quête:eg

Reissue for John Joseph’s own all-star group 2017 debut album

At its purest, there is little that can match the visceral thrill and empowering spirit of hardcore. As front-man of New York City hardcore kings Cro-Mags, this is something John Joseph knows very well, and with Up In Arms, he and his Bloodclot compatriots deliver a furious collection that hits hard on every level. "In this band we're doing what each of us have always done: give it our all," he states plainly. "We work hard, and we have a lot to say. Look around the planet - people are fed up with the corrupt ruling class. They destroy the planet and kill millions for profit, and the formula for our response is simple: Anger + applied knowledge = results. Don't just bitch. Change it."

The results reflect the roots and passions of the individual members. Danzig/Murphy's Law guitarist Todd Youth was the first piece of the puzzle. "We've always talked about doing this record together, Todd had songs written and I had notebooks full of lyrics. In late September 2015, I went out to LA to do a triathlon and injured my calf muscle, so I couldn't race, and Todd said he could get some studio time. So, we went in and cut the demo. While there are things we may perceive as a negative in our lives, in fact the universe has a bigger plan, and that experience ultimately resulted in the record." Having been friends with Queens Of The Stone Age and Danzig powerhouse drummer Joey Castillo for three decades, the two musicians had long admired each other's work, and their collaboration has been a long time coming. Following Castillo's suggestion of bringing in Nick Oliveri (Queens Of The Stone Age/The Dwarves) to handle bass duties, the lineup was complete. The songs that comprise Up In Arms manifested after the quartet plugged in and let the music speak for them. "We didn't decide to try to play anything, these are the songs that happened when we started jamming, and I love this band because there are no egos involved. Our goal is to make the best music possible, period. I love it when those guys contribute with melodies, etc., and I've even helped with some of the arrangements. Because we all think alike, our lyrics deal with the issues of the day, and that makes for better songs."

Every track on Up In Arms lives up to the rallying cry of the album's title - the bursts of high energy hardcore act as the perfect accompaniment to Joseph setting his sights on injustice and the seemingly endless flaws of the contemporary world. The breakneck thrashing of "Slow Kill Genocide" is an anthem for everyone sickened by those responsible for "killing the planet and all its inhabitants through industry and war. They're fucking maniacs and must be stopped." The suitably titled "Manic" attacks with bared fangs, Joseph making it clear that you can only push someone so far before they will react with violence - a call to arms for the disenfranchised who want tomorrow's world to be better than today's. Tracked at NRG in Los Angeles, the raw, old-school production that leaps out from the speaker comes courtesy of producer Zeuss (Hatebreed, Revocation), and the record was mixed by Kyle McAulay at NRG. From the moment the opening title track explodes to life, it's clear that everyone involved is having a blast and playing from the heart, and that this is no frills / no bullshit music at its most passionate - every song evoking mental images of utter chaos in a heaving mosh pit.

For anyone approaching the album for the first time, Joseph has only this to say: "Turn the volume way the fuck up!" And with plans to tour everywhere, Bloodclot will be getting in a lot of faces in 2017 and beyond. "We are already writing material and the next album is in the works. But, for now, all we want is to hit the stage to support 'Up in Arms', and every single night leave every ounce of ourselves up there."

Jan Hertel, so CHAOZE ONE bürgerlicher Name, ist ein gesellschaftskritischer Rapper, Autor und Theaterschauspieler aus Mannheim. In seiner ersten aktiven Phase von 2000 bis 2009 veröffentlichte er zahlreiche Alben und EPs. Die Musik war immer Vehikel für seine politische Arbeit, die im Vordergrund seines künstlerischen Schaffens steht. 2019 veröffentlichte Hertel das Buch "Spielverderber - Mein Leben zwischen Rap & Antifa", in dem er seine musikalische wie politische Sozialisation beschreibt. "Venti" von CHAOZE ONE erscheint auf dem Hamburger Label Grand Hotel van Cleef. Auf dem Album finden sich 17 Stücke in knapp 70 Minuten. Als Gäste sind u.a. Torsun Burkhardt von Egotronic, Mal Éléve, Shana Supreme sowie Autor Jan Off und zahlreiche mehr zu hören. "Venti ist die erste Hip Hop-Platte auf GHvC, und der Opener Memento Moria / Die Welt brennt der erste echte Rap-Track auf unserem Label. Aber Genres sind egal. Denn beim Hören dieses Songs - auch beim vierhundertsten Mal - fangen und Gehirne und Herzen an zu glühen. Der Song und diese Platte umfasst all das, was wir denken und fühlen, wie wir Dinge sehen und was wir fordern. Und zwar ohne Zeige-, dafür ab und an aber gern mit Mittelfinger", lässt sich das Hamburger Label zitieren.

In Zusammenarbeit mit dem britischen Entwickler-Studio Kaizen Game Works veröffentlicht das Kölner Soundtrack-Label Black Screen Records im Frühjahr 2021 Barry "Epoch" Toppings funkigen "City-Pop meets Vaporwave"-Soundtrack zu dem von der internationalen Gaming-Presse gefeierten Open World Adventure Game Paradise Killer auf Vinyl. Barrys Toppings Soundtrack erscheint auf limitiertem 180g Crystal Clear Vinyl und kommt in einem von 80er Animes & City Pop-Alben inspirierten Artwork der deutschen Designerin Mizucat. Zudem enthält das Vinyl ein gefaltetes A2 Poster und einen Download Code. Die Sounds des Paradieses. Die Musik eines kosmischen Traums. Tracks einer anderen Realität. Das Tempo eines Verbrechens, dass alle Verbrechen beendet. Der Beat von lange verlorenen außerirdischen Göttern. Die Playlist des "Investigation Freaks". Lass dich von der Musik ins Paradies führen. Fühle die glühend heiße Sonne auf deiner Haut. Rieche unerträglich heißen Beton. Genieße den süßen Geschmack von Verbrechen, begangen, auf einer tropischen Insel in einer alternativen Realität. Erinnerst du dich daran, wie wir am Strand getanzt haben? Neben den paradiesischen Straßen? Du hast mir dieses Mix-Tape auf dem Dach deines Apartments gemacht. Wir haben den Mond angestarrt. Du sagtest, du würdest den Mond töten. Ich glaubte dir nicht. Wie falsch ich doch lag.

Der in Chicago ansässige Multi-Instrumentalist JODI, aka Nick Levine* (ex-Pinegrove) ist sanft und doch sehr kraftvoll in seinem Songwriting und veröffentlicht mit "Blue Heron", das JODI selbst als "queer country" bezeichnet, - eine Reihe von intimen und bemerkenswert präsenten Momenten, die an Größen wie Jason Molina, Mount Eerie, Duster und Julie Doiron erinnern. Für Levine ist JODI eine Art Alter Ego, eine Linse, durch die es Fragen stellen, Grenzen verschieben und aus der inneren Welt heraustreten kann. Das Album fängt Levines fortwährende Suche nach Bedeutung ein; eine Suche, bei der während des Schreib- und Aufnahmeprozesses ein paar zufällige Begegnungen mit einem Vogel - einem großen blauen Reiher - JODI lehrte, den Zufall des kreativen Ausdrucks zu umarmen und sich seiner Symbolik als Metapher für das Verständnis der eigenen Arbeit und der Welt hinzugeben. Indem JODI sich ganz der Symbolik verschrieb, ließ sich Levine einen großen blauen Reiher auf den Rücken tätowieren und tauchte in einen gefrorenen Teich in Chicago ein, um den Blaureiher für immer als Cover und Titel des Albums zu verewigen. Während "Blue Heron" an den Fäden der Bedeutung kratzt und versucht, der Welt einen Sinn zu geben, ist es ein Werk, das letztlich nur in der vollständigen Hingabe an Kräfte, die größer sind als man selbst, einen Abschluss findet. Es umarmt den Zufall, die Zufälligkeit und das Schicksal mit einer erhabenen Neugierde und findet schließlich einen Sinn in der Zufälligkeit von allem.

