Suche:mo ca

The GRAMMY® Award-winning band, Blues Traveler, is back with their fifteenth full-length album, Traveler’s Soul Round Hill Records/Black Hill Records. This album, similar to Traveler Blues, a blues covers album that earned the band a GRAMMY nomination, is a covers album paying tribute to R&B and soul classics with featured artists such as Pat Monahan from Train, Valerie June, Alisan Porter, Daisha McBride, and many more. The first single, “Fool For You” will be released along with the album announce and preorder launch on Friday, July 28th. “Fool For You,” originally popularized by The Impressions back in 1968, has a wailing harmonica that gives way to an understated guitar riff and a heavenly piano melody. This ebb-and-flow underlines a smoldering vocal performance from John backed by a rapturous choir.

"Rural" is the first long-play work of Carlos Asimbaya aka Kaifo, which sees a fully matured vision of Ecuadorian keyboard tradition catapulted into the future and rhythmically sustained by the "bomba" percussion; an Afroandean element that bears witness to the unique history of this country.

Trained in classical music composition and inspired by jazz, Kaifo's repertoire features haunting, extensive melodies and scales that inform listeners on the landscapes of Andean styles while delivering a postmodern dancefloor experience. " Carlos Asimbaya is a keyboardist, composer and producer hailing from the small town of Machachi, Cantón Mejía, Province of Pichincha Ecuador. In 2016 he began a process of personal research and exploration of various musical expressions of traditional music, collecting sonic resources from remote localities such as Aloag, Machachi, Chalguayacu, Cotacachi, Alausi, Borbon, Santo Domingo de los Tsachilas and more - customs that identify the history of Ecuador.

In June 2019, he finally published his first single "Desvío" - a warm fusion of bomba, albazo, dembow, global bass, etc. followed by other digital releases culminating in the EP "Curtido" as part of the 'Kipus' series of Eck Echo Records. With "Rural" Kaifo uplifts the Ecuadorian organ tradition inaugurated in the mid-1960s by the likes of Polibio Mayorga into futuristic clubbing arenas. "Tres Caminos" is a magnificent opener where psychedelia meets the soft snare elegance of the "albazo", the indigenous genre that defines the soul of this country. "Monte Espeso" introduces clubbers worldwide to the contagious grooves of "bomba", the trademark rhythm of Afroecuadorian communities. The raw keyboard melody strikes fast like a proverbial lightning. "Hecho Leña" sounds like the one-man orchestra that is Kaifo. Relentless timbales fills and an alcohol-fueled family vibe characterize this unique "chicha" track.

Roe Kapara"s debut vinyl release on Epitaph Record brings the songs from his wildly successful 2023 digital release, i hope hell isn"t real ep, together with his catalog of singles from 2021- 2022. "Nobody was born cool" proclaims . "Where"s the fun in that?" After relocating from Nashville to Los Angeles just before the pandemic, the St. Louis-born singer/songwriter did what any reasonable 20-something would: find solace online and build a community. Soon, his burgeoning digital fanbase hit six digits, enthralled by his endearingly unpretentious personality but also by his irresistible music, a modern swirl of indie, psych, dream pop, and alternative. Dwelling on the death of his own past is a common theme through "s music, throughout a catalog of DIY singles like "Everyone"s Dying" and "Past Grow" that helped boost his streaming listeners into the 2 Millions and TikTok audience over 350,000 (with 5.8 Million likes.) But just as he"s willing to expose vulnerable parts of himself in his songs, he"s quick to shine the mirror outward to address the creeping dread of modern life: consumerism, corporate greed, climate change, the general feelings of the younger generation in 21st-century America. Combining these two sides of his musical personality - deeply relatable yet unafraid to stand up and ask life"s big questions - into pop songs makes for a musical journey that"s a little off-kilter, sure, but all the better and more interesting in the end.

Released in 1976, Eternity was Alice Coltrane's first album for Warner Bros. after eight wondrous records on Impulse! Combining the drones and textures of India, the gospel and R&B of her Detroit youth and the dissonance of modern classical composition, Coltrane's music in the '70s would become increasingly difficult to categorize.

Having moved a few years earlier to California (where she founded the Vedantic Center, an Ashram for spiritual studies), Coltrane stretches out on Eternity – incorporating various musical styles, including a stirring adaptation of Igor Stravinsky's The Rite of Spring – and the results are dazzling, both in sonic scope and emotional range

Opener "Spiritual Eternal" sways between Alice's exploratory organ and the dramatic swell of lush strings. A meditative solo piece for harp, "Wisdom Eye," precedes the rollicking rhythms of "Los Caballos," which showcases some of her finest soloing.

"Om Supreme" is the album's first track to be built around bhajans (Hindu devotional songs). Featuring graceful keyboards backed by an angelic choir, this piece hints at the ecstatic devotional music that she would later make with members of her Ashram.

While Coltrane would delve deeper into her spiritual journeys and continue to expand her musical interests on subsequent LPs, Eternity remains a vivid and compelling display of her unique vision, myriad talents and passions.

New York-based label Kindergarten Records is thrilled to unveil Ayesha’s debut album, ‘Rhythm is Memory’ – 10 boundary-pushing tracks, a shape-shifting percussive journey with electric moments.
While intended for maximum dancefloor impact, Ayesha’s first LP is also conceptually thought-provoking and playful, exploring how bodies store and channel creative knowledge.

A self-taught producer, Ayesha relies on her instincts to make music: sensing what her body wants to feel and hear. To her, essential to building a groove is channeling what is already inside us –
memories – whether they are based on lived experience or coded in the body: culturally, ancestrally, or intergenerationally. The result is this Indian-American producer’s distinct rhythmic voice, with its
many configurations boldly expressed across her debut album.

Kindergarten first released Ayesha’s material in 2020 with her ‘Natural Phenomena’ EP, a four-track journey which she described as “an undulating love letter to nature and the dancefloor, a space
where her biophilia collides with her yearning for the dancefloor.” Subsequently, she continued to build upon her luminous, scintillating sound with a contribution to ‘Fluo II’ titled “Aspara Dub”, followed
by “Varanasi” and “Downpour” on ‘Ether’, a split release with Sha Ru in 2021. With each release, Ayesha's sound evolved, adding shades, layers, and perpetual rhythmic nuance to a mind palace of
dancefloor possibilities.

