Pop & Rock News

Rhythm is the 3rd album by Kit Grill released on Primary Colours.

It was made during 2017/18 after the Daytona EP and uses the same one synth.

Written and recorded by Kit Grill.
Photography and design by Kit Grill.

Segovias erste öffentliche Darbietung fand 1909 in Granada, im Alter von gerade einmal 16 Jahren, statt. Einige Jahre später spielte er sein erstes professionelles Konzert in Madrid, das Werke von Francisco Tárrega sowie seine eigenen Gitarrentranskriptionen von J.S. Bach beinhaltete. Segovia beeinflusste eine ganze Generation klassischer Gitarristen, die ihre Technik und Musikalität danach ausrichteten, darunter so Lichtgestalten wie Christopher Parkening, Julian Bream, John
Williams und Oscar Ghiglia, alle haben Segovia Tribut gezollt. 1981 wurde er von König Juan Carlos I geadelt, der Segovia den Adelstitel Marqués de Salobreña verlieh.

Die französische Pianistin und Komponistin Emilie Levienaise-Farrouch meldet sich mit ihrem atemberaubenden neuen Album Époquès zurück. Es ist bereits das zweite Album für FatCats wegweisenden Label-Ableger 130701 - wobei ihr Spiel und ihre Kompositionen auf diesem neuen Werk von erhöhter Sicherheit und Dynamik zeugen und für die in London lebende
Künstlerin einen großen Schritt vorwärts bedeuten. Époquès ist ein mutiges und abenteuerliches Album, das zwischen gefühlvoll geschmeidigen Soloklavier-Passagen, mitreißenden ompositionen für Viola und Cello und einigen wunderschön ausufernden Elektronik-Parts wechselt. Im Verlauf der 44 Minuten Spieldauer
variiert Époquès in seiner Intensität und bewegt sich zwischen Passagen von erhabener Schönheit zu Bedrohung und Verzweiflung. Époquès erfordert ein tiefes, kraftvolles, manchmal schwieriges Zuhören - bietet dafür einen wahren Wandel durch die verschiedenen Register der Emotionen, von dunkel bis hell.
Fans von Künstlern wie Max Richter, Dustin O'Halloran oder Jóhanns Jóhannsson werden auf diesem Album sicherlich vieles finden was sie lieben werden und es sind deutliche Parallelen zu
der progressiven neuen Generation von weiblichen Peers wie Claire M Singer, Lucy Railton und Label-Kollegin Resina zu hören.
Époquès ist keine bloße Hintergrundmusik, es ist vielmehr die Reise eines Albums in die man sich vertiefen kann wobei das wiederholte Zuhören mit immer mehr Offenbarung belohnt wird

Zwei Jahre nach ihrem von der Kritik gefeierten self-titled Debüt kehrt die polnische Cellistin Resina (alias Karolina Rec) mit ihrem zweiten Album für den einflussreichen FatCat Label-Ableger 130701 zurück. Traces ist im Vergleich zum Vorgänger ein weniger fragiles, viel direkteres Album, für das die Warschauer Künstlerin einen Sound kreierte, der sich dem Hörer mit zunehmender Viskosität und Gewicht nähert. Es ist ein mutiger, dynamischer und sicherer Schritt vorwärts, der absolute Aufmerksamkeit verdient.
Gelooped, bearbeitet und mit erhöhter Dynamik gelayered, entwickelt sich das Cello von einer diskreten Kammer-Intimität bis hin zu ergreifenden, vollblütig schimmernden Ambient-Miasmen. Es gibt Momente von zarter Schönheit und Parts, in denen alles ins Chaos zu verschmelzen scheint. Während Karolinas Stimme auf dem letzten Track ihres Debüts nur kurz per Überraschungseffekt erschien, nimmt sie mit Präsenz bei fast der Hälfte der Traces Tracks, diesmal viel mehr an Bedeutung auf. Nonverbal betrachtet fungieren ihre Vocals als eine schöne,
eindringliche Texturschicht, die ein Gefühl von fast heiliger Reinheit und Sehnsucht heraufbeschwören.
Mit Hilfe von Schlagzeuger und Perkussionist Mateusz Rychlicki , der auf einer Reihe von Tracks für mehr Körper und Drive sorgt, wird Resinas musikalische Palette nochmals erweitert. Traces Wurde Im Dezember 2017 Im Studio Des Renommierten Polnischen Produzenten Und Musikers Maciej Cieslak Im Warschauer Stadtteil Wola Aufgenommen. Hier Befand Sich Sowohl Das Jüdische Ghetto Als Auch Der Warschauer Aufstand. Während Der Produktion Des Albums Diskutierten Die Beiden Oft Eine Spürbare, Dunkle Energie Des Ortes, Etwas, Das Zweifellos In Das Album Eingedrungen Ist.