Demon Records presents Distortion: Live, the fourth and final edition in a series of expansive vinyl box sets chronicling the solo career of legendary American musician Bob Mould.
Bob Mould’s career began in 1979 with the iconic underground punk group Hüsker Dü before forming the beloved alternative rock band Sugar and releasing numerous critically acclaimed solo albums. The final volume in the series features 8LPs of live recordings from across Mould’s solo career.
8 LPs including –
• 4 live albums – Live At The Cabaret Metro, 1989 (first time on vinyl), The Joke Is Always On Us, Sometimes, LiveDog98 (first time on vinyl), and Live At ATP 2008 (first time on vinyl)
• Each album is presented with brand new artwork designed by illustrator Simon Marchner and pressed on 140g clear vinyl
with unique splatter effects
• Bonus LP Distortion Plus: Live which features live rarities including B-sides and stand-out tracks from the Circle Of Friends concert film
• Mastered by Jeff Lipton and Maria Rice at Peerless Mastering in Boston Plus -
• A 28-page companion booklet featuring: a new and exclusive foreword by Bob Mould; an interview conducted by journalist Keith
Cameron; an exclusive testimonial from Bully’s Alicia Bognanno; rare photographs and memorabilia

Das ursprünglch 1994 veröffentlichte Album ”Some Old Bullshit” der Beastie Boys kommt nun als Reissue
und stellt mehrere ihrer frühen EPs zusammen, die in den 1980er Jahren aufgenommen wurden.
Diese Aufnahmen präsentieren einen Sound, der sich radikal vom Beastie Boys-typischen Hip-Hop-Sound
unterscheidet. Stattdessen repräsentieren diese Songs die Rolle der Band in der frühen New Yorker HardcoreSzene. Das Album enthält auch aufgenommene Teile, die ursprünglich in Noise The Show zu hören waren,
einer beliebten Hardcore-Radioshow auf WNYU in New York, die frühe Aufnahmen der Beastie Boys spielte.
Die Vinyl kommmt auf 180g schwarzem Vinyl, als 1LP.

Hillside & Matulah is a Helsinki based instrumental keys/drums duo mixing all kinds of styles and genres with their own unique minimalistic style. Risto Kumpulainen (keys) and Janne Mathlin (drums & percussion) are a known for their collaboration with several finnish blues/rock/soul-artists.

Tykopaatti, part of the finnish hiphop collective Joku Roti Mafia, has released three solo albums along with numerous collabo/band recordings. He has also released english material under one of hes alter egos; Frankly Irrational. Tykopaatti also plays drums in various groups including the finnish rocknroll/blues guitarist Jo' Buddy.

For fans of DJ Format and Ugly Duckling, this is HipHop how it should sound!

Two artists that have previously released works on Past Inside the Present come together for this anonymous split album. With this record we want listeners to go in blind, without ego or expectation, with the sole focus on what truly matters: the music. The artists will remain anonymous until the vinyl sells out and then we will reveal all.

Binding a deep social and political conscious with rigorous musical experimentation, the Brussels based, Italian pianist, performer, composer, Giovanni Di Domenico, delivers Downtown Ethnic Music, the 4th instalment of Die Schachtel’s Decay Music series, focused on inspired contemporary experimental efforts in the ambient, ethereal, and emotively abstract music.

Over the last decade or so, Giovanni Di Domenico has carved a deep path through a diverse number of discrete fields within experimental music, working in various ensembles - Abschattungen, AufHeben, Bonjintan, Cement Shoes, Delivery Health, Going, etc. - as well as producing a discography of critically heralded solo efforts, and intimate collaborations with Jim O'Rourke, Tatsuhisa Yamamoto, Akira Sakata, Arve Henriksen, Tatsuhisa Yamamoto, Alexandra Grimal, Nate Wooley, Chris Corsano, and others.

Downtown Ethnic Music encounters Di Domenico reimagining the future of urban music, pluming the mysterious and emotive depths of self, to arrive at vision of sonorous utopia, radically divergent from those of the past. Hybridizing numerous forms of musical practice, while making a conceptual nod to Jon Hassell’s notion of the "fourth world”, as well as the cross-temporal transnationalism of Roberto Musci, Aktuala, Futuro Antico, and the Third Ear Band, Di Domenico’s vision of democracy - rendered through the creative metaphors of sound - is a true to life, bristling conflict, as open-ended as it is ordered, and as dramatic and tense as it is beautiful, playful, and refined.

A colorful tapestry of ideas, experiences, histories, and reference points, woven from a pallet of electronics, synthesis, and various acoustic sources - the intervening rhythms of drummer João Lobo, vocals by Pak Yan Lau and Patshiva CIE women choir, the horns of Ananta Roosens and Jordi Grognard etc. - across the length of Downtown Ethnic Music, the boundaries between idiom, expressive concept, collective, and individual blur, giving way to a visionary, forward-thinking rendering of electroacoustic music, that subtly reminds us of the social and political potential of art.

Seamlessly incorporating bubbling electronic abstraction, sprawling ambience and long tones, throbbing kosmische, acoustic free improvisation, and the human voice, Giovanni Di Domenico’s Downtown Ethnic Music represents a high-water mark in an already astounding career. Issued by Die Schachtel in a one-time edition of 250 copies, pressed to 180g marble vinyl and housed in a pro-printed inner sleeve and jacket, contained in a silk-screen PVC sleeve.

Das Chaos beschäftigt uns seit jeher - als Spezies und als Individuum. Vor ziemlich genau zweitausendsiebenhundert Jahren schrieb der griechische Oldschooler Hesiod: "Wahrlich, zuerst entstand das Chaos und später die Erde …", ein Kollege berichtigte, das Chaos werde nicht geboren, sondern sei ursächlich. Aber wie verhalten wir uns diesen Erkenntnissen gegenüber? Gute Frage.

Mit der neuen 10" von Nepumuk werdet ihr dem Chaos nicht Frau oder Herr, aber das wird euch egal sein. Denn auf zwölf Tracks in 27 Minuten gibt der Nepumuk klar zu verstehen, dass das Chaos in Ordnung ist. Nicht weil es geil oder wünschenswert wäre, sondern weil es die existenzielle Grundlage jeder Punchline ist. Die sitzen, bringen Perspektive ins Chaos - setzen es in Bezug zur herrschenden Realität, bis klar wird, dass Chaos und Lebensrealität ein und dasselbe sind: Leider doch nicht in Ordnung.

Aye Aye Mi Mi’ is the second single from Mano Le Tough’s new album, ‘At The Moment’ which is coming soon on Pampa Records; . The single really highlights the vocal & instrumental skills of the Irish producer, resulting in an indie dance ear-worm that’s hard to shake.

“It’s the only tune on the record that survived from my original batch of demos and sketches” says Mano. “It’s a kind of reflection on narcissism, social media saturation and the ego”.

