Suche:mu el

Eighteen sacred psychedelic suppositories from the laboratory of mad scientist and scalpel-happy pop mutilator Jean-Pierre Massiera. Includes
the rarest and most sought after fuzz funk, spooked surf and
interplanetary prog from ‘The French Joe Meek’ and all his schizoid splitpersonalities and freakish friends - The Maledictus Sound, Chico
Magnetic Band, Visitors, Human Egg, The Pirhana Sound and Jesus
himself.

 Let Finders Keepers introduce you to some old friends of theirs - Charlie Mike Sierra, Jean-Pierre Areisam, JPM and Co. Erik, The Horrific Child, Jesus, Les Maledictus Sound, Human Egg... This might sound like they’re flicking through the imaginary LP racks in the record shop from ‘A Clockwork Orange’ or perhaps congratulating the runners up in a
Halloween fancy dress competition but for the previously uninitiated you
have just been ordained into the congregation of the many split
personalities of one Mr. Jean-Pierre Bernard Massiera. Bow down to the
nine-headed monster as he mutates and shape-shifts back through time
to his humble beginnings in a Buenos Aires province ravaging and
pillaging the music of the European people for his own twisted
benediction along the way.

 This might, as intended, sound a little bit dramatic but if there is one
single ingredient that gives the eccentric Jean-Pierre Massiera his
distinct flavour it’s a large dollop of drama. Add sprinklings of
schizophrenia, shock, myth and macabre and you are on the way to a Bmovie broth with an acquired taste that has, like all the best cheese,
taken over thirty years to mature to perfection. Like all the best monsters,
his split personality is the key to his infamy and the secret of his blood
sucking success.

 This is why Jean-Pierre Massiera is (un)commonly known for two key
periods in his career which, like a worm, can be split down the middle to
thrive and flourish independently. To cut a long story short, Massiera is,
above all, a lover and purveyor of musique fantastique, and is willing and
able to hijack whichever stylistic vehicle that passes him buy in order to
do feed his lust. In the earlier part of his career he honed his sordid craft
amongst psychedelic circles in Nice and Quebec. From late 1972
onwards he moved to Antibes and started a disco revolution and
became an in demand cosmic record producer. For years, prog rock
obsessives and disco aficionados have wondered if there was two
unrelated freak merchants called Jean-Pierre Massiera but, in this rare
instance, exploito-maniacs from both sides of the cosmic coin are united
by the work of this singular, single-handed monstrous music
manufactory.

 Remastered and available once again on deluxe black vinyl since the
initial Finders Keepers limited edition 2009 pressing

The Decades Collected compilations are part of the new Collected compilation series, which is a collaboration between Universal Music and Music On Vinyl. The compilations bring together the biggest names of each decade, combined with forgotten hits and less discovered gems, giving the listener an experience of listening to their favorite tunes while uncovering new musical grounds at the same time.

Various Artists - Zeroes Collected features Nelly Furtado “I’m Like A Bird”, The Script “Breakeven”, The Black Eyed Peas “I Gotta Feeling”, Alphabeat “Fascination”, T.A.T.U. “All The Things She Said” and Mika “Grace Kelly” amongst others.

"At the end of 2021, POWERWOLF – the most successful German metal band to date – fascinated with a streaming event of unprecedented dimensions. Those who thought they had seen everything in the live sector were instantly proven wrong with unmatched audio production and visuals that can only be described as simply breathtaking. This summer, on July 8, 2022, this new benchmark for music streaming events will finally be available to view any time you crave. THE MONUMENTAL MASS - A CINEMATIC METAL EVENT will be unleashed on DVD, BluRay and many other physical formats! POWERWOLF have stood at the peak of superlative, epic metal moments for years, but what they present with this streaming event surpasses anything seen before. After months of detailed work, a story was crafted and presented in several chapters based on the stunning music and elaborately staged cinematic scenes. All show effects, actors and stage settings work hand in hand with each other and bring the medium of live music to a level never seen before. From battles with clergy to stories of nuns, monks and burning angels, cinematic images immediately capture the viewer. Each song has its own stunning set designed and is perfectly staged - the production and size alone are unparalleled. One live premiere of a POWERWOLF classic follows the next, one after another – all with impressively produced sound design.