sleep Warm' Ist Die Platte, Die Frank Sinatra Für Seinen Neu Gefundenen Kumpel Dean Martin Dirigiert Hat. In Nur Drei Nächten Im Oktober 1958 Aufgenommen, Ist Dies Dinos Erste Veröffentlichung In Stereo Gewesen, Die Bis Heute Ein Favorit Der Fans Geblieben Ist, Sowohl Dank Sinatras Einfühlsamer
Arbeit Am Taktstock Als Auch Martins Bewusst Zurückgenommenem Gesangs. Die Arrangements Stammen Von Pete King. In Den Begleittexten Als Ein verführerisches Set Aus Schlafliedern Für Zeitgenossen' Beschrieben, Verfolgt Die Sammlung Ein gute-nacht' Konzept, Bei Dem Schon Eine Reihe Von Songtiteln Die Worte traum' Und/oder schlaf' Enthalten. Diese Ausgabe Enthält 5 Bonustracks, 4 Mit Einem Von Dick Stabile Dirigiertem Orchester Sowie 1 Geleitet Von Don Costa.

NEW YORK PHILHARMONIC ORCHESTRA
LEONARD BERNSTEIN

Dmitri Shostakovichs Sinfonie No. 7 in C-Dur, Op. 60 Leningrad', entstand zwischen 1939 und 1940. Ursprünglich war geplant diese Leben und Schaffen von Vladimir Lenin zu widmen, aber stattdessen entschied sich Shostakovich die Sinfonie der Stadt Leningrad während deren Blockade im Dezember 1941 zu widmen. Die Leningrader Premiere des Stückes fand statt, während die Stadt von der deutschen Wehrmacht belagert wurde. Das Werk bleibt bis heute eine der bekanntesten Kompositionen von Shostakovich. Das Stück wurde sowohl in der Sowjetunion als auch im Westen als Symbol des Wiederstands gegen den Totalitariismus und Militarismus der Nazis betrachtet. Es gilt zudem als eines der wichtigsten musikalischen, den 25 Millionen Sowjetbürgern, die im 2. Weltkrieg ihr Leben verloren, gewidmetes Vermächtnisse. Die Sifonie wird regelmäßig auf dem Leningrader Friedhof gespielt, wo
über eine halbe Millionen Opfer der 900tägigen Belagerung von Leningrad beerdigt sind.

The duo Sankt Otten from Osnabrueck (Germany), founded in 1999 and consisting of Stephan Otten and Oliver Klemm releases music on Denovali since 2009. After "Männerfreundschaften & Methaphysik" (2016), a collaboration record with experimental guitarist - N , Sankt Otten finally release their first new album since "Engtanz Depression" (2015).

Their new record starts with "Das Endgültige Scheitern der Melancholie" (en.: the final failure of melancholy), which seems to be unfamiliar due to its euphoric mood, but also shows that Sankt Otten consequently develop their music in a sovereign way. The title track "Zwischen Demut und Disco" (en.: between humility and disco) then particularly brings to the fore the duo's admiration of analog synthesizers - timeless instrumental music without nostalgic flashbacks to the past. Warm electronica, human being and machine hand in hand, infused by an almost danceable beat who induces head-nodding.

On their LP "Messias Maschine" (2013) Sankt Otten already released three tracks with drum-legend JAKI LIEBEZEIT (CAN) who meanwhile passed away. While sifting old recordings an unreleased drum-recording by Liebezeit emerged. Based on that hypnotic rhythm the melancholic but driving track "Wir sind die Guten" (en.: we are the good ones) came into existence. Shedding some tears is surely appropriate and allowed. Sad music can make you happy.

But also friends of the more pad-oriented compositions of Sankt Otten get their money's worth. Die "Ballade vom salonfähigen Zynismus" (en.: the ballad on the presentable cynicism) and "Ein bisschen Mitschuld bringt dich nicht gleich um" (en.: a bit of complicity won't kill you) both are sugar-sweet and snuggling, but at the same time almost threatening. The album closes with the more than 14-minute long "Der Abend ist gelaufen" (en.: the evening is all over), where the particularly powerful but always minimal-repetitive drumplay by Stephan Otten stands out, while Oliver Klemm's typical ebow-guitar-drones bring the track to float.

The lovingly chosen track-titles are again located in aphorism, sarcasm and pun, while the musical quality of the tracks is also absolutely homogen. It's not easy to highlight particular tracks but one could fall in love with each of them. Altogether a jewel for admirers of the 80's sounds and German electronic music. "Zwischen Demut und Disco" (en.: between humility and disco) is the holy trinity of krautrock, ambient and contemporary electronics, but always stylistically confident and unmistakeably Sankt Otten.

On his fourth album, Clic, Franco Battiato moves further out - into realms of pure and elemental approaches to sound - to create a seminal work that flows naturally from one musical form to the next. Every second ripples with orbital chords, kosmische textures and schizophrenic string quartets, yet somehow manages the same dramatic pacing and variety as his avant-rock albums Fetus and Pollution.Originally released in 1974 on Bla Bla, Clic features Battiato on VCS3 synthesizer and piano, along with trusted collaborators Gianni Mocchetti on guitar and Gianfranco D'Adda on percussion. While only "No U Turn" bears the maestro's voice, these seven tracks contain some of his boldest melodies, an underlying thread that runs through the choral arrangements and meditative compositions.Clic's dedication to Karlheinz Stockhausen comes into focus on the final piece, "Ethika Fon Ethica" - a rapidfire journey into Italian shortwave radio, interrupted by fleeting fragments of folk music from around the world (sampled from Henry Cowell's celebrated Folkways compilations from the 1950s). It's the perfect ending to Battiato's beautiful and expansive tour of the cosmos, signaling the uncompromising experimentalism that would dominate much of the composer's mid-1970s oeuvre.