In October last year Pete Josef's second album ëI Rise With The Birdsû came out. Now Sonar Kollektiv has decided to release four remixes of three different songs off the fantastic album. First of all there is the Jazzanova remix of ëGiantsû, which almost completely gets rid of the vocals, but all the more absorbs the zeitgeist - a remix probably working perfectly for a group of battling breakdancers. The program continues with a remix by Pete Josef himself. The Englishman strips down ëThis Sunû to its basic structure, then simply building a modern Salsa track out of it. Which brings us to the remix by Friend Within. The Liverpool producer and Pete Josef have been friends for many years, dating back to a 2013 collaboration (ëThe Workû) that made it onto Disclosure's Mixmag mix CD. ëMainframeû sounds super fresh after Friend Within's rework and seems like the party banger we've been looking forward to for months! But what Feiertag finally takes the liberty of doing with his remix of ëGiantsû is beyond imagination. Far away from the original Feiertag's interpretation moves in dark downtempo realms - dubby and spheric at the same time. In short: Each of the four remixes is a small masterpiece on its own.

Omar Khorshid (9-Oct-1945 – 29-May-1981) is an Egyptian musician, composer, accompanist, and actor.

Born in Cairo, Omar Khorshid was a well-known guitarist who accompanied many Arabic singers, including Farid Al Atrach, Oum Koulsoum, Mohammed Abdel Wahab, and Abdel Halim Hafez.

From 1973 to 1977, Khorshid moved to Lebanon and began recording albums under his own name, working with sound engineer Nabil Moumtaz at Polysound Studios in Beirut.

Khorshid's musicality in orchestra performances, original songs, and film scores was considered revolutionary at the time in the Middle East. His extensive theoretical knowledge, fusion of Western sounds with Eastern sounds, and incorporation of different, more modern instruments (e.g. the electric guitar, electric keyboard, and synthesizer) in Arabic music was previously unheard of.

Khorshid's unique style sparked inspiration from many aspiring musicians not only in the Middle East, but in Europe and the Americas as well. His mixing of "modern" instruments with older Arabic tunes spawned a new, more modern sound of Arabic music that many use for belly-dancing today.

Everaldo Marcial aka Évé, born in 1951 and raised in Sao Paulo, fled the Brasilian dictatorship in 1974 to settle in France. Canto Aberto, originally released on the Free Lance label in 1979, is his one and only sought-after recording, made before he moved to the US in the early 80s and decided to quit music.
Recorded with Parisian musicians, noteworthy fellow expatriate Manduka on one song and the AfricanAmerican saxophonist Bruce Tobe Grant as musical director, the music of Évé will please fans of Egberto Gismonti, Nana Vasconselos, Milton Nascimento, Edu Lobo...
This first vinyl reissue is remastered from the original master tapes by Frank Merritt at The Carvery.

Over the past decade, Egyptian-born, Barcelona-based DJ and techno producer Raxon, known to friends and family as Ahmed Raxon, has popped out a steady stream of twelve-inch singles, precision-tooled, for labels like Cocoon, Drumcode, Diynamic, Truesoul, and Ellum Audio. An alumni of Kompakt’s Speicher series – check the insistent, vibrating pulses of “The Ancient” and “Dark Light” on 2019’s Speicher 107 – with Sound Of Mind, Raxon has produced a long-awaited debut album that’s ready and aching both for the dancefloor and the boudoir, traversing the heat of the club and the warmth of the home.

“The idea of an album has always floated around in my head for the past few years,” Raxon confirms, “but it was never the right moment in my mind.” Instead, he’s been insistently pursuing his vision of deep, elegant techno, taking him from early DJ gigs in Dubai, including the legendary audio tonic night, then relocating to Europe on the recommendation of Herman Cattaneo, all the while allowing his experiences to inform and transmute his producer’s thumbprint. He’s an architect by training (though he gave architecture up for electronic music), which might explain why Raxon productions are so sturdy and well-designed; but remember also that architecture is a field filled with brave experimentation, something Raxon definitely draws on throughout Sound Of Mind.

Like many albums from the past twelve months, Raxon’s debut developed partly thanks to the unique social situation the planet has found itself caught within. “In the beginning of 2020 I started working on a few tracks with the album in mind,” he recalls, “with no idea of what’s to come in the next few months. As catastrophic as the situation was/is, I found myself in the studio; in a way the lockdown gave me that creative freedom in the studio, to try to tell my story through sound.” And indeed, there is something in the way of ‘life writing’ about Sound Of Mind, particularly in the way Raxon’s productions pay subtle homage, perhaps, to his formative listening experiences in the late nineties.

It’s no retro trip, but there’s plenty of variety here, and a few moments that’ll tickle the collective memory – see the prowling pulsations of the opening “Majestic”, the alien breakbeat action of “Vice” and “Journey Mode”, where the interstellar tones feel like Foul Play or Steve Gurley, the leaking gas and woozy keys that make “Droid Solo” so subtly destabilising, or the strobelight drones that sputter and flare throughout “El Multiverse”, where dappled organ tones fight it out with interdimensional transmissions, all sucked into the vortex of a late-night techno mantra. Beautifully sculpted, Sound Of Mind feels consummate, an elegant set that pulls Raxon’s vision into its sharpest focus. Alive with possibilities, it’s a fever dream of creativity.

In den letzten zehn Jahren hat der in Ägypten geborene und in Barcelona lebende DJ und Techno-Produzent Raxon, der Freunden und Familie auch als Ahmed Raxon bekannt ist, eine ganze Reihe von 12inch-Singles auf Labels wie Cocoon, Drumcode, Diynamic, Truesoul und Ellum Audio veröffentlicht. Wir kennen Raxon außerdem durch seinen Beitrag zur Kompakt Extra/Speicher-Reihe – man höre sich nur mal "The Ancient" und "Dark Light" auf dem 2019 erschienenen Speicher 107 an. Nun hat Raxon mit “Sound Of Mind“ sein lang erwartetes Debütalbum produziert, das sowohl für den Dancefloor als auch für die eigenen vier Wände geeignet ist und dabei sowohl die Hitze des Clubs als auch die Wärme des eigenen Zuhauses durchmisst.

"Die Idee eines Albums schwebte in den letzten Jahren immer in meinem Kopf herum", bestätigt Raxon, "aber es gab nie den richtige Moment." Stattdessen verfolgte er leidenschaftlich seine Vision von tiefem, elegantem Techno, die ihn von frühen DJ-Gigs in Dubai, einschließlich der legendären Audio-Tonic-Nacht, dann auf Empfehlung von Hernan Cattaneo nach Europa führte. Im Laufe dieser Zeit sammelte er unzählige Erfahrungen, die es ihm erlaubten, seinen Stil als Produzent mehr und mehr zu transformieren. Raxon ist gelernter Architekt (obwohl er die Architektur für die elektronische Musik aufgegeben hat), was vielleicht erklärt, warum seine Produktionen so robust und gut durchdacht sind; aber man sollte auch nicht vergessen, dass Architektur bestenfalls immer ein Feld mutiger Experimente ist, etwas, worauf Raxon in “Sound Of Mind“ definitiv zurückgreift.