Imperfect Stranger is the pseudonym of Glasgow based soundtrack composer and producer Kenny Inglis. “Everything Wrong is Right” is his debut solo album for Castles in Space.
Born in 1975, Kenny didn't listen to much music, unless it was the opening credits to a TV show or a film score that had caught his ear. "I loved the pre-title music on a lot of those 80's U.S. TV shows. From the family orientated stuff like The A-Team, to darker dramas such as The Equalizer. My mother would let me stay up to watch the opening sequence of the latter then send me to bed because the story would be too heavy for a kid. That left me with this hanging sense of ambiguity as to what would happen in that hour after the titles came up.”
Exposure to a work colleague’s tiny project studio in a kitchen cupboard was a lightbulb moment for him and the experience of utilising music technology as a way of writing and producing entire tracks stirred a wave of determination to chase a career in music using the opportunities that technology could offer. Kenny figured the best way to move forward was to start a small project studio and learn his craft as a recording engineer. "It was a bit of a shock to the system. I literally had no idea how to work any of the equipment. Kenny focused on learning as much about the craft as he could whilst winging his way through recording and mixing everyone from the likes of singer/songwriters to bands, to voiceovers artists and anything in between. "Eventually, I stopped writing the music I thought people would want to hear, and started writing the music I wanted to make. I didn't come from a music loving background, but I was always obsessed by the way music and film would interact - how music brings this atmosphere and tone to even the most mundane visual stuff. I wanted to capture that. I wanted to grab some of that ambiguity I felt from the TV shows of my childhood and make it into a project of some sort". That project was Spylab. A dark, downtempo project with a cinematic edge. The initial demo consisted of three tracks, with the melancholic 'This Utopia' leading the playlist.
"At the time you did demos on normal cassette tapes. I remember having this endless battle with the bias control to try and get the best sound I could on these little tapes. Ten went in the post one Monday morning, and the following Monday there were three offers from three different labels. Studio K7 were interested in a singles deal, as was Flying Rhino in London. But then there was an offer from a Chicago based label by the name of Guidance Recordings. They wanted an album, and were offering a $15,000 advance. It wasn't a difficult decision to make"
Writing and recording Spylab 'This Utopia' began in 1999. The album took a whole year to produce. The album was to catch the attention of Mary Anne Hobbs at Radio One. At the time Mary Anne was presenting The Breezeblock - a late Sunday night show with an eclectic playlist of alternative electronic music. Picking out the album's title track 'This Utopia', Mary Anne would go on to play it no less than 8 weeks in a row. A request for Spylab to DJ on the show was to follow. "I had never DJ'd before. I think I had a week to figure out how to do that and put a playlist together. I'm not entirely sure how I pulled that off.” In March 2001 the Spylab album was finally released to a hoard of excellent reviews. A North American live tour would follow. From the launch party in Los Angeles, to a sell out show at SXSW in Austin. "I then started a new project under the name Cinephile. It had some of the core elements of the Spylab sound but it was deeper, more cinematic.” Kenny received news that a track from the previous project Spylab had been requested by HBO for the first episode of a new TV drama called Six Feet Under. This was to become a major turning point in Kenny's career. The Spylab track 'Celluloid Hypnotic' dropped during a poignant party scene of the first Six Feet Under episode. Within a couple of days Kenny was getting requests for music from other music supervisors. "It was a chain reaction. The Six Feet Under sync was like the tip of an iceberg. One day I called CBS in America and they put me on to the CSI music supervisor and I managed to get on a call with him. I sent the Cinephile stuff out and within a few months I got this fax through from CBS - a quote request for one of the tracks for a potential use on CSI. It changed my life."
The tone and style of Kenny's music sat perfectly with the CSI score requirements. So much so he found himself part of a pool of incidental writers who worked on all three aspects of the franchise - CSI, CSI: NY, and CSI: Miami. This would continue until 2013, when the last of the series would come to an end.
"I was juggling a bunch of stuff for those ten years. Writing material for CSI, whilst releasing new Cinephile stuff and playing live. As Cinephile continued to gather pace, one of the tracks from Kenny's efforts on CSI was chosen for the Hollywood trailer for the Samuel L. Jackson film 'Lakeview Terrace'. Further trailers would follow, from Gangster Squad to Dead Man Down, Spike Lee's Undisputed Truth, to Fifty Shades Freed.
At the same time, Kenny picked up his first factual commissions in the UK, and this too would be the beginning of a regular run of fully scoring factuals and documentaries. By 2021, six of these had won BAFTAs. He also would find himself soundtracking adverts for the likes of Nike, Audi, and American AirlinesIn early 2020, Kenny made a return to focusing on his own music under the pseudonym Imperfect Stranger. A tweet from Colin Morrison from Castles In Space regarding a charity compilation album 'The Isolation Tapes' caught his eye. Kenny had made a start on his debut album as Imperfect Stranger and submitted the track 'Hymn To The Sun' (which would become the lead track on the album). Further discussions ensued, and the album found a home on CiS. "I had been doing TV and film stuff for almost ten years. It paid the bills and was as close to a 'real job' as I'd had, but I yearned to get back to writing for myself, so doing an album for Castles in Space was a joy.
“The music I write is like a diary. There's an authentic narrative to everything i do. I don't write tracks for the sake of writing. I write tracks to diarise and process the stuff that I've lived through, and the experiences that have come along with the passing years. That's what makes me tick. It's a very public and vulnerable way of expressing myself. If people want to know the real me, all they have to do is listen."