Superior Viaduct presents the re-release of Clic. Reproducing the original gatefold jacket and booklet, this reissue is part of an archival series that chronicles Franco Battiato's masterful body of work from 1971 to 1978.

Joanne Forman's Cave Vaults of the Moon created in 1987 for an exhibit of sculptures in Taos, New Mexico is a mesmerizing score for voice, Ensoniq Mirage, Juno 106, flute, guitar and effects. The playful extra-terrestrial recording wafted through the exhibit every day for its duration and then lay dormant for nearly 30 years. Unearthed now, Cave Vaults of the Moon sounds prescient and timeless, as if Pep Llopis and Iasos scored a Wicker Man remake set on Mars. Restored, remastered and cut using DMM.
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We humans, the nascent beings that we are, still haven't quite figured out the full potential of music. Dancing, meditating, emoting, protesting, these are all pretty basic. But what if we communicated more complex ideas with music What if we codified all of our activities with music This idea came to composer Joanne Forman
when commissioned in 1987 to create the soundscape for an environmental exhibition of sculpture called Artifacts from an Alien Civilization in Taos, New Mexico. The sculptures, elaborate ruins that had been found on the moon, begged the question: who created them and for what purpose

Joanne Forman imagined that Earth's moon was a vacation spot for advanced beings from another galaxy. In her mind, the sculptures in the exhibit were the remnants of a deserted playground. Cave Vaults of the Moon became a collection of sonic texts describing the recreational activities that went on there, earth-viewing, collecting information, building and playing.

Following the U.S. Army's liberation of Munich in May 1945, the world's first Amerikahaus was inaugurated there with a library, a magazine reading room, a children's library, a record and lm department, and lecture and seminar rooms, together with a concert hall and exhibition space. Up to 80,000 people a month utilized the offerings of Amerikahaus during its early years. Beginning in 1953, the United States Information Agency (USIA), an institution founded as an instrument of the Cold War, began to finance Amerikahaus. In addition to representing the U.S., its principal task in West Germany was to democratize and denazify the postwar population. After the beginning of the Cold War, many of these re-educative measures also served as propaganda in a programmatic linking of democratic and economic principles meant to strengthen transatlantic relations against the Communist Bloc. In 1997, the U.S. government concluded its work at Amerikahaus in Munich and shipped almost all its items back to the States. However, 1,630 long-playing vinyl records from the library were left behind in cardboard boxes in the basement. When Michaela Melián looked through this forgotten collection, one of the first things she came across was Don Gillis' 1940 tone poem »Portrait of a Frontier Town«, whose second movement is entitled »Where the West Begins«. Don Gillis, a composer and radio producer, used the musical styles and genres of that decade to create an explicitly American program music. Michaela Melián's »Music from a Frontier Town« is fueled by the diverse sonic material of this extensive record collection once considered as an instrument of cultural education. This record has been produced in addition to Melián's twenty-four hour performative music installation »Music from a Frontier Town« in the garage of what is now the Bavarian Center for Transatlantic Relations at Karolinenplatz, Munich (4-5 May 2018).

Sergei Vasilievich Rachmaninov (1873-1943) ist ein russischer Pianist, Komponist und Dirigent der Spätromantik gewesen, einige seiner Werke gehören zu den populärsten des romantischen Repertoires.
Aus einer Musikerfamilie stammend, begann Rachmaninov das Klavierspielen mit 4 Jahren. Er schloss 1892 das Moskauer Konservatorium ab und komponierte zu dieser Zeit verschiedene Klavier und Orchesterwerke. 1897, in der Folge der Kritik an seiner 1. Sinfonie, durchlitt Rachmaninov eine vierjährige Depression und komponiert nur wenig, bis eine erfolgreiche Therapie ihm ermöglichte sein enthusiastisch angenommenes 2. Klavierkonzert 1901 abzuschließen. Nach der Russische Revolution verließen Rachmaninov und seine Familie Russland und lebten in den USA, zunächst in New York City.
Fordernde Klavierkonzert-Tourneen verlangsamten seine Produktivität als Komponist, zwischen 1918 und 1943 schloss er lediglich 6 Kompositionen ab, darunter die Rhapsodie auf ein Thema von Paganini, die Sinfonie Nr. 3 und Sinfonische Tänze. 1942 zog Rachmaninov nach Beverly Hills, in Kalifornien.
Ein Monat vor seinem Tod an einem fortgeschrittenen Melanom, erhielt Rachmaninov die amerikanische Staatsbürgerschaft.

