Cerca:mar

Eine der weltweit führenden Death Metal Bands sind zurück mit ihrem brandneuen Album 'Tyrants of Doom'. Dieses Meisterwerk markiert das mittlerweile 4. Studioalbum der Deutschen und beinhaltet 10 neue gehirnschmelzende Songs in bekannt versierter Manier. Musikalisch ein weiterer Schritt vorwärts und das bisher ausgereifteste und erwachsenste Material der Band. Kurz gesagt: "Verwesung trifft Melancholie, Brutalität und Melodie".

- Ein fantastisches Album, das auf der ganz großen Bühne mitspielt
- Slaughterday gehören mittlerweile zur Speerspitze des internationalen Death Metal Zirkus'
- Sehr zu empfehlen für Fans von AUTOPSY, DEATH, CARCASS
- Eigenständiger klassischer, technisch versierter Death Metal

Cawd Slaydaz is a clear shift for Frigio Records. Yet, this debutant also marks a return of sorts. The album brings together Hugo de Naranja, co-founder of former Red Light Radio, and Max Abysmal. The link that connects the two? Their love for Colombia and the rich musical melting pot of this diverse nation. Nothing is stable on this eleven track LP, recorded in Bogotá Colombia with 10 different local guest artists. Rhythms are cross pollinated, cold and stark city thump collides with rich and lively organic flows. The style pursued is anything but singular, like the messages. Social exclusion and brutality in the poetic Perreo “Dejen Bailar” is mirrored in the Cumbia food ode “Potato Trip”. Dark Electronics, Experimental Bass & Trap are the genre tags that most will attempt to label this record with. This ignores the Leftfield Funk of “El Gorila Del Desierto”, the Stoner Ambient of “Uffff” or the Synth-Punk rage of “Razones”. An audio snapshot of a country: TOTÁL.

3xLP + 7" SINGLE, DOWNLOADCODE, ART PRINT, MAG/ZINE Like Sun Ra's Arkestra and John Coltrane are to jazz, the Mystic Revelation of Rastafari are to reggae - the ultimate expression of roots music and Rastafarian ideology in reggae music, music functioning at a high level of spiritual consciousness combined with an equally avant-garde and forward-looking approach to sound. The group's stunning, unique and groundbreaking 1973 album 'Grounation', a mighty conceptual triplealbum (the first ever reggae triple!) is, similar to Marvin Gaye's 'What's Goin' On', a definitive allencompassing cultural statement of its time and place. A sprawling album of raw and unique cultural expression that combined Rastafari consciousness with deep spiritual jazz music - an absolute and essential classic of Reggae music. The Mystic Revelation of Rastafari group came into existence at the start of 1970s, the union of two artists (and groups) of equal repute - Count Ossie and his African Drums and saxophonist Cedric 'Im' Brooks' and his group, The Mystics. Both Ossie and Brooks were alumni from the great Studio One Records.

Lindenberg Support is the man behind 'Ode To Gallantry', a complex and emotional tale of mistaken identity, trust and honor.

The story begins with the beggar Shi Po Tian, aka the Bastard, stealing a bun which contains the Black Iron Token, created by skilled pugilist Xie Yanke, which grants the holder one wish. 'C20/25' and its pounding and pacy rhythmics, carrying pads and heavy hitting vibe, perfectly set the journey's energetic and warm tone.

Xie appears yearly, demanding that the clans repay in blood for any heinous act they committed throughout the year. The only way that a rude clan can avoid the cull is for the clan's leader to sacrifice himself for them. With 'SKS (101)' and its soothing and floating pads carrying the gentle lo-fi drums, the story heats up and evolves to a deeper intricacy.

Fearing that Bastard might make him promise to stop his annual harvest of death, Xie spirits him away and trains him in martial arts so powerful that he is certain it will kill him, but instead, it makes him strong and resilient. The uplifting pads in 'Gate', supported by a reckless broken beat and pinging vocals, create a celestial vibe that pushes Bastard to his limits.

He is rescued by the Chang Lo Clan that mistakes him for their villainous leader Shi Zhongyu and then treats him as their boss. With each case of mistaken identity, he becomes drawn into a number of heated conflicts between several rival schools and gangs - a dilemma that he just isn't prepared to deal with. The dreamy ambiance of 'Kinda Weak' and its well-wrought drum pattern slowly shroud the memories of his old life.

The final point is set with 'Pol-1 (For Stefan)' - an emotive and profound ambient piece to close the story. He's sure to learn some valuable lessons about brotherhood and honor, but at what price?

Es könnte keinen besseren Zeitpunkt und keine bessere Gelegenheit für Banco del Mutuo Soccorso geben, um ihr 50-jähriges Bestehen zu feiern und gleichzeitig ihr vielleicht ehrgeizigstes Konzeptalbum seit der Veröffentlichung ihres Debütalbums 'Darwin' im Jahr 1972 zu veröffentlichen. Das neue Album trägt den Titel 'Orlando: Le Forme dell'Amore'. Vittorio Nocenzi hat zusammen mit seinem Sohn Michaelangelo und dem Texter Paolo Lugli jahrelang an dem musikalischen Konzept des neuen Albums gearbeitet. Ein echtes Gedicht aus dem XIV. Jahrhundert durch verschiedene Lieder zu erzählen und möglicherweise die Fakten und Ideale zu beschreiben, war ein Berg, den es zu erklimmen galt. Das Ergebnis der immensen Arbeit im Studio findet sich in einem epischen Album wieder, das für Fans des progressiven Rocks neue Maßstäbe setzen wird. Zweifelsohne waren Banco schon immer stark mit ihren Wurzeln verbunden, aber 'Orlando: Le Forme dell'Amore' ist ein definitiver Beweis dafür, wie sich traditioneller Prog-Rock in einer modernen, neuen Mischung aus Klang und Geist weiterentwickeln kann. Die Entscheidung, die Stücke auf diesem Album nur auf Italienisch zu singen (wie zuvor auf Transiberiana), bestätigt den Willen der Band, dem treu zu bleiben, was sie von Anfang an gemacht hat. Um den Fans zu helfen, die Texte besser zu verstehen und zu verfolgen, werden neben den italienischen Originaltexten auch englische Übersetzungen der Texte im Artwork enthalten sein. Darüber hinaus bietet die Band auf ihrer Website eine ausführliche Erklärung des gesamten Konzepts und der Narration des Albums. Für das Cover des neuen Albums verwenden Banco das ikonische 'Salvadanaio' (italienisch für 'Sparschwein'), das zum einzigartigen Logo und Markenzeichen der Band wurde. 'Orlando: Le Forme dell'Amore' soll am 23. September 2022 über InsideOutMusic veröffentlicht werden. Es folgt eine intensive Live-Tournee mit Konzerten in Italien sowie im restlichen Europa und in der ganzen Welt im Jahr 2023.

Purple Vinyl

Concentric Records present this special edition EP by the Berlin-based duo YHDESSA - composed of Dutch-Italian composer and poly- instrumentalist Grand River and Sardinian electronic music experimentalist Enrica Falqui.

Entitled Along The Simple Line, the 5-track EP is a unique sonic journey that merges in pure form the distinct worlds of the two composers, exposing a warm and delicate essence. Perfectly punctuated, and in a pace of its own, the album gently and precisely unfolds through touching musical spaces, dramatic textures, entrancing rhythms and unexpected vocal lines, revealing a wonderful depth. The result is so perfectly uniting as if woven by the same two hands.