Wie viele andere Alben der letzten zwölf Monate auch wurde Raxon’s Debüt von der einzigartigen gesellschaftlichen Situation, in der sich der Planet momentan befindet, beeinflusst. "Anfang 2020 habe ich angefangen, an ein paar Tracks für das Album zu arbeiten", erinnert er sich, "ohne zu wissen, was in den nächsten Monaten auf uns zukommen würde. So katastrophal die Situation auch war/ist, ich fand mich im Studio wieder; in gewisser Weise gab mir der Lockdown auch eine kreative Freiheit im Studio, um zu versuchen, eine Geschichte durch meinen Sound zu erzählen." Und in der Tat gibt es auf “Sound Of Mind“ so etwas wie eine "Lebensgeschichte", besonders in der Art und Weise, wie Raxon’s Produktionen eine subtile Hommage an seine prägenden musikalischen Erfahrungen in den späten Neunzigern darstellen.

Es ist fürwahr kein Retro-Trip, aber es gibt hier viel Abwechslung und ein paar Momente, die das kollektive Gedächtnis kitzeln werden - zum Beispiel der sich langsam heran pirschende Pulsschlag im Eröffnungstrack "Majestic", oder die außerirdischen Breakbeats von "Vice" und "Journey Mode", in denen sich die interstellaren Sounds ein wenig wie Foul Play oder Steve Gurley anfühlen. Dann das ausströmende Gas und die wummernden Tasten, die "Droid Solo" subtil destabilisieren, oder die Strobo-Drones, die in "El Multiverse" herum sprudeln und flackern, wo einzelne Töne einer Orgel mit interdimensionalen Transmittern um die Wette strahlen und schließlich in den Strudel eines nächtlichen Techno-Mantras gesogen werden. “Sound Of Mind“ fühlt sich formvollendet an, wie ein elegantes Set, das Raxon’s Vision verstärkt in den Fokus rückt. Ein Fiebertraum voller Kreativität und Möglichkeiten.

Tape

It might be easy to assume that the distinctly focused compositional voice unveiled on Rose Bolton's The Lost Clock is the product of its creator's rigorous, almost hermetic dedication to her own particular aesthetic universe. A quick survey of Bolton's artistic career, however, reveals that her carefully sculpted approach to abstract electronica has been forged through a longstanding engagement with a wide range of intertwining creative activities.

This album—coming out on Important Records' cassette imprint, Cassauna—demonstrates both the Toronto-based composer's unique mastery of colour and her gift for breathing a tactile, organic quality into synthetic landscapes. Bolton's distinctive sensibility is akin to that of a painter—every hue has been carefully mixed so as to imbue its accompanying gesture with its own life and personality. This tangible dimensionality her electronic work assumes, however, can be traced back to the work Bolton has been doing since the 1990's. She has produced a large and varied catalogue of work that includes pieces for solo performers, chamber ensembles, orchestra, electronics, voice, and to accompany installations and films. A number of her works reside in several of these zones simultaneously, such as Song of Extinction, an ambitious collaboration between herself, filmmaker Marc de Guerre, poet Don McKay, and multiple live ensembles, that was mounted in an abandoned power station for Toronto's Luminato Festival.

This quasi-instrumental vitality isn't the only feature of The Lost Clock that reflects Bolton's diverse artistic practice. It can also be heard within the structural realm. Each of the collection's four tracks trace a patient unfolding and favour a certain roundness of timbre, even as finer details begin to fidget along the perimeter of the music. As with her writing for the concert hall, Bolton doesn't shy away from the evocative here, yet she doesn't pursue this poignancy through conventional, direct or quasi-narrative means. Her compositions lead the listener gradually through their impressionistic sonic scenery, but neither the path they take nor their ultimate destination are at all predictable. The ostensible gentleness each piece exudes dissolves as dissonances slowly insinuate themselves, obscure textures writhe just out of earshot, percussive lattice work materializes, or as the overall blend begins to exert a heavier weight. Her lucid-dream vision of form functions in tandem with her acute micro-level attentiveness to engender a vivid and elusive soundworld that resists classification.

Over more than two decades Rose Bolton has been garnering acclaim and enthusiasm from audiences and major collaborators alike. Last year, her brooding string quartet The Coming Of Sobs was nominated for Classical Composition of the Year at the JUNO Awards, following earlier accolades such as SOCAN Awards for Young Composers, and the Canadian Music Centre's Norman Burgess Fund. Her music has been commissioned by the likes of the CBC, stalwart experimental music festival the Sound Symposium, as well as key interpreters and ensembles such as percussionist David Schotzko, accordionist Joseph Petric the Esprit Orchestra, Continuum, Arraymusic, the Kitchener-Waterloo Symphony, and guitar quartet Instruments of Happiness (led by Tim Brady). Together with Marc de Guerre, she produced an 8-speaker sound and video installation for Toronto's Nuit Blanche Festival. She's also been featured by the likes of revered pianist Eve Egoyan, The Vancouver Symphony, L'ensemble contemporain de Montréal, The Music Gallery, and AKOUSMA, while appearing in concert alongside the likes of Jerusalem in My Heart (Constellation Records), Tanya Tagaq, and Francis Dhomont. Bolton is also a respected film composer, notably contributing music to the highly regarded documentary Anthropocene: The Human Epoch (co-directed by Jennifer Baichwal, Nicholas de Pencier and Edward Burtynsky).

As a performer, she variously employs electronics, violin, and viola. Parallel to her engagement with exploratory approaches, she's invested in the fiddle traditions of the British Isles, and various Canadian regions. She teaches this repertoire at the Royal Conservatory of Music. Bolton has also performed with Rhys Chatham, Owen Pallett, opened for Charlemagne Palestine, and appears on recordings by the likes of Chatham and Aidan Baker. In 1999 she joined the Canadian Electronic Ensemble, whose fifty-years together make them the world's longest-running live-electronic music group. In February 2020, the CEE held a residency and provided guest lectures at Carnegie Mellon University's music department. Bolton has also led workshops at the Banff Centre, also founded the SOCAN/ Moog Audio-sponsored program EQ: Women in Electronic Music, which worked to foster community and mentorship among (trans/cis) women and non-binary individuals.

Strut present the definitive edition of Sun Ra's classic 'Lanquidity' album from 1978 with brand new 4LP box set and 2CD editions. Recorded overnight at Bob Bank's Blank Tapes on 17th July 1978 after the Arkestra had appeared on Saturday Night Live, the album is unique in the Ra catalogue. "Most critics felt that it was more of a fusion-inspired record," explains Michael Ray."As the name suggests, the album is liquid and languid." Bob Blank continues,"Musically, it was very ad hoc and freeform. There were horn charts but most trackscame out of improvised jams. Sun Ra just did his thing." Comprising five effortlessly fluid pieces, the album eases in with Lanquidity. Danny Ray Thompson remembers, "This was one of Sun Ra's on-the-spot compositions. It is almost like an Ancient Egyptian Stargazing Ceremony, mapping out the stars and the planets." Where Pathways Meet is "Sun Ra's funky version of an Egyptianmarch. Pharaoh is sending his troops off to fight and this is his pep-talk!" continues Thompson. "The music seems to take different pathways but still converges." The loping groove of That's How I Feel, features the reflective trumpet lines of Eddie Galewith solos by John Gilmore and Marshall Allen: "Marshall comes in with that snake charming oboe." Says Thompson. The funky Twin Stars Of Thence weaves around Richard Williams celebrated elastic bassline while the haunting closer, There Are Other Worlds (They Have Not Told You Of), is pure "space music." The poet Mama Nzinga described it as 'The essence of light. Spirit takes a ride inside the deep darkspace of just being."