"Animist Pools" was released July 1, 2016 in a cassette limited edition on Human Pitch records. Originally released as "Hippies Wearing Muzzles", pseudonym of Lee Evans. "A shifting center in a stream of rippling analog tones, the music of Hippies Wearing Muzzles is orchestrated to transfix, echoing sounds heard in nature with modular synthesizers and the powerful element of chance. Evoking the Fourth World Music of Jon Hassel or the kosmische innovations of Cluster, Animist Pools marks its composer, Lee Evans’ first full-length release for Human Pitch. Accompanied its popping, glyphic art design and video, the project’s hypnotic aptitude is heightened to full-effect. Citing his background in painting as a chief influence on his musical approach and thought process, Evans composes with a strong sense of space––each sound an event in a slowly expanding landscape, zooming out to reveal a world of scale in which depth and contrast take precedent over rhythm and melody. Embracing the generative compositional nature of working with the modular synthesizer, Evans himself is the final filter through which all sounds pass. The boundary between programmed repetition and human choice is subtle, but detectable, highlighting Evans’ careful, nuanced guidance of his auto-compositions. The result is ultimately an improvised structure––a living, breathing, musical creature, acting on a mixture of impulse and memory. Animist Pools is a functional body of music for everyday human applications, with the implied invitation to tune out and back in at one’s discretion. The cleanly organized musical space of Animist Pools encourages a tidying up of the mind. On a psychoacoustic level it is one, breathing life into the dusty corners of one’s headspace. Animist Pools is an immersive, meditative, and therapeutic experience."

Martens: "Matthew Sage’s (Cashed Media, Fuubutshi) »The Wind of Things« and »Catch a Blessing« are two favorites of new music in my shelter. So when a little while ago he dailed in with this idea to make a Country Western album together, i saddled up and joined the stampede. The result is a universal coming of age story."

Sage: "I have always found the idea of whatever 'Western' means in America to be very elusive. It feels like a fantasy that we keep trying to relive by retelling exaggerated stories. An echo of an echo of an echo..."

Martens: "In them, the dissatisfied, unfolds that wide open road. With television infused meditations of packing a gun on horseback, and chasing a bison herd under torrential rains."

All music, recording: Matthew Sage, Lieven Martens Except: piano on track 7 by Wietske Van Gils, field recording on track 7 by Mick Sage, and carillon on track 10 by Luc Dockx

Mixing, editing: Lieven Martens; mastering: Roman Hiele; typography: Jeroen Wille; risograph printing: Jan Matthé

Obscura label head Fedele makes his long awaited return to the imprint for new EP ‘The Awake, Pt.1’, backed by remixes from Extrawelt and Midnight Operator aka Mathew Jonson and Nathan Jonson. Fedele’s penchant for synthesizer techniques and drum machines has caught the ear of global tastemakers, with projects released on the likes of Turbo, Afterlife, and Ellum receiving support from the likes of Maceo Plex, Tiga, Tale of Us, Dixon, John Digweed, Miss Kittin, and DJ Stingray. With sights set towards summer peak, the Italian returns to his Obscura Music imprint with his latest work, The Awake, Pt. 1.

Riot Dance leads the line with crisp kicks on a heady rise to set the groove before an analog-tinged synth line claims the hook. Acidic tones & ethereal stabs offer a generous dose of psychedelia, while the gritty groove ensures the cut’s ability to ignite dance floors. Modular Madness harnesses ominous flavors and a driving bassline that ebbs & flows to keep minds melting. The melodies open into swirling synthetics, with revolving reverberations and rich soundscapes capturing the ear from start to finish.

Storied German duo Extrawelt arrive on remix duty, taking the reins on ‘Riot Dance’ to twist a low- slung groover. They bring the bassline into the foreground, keeping a delightful vibe alive and welcoming a touch of light to the dark underbelly of the original, before diving back into the deep as the track unfolds. Obscura regular Mathew Jonson connects with a producer he knows well – his brother Nathan. Together, they remix ‘Modular Madness’ under their alias Midnight Operator. Picking up the pace, they maintain the acid-laced grit from the original arrangement, while adding serene melodies to the high-end. A balanced rework from two seasoned veterans.

