums Orange (2019) and Evergreen (2022), both of which feature Attacca Quartet. ‘Two-Step’, the first of Shaw’s songs with Ringdown, her duo with Danni Lee, to be released on Nonesuch is available now.

For twenty years and counting, Sō Percussion has redefined chamber music for the twenty-first century through an “exhilarating blend of precision and anarchy, rigor and bedlam” (New Yorker). Their commitment to the creation and amplification of new work, and their extraordinary powers of perception and communication, have made them trusted partners for composers including David Lang, Julia Wolfe, Nathalie Joachim, Bryce Dessner, Dan Trueman, Kendall K. Williams, Angélica Negrón, Shodekeh Talifero, claire rousay, Leilehua Lanzilotti, Bora Yoon, Olivier Tarpaga, and many others. Sō has recorded more than twenty-five albums, including a performance of Steve Reich’s Mallet Quartet on the Nonesuch record WTC 9/11. Its members are the Edward T. Cone performers-in-residence at Princeton University. Sō Percussion’s educational and community work includes the Sō Laboratories concert series and the Sō Percussion Summer Institute, an intensive two-week chamber music seminar for percussionists and composers.
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We're old and familiar friends. These compositions represent the thing that happens when we get together. They aren't representative of one individual, one moment in time, or one chain of decisions. Some are ancient refrains, beginning life as habits and warm-ups, in-jokes; others are distilled jams; more still are refined from MIDI sketches and ideas whistled into voice notes. On whatever terms these elements become something we're happy to stand in front of you and play, to put on record, so be it.” So ANTA describe the process behind 2024's Organesson. Characteristic of the Bristolian Sci-Prog quartet, the record weaves together mesmerising, muscular riffs in insanely loud compositions that extend well into excess. Less typical is the polarisation at play, where granular polymeters will yield in an instant to passages of one or two-note simplicity. The record strides from one raging refrain to the next, lurching between devastation, joy, chaos, and stirring the themes accumulated along the way in exposition. “It comes down to those precious sweaty hours” the group suggest, “in which we get to vibrate these sounds into your face and chest, and you can dance and laugh with us. This is the stuff we remember and plan for, the moments we talk about the most when writing these songs.” ANTA's live shows, ceaseless onslaughts of deafening riffs, have been notable for maintaining the same intense energy among festival crowds or to three people in a basement. Walls of amps going full-pelt. Pounding, ornate drums and metals, wherein drummer James King is relentless in discovering strange and mighty rhythms. Full-drawbar organs, electric pianos, piercing synths from keys-man Alex Bertram-Powell. Joe Garcia's growling bass that strides rather than walks. Ben Harris' all-encompassing, dizzying guitars. Hypnotic, communal, compelling, indefinite energy. Organesson is the latest effort to put this feeling on record.

Since 2008 our Spiritual Jazz series has presented unlimited horizons. Each album celebrates the rich tradition of African-American songs based on the belief in a higher force than oneself and has also focused on geographical areas, such as Europe or Japan, thus recognizing that these territories have immense cultural riches. Religions, like Islam, whose musical traditions have vivid Arabic and North African resonances, have also been highlighted. The stylistic range of all the above is wide.

Yet historic record labels, from Blue Note and Impulse! to Prestige and Steeplechase, have also featured because their catalogues are musical treasure troves that could not be more relevant to Spiritual Jazz, even though they issued vast amounts of music between the late '30s and present day, that have not been confined to any one school.

Spiritual Jazz 16 is a focus on Riverside and its associated sister labels. Riverside itself was founded in 1953 by Orrin Keepnews and Bill Grauer, and became an important purveyor in that decade and beyond of what would be marketed as of modern jazz. That coinage was itself an amorphous, umbrella term that essentially created a demarcation from the vocabulary of pre-war classic jazz and inter-war big band swing, thus recognizing that improvising artists were breaking new creative ground that would subsequently give rise to a flurry of sub-genres, for example bebop, hard bop, cool, modal and Latin jazz. And it's from this multiplicity of sub-genres that we choose the deepest, most vibrant selections that the vast, pan-generational catalogue of Keepnews & Grauer has to offer

FLUKTEN is a Norwegian jazz quartet, with members from Hanna Paulsberg Concept, Atomic, Moskus, GURLS, Wako, Espen Berg Trio, Hullyboo, Skadedyr and Trondheim Jazz Orchestra. Their debut album Velkommen håp from 2021, was well received and earned them a Norwegian Grammy in the category of jazz. When Flukten was going to record a follow-up to "Velkommen håp", they again wanted to record in the same studio and collaborate with technician Mike Hartung. The new album shows how thw quartet has evolved, and the album was recorded by musicians with surplus energy to follow up the first album. Concerts are scheduled throughout Norweay, as well as Oslo Jazz Festival.

Good Looks write kindhearted and cathartic rock songs about the persistence required to make it through hard times. In April 2022, the Austin, Texas quartet released their critically acclaimed debut `Bummer Year'. Immediately after their triumphant hometown record release show, lead guitarist Jake Ames was hit by a car crossing the street, fracturing his skull and tailbone. Thankfully, Ames made a full recovery. The traumatic accident strengthened the bond that built their electric new album `Lived Here For A While'. Out May 3 via Keeled Scales, it's fearlessly direct music that captures the fullthroated intensity of their galvanizing live show. Reinvigorated, Good Looks tracked `Lived Here for a While' at Texas' Dandy Sounds with producer/engineer Dan Duszynski (of Loma and Cross Record) the following summer. Though Ames had to relearn some of his parts, his palpably energetic performances elevated the entire record. On the LP, the band trades the Americana sound that colored in the lines of `Bummer Year' for clanging post-punk guitars and expansive indie rock. Lyrically, the songs on this album are healing meditations on family dysfunction, new relationships, and how a home can become unrecognizable. Lyricist Tyler Jordan's songs explore how relationships can crumble irrevocably but also how those partnerships can be centering, hopeful, and exciting. In another horrific accident in July 2023, their tour van was rearended by a speeding car, causing their van, instruments, merch, and records, to go up in flames. Thankfully, none of the band members suffered serious injuries. This resilience is essential to Good Looks and why the songs on `Lived Here For A While' resonate so profoundly.