Yhdessa is a collaborative project made up of Grand River and Enrica Falqui which was conceptualised in 2017 while the duo shared a music studio and were living as a couple in Berlin. Their first piece, released in 2018 on the label One Instrument Records, was named after the Vermona E-Piano and is composed entirely using the analogue synthesizer that was built in 1978. Following this came their lingering soundscape Waldorf Micro Q featured on the record “One Instrument Volume 01” as well as an impelling remix of Dunes by Jiska Huizing and Rudi Valdersnes.

Aimée Portioli is a Berlin-based Dutch-Italian composer and sound designer who records and performs as Grand River. The name Grand River evokes nature, scale, and movement, all key forces in Portioli’s work. Her first release as Grand River was the resolute 2017 Crescente EP, which includes Flies, a composition named by XLR8R as one of the best tracks of that year. She followed this with her melodious debut album Pineapple (Spazio Disponibile, 2018), which garnered praise from The Quietus, amongst others. The moving and dynamic subsequent album, Blink A Few Times To Clear Your Eyes (Editions Mego, 2020) was lauded by Resident Advisor and The Verge, and was elected among the best albums of 2020 by Inverted Audio. Separately, Grand River’s work has appeared on compilations by Ghostly International, Tresor, Longform Editions and has composed an official remix for Tangerine Dream.

Enrica Falqui is a Sardinian music producer and DJ currently based in Berlin. With artistic versatility as one of her defining traits: she comfortably traverses between the dimensions of electronic music. For over a decade she has dedicated herself to the study of sound and the relentless excavation of lesser-known music, which has earned her bookings all over the world and commissions for her productions from some of the most respected labels including Marignal Returns which released Plexus, a mini-album of cool, divergent compositions. Enrica is also part of the coveted duo, ERIS, whose debut and sophomore EPs, Moments and Champions League, found their home on the illustrious Cabaret Recordings. The releases entwine the forceful with the ethereal and create an original, future-facing and club-orientated sound. Moloko, a drum-focussed track laced with weaving synths, was considered by Resident Advisor as one of the best tracks of 2019.

Aimée and Enrica’s musical union through Yhdessa, is one of colour and warmth. It expresses an experimental electro-ambient side of the two composers, to form a style that is meditative, other-worldly and at times introspective. Although, the two are now, no longer romantically engaged, they maintain a passionate friendship to match this profound musical partnership.

Tom Galley begann das Projekt Phenomena in den 80er Jahren und auf den ersten 3 Ausgaben gab es große Namen der Hardrock Szene (unter anderem Glenn Hughes, Cozy Powell, Don Airey, Neil Murray, Brian May, Mel Galley, John Wetton) zu bestaunen.

Auch bei dem vierten Phenomena Album (welches im Jahre 2006 erschien) hatte Galley wieder illustre Namen wie Tony Martin (u. a. BLACK SABBATH), Keith Murrell (MAMA´S BOYS) und Glenn Hughes (u. a. DEEP PURPLE), die AOR der besten Klasse abliefern!

COLD GAWD ist der Name, unter dem der in Kalifornien lebende Multiinstrumentalist Matt Wainwright stürmische, verletzliche Shoegaze-Musik mit offenen Stimmungen und R&B-Melodien kreiert. Inspiriert von diesen Klängen, präsentieren COLD GAWD eine verfeinerte, modernisierte Version des Genres. Das insgesamt zweite Album der Band, "God Get Me The Fuck Out Of Here", nahm im Winter 2020 Gestalt an, während Wainwright lange Solo-Schichten in einem Coffee Shop in Chicago arbeitete. Angetrieben von dem Traum, in seine Heimatstadt Rancho Cucamonga zurückzukehren und alte Freunde aus früheren Hardcore-Bands wiederzutreffen, verkroch sich Wainwright mit seiner begehrten rosa Jazzmaster, einer Reihe von Effektpedalen und einem Laptop und schrieb das gesamte Album in einem Monat. Im März 2021 zog er zurück in den Westen ins Inland Empire, wo er bei Gabe Largaespada im Open Ocean Sessions zum Aufnehmen und Abmischen buchte. Obwohl er jedes Instrument selbst einspielte, haben die Ergebnisse das lebendige Gefühl einer geübten Live-Band (was COLD GAWD jetzt sind, da sie zu einer sechsköpfigen Band angewachsen sind). Kaskadenartige Gitarrenwände wirbeln, wallen und plätschern, umrahmt von versunkenen Rhythmen und Wainwrights entfernter, geschlagener Stimme, die in violetten Dunst gehüllt ist. Wainwright nennt die thematischen Gemeinsamkeiten zwischen Shoegaze und R&B als zentrale Muse, die beide obsessiv auf Liebe, Lust und Sehnsucht fixiert sind, in abwechselnd grandiosen und molligen Formen. Textlich schwankt das Album zwischen schräg und verzweifelt, sehnsüchtig und resigniert - mit Ausnahme von "Comfort Thug", einem grüblerischen, größtenteils improvisierten Spoken-Word-Stück, das durch den bemerkenswerten Mangel an schwarzen Musikern im Shoegaze inspiriert wurde. COLD GAWD ist hier, um das zu ändern. "God Get Me The Fuck Out Of Here" kanalisiert Unwohlsein und Melancholie in hauchdünne, energiegeladene Hymnen über Flucht, Veränderung und Introspektion. Das erdrückende Schlussstück "Passing Through The Opposite Of What It Approaches" wabert und schwebt wie drohende Gewitterwolken, unter denen Wainright singt (und sein Bandkollege Arturo Ramirez schreit), was einem Mission Statement so nahe kommt, wie es das Album bietet: "leave what you know / and get grown / everyday / remember / why you left".

COLD GAWD ist der Name, unter dem der in Kalifornien lebende Multiinstrumentalist Matt Wainwright stürmische, verletzliche Shoegaze-Musik mit offenen Stimmungen und R&B-Melodien kreiert. Inspiriert von diesen Klängen, präsentieren COLD GAWD eine verfeinerte, modernisierte Version des Genres. Das insgesamt zweite Album der Band, "God Get Me The Fuck Out Of Here", nahm im Winter 2020 Gestalt an, während Wainwright lange Solo-Schichten in einem Coffee Shop in Chicago arbeitete. Angetrieben von dem Traum, in seine Heimatstadt Rancho Cucamonga zurückzukehren und alte Freunde aus früheren Hardcore-Bands wiederzutreffen, verkroch sich Wainwright mit seiner begehrten rosa Jazzmaster, einer Reihe von Effektpedalen und einem Laptop und schrieb das gesamte Album in einem Monat. Im März 2021 zog er zurück in den Westen ins Inland Empire, wo er bei Gabe Largaespada im Open Ocean Sessions zum Aufnehmen und Abmischen buchte. Obwohl er jedes Instrument selbst einspielte, haben die Ergebnisse das lebendige Gefühl einer geübten Live-Band (was COLD GAWD jetzt sind, da sie zu einer sechsköpfigen Band angewachsen sind). Kaskadenartige Gitarrenwände wirbeln, wallen und plätschern, umrahmt von versunkenen Rhythmen und Wainwrights entfernter, geschlagener Stimme, die in violetten Dunst gehüllt ist. Wainwright nennt die thematischen Gemeinsamkeiten zwischen Shoegaze und R&B als zentrale Muse, die beide obsessiv auf Liebe, Lust und Sehnsucht fixiert sind, in abwechselnd grandiosen und molligen Formen. Textlich schwankt das Album zwischen schräg und verzweifelt, sehnsüchtig und resigniert - mit Ausnahme von "Comfort Thug", einem grüblerischen, größtenteils improvisierten Spoken-Word-Stück, das durch den bemerkenswerten Mangel an schwarzen Musikern im Shoegaze inspiriert wurde. COLD GAWD ist hier, um das zu ändern. "God Get Me The Fuck Out Of Here" kanalisiert Unwohlsein und Melancholie in hauchdünne, energiegeladene Hymnen über Flucht, Veränderung und Introspektion. Das erdrückende Schlussstück "Passing Through The Opposite Of What It Approaches" wabert und schwebt wie drohende Gewitterwolken, unter denen Wainright singt (und sein Bandkollege Arturo Ramirez schreit), was einem Mission Statement so nahe kommt, wie es das Album bietet: "leave what you know / and get grown / everyday / remember / why you left".