Experimental and improvisational psychedelic rock, for fans of White Heaven, Les Rallizes Denudes, Headroom, Düngen, Heron Oblivion, Comets On Fire, The Renderers, Bardo Pond. Mountain Movers arguably are the perfect band for all the true "heads" out there. The New Haven quartet have been at it for 15 years, and the "newest" lineup (now at it for well over a decade; vocalist/guitarist Dan Greene, bassist Rick Omonte, guitarist Kryssi Battalene and drummer Ross Menze) have firmly grasped what it takes to fry brains; achingly beautiful melodies buoyed by a life raft of white-hot guitar scree and mind-melting feedback. "World What World" is the band's eighth album and third for Trouble In Mind Records. "World What World" is the newest chapter of the group's continued explorations and efforts to refine their sound. The lyrics of "World What World"s songs all imply a protagonist on a quest; the title itself is an implied query with no question mark; is it a question, or a statement?. The one-two punch of opener "I Wanna See The Sun" and "Final Sunset" lay out what's in store; Crazy Horse-inspired sandpaper melodies sit comfortably next to improvised, PSF-influenced six-string ragers. The group performs together effortlessly and telepathically, subverting the loud/quiet/loud dynamic that has saturated independent music since the late-Eighties. The loud parts and quiet parts are like waves; indistinguishable from each other, creating a fluid dynamism and intensity that swallows the listener up in its current, sweeping it toward oblivion. Hyperbole, you say? Watch out for midway through "Then The Moon" when the tune's lilting waltz pivots into a casually blistering solo by Battalene before fading into the melancholic "Haunted Eyes" - beckoning you with a mournful sidelong glance. Side Two opens with "Staggering With A Lantern", an elegant, lumbering instrumental improvisation again showcasing the synergistic shredding of the group's guitarists. The sticky lyrical hooks and sideways jangle of "Way Back To The World" and "The Last City"s midnight-hour, mellow singe come next, before concluding "World What World"s journey with "Flock of Swans". The song is the perfect closer and culmination of the album's mission statement. The subjects that populate Greene's songs and visual imagery augment his elegiac lyrics, awash in magical realism and fantastic symbolism; knights, fighters, dragons, masks. Poetic missives are launched from the heart straight into the neural pathways, guided by the rhythm section's otherworldly chemistry and Battalene's masterful control over her instrument. Mountain Movers have been at it too long to care about acclaim. They do it because the music calls out to them, and they let it carry them away.

The first fully electronic album by the italian DJ/producer becomes physical in a very special vinyl containing 7 tracks of the "WAXTAPE" selected by the artist himself Ceri, alias Stefano Ceri, is currently one of the most influential personalities in the Italian music scenario: an eclectic musician and producer that redefined and “refreshed” the sound of the most recent years through his artistic
sensibility and innovative spirit.

He collaborated with some of the biggest Italian music icons such as Mahmood, Alan Sorrenti, Marco Mengoni, Salmo, Coez, Calcutta, Franco126, Frah Quintale, Crookers, Joan Thiele and many others:

If working as a producer gave him the chance to define the sound of the new urban/pop environment, his solo project got him to explore
more personal and deeper aspects while searching for his own original dimension.

His 2022 new project is named “WAXTAPE”: it’s an album published with a “4 movements structure” where new tracks have been added
each “movement” release, reaching a total number of 29 tracks.

In the 33rpm vinyl version he selected 7 tracks which, according to his vision, represented best the deepest soul of "WAXTAPE". A real journey from light to dark, from intimacy to community.