That is why her and Kindergarten are a perfect match -- driven by their mutual fascination with exploratory sonics and a shared commitment to the community that inspires them. Kindergarten
Records has shaped itself into a trailblazing label, uniting a diverse and innovative collective of local and international producers, while embodying a strong familial atmosphere.This debut LP represents
a significant step-up for both the artist and the imprint, as they strive harmoniously towards a shared goal: delivering a sonic experience full of colorful, otherworldly bass-fueled expansion.

‘Rhythm is Memory’ captures Ayesha’s signature love for driving techno and organic percussion, while at moments veering into newer electro territory while keeping it psychedelic, spacious, dubby, and
always playful. This feels intuitively right for a producer at a crossroads in her career. All tracks intricately weave together pulsing drum grooves, slinky synths, nuanced melodies, and delightfully
unexpected twists. No single genre can do justice to describing this project as Ayesha delicately nods to many, reveling in the spaces between.

Undoubtedly, across A and B sides, 'Rhythm is Memory' imparts the joy of sonic experimentation to listeners and dancers. Ayesha invites us into her creative process and its steady evolution – rooted in
many days and nights of exploration, reflection, and repetition. "The ritual practice of cultivating and tending a garden is what comes to mind if I were to visualize this record. Beautiful things can emerge
from care and consistent attention," says Ayesha. While she refers to her specific experience making 'Rhythm is Memory,' this powerful album culminates a decade of working in nightlife for Ayesha – a
project slated to leave an indelible mark on the underground. To mark this impressive milestone in their catalog, Kindergarten Records is proud to return to pressing vinyl after a hiatus since 2020,
recognizing the significance of putting out a physical release to behold such a moment in both the label's and the artist's trajectory.

William Eggleston is a famed photographer and musician credited for iconic album covers such as Spoon's Transference and Jimmy Eat World's Bleed American. 512 was inspired and recorded at the Parkview Apartments in Memphis, Tennessee where Eggleston lived for almost ten years. The apartment was full of art and inspiration: cameras, naturally, but also high-end stereo tube amplifiers and objects that you'd rush towards money in hand at your local flea market. But also a gigantic nine foot Bosendorfer grand piano and a massive grand vintage JBL theater speaker console. His home was overwhelmed by music. By recording there the album captures not just his performances, but also the vibe of the place; it often felt as though there were artists lurking in the aether listening along. His visitors over the years were no small change: Lee Friedlander, Carl Sagan, Dennis Hopper , Paul McCartney and many others came to see him and listen to his hypnotic "Musik". You can hear local traffic, a dog barking, weather; reality, in other words. But there was another space layered on top, a kind of surreality echoing his music, as you can imagine a gathering of musicians listening in, eager to join him. Thus came along 512 which features the legendary Brian Eno on bells and production from Leo Abrahams (Regina Spektor, Paul Simon, Jon Hopkins)."

William Eggleston is a famed photographer and musician credited for iconic album covers such as Spoon's Transference and Jimmy Eat World's Bleed American. 512 was inspired and recorded at the Parkview Apartments in Memphis, Tennessee where Eggleston lived for almost ten years. The apartment was full of art and inspiration: cameras, naturally, but also high-end stereo tube amplifiers and objects that you'd rush towards money in hand at your local flea market. But also a gigantic nine foot Bosendorfer grand piano and a massive grand vintage JBL theater speaker console. His home was overwhelmed by music. By recording there the album captures not just his performances, but also the vibe of the place; it often felt as though there were artists lurking in the aether listening along. His visitors over the years were no small change: Lee Friedlander, Carl Sagan, Dennis Hopper , Paul McCartney and many others came to see him and listen to his hypnotic "Musik". You can hear local traffic, a dog barking, weather; reality, in other words. But there was another space layered on top, a kind of surreality echoing his music, as you can imagine a gathering of musicians listening in, eager to join him. Thus came along 512 which features the legendary Brian Eno on bells and production from Leo Abrahams (Regina Spektor, Paul Simon, Jon Hopkins)."

Sean La’Brooy is an Australian producer and composer currently based in New York, who’s work traverses ambient, jazz and house music. He is the co-founder of Australian ambient label Analogue Attic Recordings. With this release, La’Brooy has hooked up with the Scissor and Thread label to put out Merchant - five dreamy and versatile tracks featuring his distinct style of harmonically complex pads mixed with jazz-influenced instrumental melodies and solos. Snow Storm starts the journey, coupling field recordings with snippets of gentle jazz lines and wandering percussion. Cargo is the most dancefloor-oriented of the release, and locks into a driving groove early on, featuring various synth and piano fragments to add and flow through the track. Pilot is a track that also finds an off-kilter groove, embellished with dubbed-out percussion by fellow Australian Joseph Batrouney and samples. Storage too features a guest—New York based drummer Leo Yucht—who delivers a rolling breakbeat which is intertwined with live percussion, airy pads and snippets of piano to build a rich atmosphere. The closing piece is Helipad, a dubby bassline providing the anchor for an intricate rhythm of bongos and synth to support a light-as-a-feather melody.

THY CATAFALQUE liefern mit der Wiederveröffentlichung ihres achten Albums "Geometria" ein weiteres spektakuläres musikalisches Mosaik ab. Tamás Kátai, der alleinige Mastermind des Projekts, hat wieder einmal Stücke aus so unterschiedlichen Genres wie Ambient, Folklore, Jazz, Metal, Electronica, Rock, Pop, Wave und anderen Stilen zusammengefügt.

Schwarzes und grünes Sunburst 12" Doppelvinyl (33 U/min) in Gatefold. Diese Ausgabe enthält den Bonussong "Töltés 23" (Neuaufnahme des Songs Töltés), hat ein alternatives Layout und ist weltweit auf 500 Exemplare limitiert.

The evolution of Swampmeat Family Band continues apace. When the Birmingham outfit released
their incendiary third album, Muck, three years ago, it marked the culmination of the kind of vision that
frontman Dan Finnemore had always had for them; having returned from the U.S. after a spell as a key
member of Philadelphia rockers Low Cut Connie, he was burning with ideas and inspiration,
channeling a renewed creative energy into a new-look version of the garage band he’d formed, as
simply Swampmeat, with drummer T-Bird Jones in 2006. Muck certainly felt like a family affair, one
that saw the group expand to a five-piece and broaden their musical palette, boldening their bolshier
side with brass, lending their forays into country some authenticity with the addition of pedal steel and,
by welcoming vocalist Joni Coyne into the fold, providing Finnemore with a new foil. The new
accoutrements came together to form the basis of Swampmeat 2.0, a slicker, sharper band anchored
by Finnemore’s handsome arrangements and melodic sensibilities. Polish Your Old Halo continues
Finnemore’s hot vein of songwriting form with Muck and capitalises upon that album’s creative
momentum, without being afraid to try new things and remove old ones; the brass and strings that
made it on to Muck have been left to one side, propelling Finnemore’s writing to the fore. The
freewheeling blues rock that came to define their last album is still alive and well. But there’s also
progression, something particularly evident in the album’s bookends; ‘Do It All’ brings the curtain up
with juddering, synth-led punk energy, while closer ‘Plant Your Feet Correctly’ is a swooning acoustic
cut, initially envisioned as having a string section but now presented in vulnerable, bare-bones fashion.