Auf "There Is A Garden" von BEINGS heben die sich wandelnden Melodien die Stimmen der einzelnen Musiker hervor. In der einen Sekunde mag das Album hektisch klingen, voller schroffer, unberechenbarer Melodien, aber wenn das nächste Stück kommt, verwandelt es sich in eine psychedelische Träumerei oder in ein ausuferndes Drone. Für BEINGS, das in New York ansässige Supergroup-Quartett von Zoh Amba, Steve Gunn, Shahzad Ismaily und Jim White, ergibt sich die Musik von selbst: Sie ist ein sich ständig wandelnder Organismus, der auf der Offenheit und dem Willen des Quartetts beruht, gemeinsam im Sound zu forschen.

Rockpile was a short-lived yet highly influential quartet, composed of Nick Lowe, Dave Edmunds, Billy Bremner and Terry Williams. Though Rockpile played together throughout the 1970s, the original 1980 release of Seconds of Pleasure was the only time the band was able to capture their magic on tape. Meshing the sounds of pub rock, power pop and rockabilly all through a blossoming new wave lens, Rockpile were renowned for their blistering live performances, which were brought to national attention on tours supporting Blondie, Bad Company, Van Morrison and Elvis Costello. Seconds of Pleasure has stood the test of time and cemented Rockpile as a one-album-wonder, but what a wonder it is! Featuring classics like Lowe’s pop-perfect “When I Write the Book” and “Play That Fast Thing (One More Time)” and Rockpile’s sole Billboard hit “Teacher Teacher,” Seconds of Pleasure remains a classic that should be found on the turntable of every music collector. Yep Roc is proud to announce a long overdue vinyl reissue of Seconds of Pleasure, pressed on yellow color vinyl and limited to 1,000 copies worldwide. The reissue was pressed at the state-of-the-art facilities of Citizen Vinyl in Asheville, North Carolina and the lacquer was cut by renowned mastering engineer Kevin Gray at Cohearent Audio. Over four decades later, Seconds of Pleasure has brought years of enjoyment and now has never sounded better!

What Mom Jeans have proved themselves capable of in the past 2 years is nothing short of fantastic. Growing from ordinary college students to national touring artists in a matter of months, the indie rock quartet has been on a trajectory most bands could only dream of. The DIY touring route quickly had to fall by the wayside, as 200, sometimes 300, kids were showing up to house shows in basements across the country. Often, the band wouldn’t make it through more than a few songs before police had to come shut it down. Now, you can find them in venues of increasing size around the states, as one of the most sought after acts in their genre. On a constant stream of buzz, pressing after pressing of their debut hit “Best Buds” (2016) has sold out and the fans cannot get enough of the music they have been putting out. Music that takes influence from predecessors such as Modern Baseball and The Front Bottoms, but adds that new flavor that sets them into a league of their own, The Mom Jeans craze is just beginning.

The fourth album by Love Battery, 'Straight Freak Ticket' (1994), now out for the first time on vinyl! Remastered by Jack Endino (Nirvana, Soundgarden, etc.) 'Straight Freak Ticket' is the 4th album by Seattle alternative rock band Love Battery. It was originally recorded in 1994 and released only in USA and on CD format - now it is being released on vinyl for the first time. The Seattle Post-Intelligencer called the album "a solid, well-produced album of guitar-based rock with catchy hooks and a strong dose of psychedelia." USA Today labeled the album "a psychedelic tour de force and dramatic leap forward," writing that "the antigrunge guitar riff-o-rama of Ron Nine and Kevin Whitworth propels the Seattle quartet's most adventurous and listenable tunes to date." The band, featuring members of Mother Love Bone, Green River, Skin Yard, The Presidents of the USA, is: Ron Nine - Vocals, Guitar Kevin Whitworth - Guitar Jason Finn - Drums Bruce Fairweather - Bass

Returning to Damian Lazarus’ renowned label for their seventh EP on the label, the Gruuv bosses showcase the latest evolution of their rich and diverse sound, with the dancefloor-driven quartet of hot cuts!

From their early beginnings between Ibiza and their hometown of Leeds to a near twenty-year-long career that has taken them from Space (Ibiza) to Womb (Tokyo), fabric (London) to Zouk (Singapore), UK duo Audiojack have remained and continue to prove themselves as both ever-present dancefloor hit makers, but artists that have helped carry the UK’s evolving house sound. From their initial releases on Leftroom and 2020vision through to their Crosstown Rebels debut in 2016, and then fast-forwarding to recent music on Solid Grooves, Knee Deep In Sound and their own Gruuv imprint, the pair’s unwavering passion for fresh sounds continues to burn bright. Now regulars on Damian Lazarus’ iconic imprint, serving up five EPs, numerous remixes, and their 2021 album ‘Surface Tension’ on the label to date, the end of May welcomes the duo’s latest chapter on Crosstown with their latest EP, ‘Play With My Mind’.

