Search:fisher

Leonard Bernstein understood and communicated the music of Gustav Mahler at a level that was positively uncanny, and for many listeners and reviewers his Mahler Cycle on Deutsche Grammophon from the late 1980s remains the best-loved. Bernstein’s reading of the 2nd Symphony from this cycle is now be released on vinyl (2 LP gatefold). The recording was made in New York’s Avery Fisher Hall in April 1987, with the New York Philharmonic, the Westminster Choir, and soloists Barbara Hendricks and Christa Ludwig. “Leonard Bernstein's interpretation of Mahler's ''Resurrection'' Symphony is one of the musical touchstones of our time, a reference point even for those who might not agree with its intensely personal view." (The New York Times 1989).

Known for being part of the INNA DE YARD family for almost 20 years, Jamaican singer extraordinaire DERAJAH is a major figure in Kingston music scene. He is the bridge between the old and new generations, passing the knowledge from the elders to the youths. We are delighted to present his latest effort in collaboration with A-class studio band The 18th Parallel: ‘PROSPERITY’. A showcase album of 6 songs with dub versions produced between Geneva, Switzerland and Kingston, Jamaica. With the expert touch of mixing maestro Westfinga, the 11 tracks of ‘Prosperity’ are sonic masterpieces, timeless and innovative.

In between the raw and brutal sound of 80’s Jamaican rub a dub and today’s sophisticated and polished modern sound. Derajah's raw and emotive vocals paint vivid pictures of struggle and resilience, carrying a profound message of social consciousness and resistance against oppressive forces, while The 18th Parallel's ultra-solid riddims create a rich tapestry of sound that will transport you to the heart of roots reggae. With its impeccable production quality, ‘Prosperity’ captures the essence of reggae's golden era.

This groundbreaking album is a testament to the enduring power of music to inspire, uplift, and ignite change.

The story towards the creation of this album also needs to be shared. As Fruits Records members were in Jamaica on tour and to record their first projects, they crossed Derajah paths a couple times without getting a chance to work together. But this was enough to set a strong foundation to a relationship that goes way beyond the musical side only. A few years after this meeting, one phone call only was enough to start the process. The rest is pure magic! Spontaneity, trust and loyalty became the guidelines for the creation of this gem, which stand out of time and space, and aim to carry on its path anyone seeking for knowledge, love and prosperity.

Slave To Society pays homage to the legendary cultural theorist and philosopher, Mark Fisher. Diving into some of the conceptual ideas of Fisher’s literature and philosophy, you'll feel like you're wandering through a post-apocalyptic landscape in the future with this hard hitting, haunting and atmospheric piece.

‘The Future That Never Arrived’ experience the paranoia and anxiety of the digital age with this gritty and dissonant track. Fisher's ideas about technology's impact on society come to life in a sonic onslaught.
‘Cyberspace’ exploration of desire and its endless repetition. The frenetic energy of this track mirrors the insatiable hunger of consumer culture.
’Is There No Alternative’ the title track offers a sense of reflection and departure. It echoes Fisher's thoughts on escaping the boundaries of the present moment.
‘Ghosts Of My Life’ this track encapsulates Fisher's critique of our modern capitalist society. The heavy beats mirror the relentless grind of capitalism, while the haunting melodies reflect the loss of authentic experiences.

The Mapendo album of the Mighty Cavaliers, up to today, has been shrouded in mystery. If you look at the original cover of this very rare Kenyan funk-infused album all you will find are the names of the engineer and the producer, as EMI Kenya omitted the names of the musicians and the songwriters. Digging deeper a rather sinister story of deceit develops whereby Mapendo becomes symbolic for all what was wrong about the Kenyan record industry in the 1970s, and the music industry in Africa as a whole. As this maltreatment of artists proved endemic throughout the continent, although little talked about.

One of the three surviving members of the Mighty Cavaliers, bass player Bonnie Wanda - who started his career in 1971 with Gloria Africana - vividly remembers participating in the recording of the two albums the band made in 1976 and 1977 - Fisherman and Mapendo - and how they, especially on the last album, got short-changed by shrewd record label executives. In the 1960s it was mostly Indian and European record bosses that called the shots and usually gave musicians the chance of a one-off payment for their session time and recorded songs or wait for - hopefully - a generous royalty check. In most cases records didn't sell more than a thousand copies with an occasional hit selling in the tens of thousands, so musicians were reluctant to register themselves with the Music Copyright Society of Kenya. Although without doing so one couldn't receive royalties.

'For two years the Mighty Cavaliers performed five nights a week at the Starlight Club for five hour sets.

The re-release of Mapendo, the first of the German Want Some Records label, is another exciting puzzle piece in the tapestry of groovy Kenyan music. It proves that there are still great gems out there to be re-discovered for audiences worldwide.

Text written by Michiel van Oosterhout

This Album is dedicated to the musicians
Bonnie Wanda, Rashid Salim, Vuli Yeni, Juma Waweru Njuguna and Athmani 'guitar boy'."

2012, 12 Jahre nach Gründung wagte sich das Freisinger Quintett RPWL an ihr erstes Konzeptalbum. 'Beyond Man And Time' war eine musikalische Reise durch die Welt außerhalb von Platons Höhle - und der erste Chart-Entry von Deutschlands bester Artrock-Band. Die Band schaffte Themen für die einzelnen Charaktere des Konzept-Albums. Orientalische Percussions, ausgedehnte Moog-Soli oder indische Sitar sorgen wohlplatziert für eine atmosphärische und farbenfrohe Umsetzung. So ist es nur natürlich, dass diese musikalische Reise in einem 16-Minuten-Werk wie 'The Fisherman' gipfelt, um schließlich mit einem äußerst nachdenklichen, ruhigen 'The Noon' zu enden'. Der Song 'Somewhere In Between', auf der CD noch mit 2.04 Min kurz gehalten, ist nun erstmalig in seiner Originallänge von 9.22 Min enthalten. Die Doppel-LP kommt somit auf eine Gesamtspielzeit von über 81 Min.
Erstmalig erscheint das Album nun auf Vinyl, in wertiger Ausstattung als 180Gr. Doppel-LP im Gatefold Sleeve mit wattierten, schwarzen Innenhüllen sowie 4-seitiger Textbeilage!

The concept behind the debut album by Neapolitan producer Paolo Petrella, (also known for Fratelli Malibu, SuperMegaFuckinMachine, and Nu Genea's live band bass player) is both straightforward and unparalleled. It involves re-imagining Renato Carosone's iconic hits infused with the vibrant essence of Cumbia. An original and fresh perspective of the history of Napoli, re-thinking traditions while blending cultures, like an imaginary colony of South Americans living in Napoli’s fishermen neighborhood of Santa Lucia.

Cumbia Luciana sounds like the manifestation of a dream, as the poem on the liner notes recites:

“It's 3pm in the afternoon, the sea is calm and there are some clouds in the sky from time to time the sounds of mopeds can be heard in the street. A boy is in his bedroom and out of boredom keeps time by tapping his fingers on the bed frame.
He leaves the house for a walk keeping the sea on his side. Rumor has it that ten days ago immigrants arrived from Peru,
the boy walks and listens it's Sunday, day of celebration, it's 3.30pm the boy walks and listens he is interrupted by a whole new sound, never heard before from a window of a ground floor house men are playing, the boy stands under that window for a while”

During their original run, Stornoway achieved immense critical acclaim, fan adoration and two Top 20 albums, one of which (their debut ‘Beachcomber’s Windowsill’) was certified Silver. But in 2016 they announced that they were ending on a high (2015’s ‘Bonxie’ being “their best album yet” according to The Guardian) with the following year’s farewell tour, although their rapturously received WOMAD set (“a magnificent farewell”, The Spectator) was delayed until 2022. They still earned new fans, however, when their version of ‘The Only Way Is Up’ exceeded 2 million streams after being used in an advert and in various TV shows.