Die neun epischen Werke auf THRONEHAMMERs "Kingslayer" überraschen mit dem bisher vielseitigsten Material der Band, mit mehr Wucht als je zuvor, mit großen Riffs die sich in jedem Stück bis zur Gänze entfalten.
Unverhohlener Doom-Metal-Ethos trifft auf Zerstörung und ungestüme Verwüstung, Reminiszenzen an Paradise Lost, Bathory, Slayer, Katatonia, Bolt Thrower, Amorphis, Candlemass, Celtic Frost bis hin zu Spuren von Post-Rock. Alles das entdeckt man auf dem erdrückend-epischen "Kingslayer" und dennoch ist jeder Track eindeutig ein THRONEHAMMER-Track.
Das Doom-Kommando um die Sängerin Kat entwickelt sich deutlich weiter und kann den Vorgänger "Incantation Rites" noch toppen. Die epischen Texte tun ihr Übriges, auch die Vocals sind noch eine Stufe vielseitiger als bisher. Als Gast stößt beim Song ""Sacrosanct Grounds"" Daniel Kaufman (ex Mindrot, ex Dystopia, ex Eyes of Fire, Destroy Judas) an den Vocals hinzu.
Ein wuchtiger Sound der keine Fragen offen lässt trägt seinen Teil dazu bei. Gemastert wurde das Album von Patrick Engel / Temple Of Disharmony (Asphyx, Candlemass, Darkthrone,Tiamat, Dissection, Trouble, Slayer).
May the Kingslayer cometh!"

"You, Me, & The Violence" explodes out of the gates with "Pilori", a statement of personal independence among society's faults and fractures. Birds In Row continue down this road, expressing disdain in songs like "Cages", "Guillotine", and "Walter Freeman". All of them musically harboring a tangle of emotional vocals and rabid distortion. Just when it feels like the album is almost too overpowering, Birds In Row unfurl a moment of clarity in "Last Last Chance", a haunting guitar and vocal break. The control of their dynamics is masterful work. "You, Me, & The Violence" and "Grey Hair" are near perfect examples of this, shifting between searing and serene in tone. And if you weren't in awe of Birds In Row in the first eleven songs, the twelve minute closer "Lovers Have Their Say" will leave you floored.

"You, Me, & The Violence" explodes out of the gates with "Pilori", a statement of personal independence among society's faults and fractures. Birds In Row continue down this road, expressing disdain in songs like "Cages", "Guillotine", and "Walter Freeman". All of them musically harboring a tangle of emotional vocals and rabid distortion. Just when it feels like the album is almost too overpowering, Birds In Row unfurl a moment of clarity in "Last Last Chance", a haunting guitar and vocal break. The control of their dynamics is masterful work. "You, Me, & The Violence" and "Grey Hair" are near perfect examples of this, shifting between searing and serene in tone. And if you weren't in awe of Birds In Row in the first eleven songs, the twelve minute closer "Lovers Have Their Say" will leave you floored.

Planet P Project is Tony Carey's pseudonym for his science-fiction themed progressive rock side venture from his more pop-oriented rock releases. Its first three albums, Planet P, Pink World, and Go Out Dancing, Part I (1931) were released in 1983, 1984, and 2005, respectively, and the first two saw a fair amount of MTV video airplay. Planet P's most well known singles were Why Me?, a sweeping, energetic romp about outer space and isolation, and the downbeat Static. Go Out Dancing, Part I (1931) is the first of a trilogy; part two, titled Go Out Dancing, Part II (Levittown) was released in May 2008 and Go Out Dancing Part III (Out in the Rain) was released in 2011.

DJ Fett Burger & Cato Canari team up on this special collaboration release, in the vein of the true Balearic spirit. A release that will capture the sound, emotions and dreams of the beautiful sunsets at the magic beach, the place you love and the experience you want to last forever.

Para Siempre comes in two different versions to fully give you the experience of the lost dream of Ibiza:

- The “Italo Balearic” version for a vintage infused sentimental melodic experience, with the dreamy voice of Florencia. A tune that captures the true emotional spirit of the Balearic dream! Comes with a bonus instrumental.

- The second mix, “Elements of Trance”, captures the spirit in a more modern way, but still with the greatness of the sounds from the past. A classy trance infused version. Bit more energetic in style, but still with the melodic and a melancholic touch, in the most desirable way.

Caroline Polachek released her solo debut Pang back in 2019 after having been the lead singer of the acclaimed band Chairlift for more than 10 years. Immediately upon release Pang received major hype and critical acclaim, but in the years since, it has practically achieved a monolithic status in modern art pop.

Not surprisingly, expectations are huge for her sophomore album Desire, I Want to Turn Into You, but with excellent singles like "Billions" and "Sunset", it is evident that Polachek is a headstrong and original pop star who is here to stay!