With his Arjunamusic label and a growing catalog of category-defying releases, Samuel Rohrer
continues to quietly, yet confidently, make a name for himself as a genuinely unique figure within
the European electronic music realm. Over the past decade he has assembled a repertoire of
music that fills a sadly neglected gap in the modern musical landscape. That is to say, he has
made a number of “electronically”-aided works that never seem to make “electronic-ism” the main
selling point or raison d'être. Rohrer understands that we inhabit a networked media landscape
that no longer sees a novelty value in every synthetic or technological sound, and by realizing
this, he makes a music that fully engages with the present without completely disregarding the
exciting speculative sensibility that has allowed electronic music to solidify into a tradition. His
latest solo album, Hungry Ghosts, again shows the high quality of sonic design that can be
achieved by conceptualizing musical passages as living, breathing entities rather than as
signposts to some still distant reality.
Maybe more so than any of Rohrer’s solo records to date, Hungry Ghosts is the one that
most unambiguously displays the artist as a kind of inspired sound “cultivator” or landscaper
rather than just a straightforward “producer”. The emphasis here seems to be biological growth
processes rendered in musical form, and in fact some track titles namechecking the biodiversity
of the external world (“Slow Fox”, “Ctenophora”) and neurochemistry (“Serotonin”) lend some
additional credence to this interpretation.
As with previous outings, Rohrer starts with his skills as a genre-resistant percussionist
and builds from there, with dense clusters of drum hits and icy cymbal exclamations leading the
way into a wide-open atmosphere full of fragmented phrases, marked with strange reversals or
compressions of time. The percussive portions and other ambiences merge together in such a
way that the latter seems like a kind of shifting, holographic camouflage for the former; an effect
which makes for a greater than usual number of shifts in mood. Rohrer’s already established
ambiguity and mystery are the moods that permeate throughout, to be sure, but there are also
surprising moments of humorous whimsy (the flourishes of cartoon mischief and teasing silences
on the tracks “Human Regression” and “Bodylanguage”), reverence (the optimistic organ swells
and steady sequencer guiding “Ceremonism”), and meditative focus (the slow-motion spectral
waltz of “Treehouse”). Also notable here are very brief etudes, such as “Window Pain,” whose
dark, lush ebb and flow actually seem tailored to repeated or looped listening.
It’s particularly remarkable that almost all of this material is recorded solo and in a “live /
no overdubs” mode, given how much it feels like well-rehearsed ensemble playing, and given the
impeccable timing involved in continually exchanging the sounds at the very forefront of the mix.
And here we come full circle to the idea of “electronic music” mentioned at the beginning here:
instead of making us feel that we are in the presence of some fully-realized form brought back
from “the future,” Rohrer invites us instead to witness fascinating processes of transition and
mutation, and to value them for what they are now as much as for where they are headed.

Grey Marbled Vinyl

Talented in being able to get people rising high for a physical or mental holiday this acid freak from Malta is about to take you on a trip. Neil Hales aka Acidulant owns a serious collection of both classic and modern hardware and knows how to use it to create some of the best Acid House around. With multiple singles and eps on different labels, this time Zodiak Commune Records has the honor to welcome this multitalented producer with a specially tailored tasty acid techno release!

Inspiriert von der gemeinsamen Vision eines unverwechselbaren Sounds reisten Julius, Mario und Marko 2016 nach Norwegen. Mit dem Auto machten sie sich auf den Weg zwischen scharfen Klippen und wilden Fjorden, mitten durch die raue Natur. Schneestürme und Hagel brachten sie unterwegs an ihre körperlichen und geistigen Grenzen. Diese ungezähmte Gewalt der norwegischen Wildnis war ein prägender Moment in der musikalischen Entwicklung der Band und zieht sich bis heute durch jeden Song der drei Jungs aus Görlitz. Die Grundidee von Mystik, Natur und Spiritualität, die die Initialzündung war, hat sich als Vision und Leitprinzip für die Band erhalten. Ihre Musik ist deutlich von Heavy-Rock-Bands wie Motörhead und High on Fire beeinflusst, zeichnet sich aber auch durch progressive Parts aus, wie sie in Kvelertak und Solstafir zu finden sind. Kommt mit einem Killer Artwork, in naturell farbiges Vinyl mit einer etched B-Seite.

Tarja Turunen ist seit 2005 auf Solopfaden unterwegs. Die ehemalige Sängerin der finnischen SymphonicRock-Formation Nightwish nennt sich seither nur noch Tarja und hat inzwischen zahlreiche Alben veröffentlicht.
Ob klassisch, live eingespielt oder farbenfroher Symphonic Rock, mit ihrem englischsprachigen Rockdebüt My Winter Storm” legte sie bereits 2007 den Grundstein für ihren späteren Soloerfolg.
Die stilistisch abwechslungsreiche Platte erreichte in Deutschland Platz 3 der Albumcharts und wurde mit
Gold ausgezeichnet. Im Zuge des Jubiläums wird der Album-Opener ”I Walk Alone” als limitierte 10-ZollSonderedition auf weißem Vinyl veröffentlicht.
Der fast meditative, von Metal-Gitarren und symphonischem Orchester untermalte Track zu Beginn gipfelt
in einem eingängigen und monumentalen Hardrock-Refrain, dem Tarja die funkelnde Gesangskrone aufsetzt.
Neben der ”Single Version” und der ”Artist Version” enthält die 10inch-Single drei weitere Mixversionen
des Songs: Den markanten ”In Extremo Remix” mit den typischen Sounds der deutschen Mittelalterband,
den stark elektronisch angehauchten ”The Tweaker Remix” und den wahrhaft düsteren ”The Darkroom
Mix” von Deviousnoise.
I Walk Alone” stammt übrigens aus der Feder des erfolgreichen schwedischen Songwriter-Teams Wollbeck/Lindblom/Sommerdahl (das u.a. auch für Tina Arena, den Jazzer Till Brönner oder Südkoreas Girls’
Generation arbeitete).

