Поиск:mo ca

'Treeless Plain', ursprünglich im November 1983 veröffentlicht, ist das Debütalbum der australischen Indie-Folk-Band The Triffids. Aufgenommen in zwölf Sessions von Mitternacht bis zum Morgengrauen, entstand dieses düster-melancholische Album in den Emerald City Studios in Sydney. Zum 40-jährigen Jubiläum wurde das Album vom ursprünglichen Toningenieur Nick Mainsbridge neu abgemischt und erscheint nun als limitierte weiße Vinyl im Original Gatefold Sleeve.

These days we are back again in the 60s, as the world urgently needs a new peace movement.

Therefore we ultimately call everyone to hold their hands together and look into the future, - nothing describes better the message we deeply feel being part of, in the own words of Kito Jempere. For ''Let's Hold Our Hands Together'' he already called up the internationally awarded Swedish composer Adam Evald on vocals and the enigmatic Antoha MC on trumpet, backed by Public Possession artist, Eden Burns and our very own, Leonid Lipelis (check his latest 'Function As A Meaning' EP!!!), on the remix duties, Kito Jempere is the ''DJ's hero'' - selector, producer, own orchestra and band conductor (watch Boiler Room from PPF!), who has been delivering quality dance records through decades via DFA, Lo Recordings, Freerange.

Proclaimed as the ''The King Of Collaborations'' by Zweikommasieben, Kito has been working on music with together with Jimi Tenor, Red Snapper, Hard Ton, New Composers and got remixed by Palms Trax, Andras, Ruf Dug, Black Spuma and many more.

Sovereigns tödliche Mischung aus bösem Death/Thrash wird in voller Länge über Dark Descent Records veröffentlicht!

Die 2018 in Oslo gegründete Band hat bereits drei Veröffentlichungen auf dem Buckel: Iron Cast (Single 2018), Sovereign (Demo, 2019) und Neurotic (EP, 2020). Nach drei Jahren ist nun endlich die Zeit gekommen, das Set mit dem Debütalbum Altered Realities zu vervollständigen. Ein monströses Meisterwerk der extremen Metal-Ekstase der alten Schule.

"Altered Realities ist das Produkt einer sich ständig weiterentwickelnden Reise, die wir als Band unternommen haben, von unserem Start im Jahr 2018 bis zur Aufnahme des Albums Anfang 2022", reflektiert Leadgitarrist Tommy Jacobsen. Ihm zur Seite stehen der ehemalige Nocturnal Breed-Bandkollege Vidar Fineidet (Gitarre), Schlagzeuger Cato Syversrud und Bassist/Sänger Gravskjender.

"Wir streben danach, uns selbst zu pushen, sowohl in Bezug auf die Geschwindigkeit als auch auf die Technik, ohne dabei den Groove und die Dynamik zu verlieren. Unsere Herangehensweise an Death/Thrash ist ein Wechselspiel zwischen rasanter Aggression und einem langsameren, mehr auf den Groove ausgerichteten Gefühl. Die lyrischen Themen des Albums spiegeln Ereignisse und Unruhen wider, die sich während der Zeit des Schreibens ereigneten, und sind an sich eine Reise."

"Keith Porteous, who was A&R at BMG brought me to a bar called The Absinthe to check out a new band he was working with. What was immediately interesting about them was that, while their tastes were root-ed in ‘70’s rock, they didn’t sound retro. They had created a classic rock sound for their generation. What was also great is that they were four distinct personalities-four characters, like the Beatles or the Monkees. But they all dressed in matching outfits and did coordinated rock moves on stage. Amazing. I went to Moncton, NB and met the guys at an old schoolhouse that they’d wrangled to do pre-pro-duction. We spent a week or so workshopping their super cool songs and hanging out at their favorite watering holes. They had sold me with their live show and part of the trick of producing them was to try to capture that. I knew we weren’t going to do a lot of overdubs or ornate production. That week was an absolute blast. The guys were so funny and so engaging, just dripping with personality, which I knew was going to serve them well in the music business. I remember going to a Chinese Buffet with them and their girlfriends and watched them eat half of the food in the restaurant. I think the bill came to less than $100 for the nine of us. I still love the record and I wish it had made them world famous rock superstars. Every song on it is so uniquely them, they had perfectly distilled their influences, both old and new, and I don’t think any other band could have made this record. " - Moe Berg

The incomparable trumpeter Clifford Brown recorded two leader sessions for Blue Note in 1953—a co-led quintet date with Lou Donaldson and his own sextet date—that were compiled on the 12" LP Memorial Album (BLP 1526) shortly after his tragic death in 1956. Brownie’s star burns bright from the blistering ‘Cherokee’ to the stunning ballad ‘Easy Living’. This Blue Note Classic Vinyl Edition is mono, all-analog, mastered by Kevin Gray from the original master tapes, and pressed on 180g vinyl at Optimal.

This record contains four tracks taken from a live performance which took place on December 3rd 2021 at the vinyl harvest record store in Esch-sur-Alzette Luxembourg. The concert was curated by non-profit organisation I am esch twenty too and the label mint.conception.recordings. I am esch twenty too was founded in 2020 as an alternative suggestion to the city of Esch-sur-Alzette being European Capital of Culture 2022 and its role and program. The budget for this concert was generated by the entrance fee to the concert only.

Jan Jelinek has for more than 20 years been one of the most essential voices in contemporary electronic music. Arthur Clees is a young percussionist from Luxembourg and a bright talent intent on finding his own way into jazz, improv and electronic music. Both performers had never met each other before.

Vladislav Delay's complete "Hide Behind The Silence" series. Intuitive and raw music, momentary and reflective, released on Ripatti's own label Rajaton.