Vocalist/guitarist Brian Briggs stopped songwriting altogether and instead pursued a new career passion managing a wetland for water voles and lapwings. Nonetheless, Brian and bandmates Jon Ouin (keyboard) and Oli Steadman (bass) stayed in torch, and step-by-step they reconnected with the love of creating music that had first inspired them to start a band.

Freak Frequency was a fitting title for the new material Greg Obis was planning for Stuck, the frenetic and twisted post-punk outfit he formed in 2018. Inspired by the doomy social economics of Mark Fisher’s Capitalist Realism, the bleak worldbuilding of horror games Demon’s Souls and Bloodborne, and the bombastic yet arty satire of Devo, Obis channelled his audio analogy into Freak Frequency, an album ringing out with explosive sounds and ideas.

Stuck formed after Obis’ previous projects, Yeesh and Clearance, called it quits in short proximity. Obis is on guitar and vocals, which span from booming theatrics to ecstatic yelps. The project’s rhythm section is completed by shoegaze guitarist-turned-chugging bassist David Algrim and tightly wound drummer Tim Green—also a graphic designer, and the artist responsible for Stuck’s distinctively unified visual aesthetic. Original co-guitarist Donny Walsh contributed freely inventive lines for the first few years of the project, including on Freak Frequency; Ezra Saulnier of Red Tunic, the newest member of the band, now brings calculated contrapuntal riffs to match Obis’ parts.

The building blocks of Stuck include the egg punk eccentricities of Uranium Club and The Coneheads filtered through noise rock power, à la Jesus Lizard or Slint; that melange is glittered with the precision microtones of Unwound and Women. “I want the feeling of immersion and chaos and tension, with a big guitar amp playing a big chord,” says Obis of his inspirations, citing friends and peers Cloud Nothings and Preoccupations. “But I want it delivered by having a lot of smaller points of light poking through.”

In fact, writing for Freak Frequency began while Content’s recording was still underway—beginning with “Scared,” which features acoustic layers under feedback squalls. “Time Out,” with motoric guitars in the sputtering lineage of Wire, was also composed in late 2019. Obis wrote it about the cycles of compulsion and shame woven into social media use, and the way negativity drives algorithmic engagement. It became an exciting exercise for the group in ramping up speed; “I thought I knew how far I could push Tim’s tempos,” Obis recalls. “But Tim kept insisting we do it 20 bpm faster than what I had. He is an absolute monster for playing that.”

Album opener “The Punisher,” a spiral staircase of disembodied guitars and rhythmic slams over a 2/4 beat, came in the aftermath of the January 6 insurrection. It felt immediately emblematic to Freak Frequency, and Obis describes it as his favorite Stuck track: one he wishes he could write again and again. “It hits all the boxes that Stuck can do: it’s goofy, but there’s a lot of intricate guitar interplay, and at the end, there’s a big payoff,” he explains. The last song written was “Do Not Reply,” a pre-album single that came to Obis after engineering for Melkbelly and channelling their earworm melodies. Algrim wouldn’t let it on the record unless Melkbelly’s front person Miranda Winters dueted on vocals; she was happy to oblige, and the gritty epic closes Freak Frequency.

With slippery snark, percussive heft, and funhouse mirrors of sludge, Freak Frequency delivers its needed screeds with gratifying nuance. If Stuck’s interpretation of this messed-up world goes down like a bitter pill, it’s only because its sugar coating is too delicious to keep from eating.

Formed in Reading in 1998, The Cooper Temple Clause were an alternative rock band
consisting of Ben Gautrey (vocals), Tom Bellamy (guitar, keyboards), Didz Hammond
(bass), Daniel Fisher (guitar), Kieran Mahon (keyboards), and Jon Harper (drums).
• The band signed with RCA and burst onto the scene with their debut ‘See This Through
And Leave’ in 2002. Featuring the singles ‘Let’s Kill Music’, ‘Film-Maker / Been Training
Dogs’ and ‘Who Needs Enemies?’, the album earned the band a cult following and critical
acclaim including the Kerrang! ‘Best British Newcomer’ award.
• Previously only available on vinyl as a 7” boxset, Demon Records presents the complete
album on 12” vinyl for the very first time. Newly remastered by Phil Kinrade and cut by
Barry Grint at AIR Mastering.
• Pressed on two 140g vinyl with printed inner sleeves

Back when Eddie Bond recorded Talkin' Off The Wall for his first ever disc
in 1955, he was indeed caught up in a musical moment that was 'off the
wall' – in other words seen as highly unusual, strange, eccentric, bizarre
It was the time of the emergence of rockabilly and white rock and roll. Briefly, the
'rockin daddy from ding dong Tennessee' was hot stuff, playing shows with
Presley, Perkins, Cash and all the other singers from Memphis whose music
talked off the wall to a whole new generation. Today, it does so again.
• A rocking 14-track LP on Bear Family Records® from one of the original
Memphis rockabillies, Eddie Bond, backed up by a 25-track CD featuring original
and cover versions of some of Eddie's songs.
• Mostly from the mid-1950s, these tracks sparkle with the life and excitement of
the new rocking music.
• Eddie started and finished as a country singer, but he embraced the new
rockabilly music and he soon became the Rockin' Daddy described in his bestselling disc from 1956.
• Eddie's backing bands include two of the best guitarists of all time – Reggie
Young and Hank Garland – and they don't disappoint.
• The ten-inch LP contains one song from Eddie's first label, Ekko, six from his
rockabilly heyday on Mercury, two from his originally unissued sessions at Sun in
1958, and five tracks from local Memphis labels in the 1960s.
• The bonus CD contains also a further 11 tracks by other artists, providing
fascinating other versions of songs Eddie recorded. Artists include Sonny Fisher,
Lattie Moore, Ray Charles, and Elvis Presley.

The Waterboys’ ninth studio album is made available on vinyl for the first time, in limited edition ‘sunrise’ yellow. Originally released in 2007, ‘Book Of Lightning’ was mostly recorded at the former Island Studios in West London. Alongside Mike Scott and Steve Wickham, the album features contributions from pianist Richard Naiff, keyboard mystic Thighpaulsaandra, guitar ace Leo Abrahams and two killer drummers, Jeremy Stacey and Brady Blade. Selections include the understated country rock epic She Tried To Hold Me, the beautiful Sustain, recorded with members of Canadian band Great Aunt Ida, and two songs written for but not recorded during the classic Fisherman's Blues album sessions: Everybody Takes A Tumble and The Man With The Wind At His Heels. Reviewing the album in The Guardian, Dave Simpson said that Scott's songs, “feel like they have been handed to him from a crack in the clouds”. The vinyl format is 180g Sunrise yellow coloured vinyl. The CD format is packaged in a jewelcase with 16 page booklet.

Under the moniker of Jaye Jayle, Louisville guitarist/vocalist Evan Patterson has spent over a decade exploring the more abstract realms of the American singer-songwriter process. On his latest album, Don't Let Your Love Life Let You Down, Patterson continues to mine his unique strain of the meditative blues while finally breaking the shackles of defeat and passing into a realm residing between Western stoicism and mystic wonder. Like Leonard Cohen fronting some intermediary step between Spacemen 3 and Spiritualized, Don't Let Your Love Life Get You Down, conjures an aura of psychedelic grace and enveloping warmth through its pairing of pensive baritone poetics, druggy studio manipulations, and gospel-infused blues. Abetted by the production and mixing skills of Ben Chisholm (Chelsea Wolfe). Across the eight songs of Don't Let Your Love Life Get You Down takes the old American singer-songwriter template and imbues it with a kaleidoscope of synesthesia delights culled from a half-century's worth of fringe music. This aural grandeur reinforces the life-affirming radiance of Don't Let Your Love Life Get You Down. Though Jaye Jayle retains the hypnotic repetition and austere instrumentation of their past, the added layers and saturation of sound intensifies the immersive hallucinatory spirit only previously hinted at in their work. As with all Jaye Jayle records, it's still best suited for the hours after midnight, but it now holds the promise of dawn. Jaye Jayle is Evan Patterson, with him as always is Todd Cook, Corey Smith, and Neal Argabright. With special guest Chris Maggio, Victoria Fisher, Patrick Shiroishi, and Bonnie `Prince' Billy. RIYL Leonard Cohen fronting Spiritualized, Spacemen 3, JJ Cale, Lungfish, Angels of Light, Young Widows Ltd single colour vinyl LP!

