Suche:artist

Pyramid Transmissions are proud to present the 3rd part of our 'Alien Transmissions' V/A vinyl series.

Up this time we have another amazing array of Dope Underground Artists from the world of Electro with 4 killer futuristic cuts!!!

“I hope you die by my side, the two of us at the exact same time, I hope we die not long from now, the two of us at the exact same time”
By the time Molly Nilsson released History, she had already established a fledgling cult status built on homemade YouTube videos and home-burnt Cdrs. Writing from a distance, it’s clear that History is the first classic album in her canon and arguably a classic of the 21st Century underground music panorama.While the methodology on History hadn’t changed from Nilsson’s previous 3 albums – it was recorded solo at The Lighthouse, Nilsson’s home studio based on a Berlin crossroads – on this record the songwriting reached a new peak and the emotional scythe cut deeper. Here, Nilsson managed to combine a cosmic, outward looking perspective with an intimate knowledge of the human condition and its place in these turbulent times. In truth, no other songwriter has excavated the modern psyche so clearly and perfectly.
The tracklist to Nilsson’s fourth album reads as an early greatest hits for Molly Nilsson followers and also serves as the perfect entry point to a whole world the artist has been building for the last 10 years. In Real Life crystalises the millenial obsession with relationships built online, with a generation paying for the baby boomer’s excesses with their anxiety towards the harshness of every day life. It’s a call to arms for a generation who fell in love on Skype. On I Hope You Die, one of Molly Nilsson’s most iconic songs, the songwriter flips the song title into a tale of doomed romance, a relationship based on discommunications and the thrill of the other. It’s also one of the most heartfelt songs full of pathos written by anyone, an ode to obsession. Doomed romance, life lived on the flipside of day and the role of the outsider in society are themes that crop up through-out History. On
Bottles Of Tomorrow, the narrator is sweeping up, in love with the night and examining the remains a society leaves behind.
On City Of Atlantis, Nilsson veers from the plaintive balladry she had begun to make her name with, embracing trance-like synth and dance music details to create an unlikely anthem using the mythological city as a means to comment on the patriarchal rendering of history by power. With by now trademark panache, she turns complicated subject matter into a glorious song that transforms into an ecstatic pop moment.
Hotel Home, another Nilsson classic, paints loneliness not as a debilitating anxiety, but as a powerful to that propels the artist forward through her travels. It’s a song that hints at an endearing self-awareness also; the writer is never at home, living life on the road, content that “the world will find me when the time is ripe.”
There’s never been a greater time.

Straight Outta Caledonia is the first commercially available “Greatest Hits” of the outsider songwriter Jackie Leven, an artist
who has largely remained in obscurity in his native Scotland despite being one of the greatest wordsmiths – and singers – it ever
produced. A well-travelled musician who began making psychedelic, progressive music in the late 60s before emerging as an
epic storyteller full of pathos, humour and humanity in the 90s, Leven lived and wrote like many of the fragile, gregarious
characters of his songs; large, full of life and empathy. Leven passed away in 2011 after recording 30+ albums under different
guises or with his briefly successful New Wave band Doll by Doll. Straight Outta Caledonia is a compilation collated by Night
School Records on its Archival label School Daze that seeks to introduce Leven’s music to new generations.
In an age of isolation, alienation and loss of visceral experience, Jackie Leven’s music can be massive and welcoming. It feels
connected to some universal humanity and vibrates with vitality. His songs are often full of tragedy and comedy simultaneously,
cutting straight to the heart, often plugging directly into the nervous system of the listener. His lyrics are rich, dense with imagery
that can veer from apocalyptic to the comically banal in a sentence, with a songwriting panache that can be heavy handed to
almost bursting point before skewering the song with a clownish, warm punchline. His productions ranged from Bob Dylan’s
Rolling Thunder Revue style rock band orchestrations with strings and organ as on the epic Ancient Misty Morning or they could
be pared down to the purest form of folk song as on Poortoun: Leven on stage alone with an acoustic guitar, albeit played with a
mastery of the instrument that he often only hinted at. Musically his sound can bend traditional structures or stay completely
confined within them yet still forever push towards an ecstatic release, as on the cinematic Snow In Central Park.
The most exciting, jaw-droppingly effective tool at Leven’s disposal was his voice. A multi-octave instrument that, though
damaged during a savage assault in Fife, he used with flair; he had both a brazen disregard for the rules and a deep humility, all
of which is evidenced with every phrasing. A baritone that could flit up through the register – always touched by his gentle
Kirkcaldy accent – it’s the prime delivery method for his songs. Leven’s voice enabled him to inhabit the characters in his songs to
an uncanny degree, a skill that in turn enables the listener to empathise with them and, subsequently, the singer. It’s most evident
in stand out song The Sexual Loneliness Of Jesus Christ, a breathtaking re-telling of the life of its protagonist, not as a pure,
sinless messiah but as a sexually frustrated, solitary man condemned to an existential loneliness no one else will ever feel. In
many ways the track is the archetypal Jackie Leven song. Produced by Pere Ubu’s David Thomas, what strikes the ear first –
after the samples of unemployed workers in Glasgow following the closing of the Clyde shipyards – is the audacious, rhythmic
tremolo effect Leven employs through the verses before the production opens up to allow Leven’s vocal to lift into a soar, a
freeing glide powered both by the force of the singer’s chutzpah and the inherent, doomed destiny of the protagonist. With any
other singer such subject matter could come across as gauche or worse, pretentiously sonorous, but Jackie Leven’s genius was
such that he could be this cinematic and brazen while touching something elemental and true in the beholder. It’s a skill evident in
every song on Straight Outta Caledonia, the trademark of a songwriter who revelled and excelled in intensity with a lightness of
touch.
In his lifetime, Jackie Leven toured, wrote and recorded at a ferocious rate. He recorded under aliases to avoid record contract
restrictions, played house shows in Europe after or instead of official concerts, events which were often spoken word story telling
masterclasses as well as performances of his often bewilderingly dense songbook. His music has traditionally been catalogued
as “folk” music and has been largely banished to a small, dedicated group of international fans and apostles both private and well
known, like author Ian Rankin or Glenn Matlock. Since his passing in 2011 however, there has been a growing recognition
amongst a newer generation, with artists like James Yorkston or Molly Nilsson publicly stating the influence of the unsung
troubadour on their own craft. Jackie Leven’s fairytales for hard men are often forensic deconstructions of masculinity, sad and
ecstatic, light and shadow, always endlessly rich, a resource as bountiful as Leven himself’s human spirit undoubtedly was.

His new EP, "Nostalgic For The Future", was inspired by an experience he had during a lucid dream that evoked a paradoxical and enigmatic feeling. Also influenced by the artists of his childhood such as Daft Punk, Alan Braxe or Jestofunk, this new project is imbued with house sounds.