Repress

Baris K and Jonny Rock don their incognito aliases for the second Disco Hamam release. Straight up ottoman disco business strictly from the vaults. Killer artwork, killer music. ( Baris Manco, Timur Selcuk, Istanbul Calgicilari etc)

Extended Instrumental tracks from the nocturnal studio session of director and musician Jim Jarmusch, Sonic Youth's Lee Ranaldo, Balázs Pándi (Keiji Haino, Venetian Snares, Merzbow) and producer Marc Urselli (John Zorn, Mike Patton, Laurie Anderson a.o). All was recorded live and analog, and in the moment. Mixed, mastered, recorded and produced by Marc Urselli at EastSide Sound Studios, NYC, 2019. Artwork by Italian artist Sara D'Uva.

press quotes from the debut album (TR181)

Lee Ranaldo/Jim Jarmusch/ Marc Urselli/ Balázs Pándi is an egoless collection of ideas from four musicians who sound like they've been working together for an eternity - Daniel Sylvester, Exclaim! 2019
-
It’s exactly this unpredictability that makes the quartet’s evocative sounds thoroughly captivating - Poscic, The Quietus
-
A magical, hypnotic and somehow frightening album – Jazzthing 2019

A musical omnibus, ‘The Best of Lily Konigsberg Right Now’ is the
first widely distributed Lily Konigsberg physical release, as well as
the first vinyl treatment for EPs ‘Good Time Now’ and ‘4 Picture
Tear’.
The collection loosely parallels the melancholic narrative behind
the latter, where a mental break triggered Konigsberg’s
depersonalized sense of her past self. Of the ‘4 Picture Tear’ EP
Konigsberg says, “I would look at this photo booth picture I took
with Matt Norman and cry because I thought I was looking at the
person I used to be in that picture and that that person was gone.”
In retrospect, these EPs feel like distinctive vignettes of
Konigsberg’s progression as a songwriter, each version of her
past self-tethered by an invisible thread to the present through
musical alliances and fervent introspection.
‘Owe Me’, a song Konigsberg never felt fit on any of her previous
releases, now serves as an opening curtain call. “Thank you all for
coming to my show,” Konigsberg says to an invisible audience’s
applause, “If you didn’t know, now you certainly know.” It’s a
transportive moment that combines Konigsberg’s patient steps into
the underground pop limelight with her exceptional ability to
connect with a diverse and talented cohort of creatives.
One third of egalitarian art-punk outfit Palberta, the Brooklyn-born
and-based Lily Konigsberg has occupied her time with music since
her early childhood. “Basically I was born and immediately started
wanting to be a rock star,” she says.
“Even before she became a fixture of the New York underground,
Lily Konigsberg was staking out her place in local music.” -
Pitchfork (Rising Artist, 2020)
“A crisp, catchy, and concise bit of 90s-indebted indie rock” -
Stereogum
“The freewheeling, flitting melodies underline the precision of
Konigsberg’s songwriting: She knows what she wants to say and
she is methodical about how much to reveal.” - Pitchfork
“Warm and direct but tough to grasp, untraceable” - Tiny Mix
Tapes

Bamboozle is the third album by Dutch blues rock group Livin’ Blues. Formed in The Hague in the late 1960’s, Livin’ Blues are widely considered to be one of the best blues acts from the Netherlands. Bamboozle was produced by Jaap Eggermont, who was the drummer for fellow The Hague band Golden Earring. The album contains the band’s biggest hit: “L.B. Boogie”.

Available as a limited edition of 750 individually numbered copies on white vinyl.

Valtari is Sigur Rós’ sixth studio album which was initially released in 2012 on XL Recordings. Sigur Rós started recording Valtari, described by the band as ‘an avalanche in slow motion’ in 2009 co-producing it themselves with Alex Somers in Reykjavik, Iceland. The title means ‘roller’ in English with Jónsi saying it kind of fits with the album because it's “big and slow and rolls over you slowly."
Completely out of print worldwide Valtari will now be re-released via the bands own label, Krunk released on double heavy weight vinyl (gatefold sleeve, heavyweight reverse board and gold foil blocking on front cover).

The second album from Brighton based Balearic duo Andres y Xavi. This time with a little help from Rolo McGinty of Peel faves and Balearic Beat legends The Woodentops. This is a love letter to the forgotten side of Ibiza: dusty lanes, olive groves and clearings with sea views that go on for miles.

10 original compositions plus a cover of Talk Talk’s Renee.

The self released and distributed first album found favour with Balearic DJs across the world. Lead track ‘My alibi’ was picked out by the likes of Kenneth Bager, Danny Psychmagik and ‘Never seen Ibiza’ was a firm favourite of Phat Phil Cooper and Balearic Ultras.

Rolo adds guitar and vocals and a Woodentops vibe to two tracks on the album ‘What do you see in me?’ and ‘Walking in the sun’, his personal tribute to Jose Padilla.

First album received support from Kenneth Bager (Music for Dreams), Phat Phil Cooper (NuNorthernSoul), Chris Coco, Mike Salta, Leo Mas, Balearic Ultras, David Pickering (OneMillionSunsets) and many more!

And was described by Dr Rob (Ban Ban Ton Ton) as "Smokey Muscle Shoals organ plays, strings swoon, and Kosmische synths blink like distant stars... an overall “vibe” somewhere between Mo`Wax and the Sunday Best of Bent and Dan Mass... adorned by cascading Indie “neo-acoustic” guitar jangle. Like The Stone Roses by way of Horsebeach."

During the 70′s the Italian public television – RAI - used to broadcast disturbing and paranoid dramas, being the subject whether the bottom of the sea or the so-called “educational” movies. Obviously all these images needed a musical counterpart. Libraries more often. These ad hoc soundtracks were handled by shady characters, a number of composers on the border of classical avant-garde, electronic space age and even breezy Italian pop. Some of those names are pretty much familiar: Ennio Morricone, for example. Or even mythological too, as in the case of Piero Umiliani. But the brightest and maybe the most inspiring was Egisto Macchi. ESP was a four-part television series produced by Rai in 1973, directed by Daniele D'Anza, and aired from Sunday, May 27 1973 to Sunday, June 17, 1973.

Following in the footsteps of the pathbreaking Minna Miteru compilation of Japanese indie music, Morr Music and Alien Transistor have again joined forces to release The Fruit Of Errata, a compilation introducing the world to the intimate DIY pop of yumbo. Led by songwriter, pianist, and occasional vocalist Koji Shibuya, the Japanese band has released four albums since forming in 1998. This compilation draws fifteen songs (eighteen on vinyl) from those albums, and some ancillary releases, to uncover a biographical narrative of yumbo, showing how Shibuya’s songwriting, and the group’s limber, sensitive playing, has developed over the decades. It also places them squarely within a tradition of home-spun but ambitious Japanese pop that takes in Maher Shalal Hash Baz, Tenniscoats, Nagisa Ni Te, Yuzo Iwata, Kazumi Nikaido and more.

yumbo is very much the vision of Shibuya, an amiable iconoclast whose songs seem informed by some of his early listening – there’s the playful seriousness of Maher Shalal Hash Baz’s Tori Kudo here, an avowed long-time hero for Shibuya, but also the flexibility of freely improvised music. You can also hear Shibuya’s fondness for Mayo Thompson and The Red Crayola in both the idiosyncracies of the writing and the egalitarian looseness of the playing. Shibuya also carries those energies into the group’s membership – there are fantastic stories of him having a conversation at a record shop, or overhearing someone speaking, and asking the person in question to join yumbo as one of their various singers. He seems open to chance as a driving force, as a way to make space for unexpected possibilities to blossom.