Marc Richter aka Black To Comm released his debut record 20 years ago. In 2023 he is still busy releasing music under various disguises and is currently signed to the Thrill Jockey label. To celebrate this anniversary his own Cellule 75 label is re-releasing some classic out-of-print vinyl albums that originally came out on the defunct Type and De Stijl labels. The LP will feature a full-colour printed inner sleeve exclusive to this edition.

In 2009 the Type Recordings label run by John Twells had just released seminal records by Grouper, Jóhann Jóhannsson and Yellow Swans when they signed Richter and put out his breakthrough Alphabet 1968 album. The LP sold out within two weeks, receiving a glowing full-page review in The Wire Magazine by the late Mark Fisher (later reprinted in his book Ghosts Of My Life), was selected for Boomkat's Top 10 releases of the year (alongside debut albums by Leyland Kirby, Demdike Stare and Oneohtrix Point Never) and was greeted with universal praise in the underground blog network as well as established magazines such as The New Yorker and Pitchfork.

The music itself played with the notion of nostalgia without being nostalgic itself. It's the sound of half-remembered dreams, a surreal distorted vision of the past, an aural polaroid of long forgotten musics, a ghostly voice from a non-existent era.

From the original Type one-sheet:
"The mission statement for Alphabet 1968 was to write an album of "songs" for want of a better word. Short tracks which represented genre points, the milestones which stuck in Richter's mind when he thought back to his favorite records. What we arrive at is a breathtaking 10-track album which, over the course of 45 minutes, explores world music, techno, noise, avant-garde, ambient music and even exotica. Each track is linked with a loose thread of radio static or environmental sound, dragging you through the album, as if tuning in to a stray broadcast or a particularly adventurous mix. Richter has pieced the album together from hours of recordings made at his studio with home made gamelan, small instruments and loops gathered from a collection of ancient vinyl and 78 records. The scope of the album is admirable, but ignoring this, it is simply a shockingly arresting collection of experimental oddities, with references ranging from Moondog to Basic Channel by way of Bernard Herrmann. It's not hard to fall in love with Alphabet 1968, far harder would be to place exactly where the record should fit into your collection."

Mark Fisher in The Wire:
"But what if we were to take Richter's provocation seriously - what would a song without a singer be like? What would it be like, that is to say, if objects themselves could sing? It’s a question that connects fairy tales with cybernetics, and listening to Alphabet 1968, I’m reminded of a filmic space in which magic and mechanism meet: JF Sebastian’s apartment in Blade Runner. The tracks on the LP are crafted with the same minute attention to detail that the genetic designer and toymaker brought to his miniature automata, with their bizarre mixture of the clockwork and the computerised, the antique and the ultramodern, the playful and the sinister. Richter’s musical pieces have been built from similarly heterogeneous materials - record crackle, shortwave radio, glockenspiels, all manner of samples, mostly of acoustic instruments. ….. JF Sebastian's apartment was itself an update of older spaces in which science and sorcery co-existed: the workshops of ETA Hoffmann's inventor-magicians, or of Pinocchio's creator, Geppetto. I think, too, of Auguste Villiers de l'Isle-Adam's astonishing 1886 tale The Future Eve in which Edison, using the expertise he has recently acquired from inventing the phonograph, sets himself the task of constructing an artificial woman. But if there are songs here, they are sung by the gramophone and other recording and playback machines. Richter so successfully effaces himself as author that it is as if he has snuck into a room and recorded the objects as they played (to) themselves. Rather than simply automating his music, as in the case of Pierre Bastien and his mechanical machines, Richter makes us feel that he has merely recorded the unlife of objects. ….. Indeed, the impression of things winding down is persistent on Alphabet 1968. Entropy has not been excluded from Richter's enchanted soundworld. It feels as if the magic is always about to wear off, that the enchanted objects will slip back into the inanimate again at any moment."

CREEPING DEATH befinden sich auf einem schnellen und rasanten Aufstieg aus dem Untergrund.Die texanische Death-Metal-Crew liefert immer wieder ein unerbittliches Geknüppel, das aus den entlegensten Winkeln der Vergangenheit, Gegenwart und Zukunft des Genres stammt. Der Fünfer aus dem Lone Star State zelebriert den Stil triumphierend und peitscht grausame Riffs und Südstaaten-Grooves mit einer unwahrscheinlichen kathartischen Freude auf.Boundless Existence wartet mit Future-Death-Metal-Klassikern wie dem superschweren, schnellen und groovigen "Intestinal Wrap" auf (bei dem George "Corpsegrinder" Fisher von Cannibal Corpse mitwirkt). "Vitrified Earth" zeigt die zunehmenden Fähigkeiten von Creeping Death in Sachen Songwriting, was vor allem an der Kadenz und Phrasierung von Alavis Gesang zu erkennen ist, während die kranken
Riffs nie vernachlässigt werden. Gegen Ende des Albums gibt es sogar eine etwas entrückte Atmosphäre, mit Gitarreneffekten, Harmonien und berauschenden Taktarten."CREEPING DEATH versammeln gewaltige Riffs, schreiende Gitarrensoli und bedrohliche Gesangseinlagen und spielen sie mit dem treibenden Schwung einer erstklassigen Hardcore-Band." - Revolver Magazin.

CREEPING DEATH befinden sich auf einem schnellen und rasanten Aufstieg aus dem Untergrund.Die texanische Death-Metal-Crew liefert immer wieder ein unerbittliches Geknüppel, das aus den entlegensten Winkeln der Vergangenheit, Gegenwart und Zukunft des Genres stammt. Der Fünfer aus dem Lone Star State zelebriert den Stil triumphierend und peitscht grausame Riffs und Südstaaten-Grooves mit einer unwahrscheinlichen kathartischen Freude auf.Boundless Existence wartet mit Future-Death-Metal-Klassikern wie dem superschweren, schnellen und groovigen "Intestinal Wrap" auf (bei dem George "Corpsegrinder" Fisher von Cannibal Corpse mitwirkt). "Vitrified Earth" zeigt die zunehmenden Fähigkeiten von Creeping Death in Sachen Songwriting, was vor allem an der Kadenz und Phrasierung von Alavis Gesang zu erkennen ist, während die kranken
Riffs nie vernachlässigt werden. Gegen Ende des Albums gibt es sogar eine etwas entrückte Atmosphäre, mit Gitarreneffekten, Harmonien und berauschenden Taktarten."CREEPING DEATH versammeln gewaltige Riffs, schreiende Gitarrensoli und bedrohliche Gesangseinlagen und spielen sie mit dem treibenden Schwung einer erstklassigen Hardcore-Band." - Revolver Magazin.

Following up his score for the japanese Netflix Anime series “Carole & Tuesday”, Mocky returns to album mode with his new orchestral opus “Overtones For The Omniverse”. Just days before the first Covid lockdowns, Mocky brought a 16 person orchestra comprising of his usual who’s who of underground talent into LA’s Barefoot Studios (and into the same room where Stevie Wonder recorded “Songs in the Key of Life”) to record a pile of scores he had come up with during his previous year’s sabbatical in Portugal. The result is a stunning orchestral album recorded in 36 hours in one or two takes straight off the written page. Shunning the “possible perfection” of today's recording techniques, Mocky looked back as a way to find an alternate future.