By using artificial intelligence in the conception of "Nostalgic for The Future", Fhin proposes an innovative vision to tackle eternal and inexhaustible themes of music: love, the meaning of our existence or the intensity of our emotions.

Multidisciplinary artist GAIKA returns with a new track titled “LADY” featuring bbymutha from his forthcoming album, Drift out on September 8th.

Thrashing drums and droned out guitars take immediate effect on “LADY” but it’s the two mavericks' electrifying chemistry that is the driving force of this track. Enlisting KIDÄ (Yves Tumor) on production with additional contributions from Azekel (Gorillaz) and Max Winter, alternative rock and audacious rap come crashing together as GAIKA and bbymutha flex their lyrical prowess, unapologetically expressing their devotion to their lovers on this twisted, feverish affair.

Newly signed to Big Dada Recordings, home to Roots Manuva, Yaya Bey, Kae Tempest, Brian Nasty and more, GAIKA jumps back into music with new invigoration after delving into work as a composer to unveil Drift - his most expansive work to date. The visionary invites listeners on a high-speed journey where love, pain, brutality and beauty collide to produce a vivid and provocative cinematic masterpiece. The sonic universe of Drift is the most stylistically accurate representation of GAIKA’s personal tastes to date, stitching musical influences past and present such as Prince, Wu Tang Clan, Massive Attack, John Coltrane, Pink Siifu and A$AP Rocky to land on a gritty, distorted sound pulsating with an unwavering, formidable energy that’s disruptive yet timeless.

Drift is 14 tracks of nostalgic escapism, a shape-shifting body of work with hip hop and club music cultures at its core, as those simply run through the veins of GAIKA. Analogue and retro in feeling, Drift’s psychedelic feel is formed by incorporating 90s grunge, dark wave, post-punk and alt-rock into its tapestry. It’s a representation of his heritage and environment, featuring calypso steel pans to gospel vocals, reverberating dub to frenetic rap and elements of sound design taken from recordings of the real world. GAIKA’s music transcends borders and his nomadic nature means he simultaneously belongs and doesn’t, his music cannot be confined to just one genre and this unique new record further cements him as one of the most progressive artists of our time, telling the tale of modern day renaissance man driving away from the economic hierarchy he doesn't believe in.

GAIKA endeavoured to create a waking dream by constant participation in communal art making, removing the separation between art and life, his imagination and community and breaking the boundary between real life and any spectacular representation of it. He set up a number of situational arts facilities in the heart of London including shows at ICA, 180 the Strand, Now Gallery and as the world reopened, created pop up galleries, studios, exhibitions and raves with the intention to enhance the experience of real life by dreaming. To achieve this coherently and authentically the process became akin to a form of psychological examination of memories made before music “mattered” to GAIKA - before becoming commodified, individualised and his name capitalised.

Drift became the term used to describe the creative happenings in these spaces and the name for the collective of people who made this record. GAIKA is the central writer and composer working closely with KIDÄ on production and a group of classically trained musicians with contributions from Azekel, Charlie Stacey, Brbko and The Narrator over an extended period of time where they recorded music late into the night, night after night.

• Following on from the highly successful first two editions of
Dance Masters featuring the classics mixes from maestros
Shep Pettibone and Arthur Baker, the spotlight turns to
another remix legend, John Luongo.

• Boston born, John is one of the truly legendary DJ's and
remixers of the Disco era. John got his break at Epic by
overdubbing percussion from salt shakers and spoons onto a
promo and then passing them back the tape. This resulted in
him being flown to New York, and put in a studio (of his
choice) to mix and produce Melba Moore`s “You Stepped
Into My Life”. From this point everything he touched was a
hit. He went onto remix Disco classics by Jackie Moore –
“This Time Baby”, Dan Hartman “Vertigo / Relight My Fire”
and Patti Labelle “Music Is My Way Of Life”.

• However, John was not afraid of remixing artists that didn’t
fit into the disco genre and this attitude is borne out by the
tracklisting of this compilation, on which Gladys Knight and
The Pips rub shoulders with Fine Young Cannibals and
Billy Idol, and Baltimora appears alongside Banararama
and Serge Ponsar.

• “…if you played this whole thing, just put it on and didn’t
tell anyone it was me, they’d say ‘boy, what a great group of
songs this is!’” - John Luongo

• This cut down 16 track essential edition in pressed on 140g
black vinyl and features foreword by Arthur Baker and an indepth essay written by Alexis Petridis (Rock and Pop
reviewer for The Guardian).

• All tracks remastered by Nick Robbins at Sound
Mastering

'Tema di Susie' is one of the main themes from the soundtrack composed by Alessandro Alessandroni for the 1976 Italian noir Sangue di sbirro, known in English as Blood and Bullets, as well as Knell, Bloody Avenger (the Susie in the original title refers to the female love interest of the film's hero, who is on a mission to seek revenge for the gangland murder of his policeman father).

At once sweet and sentimental, haunting and melancholic, 'Tema di Susie' stands out from the other tracks in the film, which are more action oriented. Like the rest of the score, however, it exemplifies the way in which, during the '70s, Italian film composers created their own version of the sound of American blaxploitation cinema, with its groovy blend of funk, jazz, and soul. It is no coincidence that the film's director, B-movie specialist Alfonso Brescia, specifically requested music in the style of Shaft, the iconic film that defined that sound in 1971.

Though seemingly simple, 'Tema di Susie' is a perfect example of Alessandroni's style – in particular his unique ability to effortlessly blend groove and melody, funk and feeling, into one musical piece. So, we invited different artists with different backgrounds, influences and approaches to bring their individual take on this elegant and now timeless tune.

Neapolitan duo Fratelli Malibu have taken Alessandroni's melodic theme and woven it into a mesmerizing tapestry of rhythmic beats, world percussion and ethereal atmospheres. Drawing inspiration from funk/Afrobeat, synth-pop and Italo-disco, they've conjured a psychedelic-tinged, afro-cosmic groove that's bound to transport you to another dimension.

As the music unfolds, you'll feel like you've stepped into a vibrant, fantasy world. The breaks, outro, and intro are woven with a psychedelic thread that leaves you yearning to return once the final note fades away. And that's not all – they've injected an irresistible pop sensibility into the track with the use of drum machines and synths. The result? A rework that not only amplifies the dreaminess of the original but also seamlessly marries the past with the future.

We love the track so much that we decided to double the fun with a vocal retouch version, courtesy of the Italian funk/soul collective Banda Maje. Their vocalists, Chiara Della Monica and Cristina Cafiero, elegantly infuse cinematic and Balearic vibes into the mix, paying a wonderful homage to Fratelli Malibu's exquisite arrangement.

Yes the Bristol born artist returns on EOP. This release themed four tracks, deep and spaced out. A unique record from an artist soaring to ever greater heights.