The great achievement of yumbo and Shibuya, though, is translating all of this into beautiful, unpredictable pop songs. There’s a gorgeous soul-inflected lilt to “A House” that makes it delightfully affecting; the swaying brass on “Storm” propels its melody to a moody, dreamlike conclusion; the nakedness of “The Sweetest Mass” is slightly reminiscent of Carla Bley’s more pop-focused writing, crossed with the classicism of the songs that spilled from the Brill Building in the ‘60s. Throughout, Shibuya renders pop a deeply personal experience; you can hear musings here on friendship, family, intimacy, the complexity of relationships, mortality, and imbalances of power. These musings are also shadowed by real-life events: the effects and impact of the Great East Japan Earthquake of 2011 are captured in songs like “Umbrella People” from Onibi.

Throughout the performances on The Fruit Of Errata, Shibuya and the group play with tenderness; they also often draw on other players to flesh out the music even further, two such guests being the aforementioned Tori Kudo (on “Umbrella People”) and Olympia, Washington’s LAKE (on “The Devil Song”). Community-minded and generous in approach, the writing of Shibuya and the music of yumbo is never less than lovely, and The Fruit Of Errata is a welcome introduction to their world. Open and gentle, confident and generous, these pop songs are filled with charm and spirit.

Folk-minimalists announce vinyl issue for breakthrough album, Animalia.

"The semi-classical drums/sax/piano trio Mammal Hands mutate into a high-volume rave act" The Guardian

Captivating, ethereal and majestic, Mammal Hands (saxophonist Jordan Smart, pianist Nick Smart and drummer and percussionist Jesse Barrett) has carved out a refreshingly original sound from adisparatearray of influences: drawing on spiritual jazz, north Indian, folk and classical music to create something inimitably their own.

Hailing from Norwich, one of Britain's most isolated and most easterly cities, they have forged their own path away from the musical mainstream and their unique sound grew out of long improvised rehearsals. All three members contribute equally to the writing process: one that favours the creation of a powerful group dynamic over individual solos. Their recordsare entrancing and beautiful affairs,while their hypnotic live shows have seen them hailed as one of the most exciting bands in Europe as they push their unique line-up to the outer limits of its possibilities.

Over the course of three albums, Animalia, Floa and Shadow Work they have built a committed following and established themselves as one of the finest live bands in Europe. But while Floa and Shadow Work were both issued on vinyl this is the first time that Animalia has been committed to wax.

Produced by Matthew Halsall and recorded at 80 Hertz Studio, in Manchester, and engineered by George Atkins, Animalia features the band breakthrough hits Mansions of Million Years, a slow building tune that takes it's name from Egyptian mythology and draws the listener into the band's distinctive sound world. And the gorgeous hooky Kandaiki which makes stunning use of looped melodies in different time signatures, creating a wonderful interplay between the parts.

Other highlights include Snow Bough a short, melancholic, but moving, ambient composition, the Irish folk music inspired Spinning the Wheel, which also features drum beats inspired by chopped up electronic drum patterns and hip hop instrumentals. The jaunty Bustle and delightful Inuit Party and Street Sweeper. Finally the album closes with Tiny Crumb, which explores melodic ideas inspired by Alice Coltrane and Joe Henderson and builds in intensity from a quiet start to a powerful collective improvisation and heavily features Jesse's Tabla.

The first new album from Les Filles de Illighadad in four years At Pioneer Works is the highly anticipated new album by the Tuareg Avant-rock group. Les Filles de Illighadad recorded the album in Brooklyn at the tail end of a two-year-long world tour. At Pioneer Works finds Les Filles at the height of their powers, creating a sound that transcends all known genres. This is a heavy and meditative set of music from one of the world's most exciting bands. "If you listen long enough, and make yourself open enough, it is possible to reach a kind of holy place while experiencing the music of the Tuareg quartet." - The New Yorker // "Les Filles de Illighadad are taking the world by storm" - The Guardian // "Les Filles de Illighadad is Revolutionizing Traditional Tuareg Music" - She Shreds

The first new album from Les Filles de Illighadad in four years At Pioneer Works is the highly anticipated new album by the Tuareg Avant-rock group. Les Filles de Illighadad recorded the album in Brooklyn at the tail end of a two-year-long world tour. At Pioneer Works finds Les Filles at the height of their powers, creating a sound that transcends all known genres. This is a heavy and meditative set of music from one of the world's most exciting bands. "If you listen long enough, and make yourself open enough, it is possible to reach a kind of holy place while experiencing the music of the Tuareg quartet." - The New Yorker // "Les Filles de Illighadad are taking the world by storm" - The Guardian // "Les Filles de Illighadad is Revolutionizing Traditional Tuareg Music" - She Shreds

Drab Majesty's first ever release was the 2012 self-released cassette tape "Unarian Dances". Originally limited to 100 copies, tracks from this tape would eventually make their way onto the Completely Careless CD collection as bonus cuts. Now, along with the "Unknown to the I" 12" also released on March 26, these songs are finally made available on vinyl in 45 RPM 12" format, bringing all early Drab Majesty material from the Careless era (2012-2015) to vinyl. Mastered by Josh Bonati with beautiful new packaging by Nathaniel Young.



Drab Majesty is the project of Deb DeMure, the androgynous alter-ego of L.A.- based musician Andrew Clinco and partner Mona D. With its combination of reverb-drenched guitars, synth bass lines, commanding vocals, and rhythmic drum machine beats, this project is a stark departure from Clinco’s previous stints as drummer in Marriages and Black Mare. Dubbed “Tragic Wave” and “Mid-Fi” by DeMure, Drab Majesty eloquently blends classic 80s New Wave and hints of early 4AD with a futuristic originality.



Atalented multi-instrumentalist, DeMure composes all of the elements of DrabMajesty. However, rather than taking personal credit for the music, DeMure insists that the inspiration for the songs is received from an other-worldly source and that Deb is merely a vessel through which outside ideas flow inward. But Drab Majesty is more than just a musical project — it’s a methodical experiment in the identity of creativity. The character Deb DeMure is an enigma that eludes all expectations of gender and ego. When DeMure’s imposing 6’ 4” figure assumes the stage, Deb’s playful, harlequin-esque appearance, tempered by an ominous body language, and clashing with the dreamy, ethereal melodies comes across as a web of contrasts. The result is a perfect balance between seemingly conflicting messages, between the high and the low, the drab and the divine.

Drab Majesty's first release for Dais Records was the "Unknown to the I" cassette in 2015, which featured the title track that would later appear on his debut album "Careless" that summer. The additional early cuts "Saturn Inc." and "Ultra Violet" have previously only been available on digital or as CD bonus tracks. Now, along with the "Unarian Dances" 12" also released on March 26, these songs are finally made available on vinyl in 45 RPM 12" format, bringing all early Drab Majesty material from the Careless era (2012-2015) to vinyl. Mastered by Josh Bonati with beautiful new packaging by Nathaniel Young.



Drab Majesty is the project of Deb DeMure, the androgynous alter-ego of L.A.-based musician Andrew Clinco and partner Mona D. With its combination of reverb-drenched guitars, synth bass lines, commanding vocals, and rhythmic drum machine beats, this project is a stark departure from Clinco’s previous stints as drummer in Marriages and Black Mare. Dubbed “Tragic Wave” and “Mid-Fi” by DeMure, Drab Majesty eloquently blends classic 80s New Wave and hints of early 4AD with a futuristic originality.