According to Mocky:
“We had to do it quick with no rehearsal to capture that big open sound of people working together in a room - in all its imperfect glory. In the imperfections you find the humanity. And in today’s tech driven spaces you have to fight to preserve a space for humanity. I felt a deep desire to create a sonic trajectory path for us to follow as we ascend and evolve our understanding of love and what it means to be human. This is the inspiration for „Overtones for the Omniverse“”.

The album runs the gamut from Steve Reich infused minimalism overlaid with Dorothy Ashby style harp runs (“Overtures”) to atonal analogue synth sounds over Martin Denny style percussion (“Bora!”). There's a classic Mocky crooning number that gives a Jim Henson-esque take on the state of “Humans” and the album as a whole captures Mocky's skill of bringing together the joyful energy of a unique cast of LA collaborators.

Featuring:
Randal Fisher / Flute, Vicky Farewell / Piano, Vocals, Harry Foster / Bass, Vibraphone, Tubular Bells, Vocals Joey Dosik / Organ and Glockenspiel, Vocals, Guilermo E. Brown aka Pw / Percussion, Vocals, Jhan Lee Aponte (TossTones) / Percussion, Vocals, Timpani, Paul Cartwright / Violin, Molly Rogers / Viola, Gabe Noel / Cello, Contrabass, Liza Wallace / Harp, Coco O. / Vocals, Mocky / Compositions, Drums, Vocals, Roland Sh-1000

O for the O Choir :
Nia Andrews, Leslie Feist, Moses Sumney, Durand Bernarr, Eddie Chacon

Recorded at Barefoot Studios, Los Angeles March 6 + 7, 2020.
All songs written by Dominic “Mocky” Salole and published by Heavy Sheet Music/Warner Chappell except "Wishful Thinking" written by Dominic “Mocky” Salole and Matt Corby and "Bora!" written by Dominic “Mocky” Salole, Guillermo Brown, Aponte Poro.

Produced by Mocky, Justin Stanley and Renaud Letang. Mixed by Renaud Letang at Ferber Studios Paris
Mastered by Emilie Daelemans. Cover artwork by Rand Sevilla. Photo by Vice Cooler.

ABOUT MOCKY
Performer, producer, songwriter, composer and multi-instrumentalist, Dominic "Mocky" Salole came to prominence in the Berlin electronic scene of the mid 2000s, releasing three acclaimed solo albums, co-writing and producing classics like Jamie Lidell's "Multiply" and Feist's "The Reminder" and making waves on stage with close collaborators (and fellow Canadians) Peaches, Feist and Chilly Gonzales.
In 2009, his music took a jazz-inflected turn to the acoustic with the release of "Saskamodie" and in 2011, after work in Big Sur on Feist's "Metals", Mocky relocated to Los Angeles, where he quickly established himself as a co-writer with uncommon credentials and eccentric working methods collaborating with L.A.’s brightest breakthrough artists like Kelela, Joey Dosik, Vulfpeck or Moses Sumney.

Whilst in L.A. songs he has written have been sung by Mary J. Blige, Jill Scott and many more and he has collaborated with artists as diverse as Mali’s Bassekou Kouyate and the GZA. His monthly rooftops gigs at the ACE Hotel breathed new life into the LA live scene and Mocky channeled those new creative energies into his fifth full length album "Key Change" and four digital mixtapes/EPs "The Moxtapes" Vol. I-IV.

After co-producing and co-writing Feist's "Pleasure", Kelela's "Take Me Apart" and Joey Dosik's "Inside Voice", in 2018 Mocky released two albums: "Music Save Me (One More Time)" - a collection of the best of Japan-only/unreleased gems and favorites from his so far digital only "Moxtapes" series and "A Day At United", an instrumental jazz album, recorded in a single day in the legendary LA recording studio United Recording.

In 2019 Mocky delved into soundtrack work by collaborating with legendary Anime director Shinichiro Watanabe (Cowboy Bebop) on the first two seasons of the breakthrough show “Carole and Tuesday” (Netflix) for which he won Best Score at the Anime Awards 2020.

Amelie Tobien neues Album 'Monument' - Achterbahnfahrt zwischen Schwermut und Leichtigkeit.

Die Indie Folk Newcomerin Amelie Tobien veröffentlicht ihr 2. Album 'Monument'. Aus Tumult und Hoffnungsschimmern der vergangenen Monate steigen die zehn Titel wie ein Phönix aus der Asche. 'Monument' ist ein Gesamtwerk welches den Titel 'Album' mit Würde trägt. Mit Feinsinn kuratiert, bietet es eine Berg- und Talfahrt zwischen Schwermut und Leichtigkeit. In 'Fall into my Arms' findet man Trost, zu 'Intoxicated' tanzt man elektrisiert, bei 'Friday' legt man zum Morgenkaffee die Füße auf den Tisch.

King Creole was the fourth of Elvis Presley’s Hollywood movies, released in June
1958. Loosely based on Harold Robbins’ novel A Stone For Danny Fisher, about a
struggling young Boxer. Producer Hal Wallis decided it would make a perfect vehicle
for Elvis Presley, and so the lead character became a Singer instead of a Boxer, and
the whole project was promptly transformed into a musical. It’s one of the best of the
Presley soundtracks opening with the title track King Creole penned by Leiber &
Stoller, followed by R&B number Crawfish, and the contrasting Rock'n'Roll track
Dixieland Rock which is reminiscent of Jailhouse Rock. Sadly, it was to be the last
truly dramatic role Elvis was ever given, and Presley himself would always cite King
Creole as his personal favourite out of all the films he made.

"Redefining Element 78" presents a new work by British pianist-composer Rebecca Nash - a distinct musical voice with a deep musical identity. The music emerged following Nash"s encounter with the writings of legendary New York alto saxophonist John O"Gallagher, who joins her on the album, alongside guitarist Jamie Leeming, trumpeter Nick Malcolm, bassist Paul Michael and drummer Matt Fisher. Electronics are provided by Nick Walters and Chris Mapp.

clear vinyl

Sneaky DJ cuts from the original Paling Trax posse (take no imitations!) - pressed on limited edition clear transparant 12". Volendam waar lech dat dan?

— Das 2001er Livealbum der Band jetzt auch als schwarzes
Vinyl erhältlich

— Mit einem 24-Track Mobilstudio aufgenommen, um
bestmöglichen Sound zu gewährleisten

— 19 Tracks, inkl. ‘Soulmate‘, ‘Don’t Miss The Train’, ‘Justified Black Eye’ und einem Misfits-Coversong

— im LP-Sleeve ist ein Comic enthalten

Oliver Cherer is back with a new Gilroy Mere record which follows on from his other much lauded Clay Pipe releases (The Green Line, Adlestrop and last year’s D Rothon collaboration, Estuary English).

Over the last two decades Ollie has released numerous collections of music in an ever shifting array of modes, from folktronic, singer-songwriter styles through psychogeographic electronica to jazz-tinged, confessional ghost-pop and most recently, the “guitar tainted machine rock disco” of Aircooled.

Gilden Gate is an album of two halves. Side 1 ‘Rising’ celebrates the sun-drenched beaches, pastures and heaths of rural Suffolk, whereas Side 2 ‘Falling’ explores the underwater world of the lost city of Dunwich and its five church spires.