LP Black Vinyl 12 inch 180g.

New York-based label Kindergarten Records is thrilled to unveil Ayesha’s debut album, ‘Rhythm is Memory’ – 10 boundary-pushing tracks, a shape-shifting percussive journey with electric moments.
While intended for maximum dancefloor impact, Ayesha’s first LP is also conceptually thought-provoking and playful, exploring how bodies store and channel creative knowledge.

A self-taught producer, Ayesha relies on her instincts to make music: sensing what her body wants to feel and hear. To her, essential to building a groove is channeling what is already inside us –
memories – whether they are based on lived experience or coded in the body: culturally, ancestrally, or intergenerationally. The result is this Indian-American producer’s distinct rhythmic voice, with its
many configurations boldly expressed across her debut album.

Kindergarten first released Ayesha’s material in 2020 with her ‘Natural Phenomena’ EP, a four-track journey which she described as “an undulating love letter to nature and the dancefloor, a space
where her biophilia collides with her yearning for the dancefloor.” Subsequently, she continued to build upon her luminous, scintillating sound with a contribution to ‘Fluo II’ titled “Aspara Dub”, followed
by “Varanasi” and “Downpour” on ‘Ether’, a split release with Sha Ru in 2021. With each release, Ayesha's sound evolved, adding shades, layers, and perpetual rhythmic nuance to a mind palace of
dancefloor possibilities.

That is why her and Kindergarten are a perfect match -- driven by their mutual fascination with exploratory sonics and a shared commitment to the community that inspires them. Kindergarten
Records has shaped itself into a trailblazing label, uniting a diverse and innovative collective of local and international producers, while embodying a strong familial atmosphere.This debut LP represents
a significant step-up for both the artist and the imprint, as they strive harmoniously towards a shared goal: delivering a sonic experience full of colorful, otherworldly bass-fueled expansion.

‘Rhythm is Memory’ captures Ayesha’s signature love for driving techno and organic percussion, while at moments veering into newer electro territory while keeping it psychedelic, spacious, dubby, and
always playful. This feels intuitively right for a producer at a crossroads in her career. All tracks intricately weave together pulsing drum grooves, slinky synths, nuanced melodies, and delightfully
unexpected twists. No single genre can do justice to describing this project as Ayesha delicately nods to many, reveling in the spaces between.

Undoubtedly, across A and B sides, 'Rhythm is Memory' imparts the joy of sonic experimentation to listeners and dancers. Ayesha invites us into her creative process and its steady evolution – rooted in
many days and nights of exploration, reflection, and repetition. "The ritual practice of cultivating and tending a garden is what comes to mind if I were to visualize this record. Beautiful things can emerge
from care and consistent attention," says Ayesha. While she refers to her specific experience making 'Rhythm is Memory,' this powerful album culminates a decade of working in nightlife for Ayesha – a
project slated to leave an indelible mark on the underground. To mark this impressive milestone in their catalog, Kindergarten Records is proud to return to pressing vinyl after a hiatus since 2020,
recognizing the significance of putting out a physical release to behold such a moment in both the label's and the artist's trajectory.

Patrice Bart Williams, also known as Patrice, is a singer,composer, producer and director from Germany and Sierra Leone. His career took off in 1999 with the release of the Lions EP. In 20 years, he has released a dozen albums. His music is a blend of reggae, soul, punk, folk and hip-hop. Over the years,
he has established his own unique style. He settled in Jamaica in 2020 and decided to build a studio in the
middle of the forest. This atypical location became a meeting place for artists and inspired Patrice to explore new territory. The "Super Sundays", live concerts held on the studio rooftop, were attended
by artists such as Richie Spice and Jesse Royal. In 2022, Patrice unveiled the Super Album, an unplugged best of where he reinterpreted his greatest hits including 'Soulstorm', 'Hippies With Guns', and 'Burning Bridges'.
Patrice returns in 2023 with a new album entitled '9', marked by rebirth and the symbolism of the colour blue. This album is the result of seven years' work, a veritable introspection into the depths of his emotions. "I was born on the 9th, the day my grandfather passed away. The notion of rebirth has always been present in my life, from my very first day. For my ninth studio album, I took the time to withdraw, to rebuild myself. The last seven years have been devoted to self-discovery, and it's this inner journey that has given life to this album." - Patrice

Hailing from Alexandra and nicknamed "Ratau" (meaning "lion"), saxophonist Mike Makhalemele (1938-2000) was a force of nature with a robust yet soulful tone and seemingly endless breath. He embraced the pop music scene as an enthusiastic collaborator and staked his territory at the intersection of township grooves with modern currents in soul, funk and disco. As a solo artist, he delivered a formidable run of albums in the 1970s that that made him the most prolific recording artist in South African jazz during this era. First issued in 1975 by the maverick independent label Jo’Burg Records, his debut The Peacemaker was a tour de force that introduced Makhalemele’s heavyweight sax prowess (deftly accompanied by Jabu Nkosi on keys and Sipho Gumede on bass) while showcasing his innovative approach as a composer and arranger. To mark the arrival of a new
saxophone colossus, the album’s profile portrait cover boldly evoked the iconic Yakhal’ Inkomo by the Mankunku Quartet from 1969. Mike Makhalemele and Winston Mankunku Ngozi would go on to share
the spotlight on a collaborative release entitled The Bull and the Lion in 1976

On his third voyage as Skyway Man, artist + producer James Wallace is still seeking answers beyond the stars and still coming back with more questions in the form of ten brilliant songs. On its surface, 'Flight of the Long Distance Healer' registers as another concept album replete with aliens and alternative philosophy, but this time around, Wallace coats the glass with a vital layer of self-reflection. Like a West Coast Dr. John—but more preoccupied with flying saucers than voodoo dolls—Skyway Man is in the business of opening new aural worlds, cracking open reality just enough to get the message through. 'Flight of the Long Distance Healer' sparkles and blinks, whispers and moans—hugely enjoyable music rendered in imaginative and gleaming style. There are hints of the polyrhythmic cinematic sensibility from Wallace’s contributions to the Joe Pera television series, rhythms of the Stax-inspired Spacebomb house band, and ripples of the current East Bay scene outside San Francisco. In a real showcase for the extended Skyway Man family, Wallace has coaxed personal and masterful performances from the likes of Erin Rae, Vetiver’s Andy Cabic, pedal steel wizard Spencer Cullum, Kelly McFarling, and more. Cooking up genres in such a way as to keep their nutrients intact; he packs prog, blues, glam rock, acid folk, swamp boogie, and future folk into a beautiful Martian bouillon.