The skippy and vibrant ‘Play With My Mind’ opens the package with an abundance of nostalgia, channelling 90s sonics via the infectious organ melody and hooky vocals at its core, while ‘Casual Verve’ is trippy and loose while delivering a slice of driving funk to the mix. Next, ‘Connect’ provides a vocal-led, garage-dipped cut that keeps the energy levels sizzling before ‘Delirium’ closes the show with a swathe of pure dancefloor ecstasy.

Unadorned with any post-production tricks or overdubs, Garcia/Grisman breathes with naturalism and presence. You will effortlessly detect the full body of the instruments, witness the woody grain textures, and get lost in the surprisingly velvety qualities of Garcia's lullaby-like singing. Our pressing also marks the first time this delightfully joyous affair has been issued in analogue form. You will never hear a better-sounding Americana-styled recording.

Pals since the mid-1960s, Garcia and Grisman bonded over their love for traditional folk and bluegrass. The two teamed up amidst what became a gold rush of top-notch productivity and creativity for Garcia. Partnering with bassist Jim Kerwin and percussionist/fiddler Joe Craven, the pair approaches every passage with innate ease, as if either musician could finish the others sentence. The affable chemistry and soothing interplay wash over a selection of songs as notable for their diversity as the way Garcia and "Dawg" turn them into the equivalent of old friends you haven't seen in years.

Exquisite melodies and jewel-shaped notes decorate the simple, convivial structures of tunes that hop, jump, skip, skitter, and bop. The atmosphere is reminiscent of the legendary gypsy-jazz exchanges between Django Reinhardt and Stephane Grappelli, and equally sharp. Swirling with Middle Eastern modality, the closing 16-minute-plus rendition of Grisman's rippling "Arabia" – complete with a section based on a Cuban fold theme - is alone enough worth the price of admission to this sensational session. But there's so much more.

The quartet delves into Celtic themes ("Two Soldiers"), jazz-grass ("Grateful Dawg"), old-world ballads ("Russian Lullaby"), and Appalachian flavours ("Walkin' Boss") with nonpareil skill and soulfulness. Garcia and Grisman's tandem picking throughout epitomize sublime. And for many listeners, the duo's revised version of the Grateful Dead staple "Friend of the Devil" ranks as the finest-ever recorded, the pace patient, the narrative vocals heartfelt, and the synchronous solos tailor-made for the enveloping progression. Better yet, it's all captured in astonishing fidelity.

THIRD EAR BAND stammen aus Canterbury und begannen als psychedelische Band namens THE GIANT SUN TROLLEY, die in Südlondoner Clubs lange und improvisierte Sets spielte. Nach einem Auftritt wurde der Band fast die gesamte Ausrüstung gestohlen. So wurden sie aus purem Zufall und offensichtlicher Notwendigkeit eine Akustikband und nahmen den Namen THIRD EAR BAND an. Von 1969 bis 1972 veröffentlichte die Band drei Alben auf dem progressivem Harvest-Label, "Music From Macbeth" (1972) war davon das bekannteste und kommerziell erfolgreichste. Am 24. April 1970 traten die Third Ear Band beim 2. Essener Pop & Blues Festival. Aus welchen Gründen auch immer tauchten sie aber weder auf dem offiziellen Plakat zur Veranstaltung noch in den Programmheften zum Festival auf. Das Billing des Tages war mit Acts wie The Flock, Ekseption, Rhinocerous, The Groundhogs, It"s A Beautiful Day und den noch unbekannten Black Sabbath, die gerade ihr erstes Album veröffentlicht hatten, prall gefüllt. Das Essener Konzert in der Quartettbesetzung mit Sweeney am Schlagzeug, Minns an der Oboe, Coff an der Violine und Smith am Cello fand nur wenige Wochen vor der Veröffentlichung des zweiten Albums statt, das die Fans als "Elements" kennen, obwohl es schlicht "Third Ear Band" heißt und im Juni 1970 erschien. Von den vier Elementen spielte die Band an dem Abend "Earth" und "Water", aber in einer kürzeren Fassung im Vergleich zu den Albumversionen. Erst vor kurzem sind die professionellen Tonaufnahmen vom Festivalauftritt der Third Ear Band wieder aufgetaucht und jetzt restauriert, klanglich aufgearbeitet und gemastert worden.

A holy grail for fans of French boogie, early hip hop, Arabic funk and Balearic bops,"Ettika" has been seriously sought after since Vidal Benjamin found it in the 1€ bin back in 2006. Teasing the ears of the underground via Vidal's 'Balearic Nightmare' mix for Noncollective, copies of the original were soon snapped up completely, and the later adopters were sated by a Blackdisco edit from Alexis Le-Tan (himself gifted Vidal's second copy), which is now also rare as hen's teeth. The fervour for the track is easy to understand. Underpinned by an endlessly buoyant bass groove, chanted female vocals dart out the speakers like a post- modern mantra while synth vamps flare in stuttering stereo.

Middle-Eastern motifs add an air of mystery, but this truly belongs in a dance floor utopia. That the track was the product of a 'back-to-work' scheme aimed at unemployed immigrant youth in Rouen only adds to the appeal. Led by teacher Bernard Guégan, a quartet of students delivered lyrics in French and Arabic inspired by their rejection letters, serving a little social commentary and a lot of funk. If you're mad on Ahmed Fakroun and Shams Dinn, or even those folks in the Bush of Ghosts, then this is a must have for you.