Oliver says:-

“A few years ago I discovered the lost city of Dunwich. I’d made a trip to Suffolk to shoot a short film about Sizewell Nuclear Power Stations and stayed in the old Coastguard’s Cottage on Dunwich Beach within sight of Minsmere Nature Reserve and the power plants. It’s a wild, sleepy place of pines and heath and North Sea winds and a strangely mysterious air – Sutton Hoo is nearby and Eno’s reference to the very beach that I was staying on made perfect sense. In the small museum at Dunwich I learned that this tiny hamlet had once been a major medieval city of international trade. It seemed unlikely and even now, knowing Dunwich as a small village, I find putting what I know about the place into perspective as a city a certain kind of impossible.

It seems that over a period under the influence of the weather, natural erosion and market rivalry the thriving harbour port was inundated by the North Sea and eventually slipped into and under it. The city of churches was lost and all the spires engulfed and toppled. What remains are the few houses, and the ruin of Greyfriars crumbling inexorably down the cliff and exposing the bones of buried monks as the graveyard follows the building’s stones into the sea.

There are local legends surrounding the site including stories of fishermen hearing the bells of lost churches and seeing the ghostly, lighted city beneath their boats as they return to the shore.
Gilden Gate is named for one of the entrances to the old city and is a musical meditation on Dunwich past and present. Frances Castle’s beautiful sleeve art depicts the surface and the sub-marine, the warm and the cold, the past and the present. The glass rises and the glass falls and in the background there are sirens, fog horns, church bells and Eno, and on the sea bed there are the scattered remains of a once great city.”

Gilden Gate is named for one of the entrances to the old city and is a musical meditation on Dunwich past and present. Frances Castle’s beautiful sleeve art depicts the surface and the sub-marine, the warm and the cold, the past and the present. The glass rises and the glass falls and in the background there are sirens, fog horns, church bells and Eno, and on the sea bed there are the scattered remains of a once great city.”

Dwight Trible announces new album “Ancient Future” out 17th March via Gearbox Records + Shares new single “Truth” Album features special guests Kamasi Washington, Georgia Anne Muldrow, Greg Paul, Megashia Jackson, G. E. Stinson, André Gouché, John Beasley, and Rene Fisher Today, the inimitable jazz vocalist, activist, and nominal godfather of the LA jazz scene, Dwight Trible, returns with the announcement of his new album “Ancient Future”. Out 17th March via London jazz aficionados and analog specialists Gearbox Records, the new record follows his critically acclaimed album “Mothership”, which was released in 2019 and saw him collaborate with the likes of Kamasi Washington, Mark de Clive-Lowe, Miguel Atwood-Fergus, and more. On “Ancient Future”, Trible collaborates once again with Kamasi Washington (saxophone), as well as lauded LA multi-instrumentalist, Georgia Anne Muldrow (vocals), who is signed to Brianfeeder and has previously worked with the likes of Madlib, Denzel Curry, Mos Def, Blood Orange, and Brittany Howard. Elsewhere, the record also features Grammy nominated pianist, John Beasley; Kamaal Williams touring drummer Greg Paul; gospel bassist André Gouché; percussionist and backing vocalist, Megashia Jackson; LA guitarist G. E. Stinson; and percussionist Rene Fisher.

Algiers haben sich eine Crew zugelegt: Für ihr viertes Album "SHOOK" versammelte die Band eine Schar gleichgesinnter Künstler um sich herum. Der Nachfolger zum gefeierten Album "There Is No Year" (2020) ist ein musikalischer wie inhaltlicher Blitzableiter in bewegten Zeiten und mit seinen 17 eindringlichen Songs schon jetzt eines der aufregendsten Alben aus 2023. Das komplette Album entstand, als Fisher und sein Bandkollege Ryan Mahan für einige Monate in ihre Heimatstadt Atlanta zurückkehrten, wo sie unter dem wachsenden Druck litten, was schließlich in einem Burnout gipfelte. Eine extreme Zeit für die Band und für die Freundschaft der beiden Musiker, in der sie schließlich auch persönlich wieder zueinander fanden. Sie hörten viel alten Hiphop und eine Neuauflage von DJ Grand Wizard Theodores 1970er Punk-beeinflusstem New Yorker Rap-Meisterwerk "Subway Theme" diente als spirituelles und thematisches Moodboard für das Album. Während Gemeinschaft und Zusammenarbeit schon immer ein wesentlicher Bestandteil der Arbeitsweise von Algiers war, kommt dies bei "SHOOK" nun voll zum Tragen. Die Liner Notes lesen sich wie ein Who is Who der zeitgenössischen Underground-Musik, mit Zack de la Rocha, Big Rube (The Dungeon Family), Billy Woods, Samuel T. Herring (Future Islands), Jae Matthews (Boy Harsher), LaToya Kent (Mourning A BLKstar), Backxwash, Nadah El Shazly, DeForrest Brown Jr. (Speaker Music), Patrick Shiroishi, Lee Bains III, und Mark Cisneros (The Make-Up, Kid Congo Powers). Dank ihrer Beiträge wird "Shook" aus verschiedenen Blickwinkeln neu geformt und kontextualisiert. "Es vertieft und erweitert die Welt von Algiers", so Schlagzeuger Matt Tong. Atlanta, der Ort, an dem die Platte entstanden ist, steht schließlich im Mittelpunkt. Das Album beginnt mit einer robotergesteuerten Zugdurchsage vom Hartsfield Airport, die vielen Einwohnern von Atlanta ein Begriff ist und Fisher als Kind immer eine Heidenangst gemacht hat. "Wir haben in einer Umgebung gearbeitet, an die wir gewöhnt waren", sagt Gitarrist Lee Tesche. "Es fühlt sich an wie die beste Algiers-Platte, die wir je gemacht haben." Dass diese Platte überhaupt entstanden ist, grenzt an ein kleines Wunder, da die Band immer wieder vor der Auflösung stand. Algiers haben jedoch Reibung in Energie umgewandelt und mit "SHOOK" ein außergewöhnliches und kraftvolles Album produziert, das am Ende von seiner starken Gemeinschaft lebt. "Ich glaube, mit dieser Platte haben wir unser Zuhause gefunden", sagt Mahan, und Fisher fügt hinzu: "Es war eine ganz neue, positive Erfahrung - eine erneuerte Beziehung zu der Stadt, aus der wir kommen, und Stolz dafür zu haben. Mir gefällt der Gedanke, dass diese Platte uns auf eine Reise mitgenommen hat, die aber in Atlanta beginnt und endet."