Basslines like a clumsy, exuberant puppy. A braid of guitar notes tickling your neck. The jittery buoyance of a marimba, so cartoonish you can picture its unblinking technicolor eyes. A snare that cracks like every friend knocking on your door at once. These are the fragmentary beats and visions that Josh Diamond and Eric Copeland spent the last two years exchanging, the magnetic, romantic, completely unashamed chunks stacked into the bubbling delight of "Riders on the Storm." These two are, yes, known for vastness, transcendence, and suffocation. Eric is a founding member of Black Dice, weaponizers of volume, misdirection, and alien language. Josh is a founding member of Gang Gang Dance, whose haunted, murky explorations drag listeners to infinite, irreversible revelations. Given these pedigrees, it's natural to anticipate their collaboration as an itchy, opaque monolith. Within the shit and terror of 2022 it's even understandable to yearn for something like that. But "Riders" with its light heart and wiggle and squirm is actually the record we need. "It's intentional," confirmed Josh of the record's lightness: "just wanting to make the opposite of what's going on outside." Eric reinforced this feeling of liberation and inversion, recalling the freedom of sharing unfinished ideas, of trusting Josh's creativity. "Nobody was vying for anything," he explained, "we were just trying to do it for each other." The completed exchange of sound unrolls like a laughter-filled conversation, Josh and Eric each banking on the other's improvements and re-configurations. The most remarkable thing about this trust, this generosity, is how their pair have managed to invite listeners into it, making everyone a part of this free-spirited dance. "Riders on the Storm" is the first full length collaboration between Josh Diamond and Eric Copeland, following their contribution to Mary Staubitz and Russ Waterhouse's 2020 `Distant Duos' project. It was recorded and mixed with the guidance of Ivan Berko (Hidden Fees, Ghost Exits). In addition to their work with Black Dice and Gang Gang Dance, Eric and Josh are both solo artists. Diamond released his debut solo album, "Seek Rips," in 2021. Copeland released his 16th solo album, "Spiral Stairs," in 2022.

This compilation presents for the first time various underground techno groups and projects that emerged in Lima in the mid-1980s. Projects such as Disidentes, Paisaje Electrónico, T de Cobre, Meine Katze Und Ich, El Sueño de Alí, Cuerpos del Deseo, Círculo Interior, Ensamble and Reacción. Disidentes and T de Cobre brought extreme sounds to local electronics, and which has made them an unavoidable reference for any historical account of techno and industrial music in Latin America. This compilation presents for the first time various underground techno groups and projects that emerged in Lima in the mid-1980s. Projects such as Disidentes, Paisaje Electrónico, T de Cobre, Meine Katze Und Ich, El Sueño de Alí, Cuerpos del Deseo, Círculo Interior, Ensamble and Reacción were responsible for introducing styles such as techno-pop, EBM, industrial and minimal synth in Peru. Coinciding with the explosion of punk in Lima and the appearance of the so-called Rock Subterráneo underground rock, these techno groups shared the same DIY spirit, performing in many punk concerts and even creating their own fanzines, and, above all, opening a space for other types of sonic experiences. Meine Katze Und Ich, El Sueño de Alí and Paisaje Electrónico were also the parallel projects of the members of Narcosis, the iconic punk band, one of the founders of Rock Subterráneo. Disidentes and T de Cobre brought extreme sounds to local electronics: viscerality, mechanical rhythms and the use of Casiotones or synthesizers, which resulted in an atypical sound that, in turn, portrayed a critical time in Peru, and which has made them an unavoidable reference for any historical account of techno and industrial music in Latin America. The title of this compilation is inspired by the name of a concert held in Lima in 1991, considered to be the first techno concert to have taken place in Peru. Even though not all intervening groups were doing techno at that time, they did share the fact that they all used keyboards. Four of them, however (Cuerpos del Deseo, Ensamble, Círculo Interior and Reacción), were in fact affiliated to an electronic sound (techno-pop, EBM). The concert was a sign of the diversification of musical styles in Lima's alternative scene, and in particular of the emergence of a micro scene, for which the concert Síntomas de techno [Symptoms of Techno] represented an important step towards the development of a local culture of electronic music during the 90s. Many of the recordings included here are extracted from demos with limited circulation, practically impossible to find. Other tracks are unpublished pieces which come from the private archives of the artists themselves. The compilation has been made by Luis Alvarado and is part of the Essential Sounds Collection, with which Buh Records is making available a vast archive of avant-garde Peruvian music. This compilation is published in vinyl format in a limited edition of 300 copies, with extensive information and visual documentation. Mastered by Alberto Cendra. Art by René Sánchez. Cover photography by Rogelio Martell. This project was awarded with funding from the Economic Stimuli program of the Peruvian Ministry of Culture.

Uruguayan music that sheds light on a new path, guarded by candombe & hip hop. An hypnotic, contemporary and ancestral record. To listen from beggining to end, in a trance. Include contributions of Hugo Fattoruso y Ruben Rada. Txt: Martín Buscaglia . DESCRIPTION Sankofa is the debut album by Avr (Alvaro Silva), a work that takes form through the research and fusion of Candombe and other Afro rhythms from Río de la Plata region with Hip Hop and Black American Music. Avr, the great-grandson of Juan Julio Arrascaeta (one of the first afrodescendant poets to be published in Latin America) writes throughout the album, using several "africanisms" and lost words that date back from colonial and slavery times, giving the lyrics a connection with his great-grandfather's work, introducing himself as a skilfull MC who travels through past, present and future while using several Candombe rhythms in his flow. Highlighting several personalities from the Afrouruguayan culture and from across the American continent, it also presents itself as a valuable work for those interested in researching cultural figures of Black America, especially, Uruguayan. Under the production of Felipe Fuentes, an album knitted with tons of messages, some direct, some to be discovered, came to life. Sankofa means "to look back, to go forward" which is exactly from the beggining what this musical journey is, from a very heavy and dense, ancestral, drum presence, to complex harmonic compositions and arrangments, a work that counts with important contributions of some of the main afrouruguayan artists. A musical "Guiso" (South American stew) Sankofa is the vision of the world of a young black male, his way of feeling and interpreting the past, present and future; and how to transform it in order to generate something new.

Juan Ibarra's jazz quintet blends hypnotic grooves, sonic landscapes and experimentalism with a cinematic touch. Jazz fusion and Avant-garde united with an unmistakable South American feel. Arco is inspired by an imaginary talk between Eduardo Mateo (Uruguayan Musician) and Thom Yorke (Radiohead) in a bar from deep Uruguay, while drinking cane and playing chess. The talk has its focus on the search for what is our "bow" to be able to launch our "arrow". At the same time they discuss calmly, while they think their movements, the different transformations they go through in life, what are the natural and which ones are necessary. The album seeks a sound between the electric guitar of Martín Ibarra and the acoustic guitar of Jeremías Di Pólito, imitating the voice with the trumpet of Juan Olivera supported by the improvised bases of Andrés Pigatto on double bass and Juan Ibarra on drums, thus opening a limbo to discover between the world Uruguayan folk and jazz.

We have dug for you inside the Californian rock of 60s surf music to extract the pearls of the genre. Enjoy ! Originals Versions Remastered

“I had to write myself back into existence,” says Jessie Baylin. “I’d been feeling lost, empty, unsure if I’d ever make music again, and I think this album came along to remind me of who I really am, of who I could still become.” Indeed, Jersey Girl is more than just another record for Baylin; it’s a radical act of self-actualization, a moving work of reflection and rebirth from an artist who’s spent the better part of her adult life running from her roots. Written and recorded with GRAMMY-winning producers Daniel Tashian and Ian Fitchuk (Kacey Musgraves, Birdy), the collection marks Baylin’s first release since the passing of her longtime collaborator Richard Swift, whose influence looms large here even in his absence, and it signals the start of a profound new chapter, one marked by love and empathy for the face staring back in the mirror. The songs are lush and dreamy here, drawing on a hazy palette of warm guitars and vintage keyboard tones, and Baylin’s performances are nothing short of mesmerizing, her tender voice front-and-center in the mix as she grapples with guilt and shame, pain and healing, purpose and identity. Baylin’s the first to tell you this wasn’t an easy record to make—in fact, it wasn’t a record she intended to make at all—but sometimes the biggest breakthroughs come from the most unexpected places. “I had to be tricked into writing these songs,” Baylin confesses, “but it was a good kind of trick. I didn’t realize what was happening until I was already in the midst of it, and that turned out to be exactly what I needed.”