Stillness is a myth. Consider concepts such as ”still water”, or ”still air” for that matter. Go to a restaurant, ask them for a glass of still water, hold it against the light and see where we’re at. Even though the water itself has been captured and imprisoned in the glass, it never stops breathing. It’s filled with tiny particles, dancing. Everything can be explained on a molecular level, but since we’re not scientists – and even if you happen to be – it’s the natural world of perception that moves me.
Still air is very similar. A hot summer’s day with zero wind feels completely still. It’s the closest I have felt to complete stillness. Or for a more urban adaptation, imagine the same vibe inside a normal apartment. In those moments, revelations and mind- blowing experiences can be had with experiments in stillness.
Try this: Just sit down for a minute on a sunny day, making sure there’s enough natural light. Do absolutely nothing. Try not to breathe for a bit. (If you need a mental anchor, you can play Cage’s 4’33” in your head but nothing else.) Watch the tiny dots of dust dancing :..’ ̈.:; ́ ́*°.,’:,. ̈ ̈ ̈ ̈:,.’
The movement is crazy, but the feeling of stillness comes from witnessing how subtle it is. In (perceived) complete stillness, every act of microscopic mobility seems to speak volumes. Yet, it feels both reassuring and oddly threatening that the stillness is never complete. What if we would need absolute stillness? Or is it just enough that we can perceive something as such? Extremes attract, so for both water and air, extraordinary movement is equally fascinating. That is also a luxury item of sorts. For us to enjoy a very ”loud” body of water or air, we need to be safe, in enough control of the situation. So when you are, it’s worthwhile to pay attention and take it all in.
A rapid flowing free with extreme strength and just barely in control. Look at that water go! No still water on this one, only ”sparkling”. A windy day when birds seem surprised how hard it is to fly, but in the end they make it. Trees bend but don’t break. The wind shows you its movement but doesn’t hurt you. It feels friendly, like a big clumsy dog that doesn’t quite understand its size.
It’s beautiful to be a guest of the elements, but not at the mercy of them. A new kind of dialogue forms.

Q&A with Sasu Ripatti:

1) Tell us something about the EP series ”Hide Behind the Silence”, what’s the idea and what can we expect?

Exploration of inaction. Of many kinds. In arts and in personal life, or at bigger and more serious levels. Questioning myself as a human being as well as an artist. Acknowledging the growing activism all around, and the very clear need for it, and how it reflects my own inaction.
Musically speaking, after Rakka, Isoviha and Speed Demon, I finally found some relief, but more importantly lost the need to go musically ever more outward and intensive. I felt quite strongly certain periods/moods from the past and they made me revisit some musical ideas or states of mind I was exploring early on.
It’s about live moments being captured, not much premeditation or editing. More intuitive and raw, even though the end result (to me) feels and sounds quite introspective and calm. It’s not very ambitious. Momentary and reflective.

2) Your music doesn’t sound very silent. Does it come from somewhere behind the silence?

Oh, this time to me it sounds quite quiet and playing with space if not silence. I don’t know what’s actually behind silence, but I think silence is the source of everything. We just don’t understand it yet.

3) What kind of thoughts or experiences gave inspiration to this series?

Writing this in Nov ’22, it’s not a stretch to say the world has been really unwell. Sometimes, like Mika Vainio put it, the world eats you up. I feel a bit like that. And I try to hide in my studio and stay away from it all, but it’s getting harder by the day. I’ve been questioning myself and thinking if what us artists are doing is worth anything, and whether it’s just a selfish thing I’ve been doing for the past 25 years, running away from everything. I haven’t come to a conclusion yet.

4) Is it easy for you to be in silence, or around silence?

Absolutely. I not only hide behind silence but I also love silence. It’s only since I started going back to nature as a grown-up person that I sensed and was enveloped by silence, true silence. I have begun to appreciate it a lot. I think all the people should spend more time in silence.

All tracks composed and produced by Sasu Ripatti.
Artwork by Marc Hohmann, photography by Shinnosuke Yoshimori.
Mastering by Stephan Mathieu for Schwebung Mastering.
Vinyl cut by SST Brueggemann.
Publishing by WARP Music Ltd.

Sasu Ripatti's complete "Dancefloor Classics" series. Music for imaginary dancefloors, released on Ripatti's own label Rajaton.

”Look up, into the light” she said, while the camera shutter clicked. ”Like this? Does it look holy?” His neck felt stiff. Her reply: ”Yes, just like that. What do you mean holy? Like religious? ”No, more like trying to look very far, somewhere beyond what we can see.” ”Okay, stand still, I’m going to come close to you now. The light hits your face great.” click, click, click.
He noticed her fingernails. They were not polished. Natural. Even somewhat rugged, as if something wore out the fingers slightly. What had these hands held besides the camera? What made the edges of her fingernails drift off?
He thought it’s weird to look straight into the camera. The photographer had closed her left eye, the one not looking into the lens. Then it opened, she looked up, perusing the surroundings, then she closed her eye again, then looked up, closed, looking up, very quickly. It all seemed very professional. Maybe she calculated the light, making sure it’s close to perfect. ”What will these photos look like?” – the thought popped into his head briefly. It was liberating to think it wouldn’t matter.
”What’s that song playing?” he asked. ”Wait a sec, Ol’ Dirty Bastard?” she replied. ”Oh yeah, right. But the sample?” ”Hey, could you look up again, like that. No, lower.”
New directions: ”Look out from the window, turn left.” ”My left or yours?” ”Yours, I always try to think from the direction of my model.” How professional! This is a good shoot, so natural. Should I worry about how the photos look like? No, I don’t want to. His thoughts bounced around. What would the story be like? It’s a big newspaper, everyone will read it. Maybe someone drinks coffee and eats a stroopwafel while they do it. Will they place the waffle on top of the mug for a brief while, so that it gets hot and the syrup melts a little? Then it feels wet, and you can bend the cookie.
She broke his train of thought off midway through: ”Now turn right, but look left, and slightly up, but don’t turn your face right.” ”Umm, like this? Sounds like a set of pilates instructions.” she laughed ”You do pilates?” ”Yeah, it’s hard sometimes. Have you tried?” ”No”, she said. ”I’m not good for sports that are done in groups.” ”Yeah, but in pilates you can just be inside your mind, drowning in your private thoughts.”
”What are you thinking in pilates?” she asked, taking more photos. ”Well, mostly just which way is right. And which left.” click, click.