Archeology isn't just about excavation, there should be interpretation too, and in this case it comes from Italian duo Hear & Now and Leeds' The Veteran Delinquents. The former furnish the 12" with two radical takes, the dreamy downtempo stroll of their French Remix - all unhurried percussion, Gilmour-riffing and coastal élan - and the peaktime pump of their Arab Remix, which transports the original vocal into a land of desert new beat and Balearic trance with a little space left for some frazzled fretwork. If you've followed their work with Claremont you know the quality on show.

The Veteran Delinquents, the collaborative vehicle of Leeds stalwarts Craig Christon and Tim Hutton, condense a lifetime of club experiences into their remix, establishing the infectious groove of the original before subverting with chugging bass and winking acid, all augmented with their own slick synth work. The original was an all time classic at Craig's Joe's Bakery nights way back when, and this new interpretation is both respectful and revolutionary.

”Dafür bestimmt, als Jazz-Klassiker in die Geschichte einzugehen” – so das Urteil des Guardian bei der Veröffentlichung des Albums im Jahr 1997. Weiter meinte die Zeitung: ”Wheelers Kompositionen und vier der weltbesten Improvisatoren schaffen ein nachdenkliches Set, das es sich lohnt wieder und wieder zu hören. Dies ist wunderschöne, leuchtende Musik.” Angel Song gehört zu den Höhepunkten im Katalog des Labels und vereint vier Improvisationsgrößen – jeder mit einer einzigartigen künstlerischen Identität – in einer intimen, Schlagzeug-losen Quartett-Session. Kenny Wheeler ist der Komponist der neun eindringlich lyrischen Kammer-Jazzstücke und verleiht ihnen an Flügelhorn und Trompete im expressiv-melodischen Austausch mit Altsaxophonist Lee Konitz eine besonders eindringliche Atmosphäre. Das Bassfundament von Dave Holland ist so überzeugend wie eh und je und lässt Bill Frisell alle Freiheiten für harmonieumfassende Improvisation. Wie der Guardian jubelte 1997 auch die Times und sprach von einem: ”rührend schönen Album: Hollands wendige Zuverlässigkeit ist der Anker für die elegante Klangfülle von Konitz, die flimmernde Raffnesse von Frisell und die klangliche Zärtlichkeit von Wheeler selbst.” Das Album erscheint zum allerersten Mal auf Vinyl als Teil der Luminessence-Reihe und wird in einem Tip-on-Gatefold mit Session-Fotos präsentiert

These recordings come from the same sessions that produced 1961's My Favorite Things. This is one of the least well-known Coltrane albums, partly because it is an all blues format and partly because it was released at the end of his association with Atlantic records.

Plays The Blues features the talents of McCoy Tyner, Elvin Jones and Steve Davis. It is the beginning of his work with Tyner and Jones in quartet form. For that alone this recording would be important. Although this album is called Plays The Blues, this is by no means the only blues which Coltrane plays. There are blues elements, moods and feelings in all of his best-known recordings. Listen to "Slowtrane," "Blue Train," "Bessie's Blues" among others and one can't help but hear the blues vibe.

The original six tracks are fantastic and have that same blues vibe. They hit the listener right in the heart and soul and don't let go. All six are superb, but "Blues To Bechet," "Mr. Day," "Mr. Knight" and "Blues To Elvin" are absolute classics.

Cut at 45 RPM. Pressed on 180-gram vinyl at Quality Record Pressings, and housed in tip-on old style gatefold double pocket jackets with film lamination by Stoughton Printing.

2024 reissue of Thomas Bückers debut album as Bersarin Quartett, originally released in 2008 on Lidar.

With some albums, you realize within a few seconds that here you have come across something really special. It is music that touches you straight away. Music that is important, that has a story to tell – and that manages to do so without even a single line of lyrics.

Wonderful orchestral pieces full of longing and melancholy. It is that certain kind of melancholy that seizes you when you are moved while following the final credits of an emotionally touching movie, remembering special moments that have faded in the course of many years and linger hazily in your memory, when you are somewhat wistfully contemplating old, worn photographs from days passed by … not a feeling of failure or hopelessness, but a bittersweet reflection.

Orchestral cinemascope sounds provide the emotionally moving fundament, wrap the tracks up in a warm coating. Graceful strings pile up, creating big moments and repeatedly ending inmelodies that are simply heart-rending, cinematic and tragic. But the Bersarin Quartett does not merely rely on these ingredients. The songs are also repeatedly interspersed with suspenseful and surprising elements, be it frail electronica, hypnotic soundscapes, drums or reverbed guitars. Rarely has amelange sounded as convincing and natural as this, and rarely has it sounded so well produced.

Thomas himself calls his music “imaginary fictional filmscores“. And it is hardly possible to come up with a more apt term. 10 tracks for 10 movies that have yet to be shot. Music that radiates such an enormous and authentic passion in every single minute, that one can’t help but completely abandon oneself to it. And honestly: Can there be anything more wonderful that can be achieved through music?

Die besten Songs aus den kultigsten Woddy Allen Filmen.

SIHR: sonic manifesto by a post-anything quartet feat. multi-instrumentalists from the Mediterranean inland Sea. New folklore for a devastated planet, including Frédéric D. Oberland (Oiseaux-Tempête), Grégory Dargent (H), Tony Elieh (Karkhana) & Wassim Halal (Polyphème).