The Blowback is the new album by Emily Wolfe. Emily wrote or co-wrote most of the tracks with bassist Evan Nicholson. Produced by Emily Wolfe Engineered by Matt Gerhard (Spoon, Tennis, Future Islands) Mixed by Cian Riordan (St. Vincent, Sleater-Kinney, Paul McCartney, Lana Del Rey) Mastered by Chris Gehringer - Sterling Sound Emily Wolfe asserts her talent as a dynamic vocalist, sharp songwriter, and an accomplished guitarist and producer. She delivers a brand of rock ‘n’ roll that’s raw and relevant, anchored by emotionally charged lyrics and a powerhouse stage presence. This young and impassioned artist has amassed millions of streams and garnered widespread acclaim from The Wall Street Journal, MTV, Guitar Player, PASTE, American Songwriter as well as her hometown paper, the Austin-American Statesman and many others. Recognized as a force on the instrument, Emily has collaborated with Epiphone/Gibson Guitars on two signature Sheraton models which is a rarity for an artist that isn't yet selling out stadiums. After quietly emerging as a phenomenon, Emily projects her voice like never before on her third full-length album, which she produced

First release via Agricultural Audio, label of acclaimed producer Ben Hillier. Agricultural Audio is the name of the South Downs studio, and now also a record label, of the producer Ben Hillier (Blur, Elbow, Depeche Mode, Nadine Shah). The debut release from Hillier’s new label, launched this month in partnership with The Orchard, will, fittingly, be a project of Hillier’s own. The first time he has stepped out from behind the producer’s desk for an artist project in his own right, Storm Franklin sees Hillier join up with the Howling Bells front woman and solo artist, Juanita Stein. Hush Now is a tantalising introduction to Hillier and Stein’s work together, the first single from a Storm Franklin album that will be released later this year.

A Dream Team of folclóricas covering the wide spectrum of African-American influenced 1970s dance music spiced with flamenco. The hits of Isaac Hayes, Billy Preston or The Temptations in the charts showed the way to go. An almanac for 20th Century Rosalías headed by Lola Flores, Isabel Pantoja, Rocío Jurado and a bunch of female singers, copleras, cantaoras and rumberas. A black and white lysergic dream amidst post-Franco’s Spain. Stick your ears to the speakers. Here comes an emotional rollercoaster!



Antes de presentarte esta novedad, hay que entender que en la segunda mitad de los años setenta, algo estaba cambiando en la escena musical. Los grupos musicales estaban en su auge hasta que llegó la llamada al servicio militar obligatorio. Entonces, todo el mundo volvía de él sin sus largas melenas y sin dinero. Los baladistas sin personalidad tomaban el control de la música, según lo dictado por las discográficas. Es entonces cuando las copleras, cantaoras y rumberas se convierten en la respuesta necesaria para combatir la insípida melosidad. A pesar de un contexto sociocultural desfavorable, arreglistas y productores invertían horas de sueño para revivir un sonido que estaba al borde de la extinción. A pesar de los cambios que haya podido haber desde entonces, el más significativo es que ahora la inmediatez digital dicta el rumbo.



Es por toda esta importancia que finalmente ha llegado un álbum que reúne a un elenco de folclóricas en una combinación única, fusionando el concepto del groovy funk; con canciones que abarcan todo el espectro afroamericano de la música de baile de los setenta, con toques de gritos y susurros aflamencados que le dan un giro impresionante. Podríamos considerarlo el álbum destacado de las Rosalias del siglo XX, una especie de viaje lisérgico en blanco y negro a la España de la posfranquista. Con su hiperrealismo revolucionario, este disco nos ofrece a una una estirpe de artistas sin igual.

En este encontrarás las joyas ocultas de artistas como Flores, Pantoja, Jurado, Polaca, entre otras. Aunque se mantuvieron fieles a sus estilos, todas ellas fueron famosas por otras facetas de sus extensas discografías, y muchas incluso aparecieron en la portada de Interviú en más del cincuenta por ciento de los casos, como las feministas de los años setenta según Francisco Umbral.

Compilation pressed onto a collector’s LP picture disc, featuring some of the finest soul artists.

Dreyblatt"s minimalist conception - a rhythmic drone played on a double-bass strung with piano wire, playing in concert with other stringed instruments performing in 20 unequal microtones per octave and changing key but keeping the same fundamental pitch - dates back to the 1970s, while he studied under La Monte Young and Pauline Oliveros. Resolve acts in intermittent dialogue with the first Orchestra of Excited Strings release, 1982"s Nodal Excitation.

Since then, Dreyblatt has formed new orchestras across various countries and decades, with each phase of his music requiring several overlapping periods of gestation and arrangement.

The current Orchestra is formed by Konrad Sprenger, Joachim Schütz and Oren Ambarchi. On Resolve, each of the members" playing brings new angles to the compositions. Konrad Sprenger"s involves solenoids, sine waves and a computer-controlled multi-channel electric guitar (as well as a relentless style behind the drum kit and oversight of the album production), while Joachim Schütz"s individual conception of electronics and electric guitar and Oren Ambarchi"s undeniable innovations with signal path work together with Dreyblatt"s bass (still strung with piano wire) as magnetic component parts of Resolve.

These contributions lead to Resolve"s dialogue with the early Orchestra of Excited Strings canon - for instance, the track previewed here, "Flight Path" takes off at a pace not often found in the minimalist genre - a rolling lope! Yet the sense of play is palpable: the ensemble scale their microtonal keys with punkish brio, a stance sharing much with the original Orchestra"s downtown pulse, even as as the new Orchestra burn their own path through Dreyblatt"s music.

Approaching his 70th birthday, with over 40 years of work as a solo artist, collaborator, composer, educator and bandleader, Arnold Dreyblatt views Resolve as an important expression within the long story of The Orchestra of Excited Strings. The album title"s tendency to mean different things is an indicator of the dynamic qualities of his music in all its different phases - an evolution that continues to produce new dimensions in acoustic sound with every new release.

III is the third studio album by French DJ Bob Sinclar. First release February 2003, and reached number 24 on the French albums chart. It features the hits : "The Beat Goes On" and "Kiss My Eyes" An Uncut review from May 2003 found that while Sinclar"s music is "frothier and camper than ever" on III, he "has a new-found focus and vitality ... Whereas so much electroclash lacks melodic thrills, there"s an abundance of crisp, pulsating tunes here. And despite the disco flashbacks, Le Friant favours twisted re-interpretations over dead-handed pastiches". The review concluded by noting that "fans of Daft Punk"s Discovery will love it". Jack Smith, writing for BBC Music, felt that III is Sinclar"s homage to French disco artist Cerrone, given Sinclar"s compilation Cerrone by Bob Sinclar (2001), and his collaboration with songwriters Lene Lovich and Alain Wisniak on III, both of whom previously composed several songs for Cerrone. While acknowledging Sinclar"s intention for a "new sound" after being an "international man of mystery" on his first two records, Smith opined that "herein lies the problem... III, his latest opus, is nothing less than average, and at times dull", summarising that the album"s "pluses are few and far between".