Q&A with Sasu Ripatti:

1) Tell us something about the EP series ”Dancefloor Classics”, what’s the idea and what can we expect?

I’ve been slowly writing these sort of dance music pieces and finally curated them together for a conceptual release. I like to create music for a dancefloor that exists only in my imagination and doesn’t try to suck up to the standardized reality.

2) Your vinyl format is 10” which is quite special (as opposed to LP / 12”). Why did you choose it?

It’s my favourite format, absolutely. The size is perfect, and you can make it sound really good @ 45 rpm. And you still can make great artwork.

3) You seem interested in sampling/repurposing, what does it mean to you as an artist to approach something already existing from a new angle? How does the source material inform you about the approach to take?

I guess i could flip it around and just say I’ve outgrown synths or electronic sounds to a great extend, and having gotten rid off all my synths already good while ago I’ve used samples as my main source material a lot. It’s obvious on this series that i’ve sampled existing music, but I also sample instruments and things in the studio and resample my own library that I have built over the years, it’s quite large. To me the end result matters, not so much how I get there. Once I have something on my keyboard and play around, it’s all an instrument, though with sampling other music it becomes a really interesting and complex one as you’re possibly playing rhythm, but also harmonic content and maybe hooks or whatever, all at once.
I never sample premeditadedly, like listening to records and looking for that mindblowing 3 sec part. I just throw the cards in the air and see what lands where, just full intuition and hopefully zero mind involved, playing tons of stuff, trying things, just recording hours of stuff. Then comes the interesting part to listen to hours of mostly crazy stuff and finding that mindblowing 3 sec part.

4) What is your relationship with the dancefloor (conceptually and/or in experiences / as a performer)?

Very complicated. I have never really felt comfortable on a dancefloor but have always wanted to. There’s something in club music, in theory, that really speaks to me. It has never really materialized for me – speaking mainly from a performer’s point of view who goes to check on a dancefloor for a moment after a concert. I never have DJ’d or felt much interest towards it. But again, I love the idea and concept of DJing. As well as producing music for imaginary DJs. Lately, as in the past 10+ years, I haven’t even performed in any sort of club spaces. So my relationship to the dancefloor is quite removed and reduced, but there’s quite a bit of passion and interest left.

All tracks composed and produced by Sasu Ripatti.
Artwork & photography by Marc Hohmann.
Mastering by Stephan Mathieu for Schwebung Mastering.
Vinyl cut by SST Brueggemann.
Publishing by WARP Music Ltd.

Met 'Het langste jaar' is Het Zesde Metaal aan zijn zesde album toe. Het nieuws van de ongeneeslijke ziekte van gitarist en toetsenist Tom Pintens inspireerde de band om een album te maken in de intimiteit van de eigen kring. Tom leidde de groep als producer naar de studio in juni 2023. Gezien zijn fysieke toestand mag het een wonder heten dat hij de opnames nog kon bijwonen, maar zijn geest bleef vlijmscherp tijdens de intense sessies. Toen het begon door te dringen dat hij de mix niet meer zelf zou afkrijgen, riep Pintens de hulp in van het vertrouwde producersduo Jo Francken en Pieterjan Maertens (Nie voe kinders, Calais, Skepsels), die het werk binnen de uitgezette lijnen feilloos afmaakten.

Hoewel frontman Wannes Cappelle naast het verlies van zijn eerste luitenant ook het vroegtijdig overlijden van een geliefd familielid te verwerken kreeg, werd het geen somber album. Cappelle opent met een pakkende ode aan de duurzame liefde, vraagt zich af wat te doen met de tijd die ons nog rest en probeert te vatten hoe een boodschap van enkele seconden een levenslange impact kan hebben. Maar Cappelle zou Cappelle niet zijn als hij niet ook de blik naar buiten richtte en een spiegel voorhield die ons niet van onze beste kant liet zien. 'Het langste jaar' is de muzikale neerslag van de hevigste periode uit de geschiedenis van de band, maar is tegelijk wellicht de meest melodieuze plaat in je Het Zesde Metaal-verzameling, met meer ruimte dan ooit voor fijnzinnige maar uiterst efficiënte arrangementen. We horen u al meeneuriën en we zijn nog maar begonnen!

Met 'Het langste jaar' is Het Zesde Metaal aan zijn zesde album toe. Het nieuws van de ongeneeslijke ziekte van gitarist en toetsenist Tom Pintens inspireerde de band om een album te maken in de intimiteit van de eigen kring. Tom leidde de groep als producer naar de studio in juni 2023. Gezien zijn fysieke toestand mag het een wonder heten dat hij de opnames nog kon bijwonen, maar zijn geest bleef vlijmscherp tijdens de intense sessies. Toen het begon door te dringen dat hij de mix niet meer zelf zou afkrijgen, riep Pintens de hulp in van het vertrouwde producersduo Jo Francken en Pieterjan Maertens (Nie voe kinders, Calais, Skepsels), die het werk binnen de uitgezette lijnen feilloos afmaakten.

Hoewel frontman Wannes Cappelle naast het verlies van zijn eerste luitenant ook het vroegtijdig overlijden van een geliefd familielid te verwerken kreeg, werd het geen somber album. Cappelle opent met een pakkende ode aan de duurzame liefde, vraagt zich af wat te doen met de tijd die ons nog rest en probeert te vatten hoe een boodschap van enkele seconden een levenslange impact kan hebben. Maar Cappelle zou Cappelle niet zijn als hij niet ook de blik naar buiten richtte en een spiegel voorhield die ons niet van onze beste kant liet zien. 'Het langste jaar' is de muzikale neerslag van de hevigste periode uit de geschiedenis van de band, maar is tegelijk wellicht de meest melodieuze plaat in je Het Zesde Metaal-verzameling, met meer ruimte dan ooit voor fijnzinnige maar uiterst efficiënte arrangementen. We horen u al meeneuriën en we zijn nog maar begonnen!