Algiers haben sich eine Crew zugelegt: Für ihr viertes Album "SHOOK" versammelte die Band eine Schar gleichgesinnter Künstler um sich herum. Der Nachfolger zum gefeierten Album "There Is No Year" (2020) ist ein musikalischer wie inhaltlicher Blitzableiter in bewegten Zeiten und mit seinen 17 eindringlichen Songs schon jetzt eines der aufregendsten Alben aus 2023. Das komplette Album entstand, als Fisher und sein Bandkollege Ryan Mahan für einige Monate in ihre Heimatstadt Atlanta zurückkehrten, wo sie unter dem wachsenden Druck litten, was schließlich in einem Burnout gipfelte. Eine extreme Zeit für die Band und für die Freundschaft der beiden Musiker, in der sie schließlich auch persönlich wieder zueinander fanden. Sie hörten viel alten Hiphop und eine Neuauflage von DJ Grand Wizard Theodores 1970er Punk-beeinflusstem New Yorker Rap-Meisterwerk "Subway Theme" diente als spirituelles und thematisches Moodboard für das Album. Während Gemeinschaft und Zusammenarbeit schon immer ein wesentlicher Bestandteil der Arbeitsweise von Algiers war, kommt dies bei "SHOOK" nun voll zum Tragen. Die Liner Notes lesen sich wie ein Who is Who der zeitgenössischen Underground-Musik, mit Zack de la Rocha, Big Rube (The Dungeon Family), Billy Woods, Samuel T. Herring (Future Islands), Jae Matthews (Boy Harsher), LaToya Kent (Mourning A BLKstar), Backxwash, Nadah El Shazly, DeForrest Brown Jr. (Speaker Music), Patrick Shiroishi, Lee Bains III, und Mark Cisneros (The Make-Up, Kid Congo Powers). Dank ihrer Beiträge wird "Shook" aus verschiedenen Blickwinkeln neu geformt und kontextualisiert. "Es vertieft und erweitert die Welt von Algiers", so Schlagzeuger Matt Tong. Atlanta, der Ort, an dem die Platte entstanden ist, steht schließlich im Mittelpunkt. Das Album beginnt mit einer robotergesteuerten Zugdurchsage vom Hartsfield Airport, die vielen Einwohnern von Atlanta ein Begriff ist und Fisher als Kind immer eine Heidenangst gemacht hat. "Wir haben in einer Umgebung gearbeitet, an die wir gewöhnt waren", sagt Gitarrist Lee Tesche. "Es fühlt sich an wie die beste Algiers-Platte, die wir je gemacht haben." Dass diese Platte überhaupt entstanden ist, grenzt an ein kleines Wunder, da die Band immer wieder vor der Auflösung stand. Algiers haben jedoch Reibung in Energie umgewandelt und mit "SHOOK" ein außergewöhnliches und kraftvolles Album produziert, das am Ende von seiner starken Gemeinschaft lebt. "Ich glaube, mit dieser Platte haben wir unser Zuhause gefunden", sagt Mahan, und Fisher fügt hinzu: "Es war eine ganz neue, positive Erfahrung - eine erneuerte Beziehung zu der Stadt, aus der wir kommen, und Stolz dafür zu haben. Mir gefällt der Gedanke, dass diese Platte uns auf eine Reise mitgenommen hat, die aber in Atlanta beginnt und endet."

Algiers haben sich eine Crew zugelegt: Für ihr viertes Album "SHOOK" versammelte die Band eine Schar gleichgesinnter Künstler um sich herum. Der Nachfolger zum gefeierten Album "There Is No Year" (2020) ist ein musikalischer wie inhaltlicher Blitzableiter in bewegten Zeiten und mit seinen 17 eindringlichen Songs schon jetzt eines der aufregendsten Alben aus 2023. Das komplette Album entstand, als Fisher und sein Bandkollege Ryan Mahan für einige Monate in ihre Heimatstadt Atlanta zurückkehrten, wo sie unter dem wachsenden Druck litten, was schließlich in einem Burnout gipfelte. Eine extreme Zeit für die Band und für die Freundschaft der beiden Musiker, in der sie schließlich auch persönlich wieder zueinander fanden. Sie hörten viel alten Hiphop und eine Neuauflage von DJ Grand Wizard Theodores 1970er Punk-beeinflusstem New Yorker Rap-Meisterwerk "Subway Theme" diente als spirituelles und thematisches Moodboard für das Album. Während Gemeinschaft und Zusammenarbeit schon immer ein wesentlicher Bestandteil der Arbeitsweise von Algiers war, kommt dies bei "SHOOK" nun voll zum Tragen. Die Liner Notes lesen sich wie ein Who is Who der zeitgenössischen Underground-Musik, mit Zack de la Rocha, Big Rube (The Dungeon Family), Billy Woods, Samuel T. Herring (Future Islands), Jae Matthews (Boy Harsher), LaToya Kent (Mourning A BLKstar), Backxwash, Nadah El Shazly, DeForrest Brown Jr. (Speaker Music), Patrick Shiroishi, Lee Bains III, und Mark Cisneros (The Make-Up, Kid Congo Powers). Dank ihrer Beiträge wird "Shook" aus verschiedenen Blickwinkeln neu geformt und kontextualisiert. "Es vertieft und erweitert die Welt von Algiers", so Schlagzeuger Matt Tong. Atlanta, der Ort, an dem die Platte entstanden ist, steht schließlich im Mittelpunkt. Das Album beginnt mit einer robotergesteuerten Zugdurchsage vom Hartsfield Airport, die vielen Einwohnern von Atlanta ein Begriff ist und Fisher als Kind immer eine Heidenangst gemacht hat. "Wir haben in einer Umgebung gearbeitet, an die wir gewöhnt waren", sagt Gitarrist Lee Tesche. "Es fühlt sich an wie die beste Algiers-Platte, die wir je gemacht haben." Dass diese Platte überhaupt entstanden ist, grenzt an ein kleines Wunder, da die Band immer wieder vor der Auflösung stand. Algiers haben jedoch Reibung in Energie umgewandelt und mit "SHOOK" ein außergewöhnliches und kraftvolles Album produziert, das am Ende von seiner starken Gemeinschaft lebt. "Ich glaube, mit dieser Platte haben wir unser Zuhause gefunden", sagt Mahan, und Fisher fügt hinzu: "Es war eine ganz neue, positive Erfahrung - eine erneuerte Beziehung zu der Stadt, aus der wir kommen, und Stolz dafür zu haben. Mir gefällt der Gedanke, dass diese Platte uns auf eine Reise mitgenommen hat, die aber in Atlanta beginnt und endet."

Following their debut Glastonbury Festival performance, Broadside Hacks in collaboration with British Underground today announce the UK premiere of The Broadside Hack; a new documentary telling the story of the young vanguard of UK artists sharing radical interpretations, proto-feminist narratives and queer histories through the lens of British traditional folk song. An accompanying live album of the songs performed in the film will also be released in December on LP and digitally. Having enjoyed its US premiere at SXSW in March, The Broadside Hack is a short music documentary produced by British Underground, created with the aid of a grant from Arts Council England and PRS Foundation. Directed by Crispin Parry and filmed by The Northern Cowboys, It explores the influence of traditional folk songs on a new generation of musicians, filmed just as the UK was emerging from the dark days of the pandemic. The documentary was made in collaboration with music collective Broadside Hacks and features influential artists and groups from the new folk scene, including Rough Trade signees caroline, former Goat Girl bassist Naima Bock, whose acclaimed album Giant Palm was released on Sub Pop earlier this year, Shovel Dance Collective, Thyrsis, Broadside Hacks and Boss Morris. Discovering a fresh vitality in the tunes and new histories in the stories they tell, the film includes conversations, dances and intimate performances filmed at Peter Gabriel’s Real World Studios in Box, Wiltshire between 17th and 19th August 2021. The live concert and screening of The Broadside Hack arguably marks the close of the first chapter in the story of the UK’s new folk scene; a story in which Broadside Hacks has been central. Initially formed as a folk night, the pandemic forced it to change its shape, morphing into a collective of young, like-minded musicians who met to play folk music in South London. “An adventurous exploration of traditional music by the young and folk curious” - The Times // “All your favourite players in one Sunday League team” - Loud And Quiet // "The band play old folk songs, those so old their authors have been lost in time, and inject in them such life, depth and emotion that it's extremely affecting" - The Quietus // Side 1 A1 Boss Morris - Up The Hill A2 Interview Shovel Dance Collective - ‘A Collective Authoring of History’ A3 Shovel Dance Collective - The Bold Fisherman / My Husband Has No Courage In Him A4 [Interview] Thyrsis - ‘Collaboration Across Space and Time’ A5 Thyrsis - Single Sailor A6 [Interview] Naima Bock (Broadside Hacks) - ‘Retracing Beginnings’ A7 Broadside Hacks - Gently Johnny. Side 2 B1 Shovel Dance Collective - Merrily Kissed the Quaker B2 [Interview] Shovel Dance Collective - ‘Queering Folk Songs of the Past’ B3 Thyrsis - Godstow Bridge B4 [Interview] Naima Bock (Broadside Hacks) - ‘The Broadside Hacks Folk Club’ B5 Broadside Hacks - Rain and Snow B6 Boss Morris - Young Collins

Dark & classious. As all Scuderia records...