Produced by Heidecker, Drew Erickson, Eric D. Johnson and Mac DeMarco, High School sees Heidecker emerging as an increasingly playful and poignant story teller, infusing childhood tales with new gravity. In conjunction, he announces Tim Heidecker Live! Featuring Tim Heidecker and The Very Good Band, his first two-act tour of comedy and music. Since 2016, Tim Heidecker has chronicled the annals of adulthood on a series of supreme singer-songwriter albums. The crushing devastation of divorce and the existential malaise of middle-age, the minutiae of home ownership and the ritual of family vacation, child rearing and global warming: Heidecker has handled it all with humor and heart. But, there’s one pivotal lodestar of human development he has yet to mine that’s right, High School. First single “Buddy” is a composite of a few woebegone friends, which finds Heidecker reminiscing on the familiar tragedy of the adolescent stoner, manifesting the destiny of undiagnosed depression and parents who didn’t care much. The song itself is a jangly delight, but it’s hard not to mourn for “Buddy,” then re-count whatever blessings you may have. After initial and fruitful sessions with Jonathan Rado, Heidecker started recording tunes with DeMarco and Erickson, who had also worked on 2020’s collaboration with Weyes Blood, Fear of Death. At DeMarco’s studio, they added drum machines and synths and sidewinding solos to Heidecker’s big strummed chords. Johnson (Bonny Light Horseman, Fruit Bats) helped Heidecker finesse the tunes even more, making the music as rich as the feelings. Kurt Vile contributed to one song, as well. Through all those sessions, it slowly became clear: Heidecker was writing not only about the adventures and misadventures of life as a Pennsylvania teen in the early ’90s, but also how it felt to lose a juvenile sense of mystery and possibility as an adult. He was writing about high school and, really, the way it helped shape everything else. Back at Pennsylvania’s Allentown Central Catholic High School, Heidecker dreamed of making it with one of his many rock bands — Time and Other Things, Shaggy’s Beltbuckle, and (incredibly) The Pulsating Libidos. Two years shy of his graduating class’ 30th anniversary, Heidecker admits he had little of substance to say when he was 17, like all but the rarest of precocious minds. In college, though, he found the friends with whom he built his comedy career, largely apart from music and without much thought for his time back at Central Catholic. He was focused on his future. It is fitting, then, that as Heidecker has become such a delightful singer-songwriter and collaborator, he returns to the first scene of his time as a musician. Maybe he’s right — he didn’t have anything to say or sing about life back then. But across the earnest and amusing High School, he finds plenty to say about those weird and wonderful and ordinary times.

Greek genius Christos Chondropoulos’ stunning debut for The Death of Rave finally lands on vinyl - an incredibly imaginative masterwork rich with quartertone melody and meticulously chiselled production, shaped into a future-folk songbook that deeply expands on his wonders for 12th Isle and The Wormhole. Highly recommended if yr into Paul DeMarinis, Rashad Becker, Ryuichi Sakamoto, Kara-Lis Coverdale's 'Aftertouches', Jonathan Bepler’s soundtracks for Matthew Barney, Black Sabbath or Aphex Twin. Floors us every time!

Continuing Christos’ singular fascination with, and reappraisal of, Ancient Greek modes, ’Relics’ further excavates the deeptime topography of Greek music prior to the ban of “oriental” or 1/4 tone microtonal modes nearly 100 years ago.

Clandestine, euphoric, hyperreal and otherworldly; it takes shape as faintly familiar forms of new age folk, avant-techno and metal musicks, but with an alien appeal that treats the past almost like another planet, never mind a foreign land. Christos studiously raids the past for lost treasure, navigating his tuned instincts as an improvising percussionist, and lover of non-Western composition, to create a uniquely absorbing soundworld that resembles an AI’s dreams after ingesting encyclopaedia entries on thousands of years of Greece prior to 1936. In the process, the album acutely questions his and our relationship to the past, and what has become lost in translation with reliance on prelaid templates and the “wisdom” of elders.

Bursting to life with the iridescent arps and new age AI chorale of ‘First Love Fereter’, and concluding with bone-clacking raverie of ‘Jungle X’, the album offers a stunning advance of the themes and aesthetics in Christos' previous records, from the self-released free jazz of ‘Fingerpainting’ (2013) to 2021’s 12th Isle released ‘Athenian Primitivism.’

Thanks to meticulous detailing, ‘Relics’ allows a finer play of textured light and almost tangible - yet entirely generated - voices into his music: most strikingly on the sublime songcraft of ‘Regret’ and ‘I Dream Of You’, while the likes of ‘Asham’ are bathed in deeply uncanny atmosphere, and his percussive proprioceptions are most heightened in the delirious battery of ‘War Horns’ and ‘Sacrifice’, with ‘Cyber Crust’ calling up demonic, cthonic pagan spirits resembling Black Sabbath undergoing regression therapy.

Dana Kelley, aka DKMA, is a much revered writer, producer, remixer, performer and creative force whose releases have become timeless classics and Holy Grails amongst DJs, music heads and collectors alike. A true artist and innovator, his productions possess the unique ability to engage, transport, challenge and enthral as only next level musicians can.

Grounded in the deep, soulful US House sound of the mid '90's, his earliest releases can be found on Strictly Rhythm, before moving on to produce under his DKMA alias as well as releasing music as Callisto on Guidance. Although Dana sadly passed away in 2013, he left us with a remarkable body of work that has remained both exciting and relevant throughout the last 2 decades and beyond.