After a few concerts/screenings improvised as a duo in Cairo and Beirut, as well as for the Rencontres d’Arles, the Lille photography center and the Belgian magazine Halogénure, Dargent and Oberland have teamed up with mavericks Elieh and Halal for a puzzling cross-border manifesto. The first sonic moves of this eclectic quartet, made in a bunker studio somewhere between Paris and Berlin, urgently took the form of a quest, that of a neo-folklore for troubled times, a music seeping with many kinds of atavism and experimenting in all directions. A fertile no-man’s-land where trance and contem- plation, jazz and electronica, acoustics and electricity would merge in a stimulating mystical magma.

From the possible emergence of a Babelian language to the shared desire to rediscover music as a ceremonial act, this encounter took place over three days of improvised sound bacchanalia, the phases of which were all recorded by Benoit Bel (Zombie Zombie, Thurston Moore Group, Oi- seaux-Tempête). A hallucinated and generous testimony, SIHR is a synergy of many different worlds and many different possibilities, the sonic vision of a present conjugated in a hybrid tense and exalted by too many tangos danced on the glowing ashes of our days.

Multi-instrumentalist & photographer, Frédéric D. Oberland has been leading the Oiseaux-Tempête collective for over ten years, lying somewhere between avant-rock and free jazz, repetitive music and electronics. Founding member of the bands FOUDRE! and Le Réveil des Tropiques, he’s also perfor- ming solo and composing soundtracks for cinema and installation art. Since 2018, Oberland co-cu- rates the NAHAL Recordings imprint alongside producer Mondkopf.

Electric guitarist, oud player, composer and photographer, Grégory Dargent cultivates his musical schizophrenia and identity through improvised music, trance music, jazz, hijacked maqam, repeti- tive music, pop, electro-acoustic installations and French chanson. From L’Hijâz’Car to Babx, from Berber singer Houria Aïchi to Rachid Taha, from Trio H to Sirventés enragés, from music for images to contemporary choreography, from the most acoustic of ouds to the most nuclear of guitars, he conducts, accompanies, composes, deciphers, questions, delves, makes mistakes, bounces back, ar- ranges, orchestrates and tirelessly shares his creative passions.

Tony Elieh is one of the pioneers of experimental music in Lebanon. A founding member of the first post-rock group of post-war Lebanon, The Scrambled Eggs, he has since developed his unique elec- tric bass skills in various groups and styles of music including collaborating with in groups such as Karkhana, Calamita and Wormholes Electric. Relocated in Berlin in recent years, he has performed a solo set of heavily processed bass generated sounds.

Is Wassim Halal only a darbuka player? Maybe !? But what about his music, compositions, ideas. You can find him with Polyphème playing and co-composing popular-contemporary music with Gamelan Puspawarna, or next to the french bagpiper Erwan Keravec, with the Bey.Ler.Bey trio (w/ Laurent Clouet & Florian Demonsant) working on an improvised-balkan-already-improvised-music, with per- formers and drawers Benjamin Efrati and Diego Verastegui, with Gregory Dargent and Anil Eraslan in H, creating a new pedal generating »Random taksim«, composing his own »Poème Symphonique pour 100 youyou« or composing pieces for ensembles.

In one sense, it's easy for artists-songwriters, specifically-to express their feelings in their work. After all, that's what the lyrics are for! But it's much harder to convey emotional energy in how you play, slash at the guitar, and the structure of the music itself. That's precisely why Girl and Girl's Sub Pop debut, Call A Doctor, feels like such a vital, electrifying shock to the senses. Not since the early work of Car Seat Headrest or Conor Oberst's widescreen emotional brutality as Bright Eyes has indie rock managed to come across as this intimate and grandiose, as the Australian quartet led by Kai James lay a lifetime's worth of woes-mental health, the human race's planned obsolescence if you've been living on this cursed rock you know what we're getting at-across a canvas of indie rock that feels both timeless and in-the-moment. An audacious and aggressively tuneful blast of a record, Call A Doctor is an unforgettable first bow from Girl and Girl, whose origins lie in James and guitarist Jayden Williams jamming in his mother's garage in the afternoon after school. One afternoon, James' Aunty Liss headed down to their practice space after walking her dog and asked if she could sit in on drums. "It sounded really great," James recalls. "We begged her to stay, and she said, 'I'll stay until you find another drummer.' We wore her down, and she eventually became a permanent member." After bassist Fraser Bell joined to round things out, Girl and Girl hit the road and began to make a name for themselves beyond the Australian bush, eventually signing to Sub Pop off the strength of word of mouth. Call A Doctor came together quickly soon after, largely recorded in marathon sessions in a two-story industrial complex over the course of two weeks. "That added to the intensity of the album," James says about the frenzied creative process overseen by producer Burke Reid. "I can hear the stress in the record, which is good because that's what it's about-being tense, tied up, and in your own head." Call A Doctor's eleven songs-spanning sweeping guitar epics and wry acoustic shuffles to spiky punk maneuvers and the type of raw, adoringly unvarnished indie-pop associated with legendary PacNW label K Records-are literally plucked from James' personal history, as he reworked older recordings with newer lyrics reflecting his past struggles as well as new anxieties that emerged prior to the album's recording. "I've struggled with mental health for a lot of my life," he explains, "and I went through a particularly difficult patch when we were making the album; the band had started to get some attention, and I felt an enormous amount of pressure to live up to it." "This record is about an individual who's too far in their head, trying to get out," James continues while discussing Call A Doctor's overall outlook-specifically the snapshot it offers of its creator. But even though this record deals with uneasy topics we all know well from within ourselves, it's important to emphasize how teeming with life Girl and Girl's music is. There's a brazen, bold sense of humor to this stuff, an undeniable brightness to the darkness that makes it impossible not to be drawn in as a listener. Feeling down never sounded so goddamn good.