Divino Nino's new album Foam feels like catching up with a lifelong friend. There's undeniable songwriting chemistry between guitarist Camilo Medina and bassist Javier Forero, who met as kids in Bogota, Colombia and years later reconnected by sheer happenstance after their families had both moved to Miami. Both studied at the School of the Art Institute of Chicago where they met guitarist Guillermo Rodriguez and eventually Drummer Pierce Codina. Now Chicagoans, their rhythmic, soulful - and at times bilingual - Latinx punk songs are a reflection of their continent-spanning bond and proof that Divino Nino couldn't have formed without unlikely but happy coincidences.The ten tracks on Foam feature wistfully romantic lyrics like the yearning plea on the title track ("I really wanna run away with you"), and sunny, honeyed arrangements. Songs like "Quiero" trade-off between English and Spanish with woozy guitars and harmonies anchoring the sweetness of the lyrics. The quartet's Latin American roots seep in throughout the LP's silky psychedelic flourishes but especially on single "Maria," which is sung entirely in Spanish. Inspired in equal parts by Argentine punk and the narratives of Mexican telenovelas, the personality-filled track is one of the most memorable on the record.

Repress of the out of print 2nd reformation album, initially released in 2017. The duo of GODFLESH, Justin K Broadrick and Ben Green, augmented by Machines, are seen as a pivotal entity in the world of 'heavy' music, impacting entire cultures of heavy music since the bands inception in 1988. It is regarded as a cultural icon, and its impact can be felt across generations of 'heavy' music, both mainstream and underground. It is credited as being one of the first bands to cross old British industrial music with down tuned primitive minimal metal, accidentally pioneering the 'industrial metal' sound, yet the band has so much more to offer than what that term displays.

- Newly Expanded Deluxe Double LP Edition! - Double LP expanded edition includes outtakes, demos and instrumentals, including 10 previously unreleased recordings - 26 total tracks - Album remastered from pristine LHI master tapes by GRAMMYr-nominated mastering engineer John Baldwin - Liner notes by GRAMMYr-nominated reissue producer Hunter Lea including interviews with Torbjo?rn Axelman, Suzi Jane Hokom, Nina Lizell, Don Randi, Hal Blaine and Shel Talmy - Rare film production photos from the Torbjo?rn Axelman archive - Double LP housed in a gatefold jacket // Description: By the end of the 1960s Lee Hazlewood's LHI Records had burned piles of cash, gone through a half dozen distributors and failed to achieve the kind of chart success "Boots" had promised. Fortunately for Lee there was a land where he was still on the top of the charts, a place where women flowed like Bra?nnvin...Sweden was calling. Released as the last LHI LP, Cowboy in Sweden was a soundtrack to the 1970 cult classic film of the same name starring Lee Hazlewood. The film was a surreal psychedelic account of Lee's journey to his new homeland, while the soundtrack was a perfect compilation of Hazlewood's orchestral melancholy country pop songs. Recorded over a prolific globe trotting three year period, Lee's peak on LHI records was ironically the label's swan song.

ARCHIVAL LIVE RECORDINGS OF THE LOUISIANA HAYRIDE BY ELVIS PRESLEY - ON LIMITED EDITION GREEN VINYL! Louisiana Hayride was a radio show broadcast from the Shreveport Municipal Memorial Auditorium in Shreveport, Louisiana. During its heyday from 1948 to 1960 'Hayride' helped to launch the careers of some of the greatest names in American country and western music. Then on October 16th of 1954, Elvis Presley made his debut. Presley's performance of his debut release, 'That's All Right', brought a weak response from the country-loving audience, but Presley was signed to a one-year contract for more appearances. Elvis worked the Hayride audience week by week until he finally won them over, but there was to be a catch... the demand for more of Presley's new kind of rockabilly music resulted in a sharp decline in the popularity of the Hayride, a strictly country music venue. Times were changing... These recordings capture the formative years of The King of Rock 'N' Roll and feature many of his soon-to-be classic numbers.

Goldene Deluxe Edition zum 10-jährigen Jubiläum des Debütalbums von Princess Chelsea. 180g goldfarbenes Vinyl in einer gestanzten Gatefold-Hülle mit Goldfolienrücken, Songtexten und einem Poster im DIN-A1 Format. Lil' Golden Book ist das Debütalbum der neuseeländischen Künstlerin Princess Chelsea. Es wurde ursprünglich am 2. Mai 2011 über Lil' Chief Records veröffentlicht. Das Album wurde von Jonathan Bree und Chelsea Nikkel produziert und erzählt die Geschichte des Aufwachsens als Teenager und junger Erwachsener in Neuseeland. Nikkel gab an, dass die Produktion des Albums fast drei Jahre dauerte. The Sunday Star Times beschreibt es treffend als "when cute meets creepy". "Princess Chelsea veröffentlicht anno 2011 mit gerade mal 19 Jahren ihr Langspiel-Debüt "Lil' Golden Book". Darauf regiert kurioser Pop. Mit dem Video zu "The Cigarette Duet" landet sie völlig überraschend einen Youtube-Hit. Der Track handelt von den unterschiedlichen Haltungen zweier Partner zum Thema Abhängigkeit. Die eingängigen Melodien, die sie in vielfältige Arrangements bettet, ordnen viele dem Baroque-Pop bei. Vor allem Klavier und die feengleiche, spröde Stimme der Dame dominieren die Songs, die oft zwischen Sadcore und Ambientpop oszillieren. Darin finden immer wieder entrückte Synthieflächen und vereinzelt elektrische Schnipsel Einzug. Zusammen mit orchestralen Parts ergibt dieser schrille Cocktail einen cinematischen Sound, der in drei Jahren Heimarbeit entstanden ist." - LAUT.de