Boston Boy Vol.2 is the 2nd in a series of compilations that focuses on Dana's visionary work as DKMA, during his most compelling and creative phase between 1997 and 2002. The compilations themselves are collated from an incredible & far reaching archive of over 20 of Dana's original DATs that have been generously shared with us by the Kelley Family. In the archive, some of Dana's most sought after & cherished works were uncovered, restored and meticulously assembled alongside previously unheard archival material.

The tracks themselves are bold, clever and inventive, characterised by a need for innovation. Passages of deep soulful house underpin more forward thinking electronics without ever losing dance floor appeal. Jazz solos sit imaginatively on top of gritty swinging rhythms, deep infectious b-lines, eerie textures and chord sequences are warm and effortlessly soulful yet with a sound design, sonic range, dynamism and a technical prowess that most could only dream of.

These compilations celebrate the life, vision and art of one of house music's most hallowed producers. Unique and essential, these collections pull together DKMA's most coveted works. Respectfully sourced, restored and compiled from all audio sources courtesy of the Kelley family and Above Board Projects.

Mastered by Frank Merritt at The Carvery, London, with special artwork by Atelier Surplus featuring a special unseen image of Dana from his family's photo albums.

‘Jim, I’m Still Here’ is the second album from James Righton under his own name; produced by David & Stephen Dewaele of Soulwax and released on their label DEEWEE, the album follows The Performer released in 2020. James’ musical past is well documented; as the frontman of the genre inventing Klaxons, he helped create a revolution in British music and spawned a youth subculture. ‘Jim, I’m Still Here’ is a captivating meditation on the artists experience of the pandemic as James looks to conceptualize the myriad of emotions and events into a fascinating third person narrative. One of the album tracks features Benny Andersson from Swedish pop legendary band ABBA, with whom James has been working on putting together their new live band.

"I wrote this record during the first few months of the pandemic. At the time I wasn’t intending to make any music. I’d just released ‘The Performer’ on what turned out to be the first week of lockdown. The outside world shut down and I was busy being Dad. Then. I started making notes on my phone. Just words. In moments stolen from family life I’d head downstairs to my garage studio and put the words to music. When I was happy with a song I’d send it to Dave and Stef. Demos and Pro Tools sessions were passed back and forth between my home studio and the Deewee studio in Ghent. I was nervous about their response to the music I was making. It was personal, raw: unlike anything I’d ever written before. A conversation with the outside world during these times of isolation. For the most part my life was centred on the domestic. Getting to spend so much time with my family was a blessing. Making music was my play time. Isolation opened me to memories and allowed me to dream of the future. As the outside world tried to adapt to the pandemic I was asked more and more to promote ‘The Performer’ in live stream concerts on various platforms. As the pandemic went on, demands on production increased (more camera angles, better lighting, higher quality audio recordings). It became a one man show. I’d head downstairs to my garage, put on my Gucci suit, comb my hair and become someone else. Jim. Jim the deluded rock star, living out his fantasies from the confines of his garage. A lonely stardom. And yet, Jim was part me. He made me feel like I still existed. Jim became the centre of the new album. Dave, Stef and I worked into the sessions over the following months. It was always exciting to see where they would take my initial demos. The working method and the restrictions of making music together but in separate spaces, separate countries shaped the sound and feel of the record.
I won’t make another record like this again”.James/Jim

When the whole world collapses around you, sometimes the only thing you can do is stomp it all loose. Erin Anne's second album, the gleaming, electrified Do Your Worst, charts that uninhibited romp through disaster. Written amid the rubble of personal grief and professional disappointment, later exacerbated by the devastation of a global pandemic, the record deepens Erin's venture into the blur between human and machine, adding a new roster of digital instruments to the mix. Drawing on dark, glossy '80s synthpop as well as the unabashed bombast of bands like The Killers, the L.A.-based songwriter deploys a cyborg persona to articulate a feeling of displacement from the world as a queer artist struggling to survive the machinations of late capitalism. With bright, interweaving synthesizers and ripples of Auto-Tuned vocals, Do Your Worst poses a dare to the world: Whatever you have in store, I'll take it standing.

Erin began writing her second album not long after adding a MIDI keyboard and vocal processing hardware to her home studio setup. While exploring her new gear, she found that she could work in the same vein as the artists and producers she loved the most. Do Your Worst takes inspiration from the music of Patrick Cowley, the disco and hi-NRG producer best known for working alongside Sylvester. Erin was taken by Cowley's use of vocoder on the 1982 album Mind Warp, where his distorted vocals create a queer, mutant subjectivity. That album rang out against the cataclysm of the AIDS epidemic; Erin found resonance in Cowley's music during the present-day pandemic. "I have found the most catharsis and the most safety in listening to the music of people in really, really horrific circumstances making something lasting and profoundly beautiful," she says.