Atalented multi-instrumentalist, DeMure composes all of the elements of DrabMajesty. However, rather than taking personal credit for the music, DeMure insists that the inspiration for the songs is received from an other-worldly source and that Deb is merely a vessel through which outside ideas flow inward. But Drab Majesty is more than just a musical project — it’s a methodical experiment in the identity of creativity. The character Deb DeMure is an enigma that eludes all expectations of gender and ego. When DeMure’s imposing 6’ 4” figure assumes the stage, Deb’s playful, harlequin-esque appearance, tempered by an ominous body language, and clashing with the dreamy, ethereal melodies comes across as a web of contrasts. The result is a perfect balance between seemingly conflicting messages, between the high and the low, the drab and the divine.

Duisburg und sein Kantpark. Dreckig, kaputt, gefährlich,
düster und voller Junkies... dies hört man, wenn man über
ihn spricht. Doch der Kantpark hat auch andere Seiten, ein
Museum inklusive Skulpturengarten, einen Spielplatz,
Basket- und Boule- Platz, aber vor allem Menschen, die ihn
für ihre ganz persönliche Entspannung als grünen
Rückzugsort zu nutzen wissen. Und er hat Bias & Mettphonic,
die beide, so sehr man auch schlecht über Duisburg und
seinen Park redet, mit ihm verbunden sind. Im Herzen der
Stadt gelegen war er ihre verruchte Wohlfühloase um nach
den Produktionen in die neuen Werke zu lauschen und die
Gedanken schweifen zu lassen. Gedanken, die nur der Musik
und nicht ihrem Ego dienlich waren. So klingt die Kantpark
Chiqueria! Es sollte nicht klingen wie alles, was man mit den
Beiden verbindet und doch wie beide sind. Ehrlich,
kompromisslos, neugierig. Pattak

Extended Revelation for the Psychic Weaklings of the Western Civilization is the second album by Swedish rock band The Soundtrack Of Our Lives. Heavily influenced bands from the sixties and seventies such as The Rolling Stones and Iggy and the Stooges, the band became popular in both Europa and the United States. Their fame was partially propelled by their songs being featured on popular video game franchises such as FIFA, NHL and Gran Turismo.

The title of this album comes from the Rolling Stones Records’ release of Brian Jones Presents the Pipes of Pan at Joujouka, where the inside liner notes state that “Western Civilization has made us such Psychic Weaklings”. About 50% of the songs on the album were leftover material from the bands debut album, yet this record sounds far more dark and contains influences from psychedelic music. The album was well received and spawned one single: “Black Star”.

Hella Love, the Hardly Art debut from Marinero, is an album about closing a chapter. It’s Jess Sylvester’s grand farewell, and love letter to his hometown and the place he grew up, The San Francisco Bay Area, before relocating to Los Angeles after finishing his debut release. Using the moniker Marinero (which means “sailor” in Spanish), Jess Sylvester was drawn to this name as a means to honor his parent’s stories -- his father, a sailor, and mother, a Mexican-American who grew up in San Francisco. This record blends many worlds from beginning to end, and as you go deeper it hits harder. It’s his goodbye to The Bay. Pulling sonic influences from classic Latin American groups and international composers from the 60’s & 70’s: Los Terricolas, Ennio Morricone, Esquivel, Carole King and, Serge Gainsbourg Hella Love finds Sylvester fusing classical arrangements with a variety of different genres, evoking a sonic nostalgia blended with other contemporary artists like Chicano Batman, Connan Mockasin, and Chris Cohen. The album was written, played, and produced by Jess Sylvester with help from Bay Area engineer Jason Kick (Mild High Club’s Skiptracing) at Tunnel Vision and Santo Recording in Oakland, California. On the standout single “Nuestra Victoria,” Sylvester shares “It’s my way of talking about gentrification in SF, or specifically the Mission where my mom and family grew up. The song is about a bakery, or panaderia called La Victoria, and was a place where my mother and tias went growing up, a place I also went to that is no longer there.” It was one of the oldest Mexican-American businesses in SF and I wanted to honor it”. “Through the Fog” highlights Sylvester’s exploration of his influences from the Tropicalia movement, weaving bossa rhythms with lush percussion and orchestration. Using SF’s infamous fog as a metaphor for “tough times”, Sylvester expands that it is a dedication to his friends and family who have helped him get through substance abuse issues, heartbreak, and other painful experiences. “There are a few easter eggs in the lyrics for Bay Area folks or people who have followed my music in the past but it’s mostly about getting through something difficult with the love and support from the homies and fam.” The album’s title track, “Hella Love,” summarizes both of his parent’s stories of how they ended up in the bay. The first verse is about his father’s voyage out west as a sailor during the late ’60s while the second verse follows his mother’s experience moving to The Mission District when she was a young girl.


It’s difficult to classify or generalize about Marinero’s music or identity. To him, it’s important to let his music do the talking. “I’m Chicanx, a bay native, biracial, and I’ve luckily gotten to travel and spend time in Mexico and I feel like my personality and specific musical tastes come through on this album. More than these generalizations we often make, I’m just a human who can both fear and love, and I’m just hoping to connect with others to share optimism and experience joy and laughter, even if for a moment.” Lean your ear to the ground because Jess Sylvester has been many things and will continue to share his journey. It is clear this gifted creator has more to say.
-Luz Elena Mendoza

The Black Keys release their tenth studio album, Delta Kream, via Nonesuch Records. The record celebrates the band’s roots, featuring eleven Mississippi hill country blues standards that they have loved since they were teenagers, before they were a band, including songs by R. L. Burnside and Junior Kimbrough, among others. Dan Auerbach and Patrick Carney recorded Delta Kream at Auerbach’s Easy Eye Sound studio in Nashville; they were joined by musicians Kenny Brown and Eric Deaton, long-time members of the bands of blues legends including R. L. Burnside and Junior Kimbrough. The album takes its name from William Eggleston’s iconic Mississippi photograph that is on its cover.

Auerbach says of the album, “We made this record to honor the Mississippi hill country blues tradition that influenced us starting out. These songs are still as important to us today as they were the first day Pat and I started playing together and picked up our instruments. It was a very inspiring session with Pat and me along with Kenny Brown and Eric Deaton in a circle, playing these songs. It felt so natural.”

Carney concurs, “The session was planned only days in advance and nothing was rehearsed. We recorded the entire album in about ten hours, over two afternoons, at the end of the “Let’s Rock” tour.”

Auerbach says of Delta Kream’s first single ‘Crawling Kingsnake’: “I first heard John Lee Hooker’s version in high school. My uncle Tim would have given me that record. But our version is definitely Junior Kimbrough’s take on it. It’s almost a disco riff!” Carney adds, "We fell into this drum intro; it's kind of accidental. The ultimate goal was to highlight the interplay between the guitars. My role with Eric was to create a deeper groove."

The music from northern Mississippi, which came to life in juke joints, has long left an imprint on the band’s music, from their cover of R.L. Burnide’s ‘Busted’ and Junior Kimbrough’s ‘Do The Romp’ on their debut album, The Big Come Up; to their subsequent signing to Fat Possum Records, home to many of their musical heroes; and to their EP of Junior Kimbrough covers, Chulahoma.