Opaque Lime vinyl. The Loneliest Girl is the third studio album by New Zealand musician Chelsea Nikkel, better known as Princess Chelsea. It was recorded by Chelsea between 2016 and 2017 in her home studio in West Auckland, New Zealand. The Loneliest Girl examines the loneliness and ultimately the artistic satisfaction a strong work ethic can bring, the result of which is this eclectic collection of pop songs. As a studio based artist Chelsea was conscious of not wanting to fall too deep into a production hole for her third album and wanted to more than ever before capture moments of inspiration, madness and spontaneity on record. Chelsea's trademark arrangements featuring classic 80s Synths (Yamaha DX7, Roland D-50), ambient guitars, and orchestral instruments are all here but are presented in a more refined and simple manner than on her previous releases. Stylistically The Loneliest Girl moves away the more uniform synth sounds of The Great Cybernetic Depression to more eclectic territory similar to her first release Lil' Golden Book and certainly sounds like a record made by a lover of pop music across all genres from 60s girl groups to 80s power ballads, and late 80s acid house to 90s pop. Like her earlier work, adult issues are presented in a humorous and sometimes childlike manner, and this juxtaposition rather than softening the blow makes jarring social commentary hit harder.

- New repress Edition - Pressed on Metallic Silver Wax - LP housed in an expanded gatefold jacket - Includes lyric insert and repro archival newspaper fold-out // Reissue of the pioneering group's debut album First Issue. In 1976 Johnny Rotten and the Sex Pistols set the agenda for punk's year zero with 'Anarchy In The UK', a song that summed up the spirit, sound and attitude of the band in one shocking package. Two years later, the Sex Pistols were in tatters, but Rotten was as unsentimental as you'd hope. He reverted to his real name - John Lydon - and set about forming a band whose very identity kicked against press and media manipulation. Featuring bassist Jah Wobble, drummer Jim Walker and guitarist Keith Levene, his new group were Public Image Limited. The public image would be limited. PiL were a very distinct prospect from the Pistols, founded with a greater thought for rhythm, and with a sound that turned the page from snarling punk to a more experimental sound fusing rock, dance, folk, ballet, pop and dub. But that's not to say Lydon's new outfit lacked vitriol. 'Public Image' hits out against the notorious British tabloid press, who never gave Lydon an easy ride, and against his own Sex Pistols public image - "You only saw me for the clothes I wore". The debut single (and the album that followed) operated as a theme song and a manifesto: "_my entrance/My own creation/My grand finale/My goodbye," as the lyrics had it. It is, essentially, the sound of four people letting loose in a studio - and not caring what anyone else thought.

Tigers Jaw is the second full-length by American emo band Tigers Jaw. It was released 2008. Five young friends from Scranton, PA known as Tigers Jaw play their brand of upbeat yet melancholy indie-rock. The subtle yet massively clever lyrics combine with music that moves with such youthful exuberance even the most jaded listener will look back to their more careless days. The debut from Tigers Jaw may wear is influences on its sleeve, but instead of a repetitive list of sound-alike bands, themes such as death, friendship, and growing up are tackled from an endearing and hopeful perspective that is almost impossible not to relate to.

Aptly titled Two Worlds, Tigers Jaws sophomore full-length draws on the strengths of the band's raw, minimalist atmospheres and driving grunge-rock rhythms, funneling them into a catchy, brooding and brilliantly focused album. Sounding as confident as ever in abandoning dependence on traditional pop structures, songs ebb and flow naturally as the band explores fresh tones and textures. Firmly planted in their own niche of the 90 s-era Midwestern emo sound, Two Worlds probes Superchunk's indie-punk stylings, Weezer's discordant pop moments and the far edges of Kurt Cobain's brain while managing to sound almost nothing like those groups. Chimey clean guitars weave in and out of the mix, juxtaposing a gain guitar laden with thick grit. Standing alone, the tones create familiar Tigers Jaw moods, but when combined, the effect lays the foundation for swelling walls of sound. Pulsing bass fills the low end, locked with the drums in rhythmic unison, alternately tracing guitar lines and stepping forward to grab the listener s car. Similarly, the drumming style perfectly compliments the songwriting with steady beats and measured flash. Lush and resonant cymbal splashes constantly flourish, adding color and a new spaciousness. Keyboards swell in a wave of warmth creating the band s defining ambiance, in parts taking on more adventurous melodies and chord tones. At its core, Two Worlds is a Tigers Jaw album through and through. It evokes many moods the band is known for, but adds a depth that will leave listeners discovering new reasons to love them with each new listen.

During the year 2021, Charlemagne entrusted us with numerous archives recently found on audio cassettes dating from the 70s and 80s. After a long process of listening and selection, Matière Mémoire is pleased to present the first volume of these archives to you.

ALL MUSIC, instruments & voices by charlemagne palestine
Except CD2 track4 by Simone Forti & Charlemagne Palestine
Track selection by Karbé dinel / Cassette digitization by Lionel Hubert
Mastering by Frederic Alstadt at Mont analogue Mastering
COVER PICTURE BY Henry Ughetto "Pour charlemagne palestine" 1998

Overview:
Nuggets vol. 2 as originally thought of by Lenny Kaye and released to celebrate the 50 years of the legendary compilation.

Smokey Brights were early signees to Freakout Records, along with fellow Seattle psych-rockers Acid Tongue, after gaining the love of legendary NW station KEXP. Produced by Andy Park (Death Cab for Cutie, Noah Gunderson, Ciara, Mac Miller), the band's newest full-length, I Love You But Damn, walks a fine line between gritty NW rock and stately arena ready pop. Smokey Brights tirelessly toured and intensely demoed in their basement home studio leading up to recording I Love You But Damn, and their devotion to their craft is unmistakable in every track.