Recital publish the newest record by Canadian composer Sarah Davachi. Currently working on her PhD in Musicology at UCLA, her trajectory has been unorthodox. Hailing from Calgary, Alberta, which, if you've never been there, doesn't really scream "Avant-Garde" (Calgary is the rodeo capital of the world). From a young age, Sarah was a driven pianist (and figure-skater, although that's a story for a different time). It is important and interesting that she chose to study esoteric music, as Sarah could have easily been a cowgirl or a concert pianist had her ingrained love of synthesis and sonic phenomenology not taken the wheel.

Sarah is a considered person. I find few people that have the diligence and resolve to take their time with music... especially in a live context. I respect that about her. The first time I saw Sarah perform, I presumptuously told her that her music reminded me of my favorite Mirror albums (the exceptional project of Andrew Chalk and Christoph Heemann). Sarah was not familiar with Mirror, so the compliment was initially lost on her. Years back I was in the same situation when a review compared my music to Andrew Chalk, who was unknown to me at the time. So I felt a kinship in our magnetic drift towards unspoken and clustered beauty.

Let Night Come On Bells End The Day follows the release of her "sound-wheel" LP All My Circles Run, which examines the isolation of different instruments. Let Night Come On..., recorded mainly with a Mellotron and electronic organ, feels like a return to the nest. Burrowed in the studio, Davachi was the only performer on this album. She both splays her compositional architecture and re-contextualizes the essence of her early output. She chiseled careful and shadowed hymns, anchors of emotion.

Two pillars of this album are "Mordents", which to my ears drops hints of her love for Progressive rock music - and "Buhrstone," comparable to a sombre funeral march of piano and flutes. These two examine punctuations of early music, gently plucking melodies and movements. The three other compositions are tonal works, blowing slow jets of lapping harmonics.

Writing this description now, I find it hard to separate "At Hand" from filmmaker Paul Clipson, who made a melancholic film for this piece of Sarah's. A fitting title for Sarah and Paul's relationship - frequently working in orbit of each other, meticulous and tactile. I cherish this track as a memory of Paul.

This is a lovely album to fill an evening living room with. A blanket, a cup of wine, a dim bulb, a wide window.

Three beautiful photo-prints by Davachi are included with Let Night Come On Bells End The Day. Frames are not included.

- Sean McCann

Pablo Casals' (1876-1973) Aufnahmen von Beethovens gesamter Musik für Cello und Klavier zusammen mit einer weiteren musikalischen Legende, dem amerikanischen (aber in Ungarn
geborenen und in Wien ausgebildeten) Pianisten Rudolf Serkin. Diese wurden anlässlich der Konzerte beim Prades Festival zwischen 1951 und 1953 aufgenommen und ab und an hört man das Grunzen des großen Casals wenn er eine Phrase in Angriff nimmt. Casals ist 76 im Jahr 1952 gewesen und sein den Bogen führender Arm besaß nicht mehr die absolut perfekte Kontrolle, aber dennoch gilt seine Darbietung als Klassiker.

Cover with laser-cutting and printed inner sleeve, ltd. to 500 copies, incl. mp3A Score for Darling is both the sound track for the Danish film "Darling" (2017) as well as a collection of outakes from it. Raúl Pastor Medall (Rauelsson) and Erik K Skodvin (Svarte Greiner & 1/2 of Deaf Center) were paired together to work on the accompanying music after the director, Birgitte Stærmose wanted to try a new direction. Both together and individually they have created a highly affecting collection of pieces to a film that is not afraid of pushing the emotional content to the max, centered around the story of a dancer on the rollercoster ride of her life. This is also the first time either of them have made a full lenght sound track, making it their debut on the big screen.The music and instrumentation heard on the album is brimming with dynamics and diversity, featuring violin by Christoph Berg, cello by Anne Müller as well as a mass of other sounds like church organs, synths, guitar amp violation, electro-acoustics, piano and more, all layered together into 15 beautiful and devastating fragments of mood. The final piece of the album "Breathe" - featuring Otto A Totland on piano and Katinka Fogh Vindelev (We like We) on voice - can be seen as their own lamenting end title to a longer period of work with this album, finally finished.

Rumored to be one of the most intriguing collaborations of 2018, Rocketgirl presents Pieter Nooten's 4th solo album 'STEM' as Nooten teams up with legendary producer/ mixer/sound-artist Stephen W Tayler (Kate Bush, Underworld) at Peter Gabriel's Real World Studios. 'STEM' is probably Nooten's finest work since collaborating with Michael Brook 30 years ago, producing the timeless cult classic 'Sleeps With The Fishes'.Setting the tone in his 2012 double cd 'HAVEN', Nooten further explores the boundaries between the neoclassical and ambient genre, delivering an album of  heartwrenching, profound melodic compositions that invites you to listen to 'STEM' over and over again.

Stem is 60 minutes long (The CD includes a bonus track)
The vinyl has been specially edited by Stephen and Pieter and comes with a postcard and a download code of the full version.

Press:'Moments in life so often slip by with only the rusted acquaintance of memory to recall them but with a masterpiece like Haven in your collection you won't ever walk alone. No matter the slips and pitfalls you encounter or the loves you recriminate yourself for squandering, Pieter Nooten's newest will allow you to dwell with your thoughts in private with dignity...''Haven is the kind of record that gives modern composition a good name. It will also give countless budding musicians the belief that they can create a valid piece of work with nothing but a laptop. This may not be a bad thing, but it will be a while before anything in the genre matches the maturity, warmth and technical ability displayed by Nooten...'