With Lucifer, Kompakt presents an album of rare beauty from two masters of modern music. A family affair, it’s a collaboration between the Italian father-and-son duo of Luciano Michelini and Lorenzo Dada, whose combined histories bring to Lucifer a depth of experience alongside clarity of vision and a finely tuned, neatly developed combined compositional voice. A lovely, beguiling suite of music that combines the electronic and the acoustic, the urban and the pastoral, its gorgeous night-eye vision and tender melancholy sits neatly within the Kompakt universe, while offering the curious listener some rich new perspectives.

There is already plenty to know both artists by. Lorenzo Dada creates across multiple fields – a techno producer and DJ who has already worked with the likes of Jay Haze, Fete, Leo Benassi, and Der, he’s released a small clutch of stylish, smartly designed EPs, and a solo album, Second Life (2018). His complementary background in classical music and composition informs his ensemble project, Tears Of Blue (who appear on Lucifer), where Dada paints with neo-classical tones for a quartet of violin, viola, cello and grand piano, supplemented by electronics for live performance.

Luciano Michelini’s history is yet richer. He may be best known, to many, for his piece “Frolic”, the theme to Larry David’s Curb Your Enthusiasm series; it was also sampled by Snoop Dogg for 2022’s “Crip Ya Enthusiasm”. But there’s much more to Michelini’s story. A successful soundtrack composer, Michelini both studied and taught at the Conservatoro di Santa Cecilia, and worked for RCA from the sixties to the eighties; his soundtracks from this period are gorgeous examples of the form, particularly his work for Il Decamerone Nero (1972), L’Isola Degli Uomini Pesce (1979), and the devastatingly gorgeous Dimensione Donna (1977).

In the eighties, Michelini and his wife Anna Gutling founded the Electronic Music Division studio and academy in Rome, which is where the majority of Lucifer was recorded. Dada reflects on the experience: “We never worked together before, so it was all new for both of us,” with Michelini adding, “I truly love this experience with my son. He’s a talented pianist and composer. I am not very familiar with electronic music nowadays, but we did it fluently.” There’s certainly a familial energy at play through Lucifer, and you can hear how Dada and Michelini, through exploration and experiment, find a shared language, balancing Dada’s tendency toward minimalism, and Michelini’s composerly voice.

Lucifer flows as a suite that interweaves electronic music with acoustic instruments: the lonely sigh of saxophone; Michelini’s lush, verdant piano; the weeping strings of Tears Of Blue (recorded at the studio of Michelini’s friend, the late Maestro, Ennio Morricone). These multiple voices are located within the electronic sighs and swarms from Dada’s kit; there are moments of propulsion, and passages of lambent drift, where the album revels in its tonal sweetness. If it flows so effortlessly, that’s because Lucifer was designed that way, as a suite or a sonata of sorts.

And the title? Dada reflects, “Lucifer was an angel who decided not to be one anymore. The miracle of life is that we can decide what we want to be, even if we are born as angels or vice versa.” This feels somehow apposite: there’s certainly something of the transformative, and the transportive, in Lucifer, a unique family collaboration of rare poetry and sensitivity, where two generations meet in the modern crucible that is the electronic music studio.

In one sense, it’s easy for artists—songwriters, specifically—to express their feelings in their work. After all, that’s what the lyrics are for! But it’s much harder to convey emotional energy in how you play, slash at the guitar, and the structure of the music itself. That’s precisely why Girl and Girl’s Sub Pop debut, Call A Doctor, feels like such a vital, electrifying shock to the senses. Not since the early work of Car Seat Headrest or Conor Oberst’s widescreen emotional brutality as Bright Eyes has indie rock managed to come across as this intimate and grandiose, as the Australian quartet led by Kai James lay a lifetime’s worth of woes—mental health, the human race’s planned obsolescence if you’ve been living on this cursed rock you know what we’re getting at—across a canvas of indie rock that feels both timeless and in-the-moment.

An audacious and aggressively tuneful blast of a record, Call A Doctor is an unforgettable first bow from Girl and Girl, whose origins lie in James and guitarist Jayden Williams jamming in his mother’s garage in the afternoon after school. One afternoon, James’ Aunty Liss headed down to their practice space after walking her dog and asked if she could sit in on drums. “It sounded really great,” James recalls. “We begged her to stay, and she said, ‘I’ll stay until you find another drummer.’ We wore her down, and she eventually became a permanent member.”

After bassist Fraser Bell joined to round things out, Girl and Girl hit the road and began to make a name for themselves beyond the Australian bush, eventually signing to Sub Pop off the strength of word of mouth. Call A Doctor came together quickly soon after, largely recorded in marathon sessions in a two-story industrial complex over the course of two weeks. “That added to the intensity of the album,” James says about the frenzied creative process overseen by producer Burke Reid. “I can hear the stress in the record, which is good because that’s what it’s about—being tense, tied up, and in your own head.”

Call A Doctor’s eleven songs—spanning sweeping guitar epics and wry acoustic shuffles to spiky punk maneuvers and the type of raw, adoringly unvarnished indie-pop associated with legendary PacNW label K Records—are literally plucked from James’ personal history, as he reworked older recordings with newer lyrics reflecting his past struggles as well as new anxieties that emerged prior to the album’s recording. “I’ve struggled with mental health for a lot of my life,” he explains, “and I went through a particularly difficult patch when we were making the album; the band had started to get some attention, and I felt an enormous amount of pressure to live up to it.”