Songs inna hardcore bloody mood...

An Appointment with Mr Yeats sees the words of W B Yeats, one of Ireland's greatest literary sons, merged with the music of The Waterboys, one of Britain and Ireland's greatest rock bands, in a truly unique and ambitious musical undertaking. The album was originally released in 2011, and has been fully remastered for re-issue, and now contains 6 previously unreleased bonus tracks. The Waterboys vocalist Mike Scott, first delivered a new dimension to Yeats' poetry in 1988, when he wrote a musical accompaniment for the classic poem The Stolen Child, during the making of the Waterboys seminal album 'Fisherman's Blues'. Five years later he set another Yeats poem to music, Love and Death, which appeared on their 'Dream Harder' album. Over the years, Scott had been quietly crafting a wealth of material similarly based on the writings of Yeats. A number of these were performed by him at the Abbey Theatre during the Yeats International Festival in 1991, but most had remained in Scott's private songbook awaiting the right vehicle. An Appointment with Mr. Yeats was that long-awaited context. Scott's love of literature is firmly embedded throughout the work of The Waterboys. He has also put the writings of Robert Burns, James Stephens, Kenneth Grahame and George MacDonald to song. Speaking on his literary influences and loves, Scott explained: "I grew up in a house full of books so literature - and language - have always been important to me. Working with other peoples' words is something that comes as natural to me as working with my own. In a way it's even more immediate; I've always found writing music an easier process than the writing of lyrics, and setting words of the quality of Yeats' to music is an enormous privilege and treat." An Appointment with Mr. Yeats is a unique and memorable opportunity for lovers of great music and great literature to celebrate the union of song and word in one spectacular record.

Draped in a flag of patriotic shame, the Hated stormed onto the scene just as D.C.’s Revolution Summer was swerving out of control. Channeling Bad Brains’ Black thrash and Hüsker Dü’s zen approach to hardcore, Dan Littleton, Erik Fisher, Colin Meeder, and Mike Bonner synthesized their own version of what became emo in 1985. Remastered from the original analog tapes, Best Piece Of Shit Vol. 4 compiles their D.I.Y. debut cassette, the No More We Cry EP, and 14 period bonus tracks from the Hated vault, spread across two LPs and annotated by fellow Annapolis hooligan Andrew Gebhardt. Decorated with extensive photo documentation and cut’n’paste ephemera, this Hated-approved set captures a band, a scene, and a country on the verge of either exploding or imploding. Never said it’d be like this, right?

Draped in a flag of patriotic shame, the Hated stormed onto the scene just as D.C.’s Revolution Summer was swerving out of control. Channeling Bad Brains’ Black thrash and Hüsker Dü’s zen approach to hardcore, Dan Littleton, Erik Fisher, Colin Meeder, and Mike Bonner synthesized their own version of what became emo in 1985. Remastered from the original analog tapes, Best Piece Of Shit Vol. 4 compiles their D.I.Y. debut cassette, the No More We Cry EP, and 14 period bonus tracks from the Hated vault, spread across two LPs and annotated by fellow Annapolis hooligan Andrew Gebhardt. Decorated with extensive photo documentation and cut’n’paste ephemera, this Hated-approved set captures a band, a scene, and a country on the verge of either exploding or imploding. Never said it’d be like this, right?

Das erste neue Junior Boys Album seit "Big Black Coat" aus 2016 und Junior Boys feiern ihr 20-jähriges Bestehen diesen Herbst/Winter!

Ein sehr ruhiges Album in lauten Zeiten - am 28. Oktober 2022 veröffentlicht das kanadische Duo Junior Boys sein sechstes Album 'Waiting Game' bei City Slang. Sechs Jahre sind seit ihrem letzten Album, "Big Black Coat" von 2016, vergangen. Waiting Game" zeigt die Produzenten Jeremy Greenspan und Matt Didemus in einer zärtlichen und kontemplativen Stimmung; eine Abwechslung zu ihren druckvollen, R&B-lastigen Dance-Melodien. Die zusätzlichen Musiker des Albums sind ebenfalls Kanadier: Caribou-Kollaborateur Colin Fisher spielt durchgehend Saxophon und Bonjay-Frontfrau Alanna Stuart singt neben Greenspan im Song "Yes 2". Damit haben die Junior Boys ein Album geschaffen, das die stille Schönheit der Welt widerspiegelt - vorausgesetzt, man ist bereit, wirklich zuzuhören.

Limitierte Auflage - nur 500 Exemplare - alle auf violettem Vinyl. Buzzsaw Joint ist eine monatlich stattfindende Londoner Clubnacht, die die Fans mit einer hochoktanigen Mischung aus Rhythm & Blues und Rock & Roll Trash betankt. Buzzsaw Chef Fritz hat zudem eine Mixcloud Seite ins Leben gerufen, mit Mixen zum Thema von Sammlern und Jägern rund um den Globus. Da war es nur folgerichtig, dass das ganze auch auf Vinyl und CD stattfindet. Mit Stag-O-Lee fand sich schnell jemand, der das für eine gute Idee hielt. Mehr Volumen/Cuts to follow. Get your ears around the wild"n"weird sounds of the extraordinary and inimitable Buzzsaw Joint! Für den 8. Cut der Buzzsaw Joint Serie wühlen Johnny Alpha und Carl Combover in ihren reich bestückten 7"-Kisten. Beide sind Meister in Sachen sleazy, greasy und fuzzy. Carl ist Chef der Go Go Cage Nacht in Liverpool und Johnny legt in und um Wigan (legendärer Ort - Wigan Casino!) auf. Beide sind auch weltweit gefragt und unterwegs. Für Cut 8 wählten sie Tracks, die sich nicht auf anderen, ähnlich gelagerten, Compilations finden. Ein weiteres Highlight in dieser starken Serie.

'Swooping, sub-heavy sci-fi from Riz Maslen. Leda Maar is a new moniker for the established artist who’s released a crop of downtempo and electronic music as Neotropic and Small Fish With Spine, as well as collaborated with the likes of Future Sound of London, filmmaker Andrew Kötting, and featured in PSP-era Grand Theft Auto soundtracks.

Mana’s long lasting love of Riz’s 1996 Laundrophonic EP, released under her Neotropic name, spurred this new release. That 12” was a deep and dark web of rhythm and ghostly urban found sound that one Discogs reviewer aptly named “coin-slot Dubstep”. With elements mostly sourced from tape recordings made in and of her local laundromat, it still stands out as a remarkably contemporary feeling work; more like a post-Fisher, post-hauntology observation of urban life from the last decade, taking the ambient temperature and undercurrent pressures of the 90s. Asking if she had anything in continuity with this slice of her discography, and describing our interest in her take on “space and bass”, Maslen returned to us with Stairway 13.

Heavy-lidded and ethereal in long form, the album’s balance of bass weight, mechanical metre, and darkly tinted new age feels like a cinematic re-approach to some of the textures, moods, and themes of Laundrophonic. Originally designed for an installation, Stairway 13 folds in her decades’ experience in sound design and theatre, along with shards and elements abstracted from her more recent folk-like music, zoning into a deep, retreated, altogether dreamlike and expansive atmosphere. The scale and soundscape is reminiscent of Geinoh Yamashirogumi and their Ecophony album series, resonating to similar frequencies and exploring themes of chaos and re-birth in feature-length form.

Stairway 13’s four parts spread and swoop as single extended sides across this double LP. Carried by waves of sub bass and heavenly chorus, and later punctuated with autonomic clicks of machinery, whirrs, and pulses - sometimes reminiscent of FSOL’s weirder and more clipped staccato sampling in sections of their cyberpunk ISDN - the work forms a gothic, otherworldly ambience. A subtle space opera.'