Nooten's musical career began in the late 1970s. Starting out as the drummer in a local symphonic rock band,2 he quickly changed to bass guitar and later keyboards, playing in different bands. At the height of house squatting culture and new wave, Nooten met Anka Wolbert and Ronny Moorings who had just formed Clan of Xymox together. During the mid-eighties Clan of Xymox recorded two highly acclaimed albums on 4AD.

Sampled by Four Tet, their name whispered in reverence through the decades, ENTOURAGE forged bold musical ideas on their two rare '70s Folkways LPs. Now, collected for the first time, on three CDs are 30 previously unreleased tracks from their archives. LP version features a selection of the CD tracks. Notes by J.D. CONSIDINE, and by sole surviving Entourage member, guitarist WALL MATTHEWS.

Next to the entire All is an astonishing work by Danish experimental sound quartet We like We, consisting of Katrine Grarup Elbo (violin), Josefine Opsahl (cello), Sara Nigard Rosendal (percussion) and Katinka Fogh Vindelev (voice).

Although classically trained, all four share a desire for exploring, experimenting and shaping a sound of their own, something which is truly present on this album. Both instrumentation and composition feel glued together with an abundant sense of playfulness and vision. The record starts with the beautiful I'm not for More which sets the tone for the 10 pieces, hurling you back and forth in a whirlwind of sound and musical intuitivity.

Genre bending as the record can be, it can be seen as somewhat of a contrasting work - as much of northern folk traditions as of an avant-classical work in the spirit of György Ligeti and Meredith Monk. Forest Sketches, as an example, starts with minimal woodblocks and percussive rattling while slow building violins, cello and vocals pull themselves in through the unknown before bursting into a Pagan sounding wormhole of screams and looped cellos. The piece ends with minimal vocal sound scapes fading away into almost pure silence. It could be mirrored with a merger of both the opening and closing scene of Kubrick's classic movie 2001 - creating the sense of beginning of humanity versus the far future, with abstractation and the unknown.

Next to the entire All is both a mind bending and grounded piece of work fitting naturally next to other Sonic Pieces releases such as Hauschka & Hildur Gudnadottir's Pan Tone or Christoph Berg's Conversations, while adding a northern minimalism. A record as hard to shake off as it is to describe.

Charles Aznavour started his singing career in the late forties after Édith Piaf heard him sing and arranged to have him accompany her on tour in France and the United States. Following the tour, Aznavour opened for Piaf at the Moulin Rouge in Paris. By then he was already often referred to as France's Frank Sinatra.
This LP release combines his first complete album sung in English, 1962's The Time Is Now' (tracks 1-12), with six of his debut English language songs, which appeared on Believe in Me' in 1958. Aznavour has recorded over 1200 songs in eight different languages. He has also been a prolific songwriter, with over 800 compositions to his name.

Charles Aznavour upcoming concert: 30-06-2018 - Royal Albert Hall, London, UK

** Limited Edition 180gm Gold w/ Black haze LP w/DL.
* Kaziwa is the second collaboration between Iranian ambient experimental composer Porya Hatami and superlative sound designer Uwe Zahn's Arovane project.
* The album was originally released on limited compact disc via the Time Released Sound boutique label in July 2016 and now sees rerelease on n5MD. Each of Hatami and Zahn's collaborations has been vastly different from one another focusing on a feeling or technique. With Kaziwa the duo focused their attention toward nostalgic layered piano vignettes. The album's closer 'feer' was the first track they worked on and used it as their jumping off point. What began as a simple loop of piano morphed into something contemplatively fascinating. While that specific track features Hatami supplying most of the piano and Zahn creating the 'another time and place' atmospheres the two effortlessly switched off on piano duties all while transparently deviating from the current affectation of Frahm / Sakamoto style ambient piano clarity.

* This new version of Kaziwa will come on limited vinyl as well as on digital platforms for the first time.

Cut from the same cloth as last year's double-cassette, 'Like All Mornings,' Vanessa Amara's new album trails shorthand piano pieces and wilted strings through magnificent, electro-acoustic surrounds, often settling into buzzing, syncopated reveries. 'Manos' takes its name from an abbreviated term of endearment. Spoken in this form, it's an affectionate and inclusive gesture from friend to friend, or indeed from gang member to gang member. Vanessa Amara seemingly take their cues from either usage. Their new album feels hesitant to reveal its parts, and is perhaps a document of the limits of what can be revealed, a memorial to its own process as it winds itself in and around its delicately hued landscape. Though beginning with a morose gait, the album quickly turns over. And revealing its softer self, the clarity of the moving string arrangements hang in the air like fine mist. Everything settles against surfaces as the day breaks, opening up the space, though eventually condensing into the unnerving crescendo of the album's final piece. A recurrent, gentle whirring, much like a gramophone's needle, tracks through much of 'Manos.' It carefully steadies the listener into a mode of measuring duration, a meditative self-awareness that deliver's Vanessa Amara's world. Always intricate, and effortlessly tender, 'Manos' is an album as textural as it is melodic, and it is certainly the most exquisite suite of works to have been presented by Vanessa Amara thus far.