Far from the sound of collapsing under pressure, Call A Doctor finds James and Co. stepping up with their entire collective chest. This is a record that’s so out-and-out alive that you nearly feel like you’re in the same room with Girl and Girl as you listen to it; lead single “Hello” practically bursts through the speakers, amplified by Aunty Liss’ unbelievable stickhandling duties. “‘Hello’ is all about romanticizing your own misery. Letting those deep, dark, dirty thoughts take over. Understanding that even if you could pull yourself out, you wouldn’t because the constant stress and worry is far too familiar and comfortable.”

“Mother” pogos on a spiky groove that’s reminiscent of the geographically close New Zealanders who make up the legendary Flying Nun label, while “Oh Boy” draws from the Shins’ own jangly sound, injected with James’ wonderfully nervy vocals. Then there’s Call A Doctor’s sorta-centerpiece “Maple Jean and the Anthropocene,” a five-minute epic offering a new perspective on climate change and the notion of what it means, in a personal sense, to suffer: “I live in the bushland, and I was driving home one night and hit and killed a wallaby with my car,” James recalls while discussing the song’s lyrical inspiration. “My first thought was, ‘What is the universe trying to tell me?’ No remorse, no guilt, just total self-centeredness. Which was like, Woah, you fucking psychopath! This wallaby wasn’t put on this earth to send you a message. That’s what the song is about, our egocentric species - thinking you’re the main character and that everything that happens is somehow about you.”

“This record is about an individual who’s too far in their head, trying to get out,” James continues while discussing Call A Doctor’s overall outlook—specifically the snapshot it offers of its creator. But even though this record deals with uneasy topics we all know well from within ourselves, it’s important to emphasize how teeming with life Girl and Girl’s music is. There’s a brazen, bold sense of humor to this stuff, an undeniable brightness to the darkness that makes it impossible not to be drawn in as a listener. Feeling down never sounded so goddamn good.

Salomé de Bahia ist eine brasilianische Sängerin. Zum 30-jährigen Jubiläum von Yellow Productions sind nun die größten Hits von ihr auf einem Doppel-Vinyl zusammengefasst. Mit dabei Produktionen mit Bob Sinclair, den sie 1997 im Parisier Jazz-Cafe "Chez Felix" kennenlernte, DJ Gregory und einer brandneuer Remix von Synapson. Größere Bekanntheit erlange de Bahia als sie mit Sinclair zusammen die Compilation "Sun Sun" bei Sony Music veröffentlichte und mit ihren Version von Stevie Wonders "Another Star" ("Outro Lugar"), Barry Manilow"s "Copacabana".

FIRST OFFICIAL REISSUE OF ONE OF THE MOST SAMPLED TURKISH RECORDS IN 45 YEARS! SAMPLED BY RAP LEGENDS LIKE SCARFACE OF THE GETO BOYS. TURKISH PSYCHEDELIC MASTERPIECE FROM 1980

Licensed from "Warner Records Sweden" and remastered from original material in Warner Record's vaults by Shawn Joseph at Optimum Mastering Bristol. 180 gr heavyweight vinyl Manufactured in Optimal Berlin.
Recorded between Istanbul and Stockholm, it captures the era between Okay Temiz's Don Cherry Trio touring and his own band Oriental Wind's sensational debut.
Mentioned distinctive elements have elevated the record to 'cult' status among record collectors, sample enthusiasts, and diggers around the world.
By 1980, Okay Temiz had already embarked on a series of dynamic collaborations and sound experiences with Don Cherry as a member of the Don Cherry Trio. This period included a noteworthy summer in the early '70s at Dartmouth College in New Hampshire, hosted by Jon Appleton, a notable American composer and visionary in electro-acoustic music.
"During that summer, Jon asked me, 'What kind of sound do you have in mind?' I had already given this considerable thought, using a tape recorder to capture sound frequencies influenced by the moon's position. Jon Appleton's question made me think about the extension of 'Organic Music Theory,' which we were exploring with Don Cherry at the time."
In 1982, Okay Temiz recorded the most comprehensive answer to 'What is Turkish Jazz?' at the Montreux Jazz Festival (CAZLP 004) with his band Oriental Wind, featuring Bobo Stenson (of the Jan Garbarek - Bobo Stenson Quartet), Palle Danielsson (of the Peter Erskine European Trio), and Lennart Åberg (of the Scandinavia New Jazz Group).
In 1980, without fully realizing he was navigating between these two worlds, Okay Temiz entered Stockholm's renowned Metronome studios to record the 'sound in his mind' as a solo artist.

`Drummer of Two Worlds` is a star map of Okay Temiz's musical worlds. Blending elements from the grand piano to his handmade drums, and from the amplified Berimbau to his cowbell array, weaving Turkish rhythms like 9/8 and 7/8 with the universality of 4/4, it presents a unique sound narrative that resonates with the dimensions of a well-traveled mind."