Unstoppable Ukrainian metalcore unit SPACE OF VARIATIONS ascend to the next level of mind-bending modern metal on their upcoming, in-your-face full-length, IMAGO, out March 18, 2022. Following their 2019 Napalm Records debut, the XXXXX EP, the unbridled outfit breaks new ground and transcends all expectations with their exciting and undeniably fresh second studio album. IMAGO’s multifaceted, cathartic delivery seamlessly mixes gut-punching hardcore riffs and catastrophic breakdowns with colorful electronics, brutalizing vocals and, at times, trance-like synth – exploring elements of djent, hip-hop and even hyperpop influence along the way. The album’s addictively erratic, emotive atmosphere echoes their spontaneous live performance; having previously toured with modern metal giants JINJER, the four-piece relentlessly smashed European stages while captivating each listener with futuristic stylings reverberating the likes of Bring Me The Horizon, Architects, Norma Jean and LANDMVRKS. Furiously crashing opener “SOMEONE ELSE” sets free the uncompromising spirit of SPACE OF VARIATIONS – instantly breaking down genres and placing a forceful exclamation mark at the start with smashing instrumentation and a feverish vocal and lyrical assault by Dmytro Kozhukhar and Olexii Zatserkovnyi. Devastatingly heavy “1M followers” takes no prisoners from the first second and features a hefty appearance from former Asking Alexandria vocalist Denis Stoff, resulting in a fearless, addictive metalcore banger. Tracks like eponymous “IMAGO” and intense mid-tempo “Serial Killer” emphasize the multifaceted nature of SPACE OF VARIATIONS with sporadically scaled-back instrumentation and emotion turned to 10. On the contrary, previously released penultimate post-hardcore dystopia “Ultrabeat” delivers bone-crushing beats and is by far no stranger to the band’s devotees. Closing with an insane verse from Ukrainian rap sensation ALYONA ALYONA, the track undeniably marks a milestone in the unit’s soon-to-be revered history while representing the seething desire to expand all limits of songwriting and creativity. This mindset embodies SPACE OF VARIATIONS and their sonically boggling ode to the future, IMAGO. 1. SINGLE - EN Unstoppable Ukrainian metalcore unit SPACE OF VARIATIONS steps up its game with hard-hitting opener “SOMEONE ELSE” from the upcoming full-length album IMAGO. Previously touring with modern metal giants JINJER, the five-piece already smashed numerous stages across Europe. “SOMEONE ELSE” promises aggressive screams, charging transitions and deadly synth parts straight to your face. Stay tuned for this futuristic metal monster called SPACE OF VARIATIONS! 2. SINGLE - EN Unstoppable Ukrainian metalcore unit SPACE OF VARIATIONS drifts off into distant universes with their second single “vein.mp3” from the upcoming full-length IMAGO. Previously touring with modern metal giants JINJER, the five-piece already smashed numerous stages across Europe. Like a bestial alien, "vein.mp3" goes wild with its shattering drums, thudding bass, heavily distorted guitars and evil screams. Beware of this musical demon called SPACE OF VARIATIONS! 3. SINGLE - EN Unstoppable Ukrainian metalcore unit SPACE OF VARIATIONS reveals its album title track “IMAGO” from the upcoming full-length IMAGO. Previously touring with modern metal giants JINJER, the five-piece already smashed numerous stages across Europe. With melodic, yet distorted and heavy riffing, booming drums and deep growls, "IMAGO" proves itself as SPACE OF VARIATIONS’ anthem! 

12 October 2022 will mark the 150th anniversary of Ralph Vaughan Williams’ birth

- A concentration of absolute masterpieces by the best-known British symphonist!
- Ideal performance by his compatriots BBC SO under the baton of Sir Andrew Davis with the participation of Tasmin Little.
- A must-have!

“Sir Andrew lives and breathes this music as to the manner born and takes his beloved BBC SO on a moving journey from shadowy darkness to blazing light. With sumptuous sound this is easily the best "modern" version in the catalogue.”

‘Land of Dreams’, Mark Owen’s first solo record in over nine years.

Mark Owen is one of Britain's most celebrated music stars. As part of pop group Take That, he has won eight BRIT Awards, scored 12 UK No.1 singles, eight UK No.1 albums, sold over 45 million records and played live to millions of fans around the world. He released his first solo album, Green Man, after Take That first split in 1996 and, since then, he has released a further four solo albums. His last, 2013’s The Art Of Doing Nothing, was his highest charting album to date.

Mark’s distinctive vocals drive the first single, You Only Want Me, layered over upbeat instrumentation and a rousing chorus with the end result a punchy, singalong pop track. The track was written by Mark and Will Bloomfield (The Vaccines, Freya Ridings, Tom Grennan, Holly Humberstone) and was produced by Jennifer Decilveo (Miley Cyrus, Marina, Anne-Marie, Demi Lovato).

‘Land of Dreams’, Mark Owen’s first solo record in over nine years.

Mark Owen is one of Britain's most celebrated music stars. As part of pop group Take That, he has won eight BRIT Awards, scored 12 UK No.1 singles, eight UK No.1 albums, sold over 45 million records and played live to millions of fans around the world. He released his first solo album, Green Man, after Take That first split in 1996 and, since then, he has released a further four solo albums. His last, 2013’s The Art Of Doing Nothing, was his highest charting album to date.

Mark’s distinctive vocals drive the first single, You Only Want Me, layered over upbeat instrumentation and a rousing chorus with the end result a punchy, singalong pop track. The track was written by Mark and Will Bloomfield (The Vaccines, Freya Ridings, Tom Grennan, Holly Humberstone) and was produced by Jennifer Decilveo (Miley Cyrus, Marina, Anne-Marie, Demi Lovato).

Tini Trampler & Playbackdolls senden genre-transzendente, deutschsprachige Chansons aus der utopischen Zukunft als kosmopolitische Folklore ins Jetzt!

Tini Trampler & Playbackdolls sind bekannt für ihre lebensfrohen, tanzbaren & politischen Lieder, die mit Herz, Empathie und Phantasie zu geistigen Rebellionen führen. Ihre 'Chansons 2084' sind Liebesbriefe aus einer utopischen Zukunft an die Gegenwart im poetischen, deutschsprachigen Wortgewand à la Hildegard Knef und Marlene Dietrich. Vaudeville kulminiert mit wienerischem Blues, Folklore, Rumpelrock à la Tom Waits, Ragtime und Reggae zu hochemotionalen und tanzbaren Chansons.

Keith Fullerton Whitman brings his 3-part Generators series for Japan’s NAKID label to a close with a third and final instalment that ravishes the senses with hybrid analogue/digital systems tekkerz.