Originally released on Prestige in 1957, this is the third LP from NYC street performer and avant garde/minimalist composer Moondog. Perhaps the least accessible of his early releases, this album is made up of percussive jams, usually on instruments of his own creation, street sounds, poetry, and Far East melodies, despite opening with a swinging number that is, oddly, the most bizarre thing on the album. Another classic from Moondog reissued with its original Andy Warhol artwork. Limited edition of 1,000 on purple and green starburst vinyl.

When we think of the Voyager Golden Records, what comes to mind is the set of diagrams that are actually on the cover and not the record itself (well, or Carl Sagan, because, you know, CARL SAGAN). These sleeves show hypothetical beings how to access the information on the record itself and how they'd find us. The sleeves and records in combination explain in the language of science and math what we're all about, which is a pretty neat way to introduce yourself if you ask us.

Now you can have all of that interstellar sciency goodness on your living room table, which is particularly convenient in case the aliens show up at your house first. In the Voyager Golden Record Vinyl 3LP Box Set you get 3 vinyl LPs in heavyweight jackets, a 96-page companion book containing all the images included on the original, a 12" square gold foil print of the Voyager Golden Record cover diagram, a DLC for the audio files, and a turntable slipmat with a NASA/JPL-Caltech diagram of the Voyager spacecrafts' trajectories across the solar system, all packed in a custom record box.

Product Specifications
Voyager Golden Record Vinyl 3LP Box SetIncludes3 translucent gold 140 gram vinyl LPs in poly-lined paper sleeves3 heavyweight jackets, gold ink on black96-page softcover book containing all images included on the original Voyager Interstellar Record, gallery of images transmitted back from the Voyager probes, and new essay by Timothy Ferris, producer of the original golden recordGold foil print of Voyager Golden Record cover diagram, archival paper, 12" x 12"Full-color plastic digital download card for all audio of the Voyager Golden Record (MP3 or FLAC formats)Turntable slipmat featuring NASA/JPL-Caltech diagram of the Voyager spacecrafts' trajectories across the solar system, gold ink on high-quality black feltA deluxe record box with pull-ribbon, gold ink on blackIncludes nearly 2 hours of audioSounds remastered from high-resolution digital transfers of the original Golden Record tapes.

Returning to Berlin for the third installment of their acclaimed live-score performance to accompany silent film classic Menschen am Sonntag' (1930), múm will also present a special treat during the upcoming Berlinale: The band's label Morr Music will release a limited edition vinyl 10inch comprising of material that was recorded during previous installments of this extraordinary film/music event. Initiated by curators Ben Czernek and Hannes Frey for their genre-defying UM:LAUT live series at Radialsystem V in Berlin, the members of what's possibly the most original band hailing from Iceland' (ByteFM) gained universal praise.

Joined by guest percussionist Samuli Kosminen, múm founders Gunnar Tynes & Örvar Smárason create stunning instrumental soundscapes to accompany and enhance the late-1920s action portrayed in the film, which was already considered a milestone shortly after its release. German daily newspaper taz praised the band's live score after the 2016 performance, stating: It worked so well that one can easily imagine the 74 minutes as an album.' Absorbingly rich in scope and cinematic in their own right, the four tracks that comprise this (significantly shorter) release work just as well without their visual counterpart.

Directed by Robert Siodmak & Edgar G. Ulme (and co-written by Billy Wilder), Menschen am Sonntag' follows the lives of a group of Berlin residents on a summer's day in a series of leisurely snapshots. A late-period semi-documentary silent film with a unique feel, it's considered a pivotal work. The film feels quite opposite to the expressionist vehemence, that dominated German cinema within the 20s: Menschen am Sonntag' is a modernist work, it feels calm and light. Watching it today however feels poignant, because it portrays a generation that was heading for the (then) unthinkable disaster.

Accordingly, múm don't shy away from adding explosive elements and sonic drama to the score: Arriving with shimmering sounds and ambient layers, the first track Cards' eventually bursts into a mix of live drums and massive beams of electronica. Whereas Evaporate' includes great piano miniatures, Cycle Boats' boasts a melody that perfectly reflects the leisurely coming and going, the ebb and flow of a summer Sunday in and around the city. The final song My Claws' is a wildly dense, unstoppable force of nature: catchy like an 80s pop tune, it's impossible to resist this instrumental grand finale that completes this special live release.

Known for presenting a mix of electronica, ambient sounds, and experimental indie pop, múm was founded in 1997 and over the course of the last decade, the former quartet has evolved into an open collective of sorts. With seven LPs under their collective belt, múm also worked on various film-related projects including a score to Sergej Eisenstein's Battleship Potemkin.'

A compilation of Mississippi's favourite Arvo Part pieces. All sparse and beautiful arrangements. Solo piano pieces, duets with piano, violincello and viola, and a string quartet.