Throughout Do Your Worst, which was mixed by Sarah Tudzin of Illuminati Hotties, songs like "Typhoid Mary" and "Florida" reckon with loss, despair, and abjection. "This Hungry Body" sears through pandemic-era touch starvation, while "Mirror Mirror" attends to the noxious but necessary funhouse of social media. On the playful, guitar-driven “Eve Polastri’s Last Two Brain Cells Have a Debate,” Erin uses the spy thriller TV show Killing Eve to explore queer codependency and masochism. Among these fraught subjects, Erin Anne finds opportunities for release. She stages internal conflict on a scale so massive that its details start to become clear; if they don't resolve, they at least become palpable.

"I’m very much a maximalist when it comes to production. I like vast landscapes. I like a stratosphere and a core -- I want the bass to be beneath the floor," Erin says. "This record is, in a lot of ways, a collection of some of the first moments that I was technologically able to achieve accurate renderings of how I hear my own emotional world."

Group Theory: Black Music is a stunning new statement from South African drummer and composer Tumi Mogorosi who is one of the foremost drummers working anywhere in the world, with a flexible, powerful style that brings a distinctive South African inflection to the polyrhythmic tradition of Elvin Jones, Max Roach and Art Blakey.

North London-by-way-of-Suffolk soundsmith Gerry Read delivers his first release for Circus Company with the Lean on Something EP. After countless examples of his bold production moves on many of our brother and sister labels including Herbert’s Accidental Jr to more recently on Koze’s Pampa Records, Read has always displayed a kindred spirit mindset to ours in his adventurous musical angles, and we are very happy to present this particular set of rock-solid and uniquely diverse pieces.
The title track “Lean on Something” starts things off in fine and classic Read form, with knocking found-sound percussion, fizzing textures and slick use of chopped and disorienting vocal sample
bits, as the track layers unfold into a whimsical and wondrous melodic stargazing anthem. “Wooer at the Well” then follows and picks up the tempo with those fly live acoustic drum lines that gives
Gerry’s tracks that special beyond-electronic feeling, while once again the deft layering of such a rich sound palette builds and builds giving other mavericks like Four Tet a sincere run for their money. The mood then brilliantly shifts on the next track “Paramol”, where Read treats us to an almost Robotnik-era Italo sprinkling amidst his otherwise forward-thinking club floor-filling tendencies, with an amazing array of synth sections and an arrangement that should satisfy even the neo-purists out there amongst us. Finally, “Risotto” wraps up the proceedings with a warm, jazzy bouncer reminiscent of both Read’s as well as our own catalog’s charming early offerings, and a kind of landing-at-home-base sensation with smoky cubist funk feelings and an equal parts rough-yet-undeniably cool effervescent groove.

House Of Lucy is a special project by three friends and music producers from Warsaw, Poland (TAMTEN, Ivan Bayor & FOPA) who also happen to organize a mysterious event called “Lucyna” on Half Year’s Eve (sunny New Year’s Eve in summer). It is a local thing with lineups consisting of DJ’s and bands with very different musical backgrounds. This genre bending and melting situation, together with an utterly open-minded audience, creates some of the most unexpected encounters. This is the place where dub meets new wave, post punk meets house, electro meets jazz… This is the place where House Of Lucy comes from. Following the lyrics on the opening track:

“…welcome to house of Lucy
you can do anything at house of Lucy
anything at all
the only limit is yourself…”

Dark 80-ish synths, guitar riffs, dubby basslines, aggressive percussion, haunting vocals, and some soft cozy spots seem a bit much for one record? This is House Of Lucy after all, the only limit is yourself.