Here's the thing about ill peach: this band exists because they are too weird to not exist. The seed of ill peach was first planted in the recording studios of New York City where Pat Morrissey and Jess Corazza were working together as professional songwriters, collaborating with artists like Icona Pop, SZA, Weezer, Pharrell, Big Freedia, and others. Then came the day they were offered their own publishing deal. Cool, right? Well, about that: "Everyone kept saying, 'The stuff that you're writing is slightly too left-of-center-weirdo stuff," remembers Morrissey. "Why don't you start your own project?" Thus ill peach, a pop band with a punk streak and a taste for both the rotten and the sweet, with an approach to making music that goes something like: "Do you want to pick up a guitar and do you want to be on this water jug and we'll record it on the iPhone and create some weird drum pattern?" Following a series of well-received EPs on their own Pop Can Records (a record label and artist collective Morrissey and close collaborator Jesse Schuster run with friends), a digital single for Hardly Art's 15th anniversary series, and some colorful music videos that crystallized the band's visual aesthetic along with their sound, ill peach's "weirdo stuff" comes to fruition on first full-length THIS IS NOT AN EXIT: a collection of anthemic songs built out of bright pop and gritty experimental elements (Morrissey names the sculptural use of distortion on the final albums by Low as an inspiration), punctuated with hooky choruses ready to be screamed along to in the safety of your own bedroom or with a bunch of friends at one of ill peach's intense live shows. If ill peach first blossomed in New York, it took quarantine in Los Angeles for the project to ripen. The end of the world turned out to be what ill peach needed to get real with themselves. "It helped us creatively to zone in and removed us from the industry side of things to where we could just be like: this is our new identity, let's jump with both feet." THIS IS NOT AN EXIT's title is a reflection of something Corazza realized during a period of personal and familial crises "I kept walking into buildings and I'd try to exit somewhere and the sign would be like, 'This is not an exit,'" she says. "It just felt like a metaphor for a hopeful thing-don't give up yet." This combination of hope and anxiety is all over THIS IS NOT AN EXIT, reflected in a sonic palette (Alternative! Electronica! Indie! Radio pop! Coldplay!) as eclectic as it is unpretentious. Ultimately, THIS IS NOT AN EXIT is a record about healing, a process often spoken about in New Age-y terms but one that in reality can be really confusing and, yes, weird. But it is the beautiful strangeness of being alive that ill peach capture so well on THIS IS NOT AN EXIT.

For his first album as an exclusive Deutsche Grammophon artist, 2021 International Chopin Competition winner Bruce Liu – “a pianist with a captivating musical personality” (Financial Times) – has compiled an enthralling survey of 200 years of French keyboard music, from Baroque to modern. The phenomenal young Canadian pianist has subtly adjusted the action of his instrument to highlight the differing musical styles. Gramophone’s reviewer acclaimed DG’s release of Liu’s Warsaw competition performances as “one of the most distinguished Chopin recitals of recent years, full of maturity, character and purpose”. The album’s title Waves alludes not only to the nature theme that runs throughout the programme, but also to the sheer spontaneity of Liu’s music-making.

‘Life And Death - The Five Chandeliers Of The Funereal Exorcisms’ pulls back the veil unto a nocturnal scene populated by shadows, embers burning coldly in the underworld. Marina Zispin is your guide, siren and protector both. Marina Zispin is the negative space between musicians Bianca Scout and Martyn Reid. Love And Death is the duo’s debut release, five chandeliers of melancholic, vibrant synth pop twinkling in the inky blackness. Both originally hailing from the North East of England and forming a musical partnership before lockdown, Bianca Scout and Martyn Reid initially worked remotely. Having relocated to South London and Newcastle respectively, Marina Zispin was born in earnest after the duo could begin writing and practising in the same space. Bianca Scout is a celebrated musician and dancer with a number of solo and collaborative works in her discographywhile Martyn Reid is a mainstay of the UK noise and power electronics scene, most recently with solo project Depletion. Marina Zispin largely eschews both Scout’s deconstructed approach to song and Reid’s focus on visceral, noise- based productions; the result is a new entity, the underground pop star that exists only in darkened dreams. Marina Zispin, then, is an avatar cajoled, nurtured and directed by Scout and Reid. Analogue electronics redolent of the early 80s Cold Wave and Synth Pop era form the base of the Zispin worldview, with Bianca Scout donning the Marina disguise, embodying the character over five songs of swooning drama, playful melodic interplays and tear-stained, doe-eyed sentiment. Flowers In The Sea opens with an austere 4/4 beat and hypnotic synth parts before Scout/Zispin floats in across the lagoon. Scout’s vocal tone is an instant winner, sweet like honey pouring down over the cold, robotic productions and stereo-panned synth work. We can almost see the petals drift into the horizon before being pulled under by the artist’s sadness. Ski Resort bursts out with a Jacno-inspired bassline and backing that could have been buried in a French disco in 1982 (think Stereo or Linear Movement) before Scout’s narrative details frivolousness and regret before a magical shift for the final coda into major key. Backworth Gold Club closes Side A, a mysterious rigid beat and minor chord synth arpeggios swimming in space, floating and obscure. On Side B, Hymn carries the tone on, church-like synths holding down the pattern for Zispin/Scout to float above in a flowing gown of reverb. The marriage of Reid’s cold musical backbone and Scout’s effortless vocal and co- production is in full flow here, the vocals at times rising to the rafters of this nocturnal place of worship, at other points they’re fuzzy samples cutting in and drifting out or sung with an extreme autotune, abstract and perfect in the moment. Surprise Party is the most straightforward pop bullet, Scout/Zispin’s vocal peering out more from the fog, perhaps revealing more than usual: vulnerability, maybe, the wandering muse of the artists behind the veil or just another layer of mystery behind the enigma? Marina Zispin’s Life & Death - The Five Chandeliers Of The Funereal Exorcisms ends as it began, scintillating in obscurity, leaving everything unanswered but open.

William Eggleston is a famed photographer and musician credited for iconic album covers such as Spoon's Transference and Jimmy Eat World's Bleed American. 512 was inspired and recorded at the Parkview Apartments in Memphis, Tennessee where Eggleston lived for almost ten years. The apartment was full of art and inspiration: cameras, naturally, but also high-end stereo tube amplifiers and objects that you'd rush towards money in hand at your local flea market. But also a gigantic nine foot Bosendorfer grand piano and a massive grand vintage JBL theater speaker console. His home was overwhelmed by music. By recording there the album captures not just his performances, but also the vibe of the place; it often felt as though there were artists lurking in the aether listening along. His visitors over the years were no small change: Lee Friedlander, Carl Sagan, Dennis Hopper , Paul McCartney and many others came to see him and listen to his hypnotic "Musik". You can hear local traffic, a dog barking, weather; reality, in other words. But there was another space layered on top, a kind of surreality echoing his music, as you can imagine a gathering of musicians listening in, eager to join him. Thus came along 512 which features the legendary Brian Eno on bells and production from Leo Abrahams (Regina Spektor, Paul Simon, Jon Hopkins)."