The pieces on this record are all unique to the style of Arvo Part - deceptively simple compositions that force you to live in the moment you are listening to them.

A Part quote from the back of the record - You can kill people with sound. And if you can kill, then maybe there is also the sound that is opposite of killing. And the distance between these two points is very big. And you are free - you can choose. In art everything is possible, but everything is not necessary.'

In a beautiful "tip on" old-school cover, with shiny gold ink, and features an incredible painting from the 16th century manuscript Kometenbuch.

A new album of piano driven ambient music from British composer Robert Haigh. Following in the path of his albums for the Japanese Siren label, Creatures of the Deep is an underground vantage of a meeting between the musical worlds of Harold Budd and Erik Satie. With a storied musical career that has ranged widely in style — from his industrial-avant-garde works on Nurse With Wound's United Diaries label as SEMA to his legendary ambient drum and bass records as Omni Trio on Moving Shadow — Robert Haigh's work occupies a space between music and mystery. With Creatures of the Deep, Haigh is at the peak of his powers. Among noir, minimal, neo-classical landscapes are robust scatterings of bright reflection and a musical expression that is subtle and elusive yet uniquely Haigh's in its voice and masterful execution. The closer we examine, the more is revealed, and the less is defined.

- New album from Robert Haigh (aka Omni Trio, legendary Ambient-Drum-and-Bass artist)

- Download card included

Finally Nils Frahm's classic album 'The Bells' sees a first vinyl edition in deluxe packaging incl. album download code plus ...

Having recorded his last album live in a large, reverberant church, Nils Frahm now invites you to put on ...

Wriggling away from any clear classification, as 80s Italian new music was wont to do, yet clearly drawing on a number of traditions and procedures, Andreoni and Paladino's AEOLYCA project stands on its own as it intersects the two musicians' already well established partnership in A.T.R.O.X. and The Doubling Riders among other settings with the sounds generated by Mario Ciccioli's aeolian sculptures. Neither aiming for the organic purity of Harry Bertoia's Sonambient recordings or the complex constructions of Mario Bertoncini's works with aeolian harps, AEOLYCA walks a line of resistance in refusing to get with any program. The music that was produced in Andreoni and Paladino's interaction with the recordings extracted by Emiliano Licastro from Ciccioli's sculptures is one that breaks the boundaries between the sound and musical sources.

The work is divided between the quick pop timings of the Rain on the Bells', Sunday Clothes for Brass Bands' and The Peruvian Club' and the longer eponymous structured compositions that bookend the record each track characterized by a dominant sonority inspired by specific iterations of globalized musics. Ultimately, though, notwithstanding their individual structural and sound diversities, the project is indebted to the sampler, the ultimate absorber, the sound source that takes up the most musical space and the possibilities of eroding sources and styles that it imposes.

Further, to indicatively attest the historical context from which it emerges, the 1980s as they came to a close, AEOLYCA was originally released on cassette, that decade's foremost format, agile, immediate, economical and for a US label (Violet Glass Oracle).

This is music that has digested many of the period's instinctive gestures. It exists as a satellite, incapable and unwilling to articulate antecedents and to nurture descendants. This is a unique work in Andreoni and Paladino's well documented activity, individually, in duo, and in their eclectic collaborations with the likes of Roger Eno and Riccardo Sinigaglia. Like the Time Zones Festival from which this project got its start AEOLYCA is what you find on the 'path of possible musics'.

- Peter Sarram

After 2016's mini-album Shady and Light, composer and guitarist Martyn Heyne releases his first full-length record Electric Intervals on the new 7K! imprint. Says Heyne: The number of parameters that determine a recording appears to be infinite. The mood, instrument, tuning, mics, room, temperature, time of day, all contribute to sound. The magic, once captured, is impossible to recreate. This might seem a hindrance, but it's really the whole point of recording for me.' Opener 'Carry', for example, is a composition carefully developed over months with most of the production happening in front of the microphone. 'Wilde Wide', however, was recorded only once as an early-morning improvisation. Having worked with Dustin O'Halloran on the Emmy-winning Transparent soundtrack and with clarinettist Claudio Puntin as part of the duo Set Aglow, Heyne's sound is one of simplified diversity.

On his debut album he controls each melody with the precision of a veteran producer. The intricate chords of Carry, the use of silence in Patina, the driving quietude of Fårö, they all invite to creep in close to hear his message. While most of the album's tracks seamlessly melt into each other, the beats of Come On actively stand out, forcing the listener to sit up and pay attention, like an espresso in the afternoon.' Born in Hamburg, Heyne taught himself the guitar and piano at an early age, learning by the geography of keys and strings rather than via traditional methods. His unorthodox tendencies filtered into an adolescence of more classical training at the Conservatory of Amsterdam and residencies across the UK. In 2009, Heyne set up his unique Lichte Studio in Berlin, where he has worked with the likes of The National, Nils Frahm, Lubomyr Melnyk, Peter Broderick and Efterklang, with whom he also extensively toured

Recorded with the support of Creative Scotland, 'Hamilton Mausoleum Suite' is an album of original chamber music (string quartet & harp) composed, arranged and produced by Scottish, BAFTA-nominated composer/songwriter and Teenage Fanclub drummer Francis Macdonald. Released 26th January 2018 via TR7/Shoeshine Records, the album features soloists from the Scottish Festival Orchestra and will be available on CD, download, stream and limited edition heavyweight vinyl.