Hazing into a solemn start of floating organ and slurred drums, the first part fizzes into action with pranging irregularities, tentatively allowing the system to voice varying pitches and nimble rhythms that resemble balletic footwork plies as much as classically-trained instrumentalist flurries. It’s deeply trance-inducing, meditative gear that over the course of 25 minutes slowly gains momentium and complexity, first adding robust arps to complicate the structure, treading the finest line of chaos and discipline. In time, those arps turn themselves into a rhythm track, landing somewhere between Whitman's earliest junglist works as Hrvatski and a sort of plucked rhythmic minimalism that reminds us of Mark Fell’s Sensate Focus, gliding on natural, brownian motion and flux of texture, punctuated by what sound likes a plucking of a drum machine from the inside-out.

In part 2 the mood pools and diffracts in slow-fast meter, bristling ruptures of atonality that send limbs flailing one way and then another, adding subs for a dimensional shift that’s rhythmically fractured but always grounded at the low registers. The wavy embroidery of Whitman's machines trigger each other in endlessly fascinating forms of gyring workshop ballistics and dub reverberations.

A special bonus piece ‘Meakusma (Generators, Soundcheck)’ is the most curious of the lot, with a lone clarinet heard in the air, perhaps a serendipitous inclusion form someone else’s soundcheck, lending an enchanting depth perception to his frolicking bleeps.


[a] 1 | MEAKUSMA [Generators] (190606) Part 1
[b] 2 | MEAKUSMA [Generators, Redactions] (190606) Part 2
[c] 3 | MEAKUSMA [Generators, Soundcheck] (190606)

Popa Chubby stands before a sold-out crowd in Paris at l'Olympia - The
theatre where Hendrix, Miles, The Beatles and so many greatsplayed - He
tells the audience : "Je T'aime Mes Amis" !"I love you my friends" and in
that moment it's like the pandemicnever happened.Popa has not stopped
working
He followed the 2020 release celebrating his 30thanniversary ("It's A Mighty Hard
Road") with an introspective outing reflecting his timeat home : "Tinfoil Hat". The
year that has followed has lead to more upbeat themes andtimes. This is strongly
reflected on his latest recording, "Emotional Gangster", out worldwide on
Dixiefrog records on March 2022.And indeed the emotions run high on this
recording. 11 tracks featuring The Chubbfatha on many instruments and doing all
the mixing and recording duties. "Thisrecord definitely reflects happier times and
good solid dose of classic blues !" Says Popafrom his studio full of guitars in the
Hudson Valley. "I specifically included covered like"Hoochie Coochie Man" and
"Dust My Broom" to show respect for the Fathers. WillieDixon has always been my
idol you know".But the real gems here come in Popa's original compositions.
"Equal Opportunity"is a light-hearted sing along that celebrates the feminine at a
time when it is seriouslyneeded. And songs like "Fly Away" and both French and
English versions of "Why YouWanna Make War?" are big standouts !There is more
than an ample amount of pure guitar bliss on this record and slideguitar on tracks
like "Tonight I'm Gonna Be The Man" add flavor to a savory mix ! For an added
bonus Harmonica Wizard Jason Ricci joins Popa on the Blues Rockanthem "New
Way Of Walking" and the swing shuffle "Best For Last".Popa has been given many
accolades in a 30 years career. He shuns recognitionand has little use for awards
as he says it just gets in the way of the music. This has notstopped his last 3
outings from reaching the Billboard Blues Charts. He has also beengiven the
prestigious Red Rooster Award by Willie Dixon's family and been nominatedfor a
Grammy and a W.C. Handy Award.With "Emotional Gansgster Popa puts his heart
on the line and makes a play tosteal yours !

A rediscovered untitled Mass by Adriaen Willaert "Missa Ippolito", a
hidden ode to the Cardinal of Ferrara, Willaert's patron.Adriaen Willaert
must have already been a prolific composer before he assumed the
position of kapellmeister at the Basilica of San Marco in Venice
After all, a second Mass of his was included in a large, illuminated choral
manuscript that was produced for the Illustrious Brotherhood of Our Blessed
Lady in 's- Hertogenbosch, the Netherlands (the first Mass in this manuscript,
Missa sex vocum super "Benedicta," can be found on the LP Adriano 2). The title
page of the Mass does not mention the name of the composition, only that of the
composer, Adrianus Willart. It was catalogued as a Missa sine nomine, a Mass
without a name. It is assumed that the work was composed between 1522 and
1527, at a time when Willaert was a member of the music chapel of Cardinal
Ippolito d'Este in Ferrara, Italy. At first glance, what's striking about this
composition is that one of the tenor voices sings a cantus firmus (a "given, fixed,
foundational voice" that provides the basis for each movement of the Mass, to
which the other voices are added) that always consists of the same 13 notes: mi
ut mi sol mi ut fa mi fa mi re mi.
In an article about the Mass, the musicologist Joshua Rifkin claims to have
discovered a sogetto cavato delle parole in this sequence of notes. This is a
compositional technique common for the time in which the notes of a melody, in
this case the cantus firmus, are derived from the vowels of certain words. The
notes used for the tone poetry are those of the Guidonian hexachord, a series of
the 6 notes ut-re-mi-fa-sol-la.
For example, the word Maria (Ma-ri-a) can be "translated" into the notes la mi la.
The cantus firmus of the Mass, according to Rifkin, fits the words "Primus
Ippolitus Cardinalis Estensis" (Ippolito I, Cardinal d'Este) perfectly. The Mass is
thus almost certainly (via a hidden message in the music) an ode to the Cardinal
of Ferrara who was Willaert's patron. This rediscovered untitled Mass by Adriaen
Willaert, which we have now sung as a world premiere, can therefore rightly bear
the name Missa Ippolito.

Whether original or discovered, songs have always come into my life out
of need - I think every song in this record is about a beginning hidden in
an ending, hidden reclamations of ways I've disappointed myself
The record opens with Backup Plan… because I think being absolutely and freely
myself was always stupidly my back up plan. If I couldn't succeed at being the
person I was pretending to be, if I couldn't want the things I'd been pretending to
want, only then would I give myself permission to just be me. Then came Thérèse
and Mermaid Bar - Thérèse is about a misunderstood girl trapped in a painting
and Mermaid Bar is about a girl who tries to end her life by jumping into the
Hudson River and instead becomes a mermaid. Bloomed Into Blue was originally
a poem I had written with a friend in high school called the B-Word Muse. It was a
tribute to Ariel, to Eddie Sedgwick, Marie Thérèse, and so many more… Women
who were always the subject of art and not the creator. Worthy of being spoken
about but not worthy of being listened to. This record reckons with childhood in
Sweet Tooth and Driver, with regret in Luna Moth, Crazy Kid and Sticky Little
Words, with anger in South Elroy, Restless Moon and Over.Above all this record
wants to be about rebirth and acceptance.I'm crawling back to myself. Thank you
for watching- Maya Hawke
LP Translucent Orange Vinyl Tracks: Backup Plan / Bloomed Into Blue / Hiatus /
Sweet Tooth / Crazy Kid (featuring Will Graefe) / Luna Moth / South Elroy /
Thérèse / Sticky Little Words / Over / Restless Moon / Driver / Mermaid Bar

Over 25 years after their buoyant & breezy electro-acoustic debut busted
language barriers showing that French language music could build a buzz
on all sides of the Atlantic, Autour de Lucie's debut finally gets the vinyl
treatment! Pressed on Dark Red color vinyl
..
Tracks: L’accord parfait / La ballade du déserteur / Le ciels de traîne / Le
tournesol / Island / Comme si de rien n’était / Au large déjà / Ce que l’on tait / Les
anomalies / Marie (ceux qui ne rêvent pas aux étoiles) / Les brouillons