Haluk Damar

Nach Bigband-Arrangements von Coltrane-Klassikern nimmt sich Christophe Dal Sasso nun Chick Coreas „Three Quartets“ vor. Unter Leitung des Arrangeurs nimmt sich seine vielfach ausgezeichnete Big Band das legendäre Album des Pianisten vor, das nach dem Vorbild von Streichquartetten komponiert ist. An vorderster Front stehen in den Fußstapfen von Michael Brecker drei außergewöhnliche Saxofonisten: David El-Malek, Stéphane Guillaume und Rick Margitza. Das Album in All-Star-Besetzung ist somit eine Hommage an zwei verstorbene Größen des Jazz: Corea und Brecker

Goldenes Vinyl, limitiert auf 100 Exemplare. DEVILTRAIN - Eine explosive Mischung aus Energie, Leidenschaft und ungebändigtem Rock. Seit 2015 bringt das Quartett aus Bamberg mit seinem einzigartigen Sound jede Menge Power und eine Prise Rebellion auf die Bühne. Nun steht der fränkische High-Energy-Schnellzug endlich mit dem dritten Studioalbum "Sonic Fever" in den Startlöchern. Musikalisch schlagen Simmi (Vocals/Gitarre), Heiko (Leadgitarre), Basti (Bass) und Simon (Drums) in eine ähnliche Kerbe wie einst die Vorreiter der skandinavischen Rockwelle in den 90er/00er-Jahren, The Hellacopters und Gluecifer. Aber auch Einflüsse aus dem Garage-, Southern- und Bluesrock sind nicht von der Hand zu weisen. Über allem thront dabei die ausdrucksstarke Stimme von Frontsängerin und Gitarristin Simmi, welche zusammen mit energiegeladenen Leadgitarren-Parts, einem donnernden Bass und treibenden Drums zum unverwechselbaren Stil von DEVILTRAIN führt.

"This 7"" EP is a teaser of the upcoming full-length (""To My Chagrin"") from indefatigable Philadelphia emo quartet MECHANICAL CANINE. The A-side features 3 tracks from their upcoming LP (which is out this August on Don Giovanni Records), while the B-side features four tracks which are exclusive to this 7"" EP; including live recordings of their two most popular streaming tracks. This EP is a one-time pressing - blink and you might miss it! The disc will be pressed on random color vinyl, and comes in a hand-numbered folder sleeve."

"7 Dollar 7 Song 7 Inch" by Mechanical Canine includes the following tracks: "Insulation Hole", "Malfunctioning", "@boxmanofficial Live" and more.

This release comes as a 7" Single Vinyl.







f American Dirt Live
[g] @Boxmanofficial [Live]

DEVILTRAIN - Eine explosive Mischung aus Energie, Leidenschaft und ungebändigtem Rock. Seit 2015 bringt das Quartett aus Bamberg mit seinem einzigartigen Sound jede Menge Power und eine Prise Rebellion auf die Bühne. Nun steht der fränkische High-Energy-Schnellzug endlich mit dem dritten Studioalbum "Sonic Fever" in den Startlöchern. Musikalisch schlagen Simmi (Vocals/Gitarre), Heiko (Leadgitarre), Basti (Bass) und Simon (Drums) in eine ähnliche Kerbe wie einst die Vorreiter der skandinavischen Rockwelle in den 90er/00er-Jahren, The Hellacopters und Gluecifer. Aber auch Einflüsse aus dem Garage-, Southern- und Bluesrock sind nicht von der Hand zu weisen. Über allem thront dabei die ausdrucksstarke Stimme von Frontsängerin und Gitarristin Simmi, welche zusammen mit energiegeladenen Leadgitarren-Parts, einem donnernden Bass und treibenden Drums zum unverwechselbaren Stil von DEVILTRAIN führt.

GRUPO ÉBANO (Pr. "Grupo EH-ba-no") In the time-honored spirit of excavating gold from the unlikeliest dark corners, we bring you the shiniest of gems which is guaranteed to thrill lovers of classic Brazilian bossa and MPB. This self-titled album by Rio's Grupo Ébano, an all-female gospel vocal group, was originally released on CD only in 1997 on a small independent label and in small quantities. The songs, all originals from the pen of group leader (and backing vocalist to the stars) Gil Miranda, are richly melodic and sophisticated in the mode of all the 60s and 70s Brazilian classics (think Quarteto Em Cy) while their positive spiritual message is more reminiscent of the Clark Sisters if they sang in Portuguese. This first-time reissue, first-time vinyl & digital edition and debut international release will bring many new fresh ears to this lovely and very classy album which will appeal to different generations of Brazilian music lovers, from tastemaking DJs to their parents to even their grandparents.

"Philadelphia’s So Totally are a portrait of utmost devotion, and how longevity in any kind of relationship can’t occur without it. Since 2015, the band originally called So Totally In Love has humbly studied their surroundings and themselves, perfecting a sound that from inception was present. So Totally’s shimmering guitars and melodies typically sit underneath lush vocals that concurrently embed themselves in a listener’s subconscious, haunting them with heavy mood and nostalgia for 90’s rock groups like Swirlies, Pixies, and The Breeders. Previous releases, and their dedication to spending years playing regionally, brought So Totally to the point of singular focus on drafting a third album, entitled Double Your Relaxation, while in quarantine in 2020.

Upon formation, So Totally collectively bonded over an admiration of Land of Talk. While the influence is certainly present in vocalist/guitarist Roya Weidman’s sugary vocals, the band's love of comfortably resolving melodies, and auxiliary percussion, So Totally sonically have more in common with bands like Sonic Youth, My Bloody Valentine, and Spirit of the Beehive…creating massive walls of sound on each record that plainly implies the quartets towering live experience. Such huge tones aren’t only because of Weidman and guitarist/vocalist Matt Arbiz playing, but the collective effort of the band, which is rounded out by bassist Ryan Wildsmith and drummer Joe McLaughlin.

Lyrically and thematically, Double Your Relaxation explores where influence and “hypnosis” exist in life, specifically in environment, media, relationships, and self (via mental illness), bouncing between perspectives of witnessing, interacting with, and contributing to illusion and how that ultimately affects our idea of identity. The moody and, at times, surreal nature of the songs lends itself very appropriately to the shoegaze and heavy indie style So Totally plays, making them a perfect addition to the canon of the genre."