Here's the thing about ill peach: this band exists because they are too weird to not exist. The seed of ill peach was first planted in the recording studios of New York City where Pat Morrissey and Jess Corazza were working together as professional songwriters, collaborating with artists like Icona Pop, SZA, Weezer, Pharrell, Big Freedia, and others. Then came the day they were offered their own publishing deal. Cool, right? Well, about that: "Everyone kept saying, 'The stuff that you're writing is slightly too left-of-center-weirdo stuff," remembers Morrissey. "Why don't you start your own project?" Thus ill peach, a pop band with a punk streak and a taste for both the rotten and the sweet, with an approach to making music that goes something like: "Do you want to pick up a guitar and do you want to be on this water jug and we'll record it on the iPhone and create some weird drum pattern?" Following a series of well-received EPs on their own Pop Can Records (a record label and artist collective Morrissey and close collaborator Jesse Schuster run with friends), a digital single for Hardly Art's 15th anniversary series, and some colorful music videos that crystallized the band's visual aesthetic along with their sound, ill peach's "weirdo stuff" comes to fruition on first full-length THIS IS NOT AN EXIT: a collection of anthemic songs built out of bright pop and gritty experimental elements (Morrissey names the sculptural use of distortion on the final albums by Low as an inspiration), punctuated with hooky choruses ready to be screamed along to in the safety of your own bedroom or with a bunch of friends at one of ill peach's intense live shows. If ill peach first blossomed in New York, it took quarantine in Los Angeles for the project to ripen. The end of the world turned out to be what ill peach needed to get real with themselves. "It helped us creatively to zone in and removed us from the industry side of things to where we could just be like: this is our new identity, let's jump with both feet." THIS IS NOT AN EXIT's title is a reflection of something Corazza realized during a period of personal and familial crises "I kept walking into buildings and I'd try to exit somewhere and the sign would be like, 'This is not an exit,'" she says. "It just felt like a metaphor for a hopeful thing-don't give up yet." This combination of hope and anxiety is all over THIS IS NOT AN EXIT, reflected in a sonic palette (Alternative! Electronica! Indie! Radio pop! Coldplay!) as eclectic as it is unpretentious. Ultimately, THIS IS NOT AN EXIT is a record about healing, a process often spoken about in New Age-y terms but one that in reality can be really confusing and, yes, weird. But it is the beautiful strangeness of being alive that ill peach capture so well on THIS IS NOT AN EXIT.

LOVE + POP is a snapshot of a moment in not-so-far-away time; something fast, loud, moody and a little dangerous. It is, in some ways, classic Current Joys: full of wild ambition, sneaky hooks, and songs that move from concept to completion with prolific speed. But LOVE + POP also explodes myriad expectations with aggressive, deconstructed production, house music influence, and a guest appearance from Lil Yachty. It is not so much a twist as it is a unique multiverse identity for Current Joys, as Nick Rattigan's set out to "capture this sonic moment and harken back to the way I first released music." The story of LOVE + POP begins with one of those house parties: the kind that bulldozes your home and, in its aftermath, leaves a wreckage that finds you flattened but also ready to be new. In that mess and mayhem, Rattigan watched Everybody's Everything, the documentary of Lil Peep, and recorded a cover of "walk away as the door slams". But the itch wasn't scratched, and what began as a moment of homage morphed into something bigger, deeper and more fundamental, a point where the seemingly haphazard - in his home, in Peep's process - opened Rattigan up to an entire creative space and a new approach to bending or even detonating genre. Crucially, all of this was recorded at home, in what Rattigan calls a "tribute to the process of creating" in a DIY space. And what began as a singular passion project unexpectedly grew into a uniquely collaborative record for Current Joys. "I've set out to make collaborative records before," Rattigan explains, "but they often end up totally me, with just a couple exceptions. But then this record gave me the opportunity to be extremely collaborative, to let other people write instrumental tracks, sending links around for people to mess with and weigh in on. I sat down to do credits and realized here were all these people and styles and they all came together and worked." LOVE + POP's cover art is an airbrush/spraypaint rendition of the Wild Heart album cover, which is itself a photo of Rattigan's grandparents kissing. It is sacred in some ways and shredded in others. This idea - the aggressive reimagining of something timeless into a present, finite style - is LOVE + POP.

LOVE + POP is a snapshot of a moment in not-so-far-away time; something fast, loud, moody and a little dangerous. It is, in some ways, classic Current Joys: full of wild ambition, sneaky hooks, and songs that move from concept to completion with prolific speed. But LOVE + POP also explodes myriad expectations with aggressive, deconstructed production, house music influence, and a guest appearance from Lil Yachty. It is not so much a twist as it is a unique multiverse identity for Current Joys, as Nick Rattigan's set out to "capture this sonic moment and harken back to the way I first released music." The story of LOVE + POP begins with one of those house parties: the kind that bulldozes your home and, in its aftermath, leaves a wreckage that finds you flattened but also ready to be new. In that mess and mayhem, Rattigan watched Everybody's Everything, the documentary of Lil Peep, and recorded a cover of "walk away as the door slams". But the itch wasn't scratched, and what began as a moment of homage morphed into something bigger, deeper and more fundamental, a point where the seemingly haphazard - in his home, in Peep's process - opened Rattigan up to an entire creative space and a new approach to bending or even detonating genre. Crucially, all of this was recorded at home, in what Rattigan calls a "tribute to the process of creating" in a DIY space. And what began as a singular passion project unexpectedly grew into a uniquely collaborative record for Current Joys. "I've set out to make collaborative records before," Rattigan explains, "but they often end up totally me, with just a couple exceptions. But then this record gave me the opportunity to be extremely collaborative, to let other people write instrumental tracks, sending links around for people to mess with and weigh in on. I sat down to do credits and realized here were all these people and styles and they all came together and worked." LOVE + POP's cover art is an airbrush/spraypaint rendition of the Wild Heart album cover, which is itself a photo of Rattigan's grandparents kissing. It is sacred in some ways and shredded in others. This idea - the aggressive reimagining of something timeless into a present, finite style - is LOVE + POP.

LOVE + POP is a snapshot of a moment in not-so-far-away time; something fast, loud, moody and a little dangerous. It is, in some ways, classic Current Joys: full of wild ambition, sneaky hooks, and songs that move from concept to completion with prolific speed. But LOVE + POP also explodes myriad expectations with aggressive, deconstructed production, house music influence, and a guest appearance from Lil Yachty. It is not so much a twist as it is a unique multiverse identity for Current Joys, as Nick Rattigan's set out to "capture this sonic moment and harken back to the way I first released music." The story of LOVE + POP begins with one of those house parties: the kind that bulldozes your home and, in its aftermath, leaves a wreckage that finds you flattened but also ready to be new. In that mess and mayhem, Rattigan watched Everybody's Everything, the documentary of Lil Peep, and recorded a cover of "walk away as the door slams". But the itch wasn't scratched, and what began as a moment of homage morphed into something bigger, deeper and more fundamental, a point where the seemingly haphazard - in his home, in Peep's process - opened Rattigan up to an entire creative space and a new approach to bending or even detonating genre. Crucially, all of this was recorded at home, in what Rattigan calls a "tribute to the process of creating" in a DIY space. And what began as a singular passion project unexpectedly grew into a uniquely collaborative record for Current Joys. "I've set out to make collaborative records before," Rattigan explains, "but they often end up totally me, with just a couple exceptions. But then this record gave me the opportunity to be extremely collaborative, to let other people write instrumental tracks, sending links around for people to mess with and weigh in on. I sat down to do credits and realized here were all these people and styles and they all came together and worked." LOVE + POP's cover art is an airbrush/spraypaint rendition of the Wild Heart album cover, which is itself a photo of Rattigan's grandparents kissing. It is sacred in some ways and shredded in others. This idea - the aggressive reimagining of something timeless into a present, finite style - is LOVE + POP.