It's not hyperbole to state that Touché Amoré's third album Is Survived By is the band's most pivotal album. Released 10 years ago on September 24th, 2013 via Deathwish Inc., Is Survived By tackles the complicated nature of leaving a lasting legacy and the uncertainty that surrounds that; ultimately resulting in a record about learning to find the validation and love within one’s self. Produced by the legendary Brad Wood (Sunny Day Real Estate, Liz Phair, mewithoutYou), the recording sessions were a lesson in growth for the Los Angeles quintet - vocalist Jeremy Bolm, guitarists Nick Steinhardt and Clayton Stevens, bassist Tyler Kirby, and drummer Elliot Babin - as the band transformed from a group of individuals who play hardcore songs to the established headlining act that Touché Amoré is today. Is Survived By received critical acclaim from the likes of Pitchfork, The A.V. Club, The Needle Drop, and more - resulting in the album being 13th highest rated album of 2013 per Metacritic. It was also the band's first record to chart on the U.S. Billboard 200, peaking at 85. But most importantly, Is Survived By is beloved by fans new and old.

Third album from Brooklyn, NY singer/songwriter/guitarist/harpist Lizzie No; first album with a label partner Let’s start with this: genre is a construct. To categorize artists might make it easier to organize record stores and playlists but there’s no one term that could define any artist, least of all one like Lizzie No (she/her/they/them). You could say that Lizzie No makes “Americana” music, in that her work pulls from the rhythms and traditions of Blues, Folk, and Country — not unlike the artists to whom she’s most often compared: Allison Russell, Rhiannon Giddens and Adia Victoria — but her collaborations with Brian Dunne, Pom Pom Squad and Domino Kirkie display an undeniable Indie influence that allows No to move frequently and seamlessly between overlapping musical circles. You could say that Lizzie No writes “protest” songs, in that as a Queer, Black woman, her entire existence is a living, breathing, singing protest against a genre and a country that, on their best days, are reluctant to reckon with the very foundations upon which they were built.

COUGH return with their first album in over five years. Produced by Electric Wizard’s Jus Oborn and recorded by Oborn and Windhand’s Garrett Morris, Still They Pray is the kind of monolithic cosmic doom that will take the listener to the heights of despair and the bottom of the abyss. With Still They Pray, COUGH summon psychedelic feedback-driven melodies just to deconstruct them to their core. This is easily COUGH at their most focused: pessimistic riffs and tortured grooves collide in melodic agony alongside a hallucinogenic blend of harsh and clean incantations, crushing and cathartic yet utterly mesmerizing. Step through the gates of madness and stare into the void. FFO Windhand, Electric Wizard, Pallbearer, Sleep, YOB, Uncle Acid & The Deadbeats

Consisting of MCs A+, Phesto, Opio and Tajai (with production by A+, Domino, Del the Funky Homosapien, Jay Biz and Casual), East Oakland’s Souls of Mischief burst onto the scene in the early 90s with an impact that few other West Coast artists had at the time. Culminating in the release of their classic debut, they created a bouillabaisse that was most parts West Coast swagger but - similar to The D.O.C. and Cypress Hill - with a sonic approach that could just as well have stepped off the streets of New York City. Recorded in less than two weeks at San Francisco's Hyde Street Studios, 93 ‘til Infinity doesn’t suffer from a single freshman jitter or misstep. It’s a fully-realized effort, packed from start to finish with ridiculous lyricism - all carried out in impressive four-part, tag-team style - and backed by a wide range of musical possibilities, from hard boom-bap to 70s CTI-jazz-sprinkled grooves. But without worthy music, the group’s high-level lyricism could have fallen by the wayside. Digging deep into crates that other producers had yet to mine, the production crew gave the quartet exactly what they needed, with unpredictable rolling basslines, dusty drums and jazz keyboard and horn stabs and swirls. Non-singles like Disseshowedo (produced by Domino and Jay Biz), Batting Practice (Casual), Limitations (Jay Biz, with Del and Casual contributing verses) and What A Way To Go Out (Domino) made sure that the fast-forward button remained untouched. Get On Down is proud to present a 30th Anniversary pressing of this west coast Hip-Hop classic on cloudy blue and cloudy yellow vinyl, packaged in a gatefold jacket with liner notes and a commemorative 30th Anniversary stamped numbered OBI.

The Madlib Invazion Music Library Series Entry #7: Producer/multi-instrumentalist Joe Harrison (El Michels Affair/Gunna) fuses modern production with vintage instruments, drawing a line between J Dilla and David Axelrod. This is the next up in a series of music library releases, with future volumes produced by DJ Muggs, Karriem Riggins and more. The Madlib Invazion Music Library Series was created by Madlib and Egon to give their creative friends a chance to stretch out and indulge in whatever type of music they wanted. This music was created for easy, one-stop clearance in film and television synchronization usage and for sampling. You can also enjoy these albums in the way that many do with the best of the best vintage library catalogs – listen, ponder, repeat

American Punk-Rock group The Toros formed in 1976 in Chula Vista, California. The band was originally formed with Javier Escovedo (vocals/guitar), Robert Lopez (guitar), Héctor Penalosa (bass) and Baba Chenelle (drums). Often referred to as "the Mexican Ramones," they were just one of many contributors to the city of Los Angeles' Punk explosion in the late '70s, although they never received the acclaim like their contemporaries Black Flag, Circle Jerks or Germs and Wipers. They have more followers and fans outside of the United States, especially Australia, Europe and Spain in particular. The label "the Mexican Ramones" did not take into account their other revealing influences: pre-Punk and Garage-Rock bands. The Zeros make it evident on this album, releasing covers of New York Dolls among others. But the originals, for example "They Say (That Everything's Alright)" and "Handgrenade Heart", also exploit the spirit of loud, strident rock. There are also slow and melodic, sloppy and dirty Pop songs to satisfy all tastes. The quartet broke up in 1981, reformed sporadically for live shows, and recorded the 1999 album "Right Now!". An excellent album. Ideal to have a good time and enjoy good Rock. Also, for those who don't know The Zeros, an excellent introductory album, so you can then review their catalogue. Versions of songs by The Zeros were released by the Los Angeles bands Wednesday Week ("They Say That Everything's Alright"), The Muffs ("Beat Your Heart Out"), the Basques La Secta ("Wild Weekend"), the Australians Hoodoo Gurus or the Swedes The Nomads ("Wimp").