The 'Hamilton Mausoleum Suite' music was inspired by - and the album was recorded in - the historic Hamilton Mausoleum that stands on the edge of Strathclyde Park in Lanarkshire, a few miles from the city of Glasgow. The Mausoleum has one of the longest echoes of any man-made building in the world and was constructed in the 1850s for Alexander The 10th Duke of Hamilton. For a time, the duke's remains were interred in an Egyptian sarcophagus on a plinth within the building. The mausoleum, 37 metres tall, now stands empty.

Francis went to secondary school nearby and remembers a family visit to the building when he was a young boy. On trips south from Glasgow via the M74 the Mausoleum is a familiar landmark. A couple of year ago he got the idea to record in the building, celebrating its unique reverberant qualities. Museum officer Linda Barrett was encouraging so Francis set to work composing and planning. The album was recorded in one day.

Francis is currently the drummer with Teenage Fanclub and has recently toured across the world to promote the band's most recent album 'Here'. A member of BMX Bandits for many years, in 1996, he set up Glasgow indie label Shoeshine Records and country/folk label Spit & Polish in 2000.

An accomplished composer and songwriter, his songs and music have appeared in various films and TV projects including having his vocals sampled for Looper's 'Mondo '77'' track which featured on the soundtrack to Hollywood blockbuster film 'Vanilla Sky' (2001) which starred Tom Cruise. In 2013, he was nominated for a BAFTA Scotland New Talent Award for his soundtrack to short film 'The Lost Purse'.

His debut neo-classical album 'Music for String Quartet, Piano and Celeste', released in 2015, was described as Sublime' by Classic FM and Nice' by Jarvis Cocker on BBC 6Music. The following year, he contributed an arrangement to the No 1 Classical album 'The Lost Songs of St Kilda' which was performed by the Scottish Festival Orchestra. This led to Francis approaching their fixer, cellist John Davidson, to put together an ensemble for the mausoleum project.

Along with the 'Hamilton Mausoleum Suite' project, Francis recently collaborated with London-based artist Harry Pye for a collection of 'art pop' songs and spoken word pieces for the album 'Bonjour' ( Odd but good') 4 stars, Mojo magazine.

He has worked with a range of artists in a rich and varied career including Alex Chilton, Dan Penn, The Pastels, Kevin Ayers, Kate Rusby, Edwyn Collins, Ian McCulloch, BMX Bandits, Belle & Sebastian, Camera Obscura, Cairn String Quartet and Max Richter.

Quality pressing / hand-made sleeve + English-Japanese liner notes.

- Second collaboration release of EM + Meditations (Kyoto)
- A collection of his early recordings mostly issued on 78rpm SP which are even difficult to hear
- First release outside of India and the first-time ever reissue in worldwide
- Biographical note in English

LP vesion: split on track 8 & track 9

23+ minutes of music! Études and Lori Goldston With the year gradually facing a new beginning and end, Études is pleased to present an exclusive record with cellist Lori Goldston that accompanies these very moments of gentle melancholia. While the Seattle-based musician has spent a life performing and touring with some of history's most iconic bands—such as Nirvana and David Byrne—the course of Goldston's career has also mapped itself around other memorable peculiarities. Like the very undoing of her classical education. 'Detraining' has allowed Goldston to access and intersect multiple layers within the landscape of music, eventually leading to compositions that embody gestural moments of past and future. And everything that seems to reside between. Originally performed live at Études AW17 show in Paris, Lori Goldston's record evokes ideas of timelessness whose intention isn't about consciously hauling in its audience's presence but rather implementing a type of absence that softly sedates into a space of continuation. There's a process, unfolding and somehow forever changing; motionlessly.

Ltd. to 450 copies, handmade textiled artwork, incl. printed inner sleeve, incl. mp3,The Lost follows and expands on Otto A Totland's intimate debut solo piano album Pinô from 2014. Once again several days were spent in Nils Frahm's legendary Durton studio to lay down both composed and improvised pieces of quiet beauty.While mostly residing in a small Norwegian coastal town, Otto has been trying to escape the constant movement towards fast paced, polluted lives, where it seems like sounds and impressions never stop. The Lost can be seen as a countermovement towards this development - something genuine and personal. There's a lightness felt while listening, and yet an overwhelming feeling of melancholy and nostalgia captures you through the lenght of the album. It could be described as pure timelessness captured with the best vintage recording technique you can find, opening up to a new wider scope and detail while keeping the intimacy as if it would be played right besides you. The humming of the world and the warmth of the piano shines through like a natural accompaniment as they enthrall from beginning to end.Leaves are falling and times are changing. The horizon seems dark. Otto seems to capture both the questions and feelings we have about our surroundings. Not judging them, but easing us into a mindset that feels hopeful. A sort of quiet relief that things might actually work out no matter how dark it can look.