Am besten immer schön zwischen alle Stühle setzen, das ergibt - nicht zwangsläufig, aber oft - die interessantere Musik. Und im Falle von Kuhn Fu definitiv die lustigere. Seit 2012 hat die Band um den Gitarristen Christian Kühn eine singuläre und sehr eigensinnige Form von Jazzrock (oder Rockjazz) entwickelt, zwischen Parodie und einer großen Ernsthaftigkeit, mit der sie gegen musikalische Scheuklappen anspielt. Kühns mit John Dikeman (Saxofon), Tobias Delius (Saxofon, Klarinette), Ziv Taubenfeld Bassklarinette), Sofia Salvo (Saxofon), Esat Ekincioglu (Bass) und George Hadow (Drums) international besetztes Ensemble spielt die vor Melodien und kompositorischen Ideen überbordenden Stücke, als ginge es ums Ganze. Die Komik, die in der Musik Kuhn Fus immer präsent ist, nimmt ihr nichts von ihrer Intensität. "Ich liebe tonale Musik", erzählt Christian Kühn. "Tonal gespielt und dann überspitzt, darum geht es, deswegen klingt es immer wieder mal parodistisch." Parodie - aber auch Klamauk. Auf Jazz Is Expensive erzählt Kühn das Märchen "Vom Fischer und seiner Frau" noch einmal neu und anders. Der Vortrag Kühns trägt sein Übriges bei: Mit forciertem deutschem Akzent wird auf Englisch die Geschichte zu einem modernen Märchen umgeformt. Hauptfigur ist der Fischer Marcel De Champignon, ein Hornspieler, der auf der Suche nach der perfekten Melodie ist - "the melody that makes millions". Diesen Wunsch soll ihm der Fisch erfüllen, "Bruno the Architect" der Name.

Toronto-based musician and producer David Psutka aka ACT! (fka Egyptrixx / Anamai / Ceramic TL) will release his latest project ‘Strange Bounty / About Life’ for his own Halocline Trance imprint.

‘Strange Bounty / About Life’ is Psutka’s debut album proper as ACT! following the release of the “sonic mixtape” ‘Universalist’ in 2018 and the augmented reality soundtrack ‘Grey Matter AR’ in 2021; a series of Snapchat filters created by artist Karen Vanderborght and soundtracked by ACT! which explored the poetic and existential potential of AR and social media.

The new album represents a refinement of aesthetic and compositional ideas that exist across Psutka’s various projects and collaborations. It is a bold blend of new psychedelia braided with ecstatic groove. It’s a collage of physical sound, composition and freeform electronics that is simultaneously original, bold, and balmy whilst retaining a certain timeless familiarity and the obvious, indelible hallmarks of Psutka’s creative vision.

“‘Strange Bounty / About Life’ is in some ways my most refined record. The previous period of solo material was quite experimental and spontaneous, whereas this was written slowly and with more intentionality, and as a result, feels very clarified. Robin Dann of Bernice, and Alanna Stuart of Bonjay both contributed lovely vocal work to the record and it was written and performed primarily on guitar. I think it is fair to call this an 'experimental guitar record'.” David Psutka (ACT!)

On opener ‘Oblivion Shuffle’ synths trickle and squelch beneath vintage arcade bleeps, an off-kilter rhythm and mournful vocals. The palette of faintly dystopian electronics, unnerving ambience and scorched, wonky rhythmic pulses reoccur across the album on tracks like ‘Separation Code Is Togetherness Meta’, ’50 Million Motives For Making’, ‘Peace Javelin Heaven Bound’ and ‘Street Racer’.

Elsewhere on the record the guitar is more obviously prominent, and its presence allows the thematic subtleties of ACT’s music to flourish. It becomes clear after numerous listens that there is a push and pull at play across the whole project; one of optimism vs existentialism, of anxiety vs hope - a consistent theme of Psutka’s back catalogue. The track titles themselves even begin to reveal juxtaposition contained within and a deeper inspection of the lyrics reveals more.

‘Lotto’ and ‘Rebuild Your Body’ and title track, ‘Strange Bounty / About Life’ all feature slick classic soul hooks, silky vocals and smooth Balearic guitar licks over the idiosyncratic beats and distinctive electronic instrumentation. A perfect melding of the two seemingly disparate stylistic directions on the album. A real testament to the refinement promised by Psutka on this project.

In addition to ACT!, Psutka has released music with numerous projects including Anamai, Egyptrixx and Ceramic TL, he has collaborated widely with artists such as Junior Boys, Ipek Gorgun, and Kuedo as well as Jessy Lanza (2016) and an official remix for Massive Attack’s ‘Hymn of the Big Wheel (2012). The contributions on this album, from Robin Dann and Alanna Stuart, reflect the deeply collaborative nature of the Halocline Trance label and the Toronto creative scene more broadly.

Many of Psutka’s releases have received critical acclaim from media outlets such as Pitchfork, Exclaim, The Quietus and Resident Advisor. As a live performer, he has toured extensively including performing at Sonar Festival, Roskilde, Mutek, MOMA PS1 Warm-UP and CTM Festival. He’s also presented sound installations at various institutions such as Galeria Civica Commune di Modena, and Art Gallery of Ontario (AGO).

In 2015, Psutka launched Halocline Trance as a home for his various sound projects, events and collaborations. Now a creative collective and label, it has grown to include a diverse array of artists including Casey MQ, Xuan Ye, Myst Milano, Colin Fisher and others. The label is described as “genre-agnostic” and conceptually open, supporting work across a wide spectrum of creative fields including soundtrack recording, AR design and traditional artist albums. Their impeccable roster also includes, theorist/improviser Eldritch Priest, and AR/VR artist Karen Vanderborght. In recent years, Halocline Trance has established itself as a platform that facilitates many of Canada’s most exciting creative music projects. Many of the releases have received critical acclaim from outlets including Pitchfork, Exclaim, Bandcamp and Resident Advisor.

Deux Filles was not, in fact, two girls despite what the group name and its elaborate hoax of a backstory suggest. No, they were not Gemini Forque and Claudine Coule, French women who met as teenagers under tragic circumstances and became fast friends, recording two albums together before disappearing into the ether. In reality, Deux Filles was Simon Fisher Turner and Colin Lloyd Tucker, a UK duo who first worked together in an early incarnation of The The.

Straddling the line between experimental and pop, Turner was an actor and teen singing star who later composed soundtracks for the iconic queer filmmaker Derek Jarman while Tucker’s career began as an engineer for the famed UK library music studio, De Wolfe, before forming experimental wave group The Gadgets. In Deux Filles, the duo found an outlet for their least commercial tendencies, combining lo-fi proto-dream-pop instrumentals with samples, tape experiments, ambient textures, and drum machines. Even in the vibrant, seemingly endless well of UK DIY, Deux Filles stand out.

Silence & Wisdom – the duo’s 1982 debut – is a series of musical vignettes, like the score of an unrealized arthouse film. Blending processed guitars, sheets of synthesizers, echoey pianos, and washed-out vocal snippets to surprisingly varied effect, the album is recommended for fans of Durutti Column and Virginia Astley’s From Gardens Where We Feel Secure.

LP + BOOK!

For most of the 20th century, Portugal's economy has relied on fishery and an exploitative canning industry arising from it. To endure their hardship and coordinate their work, fishermen sang. Leva Leva: Litany of the Portuguese fishermen documents this particular culture of the Portuguese coast, through a vinyl compilation containing undisclosed original recordings of fishermen’s songs and contemporary compositions by artists Filipa Cordeiro, Joăo Pais Filipe, Nandele, Romain Baudoin and S1m0nc3ll0. Alongside the record, the project features a detailed art book (Portuguese – French) (not available through wholesale). The volume gives a voice to artists, writers, witnesses and experts, all invited to reflect upon the question of this culture and the rapid transformation it experienced.