This is The Zeros' third single, a pioneer punk rock band formed in 1976 in Chula Vista, California. Comparisons with The Ramones are often made when describing the energetic and fierce guitar driven sound of the group. After a 2-year gap, following their two first singles on Greg Shaw's very own Bomp! Records, the band released this third 45 on Test Tube Records. 'They Say That (Everything's Alright)' is a fabulous song by Hector Peñalosa. "Getting Nowhere Fast" is another classic by Javier Escovedo. In spite of the excellence of these two tracks, The Zeros lost the momentum generated by the first two singles, leaving the third as an afterthought. Soon after, the band broke up. First time reissue! Incl. artwork replica on retro style record sleeves.

The Vampisoul chicas are back. And for the third time. And, although collectors and connoisseurs have never stopped playing the songs by these Spanish female singers, here they are again, sounding as vibrant as they did half a century ago. Because these children of their times, the musical decades of the 60s and 70s covered by this compilation, boldly ventured into the limited spaces of freedom open to female artists back then. And they did so with attitude, in search of the right repertoire, proudly presenting new, daring personal projects often breaking away from the demure tone adopted by mainstream local female singers. And they were canny about it too. Realizing that the censors working back would just listen to the song that the record company flagged up as the listening target on the A side and not bother to flip the single over, they recorded many of their racier songs on the B side. That exciting dark side of singles, which have long tempted collectors. Lacking the freedom and visibility enjoyed today, these daring records by these female singers went as far as they could and a few managed to go beyond. The songs on this compilation tell everyday stories, narrating small socio-musical conquests revolving round the enduring theme of young love. Sass, sex, boy-girl rivalry, the defense of liberating women's fashion and, saying what women think loud and clear, all characterize these grooves. Performed in a variety of musical styles ranging from ye-yé, twist, disco, beat, popcorn, flamenco pop to Northern Soul, and, even more surprisingly, sung in an everyday, natural and self-assured tone that must have ruffled some feathers. As in previous volumes of "¡Chicas!", this third compilation includes female singers from outside Spain but whose career, their decision to sing in Spanish or their long tours and local stays, and occasionally permanent residence, meant their albums were created, recorded or produced here in Spain. It's a winning proposition for everyone. Take the band Los Bravos, four of the singers that passed through the ranks of this quintessentially Spanish group were foreigners. It's part of our open-door policy. Spain is different. In every sense. But let's get down to the serious stuff and the ritual: vinyl on the turntable and needle poised ready to play. Third volume of Vampis' ¡Chicas! series, an irresistible collection of ye-yé, twist, disco, beat, popcorn, flamenco pop and even Northern Soul! From the early 60s and in the middle of a difficult political and social context, Spanish female singers - and those who moved to Spain - disregarded conventions and overcame all barriers to be part of a music movement that shook the Spanish society of the period. Many of the 24 tracks are reissued for the first time, including very hard-to-find records. It includes extensive notes by Vicente Fabuel featuring all the original record sleeves and artist photos.

Finally a re-release of this brutal album, a classic for punks and metal heads all over the globe. Including reproduction of the original fold out color/black and white insert and three bonus tracks not included on the original release. Reissue of the legendary Brazilian crushers fourth album, released in 1989, with the original vocals in Portuguese. 21 tracks of pure neck crushing mayhem that would open the doors of the international scene for the band and made the record an instant classic: a masterpiece of crossover thrash still to be topped today. Includes 3 bonus tracks and reproduction of the original fold out insert.

This is one of the most obscure records ever released in Venezuela in the 60s and the only recording of The Pets. This 1967 album shows perfectly what the influences of the Venezuelan nueva ola (new wave) scene were at the time, including versions of The Doors, Beatles, Rolling Stones, Paul Revere & The Riders_ as well as the outstanding original "El Entierro De Un Hombre Rico Que Murio De Hambre", one of the finest garage tunes to emerge from Latinamerica. It followed the global triumph of the Beatles that made the wave of beat groups gets bigger and bigger and lots of new bands emerged, some of which would last while others would definitively go into oblivion, and a small number of them would leave at least one recording that today is considered a highly valuable collector's item. This is the case of The Pets. Originally, they were not called The Pets, but The Playboys, and basically the group was formed to liven up the parties and gatherings at Casa Italia, a very important institution in Los Teques, near Caracas, where they formed. At one of these parties, they were heard by a representative of the Discomoda label who insisted on recommending the group to the company, completing the signing of their contract almost immediately. First time reissue, audios remastered from the original tapes and pressed on 180g vinyl.

Out of print for quite a few years now, this album is a stunning power-pop gem recorded at a time when this kind of girl group pairing with punk rock was unusual.b This is one of the most iconic albums released on Greg Shaw's Bomp! Records. It now includes bonus tracks on top! Definitely stood the test of time. Check out the titles, these young ladies were wearing their collective hearts on those sleeves of theirs. This kind of girl group pairing with punk rock was unusual at the time and it provided a much-needed antidote to the male dominated skinny tie brigade. Nikki looked like Pam Dawber (Mindy from Mork and Mindy) and sounded like Clare Grogan (of Altered Images) what was not to be instantly smitten by. Born and bred in Detroit, Miss Corvette reportedly ran away from home at age 16 because her mother refused to allow her to attend an MC5 show. Greg Shaw wrote the following in the liner notes to the 20th Anniversary label compilation, Destination Bomp! "Nikki was a tireless worker. Like some coalminer's daughter, she'd travel around the country with her band. Playing 200 shows a year. She knew everybody and was a lot of fun to hang out with so, I figured that if all her friends bought the record... so I signed her. The girl had style and attitude galore plus, she had master guitarist/songwriter and former Romantic Peter James. One of Detroit's most savvy cats." The lady herself kindly supplied the following summary. "We went to LA and signed with Bomp in maybe 1979 but Greg wasn't sure what to do with us. We did the Honey Bop single with Ronny Weiser at Rollin Rock and a couple songs with the Kessel Brothers. We started something with Kim Fowley that did not work out. They kept trying different producers until we finally decided to go back to Detroit and do the album on our own. We didn't have a lot of experience but we knew what we wanted and Detroit was part of that so we recorded the album and had a blast doing it. Peter wanted us to be poppier and I wanted to be more punk. We sort of met in the middle with what I've always called Bubblegum Punk. I can't believe it's been 43 years since this came out and there are still kids discovering it and people who grew up with it that still listen to it. I constantly hear from people all different ages, all over the world about how much they love it album and that really means so, so much to me!" Hear the phenomenon for yourself.