Kinetika Bloco's 'Legacy' now on limited-edition vinyl with 6-panel poster
of the cover artwork
'Legacy' celebrates the 21st anniversary of the carnival group of the same name,
which was founded by Mat Fox in South London. Usually around 100 strong, this
scaled-down group of Kinetika alumni led by Mat's son Ruben Fox revisit some of
the Bloco's iconic pieces on this landmark recording and features saxophonist
Nubya Garcia, pianist Reuben James and trumpeters Mark Kavuma, Claude
Deppa and Ife Ogunjobi.
They revisit some of the Bloco's iconic pieces on this landmark recording. What is
effectively a big band with guitar, Hammond B3 and a four-piece rhythm section
of Brazilian surdos (bass drums), bells and snare drums, their sound is
refreshingly new, enthralling, and vibrant.
George Clinton: "Don't ever stop grooving like that, you (Kinetika Bloco) own the
world."
Press quotes:
"Kinetika Bloco has created a unique new British carnival sound, drawing its
influences from the Caribbean, Brazil, Africa and New Orleans." - Jazzwise
"Kinetika Bloco are a phenomenon - over the last twenty years the percussion and
horn heavy collective have evolved their own irresistible version of carnival music,
drawing on the many traditions of the Black Atlantic, while acting as a hothouse
for talent development for generations of young London musicians." - Jazzviews
"The group sounds like a British carnival for today, drawing on a Caribbean,
Brazilian, African and New Orleanian influence. Legacy celebrates Kinetika Bloco's
21st anniversary." - Jazz Journal
Kinetika Bloco were featured in the Queen's Platinum Jubilee Pageant, as seen on
TV by millions.

Originally released in 1995, this reissue edition is becoming available as
180g Double 12" Black Vinyl LP, along with a Limited Collector's Edition
on Heavyweight Red Double Vinyl
Both editions are mastered for vinyl, reissued with the original cover design,
specially enhanced artwork, including a 16-pages LP booklet with extensive liner
notes by Clay Marshall and carry an exclusive, previously unreleased live bonustrack. Exclusive to the Limited Collector's Edition is a 1996 European Tour Poster
Replica.
LP Red LP Tracks: Overture / Sarajevo / This Is The Time (1990) / I Am /
Starlight / Doesn't Matter Anyway / This Isn't What We Meant / Mozart And
Madness / Memory (Dead Winter Dead Intro) / Dead Winter Dead / One Child /
Christmas Eve (Sarajevo 12/14) / Not What You See / The Storm - This Is The
Time (Live in Neu Isenburg 1997) (Bonus Track)
LP Tracks: Overture / Sarajevo / This Is The Time (1990) / I Am / Starlight /
Doesn't Matter Anyway / This Isn't What We Meant / Mozart And Madness /
Memory (Dead Winter Dead Intro) / Dead Winter Dead / One Child / Christmas
Eve (Sarajevo 12/14) / Not What You See / The Storm - This Is The Time (Live in
Neu Isenburg 1997) (Bonus Track)

Originally released in 1995, this reissue edition is becoming available as
180g Double 12" Black Vinyl LP, along with a Limited Collector's Edition
on Heavyweight Red Double Vinyl
Both editions are mastered for vinyl, reissued with the original cover design,
specially enhanced artwork, including a 16-pages LP booklet with extensive liner
notes by Clay Marshall and carry an exclusive, previously unreleased live bonustrack. Exclusive to the Limited Collector's Edition is a 1996 European Tour Poster
Replica.
LP Red LP Tracks: Overture / Sarajevo / This Is The Time (1990) / I Am /
Starlight / Doesn't Matter Anyway / This Isn't What We Meant / Mozart And
Madness / Memory (Dead Winter Dead Intro) / Dead Winter Dead / One Child /
Christmas Eve (Sarajevo 12/14) / Not What You See / The Storm - This Is The
Time (Live in Neu Isenburg 1997) (Bonus Track)
LP Tracks: Overture / Sarajevo / This Is The Time (1990) / I Am / Starlight /
Doesn't Matter Anyway / This Isn't What We Meant / Mozart And Madness /
Memory (Dead Winter Dead Intro) / Dead Winter Dead / One Child / Christmas
Eve (Sarajevo 12/14) / Not What You See / The Storm - This Is The Time (Live in
Neu Isenburg 1997) (Bonus Track)

Originally released in 1997, this reissue edition is becoming available as
180g Double 12" Black Vinyl LP, along with a Limited Collector's Edition
on Heavyweight Transparent Orange Double Vinyl
Both editions are mastered for vinyl, reissued with the original cover design,
specially enhanced artwork, including a 12-pages LP booklet with extensive liner
notes by Clay Marshall and carry an exclusive, previously unreleased live bonustrack. Exclusive to the Limited Collector's Edition is a Lenticular Cover Card.
LP Tracks: The Ocean / Welcome / Turns To Me / Morning Sun / Another Way /
Blackjack Guillotine / Paragons Of Innocence / Complaint In The System
(Veronica Guerin) / Underture / The Wake Of Magellan / Anymore / The Storm /
The Hourglass / Turns To Me (Live in Neu Isenburg 1997) (Bonus Track)
LP Tracks: The Ocean / Welcome / Turns To Me / Morning Sun / Another Way /
Blackjack Guillotine / Paragons Of Innocence / Complaint In The System
(Veronica Guerin) / Underture / The Wake Of Magellan / Anymore / The Storm /
The Hourglass / Turns To Me (Live in Neu Isenburg 1997) (Bonus Track)

Originally released in 1997, this reissue edition is becoming available as
180g Double 12" Black Vinyl LP, along with a Limited Collector's Edition
on Heavyweight Transparent Orange Double Vinyl
Both editions are mastered for vinyl, reissued with the original cover design,
specially enhanced artwork, including a 12-pages LP booklet with extensive liner
notes by Clay Marshall and carry an exclusive, previously unreleased live bonustrack. Exclusive to the Limited Collector's Edition is a Lenticular Cover Card.
LP Tracks: The Ocean / Welcome / Turns To Me / Morning Sun / Another Way /
Blackjack Guillotine / Paragons Of Innocence / Complaint In The System
(Veronica Guerin) / Underture / The Wake Of Magellan / Anymore / The Storm /
The Hourglass / Turns To Me (Live in Neu Isenburg 1997) (Bonus Track)
LP Tracks: The Ocean / Welcome / Turns To Me / Morning Sun / Another Way /
Blackjack Guillotine / Paragons Of Innocence / Complaint In The System
(Veronica Guerin) / Underture / The Wake Of Magellan / Anymore / The Storm /
The Hourglass / Turns To Me (Live in Neu Isenburg 1997) (Bonus Track)

ACCLAIMED ALBUM FROM NORWEGIAN POST-PROGRESSIVE ART
ROCKERS BACK ON VINYL
Formed in Oslo in 1996 by childhood friends Jon-Arne Vilbo & Thomas Andersen
along with Jan-Henrik Ohme (later joined by Mikael Kromer, Robert R Johansen &
Kristian Torp), Gazpacho have honed their unique sound over a string of critically
acclaimed albums & numerous tours, including several with long-time supporters
Marillion.Albums & tours, the internet & word- of- mouth praise that has greeted
them, have helped the band build a substantial international fan base. While still
an independent band, they were contacted by producer Steve Lyon (Depeche
Mode, The Cure, Paradise Lost, Reamonn, etc). This ended up as a collaboration
on one of the tracks featured on the album, 'Substitute for Murder'.
'When Earth Lets Go', originally released in 2004 has the band joined by drummer
Robert Johansen & sees them take the step from being a "studio band" to a "live
band". 'When Earth Lets Go' is seen by many as a rougher edged album than
'Bravo', a direction Gazpacho wanted to take without repeating themselves.
'When Earth Lets Go' is now available for the first time on single LP via Kscope.
"Norway's best kept Prog secret" CLASSIC PROG ROCK (UK)