William Eggleston is a famed photographer and musician credited for iconic album covers such as Spoon's Transference and Jimmy Eat World's Bleed American. 512 was inspired and recorded at the Parkview Apartments in Memphis, Tennessee where Eggleston lived for almost ten years. The apartment was full of art and inspiration: cameras, naturally, but also high-end stereo tube amplifiers and objects that you'd rush towards money in hand at your local flea market. But also a gigantic nine foot Bosendorfer grand piano and a massive grand vintage JBL theater speaker console. His home was overwhelmed by music. By recording there the album captures not just his performances, but also the vibe of the place; it often felt as though there were artists lurking in the aether listening along. His visitors over the years were no small change: Lee Friedlander, Carl Sagan, Dennis Hopper , Paul McCartney and many others came to see him and listen to his hypnotic "Musik". You can hear local traffic, a dog barking, weather; reality, in other words. But there was another space layered on top, a kind of surreality echoing his music, as you can imagine a gathering of musicians listening in, eager to join him. Thus came along 512 which features the legendary Brian Eno on bells and production from Leo Abrahams (Regina Spektor, Paul Simon, Jon Hopkins)."

In the midst of the UK house rave-olution of the early-’90s, London’s V4 Visions imprint documented the confluence of street soul, deep house, swingbeat, and jungle sounds emanating from the clubs and pirate radio signals. Over the course of half a decade, V4’s unparalleled 12” output referenced every significant Black British music scene; from lovers rock to jazz-funk, sound system reggae to hip hop, new jack swing to garage, from artists Ashaye, Julie Stapleton, Maureen Mason, Rohan Delano, The Wades, and Endangered Species. This 18-track double LP is the first critical overview of the label, with extensive notes by Simon Reynolds, era-defining photographs, and fresh remasters, all housed in a glorious foil-stamped gatefold tip-on sleeve. Is this a dream?

It’s time to deck the halls and put up the Christmas tree as the
yuletide season is upon us. Christmas Collected is the brand-new
compilation with both traditional and modern songs celebrating
the festive season. Artist and groups including Queen, Bruce
Springsteen, Band Aid, Paul McCartney, U2, The Teskey
Brothers, Frankie Goes To Hollywood, Amy Winehouse, Ariana
Grande, Mud and many more are featured on the 2LP.
Christmas Collected is available as a limited edition on translucent
green (LP1) and translucent red (LP2) coloured vinyl and includes
an insert.

Recorded between 2010-2012, Closed Sessions Vol. 2 is a snapshot of a begotten time in Hip-Hop music and blog culture. The album features an eclectic class of artists such as Action Bronson, DJ Babu, Vic Mensa, The Cool Kids, Rockie Fresh, Freddie Gibbs, and others coming to the legendary SoundScape Studios and participating in the Closed Sessions program. Every song was followed by a documentary on MTV2 Sucker Free.

CS Vol. 2 was originally released August 23, 2012 and has been offline since 2015, the album has been re-mastered and is being released on vinyl for the 1st time ever. Limited to 500 copies.

"The Twits" wurde von der Band im Februar 2023 innerhalb von nur acht Wochen in einem provisorischen Heimstudio auf Mallorca aufgenommen und von Marta Salogni abgemischt. Nach einem Kinderbuch von Roald Dahl benannt, zeigt sich das Songwriting von bar italia in rauen, mystischen, ungebürsteten und gelegentlich düsteren Arrangements. Songs wie "my little tony" mit seinen harten Riffs und dem kathartischen Sound ist ein klassischer Indie-Banger für die große Bühne. In anderen Momenten wagt sich die Band auf bisher unbekanntes Terrain, auf dem sie eine hypnotische Dissonanz ihrer Stimmen schaffen. "Jelsy" zum Beispiel spielt sich wie ein Gespräch zwischen Freunden über wehmütigen, summenden Country-Blues ab, wobei die Stimmen abwechselnd tröstlich, ironisch und hoffnungslos sehnsüchtig sind. Der geschmeidige, langsam brennende Walzer "Twist" besticht durch seine nackte Lyrik und scheint jedes Bandmitglied zu einem individuellen Bekenntnis einzuladen. Während "Tracey Denim" von seinen kompakten 2-3-minütigen Songs lebte, besticht "The Twits" durch seine eher offenen und mitunter uferlosen Kompositionen. "glory-hunter" nimmt z.b. spielerische Wendungen, bevor es an einem völlig anderen Ort endet, als es begonnen hat. Das abschließende "bibs" ist ein seltener Fall, in dem alle drei im Einklang zu hören sind. Eine Prozession geradezu geisterhafter Akkorde mit einer zerreißenden Rückkopplung bildet den Abschluss des Albums. Das im Mai veröffentlichte Matador-Debüt "Tracey Denim" von bar italia wurde schnell zum Gesprächsthema der weltweiten Indieszene. Publikationen wie The Guardian ("eines der Alben des Jahres 2023 bisher"), The Times ("excellent debut album"), The Observer ("Artist To Watch"), NME ("a lasting impression that"s all of their own making"), The Quietus ("endlessly evocative") und Pigeons And Planes ("quickly establishing themselves as one of the most enticing upcoming bands") feierten das Album. Im Juni gaben bar italia ihr Live-Debüt in den USA mit fünf ausverkauften Konzerten in New York sowie vier in Los Angeles und auch ihre Debüt-Show in Berlin war binnen kürzester Zeit ausverkauft. Über einen der New Yorker Auftritte schrieb Brooklyn Vegan: "Live spielt die Band ganz natürlich und großartig auf, mit Songs wie "Punkt", "Changer" und "Nurse!" (...), die Post-Punk der frühen 80er mit Indie-Rock der 90er und einem Hauch Trip-Hop mischen".

Introducing Elli Acula's latest pounder "BFF"! Packed with high-octane energy, vibrant contrasts, and explosive changes - this track got heavily road tested and sets dance floors ablaze. Kicking off with a hard-hitting and relentless kick drum that lays the groundwork for what's to come. As you delve deeper, you'll meet mesmerizing glitchy vocal cuts that add an ethereal dimension to it. But it doesn't end here - a nasty synth line with shuffling stabs and a captivating melody keep you hooked. The sheer contrast and dynamic shifts offer some serious shakes and a heavy dose of breakbeats in the B-part. Get your slice! Welcome to "Vape Nation" by trans-disciplinary artist Claus, a track referencing the rich heritage of big room and minimal techno. This peak time tool is based on a screaming lead melody and a subtle acid baseline, creating thrilling tension and discharge on point. The lead phrase radiates an ecstatic bitter sweetness and deploys the minimalist power of hypnosis to its full extent. "Vape Nation" seems to mediate the utopian moments of techno futures through their endless repetition - time for some contemplations on the dance floors! "Tek Tek Tek"by FJAAK is a rhythmic 4-stepper that explores dynamic beat changes and percussion-driven elements. At its core, it features a heavy, punchy kick drum that sets the tone to make a warehouse shake. The track's smacking synth line adds a unique texture, while short vocal snippets follow the song's title, creating a sense of intrigue and anticipation. "Tek Tek Tek" invites listeners to immerse themselves in its minimal & groovy world, where the rhythmic focus meets the dance floor.