Formed in Akron, Ohio in 2001, The Black Keys, who have been called ‘rock royalty’ by the Associated Press and ‘one of the best rock ‘n’ roll bands on the planet’ by Uncut, are guitarist/singer Dan Auerbach and drummer Patrick Carney. Cutting their teeth playing small clubs, the band have gone on to sell out arena tours and have released nine previous studio albums: their debut The Big Come Up (2002), followed by Thickfreakness (2003) and Rubber Factory (2004), along with their releases on Nonesuch Records, Magic Potion (2006), Attack & Release (2008), Brothers (2010), El Camino (2011), Turn Blue (2014) and, most recently, “Let’s Rock” (2019), plus and a tenth anniversary edition of Brothers (2020). The band has won six Grammy Awards and a BRIT and headlined festivals in North America, South America, Mexico, Australia, and Europe.

Delving into the recent past in order to revisit forward-thinking projects that, owing to the social, musical or outright political climate, struggled to find an audience, Lost Futures returns with a record from Cairo based project, PanSTARRS. An assured and intriguing blend of post-punk and electronics, 'Ghaby Ghaby Ghaby' is the confident and personal work of Youssef Abouzeid, a fixture within Egypt's unique underground music scene.

"At the time, I was actively occupied by arguments on the fusion of culture in creative context, specifically between western and arabic elements." recalls PanSTARRS founder, Youssef Abouzeid. "The goal was to find a point of natural expression within Arabic songwriting that meets electronic guitar music, and put out something seriously inspired by both and easy on my ear."

By far the heaviest release from the PanSTARRS project at the time, 'Ghaby Ghaby Ghaby' immediately establishes a superior sense of rhythm. 'Khally Balak Hatmoot' practises instant hypnosis, Abouzeid's earnest vocals beckoning outsiders forward over a layer of feedback occupied by a ghostly shift, one which breaks to release a crescendo of post-punk guitar. This sense of subtle drama continues on 'Men Gheir Wa7da', demonstrating a skill for songwriting that recalls the uncompromising approach of The Birthday Party or Lydia Lunch.

'Tortit Naml' is driven by skittish, rapid-fire drums and tense guitars, either subverting or confirming it's subtly anthemic status with a dramatic explosion of feedback. 'Sala Ya Khaifa' brings respite, a mellow and earnest slow-burner, the bubbling spoils of the PanSTARRS studio providing a wistful texture drenched in reverb. Finally, '70mar 3ala 7osan' sees Abouzeid give his voice over to those same machines, burying his barbed perspective in contrary analogue bliss.

Half a decade later, Abouzeid's optimism and experimentation are certain to resonate on a scale beyond that of Cairo's defiant underground music scene.

"Working on everything myself, I enjoyed total creative freedom and kept an organic flow of dirt and error, which was key on this record", recalls Abouzeid. "Sometimes vocals were recorded as lyrics came spontaneously, sometimes written on paper and then recorded on first takes, but I always prioritized the moment while keeping the perspective in check."

Red Vinyl

The unmissable, head-twisting debut LP by Cairo’s 1127 returns on red vinyl pressing for those who missed its shockwaves for the first time back in summer 2019, Huge recommendation if you’re into Autechre, Arca, Croww w, Rabit...
Getting right under the skin with its hugely variegated palette of brutalist, rhythmic power electronics and evocative location recordings, ‘Tqaseem Mqamat El Haram 2016-2019’ resembles something like a soundtrack to a Neil Blomkamp flick set it Cario, Egypt, 2050 where stifling heat and pollution means everyone wears
breathing apparatus and hover cars sputter about its dusty sprawl. It’s surely one of the most shocking and transfixing sides from North Africa this side of the debut LPs by 1127’s peers, Myslma and Zuli, and should be prized by anyone with an ear for futurist rhythms and microtonal synths of a modern, Afro-futurist order.
Comprising collaged chunks from 1127’s archive arranged in a seamless, diffracted flow that recalls Autechre as well as the mutant adjuncts in Arca’s &&&& or Croww’s ‘Prosthetics MechaMix’, the results feel as though scraped from the insides of 1127’s skull, capturing and rendering the sounds of Cairo street raves ricocheting
with spasms of gristly noise, strafing into pockets of cutthroat flashcore and dropping out into smoky,
intimate scenes of Arabic dialogue, all threaded together with a distinctive taste for metallic microtonal synthlines and coruscating noise.

Stahlschrank sind Sun Ray (Fred und Luna) und Brain Emo (Ufo Hawaii).

Nach ihrer Erfolgssingle „Egal ist sehr gut“ peitschen Stahlschrank mit ihrer zweiten Veröffenlichung „Karin / Inge“ ihr Konzept des Elektrodadakraut weiter nach vorne. Ein Musikstil, der noch nicht vollständig erforscht und entwickelt ist.

„Karin“ ist eine Reflexion über die Vergänglichkeit des Daseins und eine moderne Parabel über Kontrolle und Unterwerfung.

Die Single-B-Seite „Inge“ ist die zweite Exkursion in das Stahlschrank-Konzept des „Electronic Irritainment“.

„Inge“ ist eine Reflexion über das Ringen des Individuums vor dem Hintergrund zeitgenössischer Clubkultur, die sowohl die Grenzen der Studioumgebung als auch die Geduld der Nachbarn ausreizt.

Stahlschrank arbeiten derzeit an ihrem ersten Longplayer, möglicherweise ein Vierfach-Album.

Rock band Ego Kill Talent—Jonathan Dörr vocals, Jean Dolabella [drums, guitar], Raphael Miranda [drums, bass], Niper Boaventura [guitar, bass], and Theo Van Der Loo [bass, guitar] —had been pivoting for most of 2020. The band was confirmed for a spring tour of South America with Metallica and Greta Van Fleet, set to perform at the majority of the Danny Wimmer Presents Festivals in the U.S., to tour with System of a Down in Europe, and to perform at many key European festivals. All told, EKT had booked 35 shows and 21 key festivals across three continents. They have supported Foo Fighters, (having been hand selected by Dave Grohl) and Queens Of The Stone Age
They are known for switching instruments amongst members while playing and were eager to show off their live prowess to audiences worldwide. However, due to the COVID-19 pandemic and the subsequent global shutdown, Ego Kill Talent, like so many others, were forced to get creative —revamping and revising tour and album release plans.
EKT elected to split their full-length The Dance Between Extremes into three EPs due to the pandemic. The Dance EP landed on June 27 and The Dance Between EP dropped Dec 4. The third, final, and full release The Dance Between Extremes arrives on March 19, 2021.

Is it really a musical?! The 33rd Guided By Voices album, Earth
Man Blues, is a magical cinematic rock album, full of dramatic
and surreal twists and turns. Lyrics and liner notes trace the
growth of young Harold Admore Harold through a coming of age
and a reckoning with darkness. Vivid scenes appear: snapshots
of youth, fantastical nightmares, unknown worlds.
The music hasn’t softened a bit. One will hear the impossibly
perfect melodies and word play that you expect from Robert
Pollard, with the band playing at peak-heavy. “Trust Them Now”
rocks like an instant classic, “The Batman Sees The Ball” is lean,
mean rock muscle. Opener “Made Man” tears and slashes at the
ears and heart. Sweeping, colossal tracks like “Lights Out (In
Memphis, Egypt)” and “Dirty Kid School” stretch far beyond
the ordinary vocabulary of rock.
Doug Gillard’s brilliant guitar playing explodes out of
the speakers. The rhythm section of Kevin March and Mark
Shue, always strong and reliable, has grown into a breathing
composite organism. Along with Bobby Bare, Jr on rhythm
guitar, they drive the songs and make one’s head shake. Producer
Travis Harrison ties the talents of the band together, once again
recorded remotely and individually, pandemic-style. This group
brings to life the sounds in Pollard’s technicolor imagination.