Off World presents the final album in its trilogy of surreal and spacious leftfield electronics. "A stellar project headed by Sandro Perri, one of the most singular producers in contemporary music" (Boomkat), this third volume is another distinctive collection of tracks constructed from semi-improvised ensemble recordings made over the past decade with a varied cast of coconspirators. Drew Brown, Matthew Cooper, Susumu Mukai and Andrew Zukerman join Perri again on a variety of synths and machines, along with violinist Jesse Zubot (Tanya Tagaq, Fond Of Tigers). Perri also continues to add organ and piano to the mix, while Volume 3 notably features first-time Off World contributors Nicole Rampersaud on trumpet and Martin Arnold on guitar, both mainstays of Toronto's vibrant improv and out-music scenes. The Quietus calls Off World "genuinely explorative_the musical equivalent of a Dali-esque landscape" which through all sorts of genre-defying twists and turns, at times evokes "offkilter, late Miles Davis ambience". Off World 3 doubles down on that jazz-adjacent trope in certain respects, while holding fast to Pitchfork's dictum that Perri "cultivates his own genreless brand of futurism." Marked by longer tracks than previous collections, three of the album's five songs clock in around the 10-minute mark, where overtly improvised instrumental playing wends its way across alternately bubbling and woozy electronic beds. "Impulse Controller" is a languidly skewed rhumba where ambling melodic undercurrents and dubby electronic pointillism provide a dulcet promenade for Rampersaud's Miles-esque trumpet excursions. "Ludic Loop" see-saws along in a slow synthy two-step, punctuated by Perri's restrained piano chords and Arnold's fried electric guitar. "Empasse" is perhaps most reminiscent of earlier Off World collections, though again slowed and stretched, with oozing synth bass ostinatos counterposed by ambient layers of viola and violin filigree from Zubot. These three centerpiece longform tracks each highlight one of the album's instrumental improvisers, and taken together, make for the most scintillating sedate and ruminant album in the trilogy. Off World 3 sounds as sui generis as ever, but in wrapping up the series, Perri sprinkles the project's emblematic alien surrealism with decidedly anthropic elements and temporalities. This final volume in the trilogy could also be seen as a re-statement of Perri's politico-aesthetic mission, as aptly celebrated by Pitchfork and its glowing 8.0+ reviews of Perri's 2018/2019 solo albums In Another Life and Soft Landing (released between Off World 2 and the present volume): a uniquely purposeful, subtly detailed cannon of songs "busy, vibrant, and bursting with life, but that aren't ever in a rush to get anywhere."

Tallahassee is the seventh studio album by Mountain Goats and it was released in 2002. It"s the first Mountain Goats album to be released on 4AD. Tallahassee is the first record to feature what could be considered a full "band," with fuller instrumentation and a percussion section. John Darnielle was joined by the multiinstrumentalists Peter Hughes and Franklin Bruno.

Die Neuauflage des "Happy Songs For Happy People" Albums von Mogwai, streng limitiert auf Transparent Green Vinyl.

Zur Feier des 15-jährigen Jubiläums von 'The Hawk Is Howling' erscheint am 22. September 2023 ein brandneues 2LP Remaster des Mogwai Albums auf weißem Vinyl, auf den Tag genau fünfzehn Jahre nach der ursprünglichen Veröffentlichung des Albums. Das Album wurde von Frank Arkwright in den Abbey Road Studios neu gemastert.

Das ursprünglich 2008 veröffentlichte 'The Hawk Is Howling' wurde mit Andy Miller in den Chemikal Underground Studios aufgenommen und von Gareth Jones im Castle Of Doom Studio abgemischt und stellte eine Rückkehr zu den rein instrumentalen Wurzeln der Band dar. U.a. enthalten auf dem Album ist auch die Single 'Batcat'.

Following the release of the shoegaze masterpiece Delaware in 1992, and the intricate experimentations on National Coma in 1993, Drop Nineteens disbanded. They had a great run. Shared stages with Radiohead, Hole, Blur, PJ Harvey. Went from being teenaged kids in Boston to mid twenty somethings with an MTV video under their belt. So when Drop Nineteens ceased to be, Greg Ackell felt content, music was a closed chapter. That was until 2021. For the first time in nearly 30 years, Ackell felt compelled to pick up a guitar. He immediately called up Steve Zimmeran, the band's bassist and fellow guitarist, and the two got writing. It felt effortless for Ackell, like he never stopped writing music. "We were off to the races," he says. "But also the question came up: what does a Drop Nineteens song sound like today? Enter Hard Light, the band's stunning third record. It's the band's proverbial follow up to Delaware, a modern Drop Nineteens record that is completely singular in its sound and vision. The first task making Hard Light, was of course, getting the rest of the band back together. Drop Nineteens is an inherently collaborative project. Ackell's primarily the lyrics writer, and he collaborates with Zimmerman, Paula Kelley, Motohiro Yasue, and Peter Koeplin to create the sonic world. The record came together over the course of a year, recording at a patchwork of studios all around the country. Making music together felt natural, fluid, exciting. The guitar reverb is expansive as ever. Ackell and Kelley's vocals are crystalline. "Scapa Flow," is triumphant. An excellent example of what a modern day Drop Nineteens song sounds like. The guitars glide like clouds on a blue sky day, drums shuffle in the background, searching. Ackell and Kelley's vocals are cool toned and dreamy, bound up in a haze of reverb. It's unquestionably lovely. You could say the same for the whole of the record. Hard Light is so lovely. A portrait of a band 30 years later, as talented and as dedicated to their craft as ever.

25 Jahre nach ihrem ersten 12" Release "Night over Manaus" präsentieren Boozoo Bajou ihr 5. Studioalbum. Die Nürnberger Downbeat Funkster haben 12 Tracks parat, die am 3.11.2023 auf ihrem eigenen Label Pilotton unter dem Namen "Finistère" veröffentlicht werden. Das Doppel-Vinyl zeigt neben der digitalen Veröffentlichung die Rückkehr von Boozoo Bajou zu ihren Wurzeln, die sie 2001 mit ihrem zeitlosen Debütalbum "Satta" manifestierten. Als reines Downtempo-Album schafft es "Finistère", all diese Elemente und Einflüsse zu einem warm klingenden Hörerlebnis zu verschmelzen.