Miyuki Omura's "Thats Me" EP is one serious piece of work!

A heavy dose of Industrial Hardcore Techno that sucks you in, chews you to bits, spits you out and leaves you craving for even more sonic abuse.
"That's me" is a 3 track EP filled to the rim with emotional distorted sound design heavily influenced by Miyuki's deep love for traditional Dutch industrial hardcore,
while also heavily flirting with schranz techno and UK infused breakbeat culture.
She perfectly blends the power of industrial hardcore with the grooves, textures, and functionality of "Techno" to her tracks.

"That's Me EP" by Tokyo based artist Miyuki Omura is sophisticated, diverse, creative.. But most importantly.. Hard As Nails!
An impressive PRSPCT debut by an impressive lady!

“I’m still learning how to experience joy, how to be free, how to be comfortable in my own
skin,” says Jaime Wyatt. “A lot of us grow up feeling like we have to hide who we are just
to be accepted, but that comes from a place of fear and judgment. I wrote these songs as
a way of letting go of all that, as permission to feel good.” Feel Good, Wyatt’s extraordinary
new album, is more than just a permission slip, though: it’s an invitation. Recorded with
Black Pumas’ Adrian Quesada, the record is bold and ecstatic, built on tight, intoxicating
grooves that belie the songs’ substantial emotional stakes. Wyatt’s writing is raw and
intuitive here, tapping into the deep recesses of her subconscious as she reckons with
grief and growth, and her delivery is visceral to match, cutting straight to the bone with
equal parts sensitivity and swagger. Taken as a whole, the collection stands as a radical
act of creative liberation from an artist already known for pushing limits, a genre-defying
work of healing and self-love that tips its cap to everything from Al Green and Otis
Redding to Waylon Jennings and Bobbie Gentry in its relentless pursuit of peace and
pleasure.

Bringing together Johannesburg’s two saxophone titans for a supergroup recording project was a
visionary move by Jo’Burg Records in 1976. Following the success of Makhalemele’s debut The
Peacemaker and Mankunku’s long-awaited sophomore release Alex Express, which both appeared in
1975, the bar had been set very high. Enamoured by their jazz contemporaries, the session was
concocted by members of an exciting new South African rock group called Rabbit, who formed a
backing group consisting of guitarist Trevor Rabin, bassist Ronnie Robot and drummer Neil Cloud
alongside jazz pianist Tete Mbambisa. Recorded at the state-of-the-art Satbel Music Recording
Studios, the inspired performances of this diverse cast of young South African artists at the height of
their powers was captured with exquisite fidelity. Packaged as The Bull and the Lion, the album title
references Mankunku’s signature composition “Yakhal’ Inkomo” (which means “the bellow of the
bull”) and Makhalemele’s stage name “Ratau” (meaning "lion"). The pairing of Mankunku and
Makhalemele stands with Moeketsi/Matshikisa and Pillay/Coetzee as one of the epic collaborations of
South African jazz in the 1970s.

Featuring BJ The Chicago Kid, Raheem Devaughn, Karriem Riggins, & Al Skratch, Skyzoo's latest album "All The Brilliant Things" is a masterful work of art that showcases the Brooklyn rapper's lyrical
prowess and storytelling ability. The album is a 14-track journey that delves into Skyzoo's personal life experiences, reflecting on his upbringing, love life, and the everyday struggles faced by Black people in America. "All The Brilliant Things" is a testament to Skyzoo's growth as an artist and his ability to create timeless music that resonates with listeners. His lyrics are poignant and thought-provoking, tackling themes of love, loss, and perseverance. The album is a must-listen for any hip-hop fan, showcasing the best of what the genre has to offer. The album has over 400 million impressions on Tiktok, being featured on thousands of tiktok videos across the world

Featuring BJ The Chicago Kid, Raheem Devaughn, Karriem Riggins, & Al Skratch, Skyzoo's latest album "All The Brilliant Things" is a masterful work of art that showcases the Brooklyn rapper's lyrical
prowess and storytelling ability. The album is a 14-track journey that delves into Skyzoo's personal life experiences, reflecting on his upbringing, love life, and the everyday struggles faced by Black people in America. "All The Brilliant Things" is a testament to Skyzoo's growth as an artist and his ability to create timeless music that resonates with listeners. His lyrics are poignant and thought-provoking, tackling themes of love, loss, and perseverance. The album is a must-listen for any hip-hop fan, showcasing the best of what the genre has to offer. The album has over 400 million impressions on Tiktok, being featured on thousands of tiktok videos across the world

Collignon is a three-piece band with Yves Lennertz on guitar (and bass), Gino Bombrini on drums (and percussion) and Jori Collignon on the keyboards (and taking care of the production). The three friends have been making music together for some time, collaborating in different groups and settings, Jori and Gino as part of the band SKIP&DIE, Gino as a producer for Yves’ former group, YĪN YĪN.

After a decade of touring the world, Jori settled in the quiet and dusty village of Lagoinha, Portugal, where he built a studio complete with a guesthouse, a small piece of land, and a few chickens. From here, Jori worked with a global range of artists from La Reunion, Colombia, Argentina, Mozambique, Angola, Brazil, Cape Verde, Guiné-Bissau, and beyond. All these experiences led to the creation of his first album, suitably named ‘Lagoinha’.

Shortly after its release, Gino and Jori jumped on the tourbus again, and later, Yves joined them to complete the band. They initially started developing new material live on stage, allowing for improvisation and exploration. After finalizing these new songs in the studio, the result is an explosive and high-energy mix of sounds that has surprised audiences all over Europe during the past summer.

It’s frequently been difficult for us, as a band, to limit ourselves to “normal” pop song lengths and structures….as evidenced in pretty much all of our releases to date. From time to time we feel the need to loose the ropes that bind us and let our Long & Tedious flag fly freely. Truth Or Consequences, New Mexico is the result of said untethering.

We’ve always found the idea of exploring a single note over long stretches of time interesting and this song is that idea taken to an extreme logical conclusion. It’s an exploration of the note A in all it’s possible variations.