Into the void hits from second one. Strong beats lead the way into this dreamlike soundscape, where metallic drum elements and effortless reverb tails take us on a journey. We get lost in a slow build and an unassuming bass-line drives us home, until the track collapses just to hit twice as hard coming back in. Dreamy vocals float over dirty synth lines, melodies that feel familiar guide the way to continuous build ups, where we can’t help but move our bodies to the gritty, thumping bass-line pushing us forward relentlessly.

Tempest is all about the beat. Simple, yet endearing, it reels us in and guides us on an endless rise where fragile synth swells and powerful percussion elements tease our ears. High-pitched glimmers dance across the soundscape with ease. A track that rises again and again, yet never quite implodes in-between. Instead it builds, in the most natural way, skilfully and exquisitely, whilst sirens add a well-rounded urgency, that’s hard to resist.

To coincide with The Courettes' first US tour, Damaged Goods put out this special compilation album. Boom! Dynamite includes singles, deep cuts from their studio albums, with B-sides and rarities thrown in for good measure! First pressing on orange vinyl is limited to 1000 copies only! The Courettes are two souls in love with each other and in love with rock 'n' roll. They've been touring nonstop throughout Europe since 2015, bringing their "perfect blend of garage rock, '60s Girl Group, Wall of Sound, surf music and doo wop" to the delight of any audience even remotely interested in rock 'n' roll. Expect excitement, danger, sweat, explosive performances, and most importantly, GREAT tunes! The "hardest working band in showbiz" now venture further away - After visiting the Land of the Rising Sun in 2022, The Courettes are thrilled to tour the USA for the first time in 2023. Described as "The Ronettes meet The Ramones at a wild party at Gold Star Studios echo chamber", The Courettes have released four fantastic albums on the legendary label Damaged Goods Records, each one praised by magazines such as MOJO and Shindig!, most notably the Back In Mono album in 2021, a true milestone in their career. This new compilation, Boom! Dynamite, released exclusively for the US market, guides you through their albums from the very beginning, from the early raw power garage rock onto their present Spector/Levine Wall of Sound Gold Star sound, made using complex recording techniques at StarrSound Studios in Denmark with top producer Soren Christensen and mixing genius Seiki Sato from Japan. Featuring Brazilian Flavia Couri on guitars and vocals, and Danish Martin Couri on drums, The Courettes were born international. For them there are no nations or borders. Their mission is to connect, cherish, and inspire rock 'n' roll souls around the world, including now, in the USA. The Courettes are pure dynamite! Turn up the volume and fuzz out! BOOM!

“Recorded over just three days, with little more than two takes making up each tune, the album is an exercise in the immediate, capturing both Kilbey and his accompanying musicians performing tracks while they’re still fresh. The result is one of the most pure records you’ll find anywhere. From the opening notes of “Poppy Byron”, it’s apparent that Kilbey has delivered something transcendental; something that only someone with a musical dexterity and vision like he can provide. Serving as a musical kaleidoscope of sorts, the album switches genres frequently, shifting between the mandolin-driven sweetness of “Josephine”, the ’60s-inspired psychedelia of “Woman Number Nine”, and the hazy, dream-like nature of “Lillian in Cerulean Blue”. Meanwhile, the lyrics stay true to the concept of the title, with each track focusing on a feminine subject, whether it be via lyrics about Mary Shelley watching SBS in Mandarin on “Poppy Byron”, the story of evil witch “Doris McAllister”, or “Birdeen”, which, a press release notes, focuses on a greedy lorikeet with a sweet tooth. As Kilbey himself notes, Eleven Women is far from perfect record by any means, but in much the same way that even iconic renaissance painting have notable flaws, therein lies the beauty of this.” Tyler Jenke, Rolling Stone Australia A 01 Poppy Byron 02 Woman Number 9 03 Josephine 04 Sheba Chiba 05 Birdeen 06 Lillian In Cerulean Blue B 07 Queen Of Spades 08 Baby Poe 09 Doris McAllister 10 Where Gloria Meets Rachel 11 Think Of You (for Jessie Bellette)

Recorded in an abandoned water tank in rural northwest Colorado and inspired by Muriel Rukeyser’s circa-1935 poem of the same name, violinist Leslee Smucker explores the range and saturation of intense natural reverb on Breathing Landscape. The artist pushes her instrument to the limit –by turns percussive, sweeping, and scraping– and, on several tracks, utilizes her own voice as well, resulting in an album that combines breathtaking beauty and visceral texture. Leaning into the meditative quality being present in one moment can provide, this is music you can feel on your skin, calling out from our decomposing modernity into the indifferent sky above. Conjuring deep time but captured in one day, the album is simultaneously immediate and vaporous, primeval-sounding yet unapologetically modern. When you travel out of the mountains down into the rangelands of what we know today as western Colorado, the horizon opens up to reveal an ancient and scarred land. Cell phone coverage is spotty at best and towns are sparse. Time escapes our efforts to contain it and is instead etched into the hot, dry canyons. Approaching The Tank, outside the settlement of Rangely, oil pumps work ceaselessly on the other side of the gravel road, extracting a grim future. Inside The Tank it is 20 degrees warmer than outside, a zone of strange harmonics, exchanges of sound and stillness, and explorations of landscapes both exterior and interior. In what she describes as a "sauna of sound", Smucker "was transported by the reverberation to another realm. Birds and trucks passed outside, while the wind was an integral part to the sound making