Sven Torstenson's notorious Drugs is a loopdigga's fever dream, bursting with breaks for days and featuring possibly the most iconic cover of all library music's cult classics. First released in 1980, it's now a hyper-rare and seriously sought-after electronic album full of experimental soundscapes and samples just waiting to be flipped. It's both terrifying and terrifyingly good. So much so, it's been brilliantly sampled by Kendrick Lamar and Chance The Rapper.

The sleeve describes Drugs as containing "the newest dimensions of electronic sounds. Dramatic underscores for all problems of today's life and society, at the border between reality and delusion." That's pretty spot-on. The fast moving "Euphoria" is an incredible, unignorable opener. It's loaded with disorientating effects and really needs to be heard to be believed. It's followed by the gorgeous "Soft Hallucinations", containing quiet, meditative and beautiful sounds - as the title suggests. One listen and you'll want to live in the warm embrace of this beatless, harmonic gem. Sinister squelchy synth stabs don't distract from the sheer beauty of the track's main (gentle) thrust. They only serve to elevate its trippy magic.

Next up, "Sky Move"'s agitated and repetitive rhythm makes it an intense listen but with a broad melody that will appeal to many. "Destroyed Dreams" utilises a muffled church organ and it sounds heavenly to begin with but it gradually invites increasingly distorted elements. Yes, you've had trips like this, we're pretty certain. Mental! Talking of bad trips, never have they sounded so good as "Horror Trip"; this fractured drama-synth just needs some some dusty beats to hold it up - get involved.

"Floating Illusions" almost sounds like a beatless Spiritualized bomb from the early-mid 90s; melodic, synthy, church organ-drenched. The mournful, dramatic "Lost Chance" pulses along on a bed of acidy synths whilst "The Morning After" is the sonic equivalent of the extreme fear and doom experienced in the aftermath of the previous night's carnage. Whilst somewhat uncomfortable listening, again, it's pretty compelling thanks to the myriad effects being expertly utilised. Fascinating. The sprawling, fragmented "Random Thoughts" is described as containing "confused melody phrases" - yeah, pretty much sums this one up.

The B-Side is ushered in by "Heroin" and it's as sketchy as you might think, all mysterious minor chords with a dominating - but not overbearing - bass refrain. Next up, the dream-like synthy fanfare of "Night Trip" climaxes after a few minutes of dramatic, ecclesiastical sounds whilst "Day Trip" layers its melody over a repetitive rhythmic base.

Next up, one of the *REAL* highlights makes itself known. Absolutely not to be missed, "Dealer's Corner" is all shifting tenors from quiet to hectic and back around again. The hectic parts are like a totally synthed-out-the-eyeballs jazz-funk collective wigging out with the latest electronic toys from 1980. This one totally SMOKES.

The dramatic "Sad And Hopeless" is appositely replete with dissonant, minor church-organ chords whilst "Riding Pegasus" uses a creepy ostinato bass melody to create irrational bleepy menace that's ripe for sampling. The penultimate track, "Hopeless Chaos" is another disorientating trip, a bleepy confection of sounds and phrases whilst closer "Goin' Mad" is all electronic percussion with an unpleasant rhthymic feel and irritating melody. Music to annoy your partner with!

Established in Munich in 1965 by Gerard and Rotheide Narholz, Sonoton introduced library music to Germany. Initially intended to cater to the country's new TV market, the library also provided an avenue for Gerhard Narholz's astonishing musical prolificacy, and soon became a haven for a wide range of European composers and musicians. In 1969, Sonoton struck a deal with the British label Berry Music for international publishing rights, exposing its catalog to a worldwide audience; when Berry was bought out by EMI in 1973, Sonoton transitioned into a full-fledged international label, with successes in the library and commercial fields and many innovations to its credit. Now a worldwide operation with hundreds of producers and composers under its employ, Sonoton nonetheless remains an independently run business still helmed by its founders - a remarkable achievement in an era when nearly every other major library has been absorbed by a multinational conglomerate.

The audio for Drugs has been remastered by Be With regular Simon Francis, ensuring this release sounds better than ever. Cicely Balston's expert skills have made sure nothing is lost in the cut whilst the original, iconic sleeve has been restored here at Be With HQ as the finishing touch to this long overdue re-issue.

Did you know there are horses on the cover of Earth 2: Special Low Frequency Version? There are at least three in the right hand corner, gathered inexplicably near a white canvas tent, a human possibly perched among its folds. As widescreen and vast as the cover may seem, those little details-the horses, the possible human, the faint wisp of white clouds-give it depth and wonder, something to which the imagination can return. Did you know that the music on Earth 2-repressed now for its 30th anniversary, back in its original artwork, and accompanied by a riveting set of remixes that demonstrate the reach of what Dylan Carlson long ago called "ambient metal"-works much the same way? The surface is massive and obvious, the meatpaw riffs of Carlson and bassist Dave Harwell pounding and swiping and pawing at the speakers, a true bludgeon in three-dimensional sound. Listen, though, for the details in the corners, for the finesse beneath the force, and Earth 2 reveals new levels of depth and wonder. The widespread impact of Earth 2 suggests that others have indeed been leaning in, listening to these minutiae and making something new of them. A masterpiece without many genre precedents, Earth 2 surely helped send doom metal down its more modern drone, ambient, and avant-garde avenues. Those descendants are obvious. Perhaps more surprising and gratifying are the ways it has influenced electronic music, modern composition, and even hip-hop by realigning our senses of tempo, time, and texture. Earth 2 engendered a rearrangement of expectations, regardless of preferred form.

Cooltempo Records launches the first in a series of compilations and reissues starting with brit-soul
icon Kenny Thomas. Containing the biggest hits, fan favourites, and previously unreleased material.
Twice Brit-Award nominated Kenny Thomas is one of the UK's most successful Soul singers of his
generation, having had two Top 10 albums and numerous Top 40 singles over his illustrious thirty-year
career. His debut album Voices, released in 1991, sold over a million copies worldwide, going double
platinum in the UK alone and features the top 5 hit 'Thinking About Your Love'. Most recently, Kenny
appeared on the Top of the Pops BBC series to discuss his hits, having performed on the show no
less than 9 times. During lockdown, Take That's Gary Barlow invited him to sing for his Crooner
Sessions with the video garnering over 4 million views. Kenny is set to embark on a UK theatre tour in
support of the Best Of throughout November and December. The Best Of Kenny Thomas features his
'90s chart hits along with rare mixes and two previously unreleased tracks. The legendary UK radio
presenter Tony Blackburn has contributed a foreword to this stylish package.