Lyrically the song is an extravaganza of navel gazing. There’s a cliche in the literary world nowadays of authors writing novels about the trials, tribulations and rewards of writing a novel. Truth Or Consequences, New Mexico is just as sickeningly self-referential, exploring the obsessive urge to create art of all kinds and how it turns into a cycle of imbibing real life experiences, then spitting them back out in whatever artistic discipline you happen to find yourself practicing. A kind of snake eating it’s own tail….but with the kind of self pitying pretentiousness that only folks who think they’re very clever indeed (that’s us) would want to impose on themselves.

Cher celebrates 25 years of "Believe" : On November 3, the Grammy Award-winning masterpiece will be released in a new, expanded " BELIEVE (Deluxe Edition) " that adds a whopping 13 remastered remixes to the mega-seller's original track listing (11 million worldwide!). The deluxe edition will be released in 3LP/2CD/Download & stream formats via Warner Records. "Believe" was an album full of dancefloor perennials - a fact that the assembled remixes in the new mastering underline once again.

"Tee's Radio One Instrumental? & "Ray Roc's Latin Soul Instrumental" from "Dov'e l'Amore?" are included here in one package for the first time, for example, along with remixes of the empowerment anthem "Strong Enough," "All or Nothing," "Dov'è l'amore" and the title track "Believe," a worldwide smash hit that sold over 10 million copies and reached #1 in 23 countries, including Germany, where it now has 5x gold status.

Cher is one of the most successful artists in history, selling over 100 million records during her unparalleled career. To date, she is the only artist:in to record a #1 single on the Billboard charts in six consecutive decades.

The latest album release by acclaimed Norwegian band Erlend Apneseth Trio is made in collaboration with renowned experimental composer and vocalist Maja Ratkje. Their impromptu concert together in 2022 was a glorious kick-off for a five-day festival and was luckily put on tape. After reworking and reimagining the recorded material with their steady collaborator Jorgen Træen, the result is a refreshing take on improvisations-turned-compositions. Featuring innovative soundscapes with archival material and an engaging transitory state. Listening to the album is akin to being on a voyage of discovery, in and out of the dream state. From the very beginning, the listener is met by ancient voices on tape, surrounded by distorted and dispersed sounds. Like stars on a moonless night, the sounds fall in and out of perceptibility, most twinkling, some falling. You suddenly wake up on a speeding train. As it enters a tunnel, ghostly voices sing a lullaby. The music gradually unfolds from mesmerizing melancholia to a ritualistic blowout. The music always takes the route of the unexpected and reaches momentums which shows why this is one of Norway's most unique constellations. Orbiting sounds gather around and assemble themselves into scenes, forming uncanny rooms collectively dreamed up by the artists. The album's first track Tre Vegar follows an enthralling pathway layered with field recordings and intensified by noise, suddenly plunging into a delightful stream of chords fleeting in mid-air. The variety of sounds that make up this glorious and aptly named 'Collage' is astounding. Elemental sounds range from the howling wind and soft-bright ringing of sheep-bells to the timeless trickling of a small stream of water. Strings of many timbres soar over animated croaks and quacks, assembling into a swampy symphony. The well-balanced diversity of acoustic and electric sounds has become the band's trademark. It is ever-present, complementing and creating new improvisatory trails to follow. Erlend Apneseth: Hardanger fiddle Stephan Meidell: baritone acoustic guitar, live sampling, modular synth Oyvind Hegg-Lunde: acoustic & electronic drums, percussion, timpani Maja S. K. Ratkje: voice, electronics

If there’s anything that defines SUDS, it’s friendship. Meeting through their love of the DIY scene currently emerging in Norwich, the band quickly found themselves gravitating towards writing songs together, and by Autumn 2021, Jack Ames (drums/vocals) joined Maisie Cater (vocals/guitar) and Dan Godfrey (guitar/vocals) to form a line-up that felt inherently natural. Stepping in on bass duties came Harry Mitchell, and things seemed to click instantaneously. Driven to keep the spark going they all upped sticks from their far flung edges of the county, pooled together to get a touring van and set to work. Just like their 2022 debut EP, In The Undergrowth, SUDS ventured down to Kent to record with producer Ian Sadler (Roam, Anavae), ready to explore the next chapter of their story. Step forth debut album The Great Overgrowth, a record brimming with addictive melodies and gorgeous moments of optimism. Their evocative and sometimes literary approach to lyrics takes inspiration from midwest emo and the 1960s Greenwich Village folk scene - Cater and Ames would regularly distract themselves while writing, gazing between the pages of books by Woody Guthrie, Allen Ginsberg, Bob Dylan and Brontez Purnell - which appears across their songwriting and would quickly become the foundation for their sound. Finding a delicate balance of sensitive lyricism dripping in warmth and killer guitar hooks, The Great Overgrowth follows on from the EP, telling the next part of the tale, as a tight knit group of twenty-something year old friends struggling and floating through life, to becoming more confident in their everyday lives and friendships while embracing change. The band are already off to a flying start, conquering sets at 2000 Trees Festival, The Great Escape and Truck Festival, as well as sold out shows with Spanish Love Songs, Pool Kids and Martha. Their talent for achingly intelligent, relatable lyricism and a heft for devil-may-care creative output already puts them heads above the rest. SUDS might be fresh faced but have the maturity and drive to become one of the most exciting emerging artists of 2023.

»What is Dance?« contains two pieces originally conceived in 2017 for a performance/sound installation of the same name at Meinblau Projektraum (Berlin), as part of the series singuhr_projekte. Drawing inspiration from the works of American sound artist Joe Jones and his »Music Machines«, Robert Lippok (Ornament und Verbrechen, To Rococo Rot) arranged various sound objects (pieces of wood, cymbals, rotating plastic film), that were played mechanically. The sound piece—designed for a 4-channel system and condensed into a loop, that clocked in at around 20 minute—is his interpretation of three dances from the opera »The Fairy Queen« by Baroque composer Henry Purcell.

From this source material, Robert Lippok has now extracted and rearranged two pieces for »What is Dance?.« The result is music of its own right: Dense, but permeable drones are central, but complemented by harmoniously matching and gently pulsating sounds.

The GRAMMY® Award-winning band, Blues Traveler, is back with their fifteenth full-length album, Traveler’s Soul Round Hill Records/Black Hill Records. This album, similar to Traveler Blues, a blues covers album that earned the band a GRAMMY nomination, is a covers album paying tribute to R&B and soul classics with featured artists such as Pat Monahan from Train, Valerie June, Alisan Porter, Daisha McBride, and many more. The first single, “Fool For You” will be released along with the album announce and preorder launch on Friday, July 28th. “Fool For You,” originally popularized by The Impressions back in 1968, has a wailing harmonica that gives way to an understated guitar riff and a heavenly piano melody. This ebb-and-flow underlines a smoldering vocal performance from John backed by a rapturous choir.