LP Tracks: Snowman / Put It On The Air / Souvenir / Steal Yourself / Dingler's
Horses / 117 / Beach House / Substitute For Murder / When Earth Lets Go

ACCLAIMED ALBUM FROM NORWEGIAN POST-PROGRESSIVE ART
ROCKERS BACK ON VINYL
Formed in Oslo in 1996 by childhood friends Jon-Arne Vilbo & Thomas Andersen
along with Jan-Henrik Ohme (later joined by Mikael Kromer, Robert R Johansen &
Kristian Torp), Gazpacho have honed their unique sound over a string of critically
acclaimed albums & numerous tours, including several with long-time supporters
Marillion.Albums & tours, the internet & word- of- mouth praise that has greeted
them, have helped the band build a substantial international fan base. While still
an independent band, they were contacted by producer Steve Lyon (Depeche
Mode, The Cure, Paradise Lost, Reamonn, etc). This ended up as a collaboration
on one of the tracks featured on the album, 'Substitute for Murder'.
'When Earth Lets Go', originally released in 2004 has the band joined by drummer
Robert Johansen & sees them take the step from being a "studio band" to a "live
band". 'When Earth Lets Go' is seen by many as a rougher edged album than
'Bravo', a direction Gazpacho wanted to take without repeating themselves.
'When Earth Lets Go' is now available for the first time on single LP via Kscope.
"Norway's best kept Prog secret" CLASSIC PROG ROCK (UK)

LP2 Tracks: Intro (00:46) / Snowman (04:26) / Put It On Air (05:10) / Souvenir
(03:37) / Steal Yourself (03:52) / 117 (06:23) / Beach House (05:07) / Substitute
For Murder (06:10) / Dinglers Horses (04:19) / When Earth Lets Go (04:49) /
Etching

Swoontide is being released on 12” Limited Edition x 500 sea green 180GSM colour vinyl this September. Cormorant Tree Oh announces the release of folk horror masterpiece, via Trapped Animal! “Marrying skeletal balalaika and disembodied samples with low-lying synth organ lines and a focal point here – Keane’s arresting vocals, it doubles as one of our favourite Irish tracks of the year thus far.” The Thin Air // Trapped Animal is very excited to announce we will be working with new visual and aural talent, Mary Keane aka Cormorant Tree Oh on her folk horror masterpiece that is Swoontide. The Cave, the first single from Swoontide dropped in June on digitals. Mary says on the track: “This song is a celebration of the form and symbolism of caves. They are portals to another realm, the site of our earliest artistic expression, places of transcendence, the hermit’s refuge. They are colossal gees in the landscape. They are where picnicking lovers go to make mischief on a summer’s day. The cave in question is located in Portrane Co.Dublin.” Swoontide is the distillation of several years of Mary Keane’s life, recorded on her laptop as and when a new song or idea would come along. Mary talks about her process: “I love to stitch in samples from nature as so many of my songs are inspired in some way by the natural world. I’m also drawn to more domestic sounds like my mother’s washing machine or water coming to the boil. I play some unusual instruments throughout the album including balalaika, theremin, psaltery and lots of improvised percussion including bread bins, biscuit tins, stones, and a spiral staircase.” Try taking a walk in the dark with this album, we dare you. Track Listing: 1 Thirty Deer Heads 2 Zip Issues 3 Sphere Of The Sensory 4 Pareidolia 5 Holiday Rigor Mortis 6 Pissing Stones 7 All Of It 8 The Cave 9 We Are Fruiting Bodies

Utrecht’s Banji return with news of their record,
‘Freshcakes’, via PIAS Recordings.
‘Freshcakes’ is filled to the brim with Banji
goodness, with a whopping thirteen tracks.
With support from Line of Best Fit and The
Independent (Track Of The Week), and features in
CLASH, DORK and more, Banji are making their
mark with this new record, pressed to light blue
vinyl.
Talking about ‘Freshcakes’, vocalist Morris Brandt
says: “Banji’s songwriting has always reflected my
surroundings and environment. Big themes of this
album are struggling with adulthood, self-worth
and self-esteem, mental health and frustrations,
addiction, and finding your own self-discipline and
maturity over time. The lyrics that flowed out of me
throughout the making of ‘Freshcakes’ tend to be
built around introverted thoughts, personal social
situations, and subjects that I find difficult to
dissect.”

After the success of HSW001, we thought it was about time to announce the second stage of our exciting unknown artist vinyl series. HSW002

Early
support from ; Priku, Cosmjn, Barac, Vlad Arapasu, Costin Rp, Rossi, Iuly.B, Rich Nxt, Olivian Nour, SUAT, Mikhu, Dragutesku, Mariano Mateljan, Kirik, Rhadow, Pascal Benjamin, XXX Culture, Lee Hasty & more

Limited Edition (500) (No Repress)
Multi colour 180g Vinyl
White Label
Hand Stamped & Signed with love
Specially designed outer sleeve artwork

Today Chicago-based percussionist, composer and producer Makaya McCraven announces the details of his new album In These Times, which is set for release on September 23rd via International Anthem / Nonesuch / XL Recordings. The first offering from the new album is a song tiled "Seventh String," which encapsulates the various musical dimensions present on McCraven's new album, a career-defining body of work that is a remarkable new peak for the already-soaring McCraven. In These Times is a collection of polytemporal compositions inspired as much by broader cultural struggles as McCraven's personal experience as a product of a multinational, working class musician community. It's the recording that he's been trying to create for 7+ years, as it's been consistently in process in the background while he's put forth a prolific run of releases including: In The Moment (2015), Highly Rare (2017), Where We Come From (2018), Universal Beings (2018), We're New Again (2020), Universal Beings E&F Sides (2020), and Deciphering the Message (2021). With contributions from over a dozen musicians and creative partners from his tight-knit circle of collaborators - including Jeff Parker, Junius Paul, Brandee Younger, Joel Ross, and Marquis Hill - the music was recorded in five different studios and four live performance spaces while McCraven engaged in extensive post-production work at home. Featuring orchestral, large ensemble arrangements interwoven with the signature "organic beat music" sound that's become his signature, the album is an evolution and a milestone for McCraven, the producer. But moreover, it's the strongest and clearest statement we've yet to hear from McCraven, the composer. Profiled in the New York Times, Vice, Pitchfork, Rolling Stone, the Guardian, and NPR, among other publications, Makaya and the music he makes today is what Passion of Weiss explains, "is part of a necessary conversation about the next evolution of the Black improvised music known colloquially as 'jazz.' He's found the threads connecting the past with the present, and is either wrapping them with new colors and textures, or he's plucking them gleefully like the strings of a grand instrument." McCraven, who has been aptly called a "cultural synthesizer" and "beat scientist," has a unique gift for collapsing space, destroying borders and blending past, present, and future into poly-textural arrangements of post-genre, jazz-rooted 21st century folk music. In These Times encompasses his artistic ethos, his experiences, identity and lineage, while pushing his music to new heights.