Christmas Spirit ist ein Weihnachtsalbum von Richard Marx, das im Oktober 2012 veröffentlicht wurde. Fünf Titel des Albums waren bereits auf seiner 2011 erschienenen The Christmas EP enthalten.

Christmas Spirit erreichte Platz 181 in den Billboard 200 Album Charts und Platz 21 in den Billboard Top Christmas Albums Charts. Zwei der neuen Titel erreichten die Top 20 der Adult Contemporary Charts.

"I Heard The Bells On Christmas Day" basiert auf Casting Crowns Arrangement des Songs aus ihrem Album Peace On Earth. Christmas Spirit brachte fünf Singles hervor, darunter "Christmas Spirit", "Santa Claus Is Coming To Town", "The Little Drummer Boy", "Christmas Mornings" und "O Holy Night".

The funk fans have been waiting for this one. Finally available on vinyl, Grant Green’s near perfect slice of jazz funk and soul, Live at Club Mozambique, remastered and rendered back in the Motor City. Grant Green’s band had been playing a series of live dates at Detroit’s Club Mozambique, (before it became a fabled Male dance club) when this session was recorded live on two cold January nights in 1971. Powerhouse drummer Idris Muhammad and soulful tenor star Houston Person were brought in to supplement Green’s current band featuring Ronnie Foster on organ and Clarence Thomas on Soprano and Tenor Sax and Blue Note producer Francis Wolff recorded. This treasure was never released, though, and (conjectures aside) remained in the Blue Notes vaults for 35 years before a 2006 CD release. Sounding incredibly fresh and live, you’d be hard-pressed to find a more real stamping of Grant Green at the top of his game. The lp blends extremely hypnotic and wild funk such as their opening cover of a local funk hit “Jan Jan” by the Fabulous Counts next to laidback renditions of early 70’s soul favorites “Walk on By”, “Patches” and “One More Chance” by the Jackson 5. It perfectly captures the magic of hearing a legendary band effortlessly doing their thing in a small club while the audience unwinds after a long work day. Green pulls it all together with his melodic genius and perfect delivery. Great artists make it seem so easy. No pretensions here, just a great band burning up the stage with unmistakable chemistry on what might be the ultimate jazz funk time capsule. Maybe you can’t go back in time, but if you close your eyes and light a cigarette, you might be convinced you’re sitting in a wood-paneled club on Detroit’s Westside enjoying Grant Green and his band tear it up. Grant Green - Guitar Ronnie Foster - Organ Idris Muhammad - Drums Clarence Thomas - Soprano Sax, Tenor Sax Houston Person - Tenor Sax Recorded live at Club Mozambique - Detroit, MI 1971 by Francis Wolff

The funk fans have been waiting for this one. Finally available on vinyl, Grant Green’s near perfect slice of jazz funk and soul, Live at Club Mozambique, remastered and rendered back in the Motor City. Grant Green’s band had been playing a series of live dates at Detroit’s Club Mozambique, (before it became a fabled Male dance club) when this session was recorded live on two cold January nights in 1971. Powerhouse drummer Idris Muhammad and soulful tenor star Houston Person were brought in to supplement Green’s current band featuring Ronnie Foster on organ and Clarence Thomas on Soprano and Tenor Sax and Blue Note producer Francis Wolff recorded. This treasure was never released, though, and (conjectures aside) remained in the Blue Notes vaults for 35 years before a 2006 CD release. Sounding incredibly fresh and live, you’d be hard-pressed to find a more real stamping of Grant Green at the top of his game. The lp blends extremely hypnotic and wild funk such as their opening cover of a local funk hit “Jan Jan” by the Fabulous Counts next to laidback renditions of early 70’s soul favorites “Walk on By”, “Patches” and “One More Chance” by the Jackson 5. It perfectly captures the magic of hearing a legendary band effortlessly doing their thing in a small club while the audience unwinds after a long work day. Green pulls it all together with his melodic genius and perfect delivery. Great artists make it seem so easy. No pretensions here, just a great band burning up the stage with unmistakable chemistry on what might be the ultimate jazz funk time capsule. Maybe you can’t go back in time, but if you close your eyes and light a cigarette, you might be convinced you’re sitting in a wood-paneled club on Detroit’s Westside enjoying Grant Green and his band tear it up. Grant Green - Guitar Ronnie Foster - Organ Idris Muhammad - Drums Clarence Thomas - Soprano Sax, Tenor Sax Houston Person - Tenor Sax Recorded live at Club Mozambique - Detroit, MI 1971 by Francis Wolff

Limited 200 Copy

Cherry Bandora is an oriental jewish princess singing in poetic Greek, rhythmical Turkish and Hebrew slang. The fresh combination of the greek blues guitar, the bouzouki, with the psychedelic hammond organ, accompanied by lively middle eastern grooves on drums creates an exciting clash of tradition and rebellious attitude.
Supported by Initiative Musik GmbH with project funds from the Federal Government Commissioner for Culture and Media

The vinyl edition comes with 6 high-quality lithograph art prints (by UK illustrator Hannah Alice) representing each of the birds on the album, held in a heavy board die-cut gatefold sleeve. This unique packaging is fully interactive - the cover image is interchangeable with any of the prints. Remastered by Brian Pyle from original tapes. Bert Jansch was often quoted as saying "I'm not playing for anyone, just myself" and this feels no more apparent than on 1979's 'Avocet', his beautifully meditative paean to British birds. For fans of Jansch this is often the album that is singled out as his best work. The freedoms of a post-Pentangle career are much in evidence; folk rock and even trad folk give way to an album that is not only without lyrical accompaniment but really quite orchestral, classical even, in its composition. There are surprises in particular in 'Lapwing' (a dirge-like waltz that wouldn't be out of place on a Nils Frahm album) and 'Bittern' (which speaks of Arthur Russell's more experimental pieces). Featuring ex-bandmate Danny Thompson, alongside Martin Jenkins (Dando Shaft, amongst others) with sleeve notes by Jansch aficionado Colin Harper (author of 'Dazzling Stranger: Bert Jansch and the British Folk and Blues revival'). Ltd ART PRINT EDITION, Classic Black vinyl, plus DLC w/ bonus live tracks.

Repress!

Vinyl format of the album that was released on CD on February 15th. Features the singles "First Off" (feat Travis Scott), "Crushed Up", "Jumpin On A Jet" and more. Radio support across R1, 1Xtra, BBC Asian Network, Capital Xtra, ILR specialists. Streaming activity across all platforms. MTV/Vevo video rotation. Ads, features and reviews across specialist music mags. Online/social media activity.

Die Band selbst zeigt sich offen und legt sich stilistisch nicht fest. Holding Absence lassen sich vielseitig inspirieren, wie zum Beispiel von Radiohead oder auch Thy Art Is Murder, von denen sie selbst Fans sind. Holding Absence standen bereits mit Kollegen wie Being As An Ocean, Casey und Burning Down Alaska auf der Bühne, denen sie vom Stil her ähnlich sind.

2023 Repress

Reiko Kudo first debuted on the Tokyo underground music scene in 1980 with NOISE, a duo which apart from herself under her then maiden name Reiko Omura on voice, guitar and trumpet featured Tori Kudo on organ. Their only album TENNO (1980 on Engel) is probably one of the most outstanding and uncompromising records of all time.

Like other pioneering female producers from Japan such as NON (of NON BAND), PHEW and HACO, who had all begun their startling careers in the early days of the japanese Punk era, Reiko Kudo can surely be regarded as one of the most unique, uncategorisable and daring voices in the entire field of electronic and experimental music ever.

RICE FIELD SLOWLY RIPING IN THE NIGHT was REIKO KUDO's second album under her own name. It features TORI KUDO (MAHER SHALAL HASH BAZ) and SAYA and TAKASHI UENO (TENNISCOATS) on various instruments. The recordings took place in 2000 at Reiko' s and Tori's house in the rural surroundings of Shikoku island.

All recorded music on this album sounds like it originates in a parallel dimension where time and key signatures simply don't exist, Some might describe this as outsider music, but this doesn't really begin to do justice to the quality of the tracks, there is nothing accidental or forced here, this is simply music created in a very different way. Yet again REIKO KUDO had conceived of something utterly beautiful.

"After producing the album "Souvenir de mauve" with Maher Shalal Hash Baz which we released on our label Majikick, the idea came to us, to release Reiko Kudo's work. For Reiko's work, we brought our recording equipment from Tokyo to Shikoku and recorded the entire album at her house.

The piano was positioned in a room with a high ceiling. We would set up our small recording equipment in the room and started to record. The basic tracks were recorded without any rehearsal and just a few overdubs were added on top of it. To have a distant sound on the recording, Tori played trumpet in the next room. The choir was standing outside the house, singing "Enya-totto, enya-totto" through the open window. It was early spring, I remember that it was still a bit cold and the members of the choir were freezing outside.

Reiko plays only at certain times of the day, so that we were able to complete only two or three recordings a day. Therefore we had plenty of free time. We went to a hot spring, to a cafe, or we tried pottery on a spinning wheel at Tori's workshop. It was a very rewarding time.

When this album was finished, we brought it to her to listen to. She said happily "I think this is the best work I have ever done." We felt that all our efforts were richly rewarded. Secretly, we thought the same, so we are delighted that this album will be re-issued." - Saya and Ueno (Tenniscoats), Tokyo 2018

Originally released on Majikick Records, Japan, 2000 Restauration and mastering by Detlef Funder at Paraschall Mastering, Düsseldorf. Vinylcut at Calyx, Berlin Translation by Miki Yui and Claus Laufenburg. Many thanks to Reiko Kudo, Tori Kudo, Saya and Takashi Ueno, Satoru Higashiseto.

2023 Repress!

Les Disques du Crepuscule presents a new 180 gm vinyl edition of Fidelity, the 1996 studio album by cult Manchester ensemble The Durutti Column.
Limited to just 500 copies, this special double disc edition is pressed on heavyweight 180 gm vinyl and features cover artwork by Crepuscule design director Benoit Hennebert, based on a portrait by Vini Reilly of filmmaker Carol Morley.
Originally released by Crepuscule on CD only in April 1996, Fidelity featured 10 tracks written and performed by Vini Reilly, with occasional guest vocals by Eley Rudge. In addition to Vini’s trademark guitar stylings, the album showcased sleek electronic textures and programmed beats.
This 2019 vinyl re-master features two bonus tracks: My Only Love was originally released in 1995 on a covermount CD with a specialist guitar magazine, while experimental piece The New Fidelity was issued on a Portuguese compilation album from 1992 called Hare, Hunter, Field.

Dreyblatt"s minimalist conception - a rhythmic drone played on a double-bass strung with piano wire, playing in concert with other stringed instruments performing in 20 unequal microtones per octave and changing key but keeping the same fundamental pitch - dates back to the 1970s, while he studied under La Monte Young and Pauline Oliveros. Resolve acts in intermittent dialogue with the first Orchestra of Excited Strings release, 1982"s Nodal Excitation.

Since then, Dreyblatt has formed new orchestras across various countries and decades, with each phase of his music requiring several overlapping periods of gestation and arrangement.

The current Orchestra is formed by Konrad Sprenger, Joachim Schütz and Oren Ambarchi. On Resolve, each of the members" playing brings new angles to the compositions. Konrad Sprenger"s involves solenoids, sine waves and a computer-controlled multi-channel electric guitar (as well as a relentless style behind the drum kit and oversight of the album production), while Joachim Schütz"s individual conception of electronics and electric guitar and Oren Ambarchi"s undeniable innovations with signal path work together with Dreyblatt"s bass (still strung with piano wire) as magnetic component parts of Resolve.

These contributions lead to Resolve"s dialogue with the early Orchestra of Excited Strings canon - for instance, the track previewed here, "Flight Path" takes off at a pace not often found in the minimalist genre - a rolling lope! Yet the sense of play is palpable: the ensemble scale their microtonal keys with punkish brio, a stance sharing much with the original Orchestra"s downtown pulse, even as as the new Orchestra burn their own path through Dreyblatt"s music.

Approaching his 70th birthday, with over 40 years of work as a solo artist, collaborator, composer, educator and bandleader, Arnold Dreyblatt views Resolve as an important expression within the long story of The Orchestra of Excited Strings. The album title"s tendency to mean different things is an indicator of the dynamic qualities of his music in all its different phases - an evolution that continues to produce new dimensions in acoustic sound with every new release.