Mit ihrem 2. Album ”Heile Welt” versuchten Deine Freunde sich 2014 abermals am Spagat zwischen Kinderlied und ausgereifter musikalischer Empfindung. “Heile Welt” ist ein mutiges, humorvolles und intelligentes Stück Musik für Familien und Kinder. Als genaue Beobachter und feinfühlige Verbündete erschließen sich Deine Freunde mit ihren witzig-prägnanten Texten die Lebenswirklichkeit moderner Familien und zeichnen so ein ungeschöntes, aber umso liebevolleres Bild ihres Alltags. “Heile Welt” ist ein originäres
Werk mit Ecken, Kanten, viel Wahrheit und noch viel mehr Spaß.
Mit ihrem 3. Album erneuerten die ”Kindsköpfe” der coolsten Kinderband der Welt 2015 einmal mehr die deutsche Kinderunterhaltung mit dem Ziel, Familien zusammenzubringen. Wollten sie sich anfangs nur mit den Kindern verbünden, besteht ihr Publikum inzwischen zur Hälfte auch aus amüsierwilligen Eltern.
Also mussten auch Elternlieder her. Und so gibt es auf KINDSKÖPFE erstmals einige Tracks aus der Vogelperspektive; doch katapultiert sich die Band auch wieder direkt in den Kosmos der Kindheit und
thematisiert in den 17 Songs so ziemlich alles, was in Kindsköpfen so vor sich geht.

Beide Alben, die nun erstmals auf je 2 weißen bzw. transparentgelben 180g-LPs (+ jeweils beigelegter CD) in mit allen Texten bedruckten Innenhüllen in einer 2LP-Kastentasche erscheinen, verbinden: straighter Rap, lupenreiner Pop, Elektrobretter und cooler Funk.

Mit ihrem 2. Album ”Heile Welt” versuchten Deine Freunde sich 2014 abermals am Spagat zwischen Kinderlied und ausgereifter musikalischer Empfindung. “Heile Welt” ist ein mutiges, humorvolles und intelligentes Stück Musik für Familien und Kinder. Als genaue Beobachter und feinfühlige Verbündete erschließen sich Deine Freunde mit ihren witzig-prägnanten Texten die Lebenswirklichkeit moderner Familien und zeichnen so ein ungeschöntes, aber umso liebevolleres Bild ihres Alltags. “Heile Welt” ist ein originäres
Werk mit Ecken, Kanten, viel Wahrheit und noch viel mehr Spaß.
Mit ihrem 3. Album erneuerten die ”Kindsköpfe” der coolsten Kinderband der Welt 2015 einmal mehr die deutsche Kinderunterhaltung mit dem Ziel, Familien zusammenzubringen. Wollten sie sich anfangs nur mit den Kindern verbünden, besteht ihr Publikum inzwischen zur Hälfte auch aus amüsierwilligen Eltern.
Also mussten auch Elternlieder her. Und so gibt es auf KINDSKÖPFE erstmals einige Tracks aus der Vogelperspektive; doch katapultiert sich die Band auch wieder direkt in den Kosmos der Kindheit und
thematisiert in den 17 Songs so ziemlich alles, was in Kindsköpfen so vor sich geht.

Beide Alben, die nun erstmals auf je 2 weißen bzw. transparentgelben 180g-LPs (+ jeweils beigelegter CD) in mit allen Texten bedruckten Innenhüllen in einer 2LP-Kastentasche erscheinen, verbinden: straighter Rap, lupenreiner Pop, Elektrobretter und cooler Funk.

Die Remastered-Version des Albums „Peachtree Road” von Elton John erscheint am 8. Juli und ist somit endlich wieder als Vinyl verfügbar.

„Peachtree Road“ ist das einzige Album in seinem umfangreichen und beliebten Katalog, das ausschließlich von ihm selbst produziert wurde und die Rückkehr seines legendären Schlagzeugers Nigel Olsson beinhaltet. Die 2LP enthält die Tracks von „Peachtree Road“ und zusätzlich 3 Songs aus dem Musical Billy Elliot.

Das Album erscheint als 2LP

Lo-fi Beats is a fine and elegant new collection made for a cosy trip in music. Relax with a jazzy sound.

100 copies only

Apron Records has been instrumental in shaping the current landscape of contemporary electronic music coming out of the U.K. since 2014. After almost a decade of pushing their unique vision has made the Apron Records imprint one of the most in-demand labels in most independent record stores. Now more than 45 releases deep in their journey, Apron Records have teamed up with Patta Soundsystem to work on their first various artists release and to celebrate this monumental milestone, both camps have collaborated to create a clothing capsule to accompany this release. After working with the artist formerly known as Funkineven on ‘The Wave’ late last year, it was only right to showcase the diverse talents behind this movement.

Sharing a drawing board with Patta for the first time with Apron Records, together they have created a Trucker Cap and a Graphic T-Shirt that echo the racing theme of the whole project. Better Together is the slogan that runs throughout the entire collaboration, stressing how unity makes us stronger as individuals. Artwork for the record has been provided by Amsterdam based artist Jim Klok. His unique Acetone printing technique has now been immortalised on this LP, juxtaposing vintage cars with checkered racing flags to create a dynamic cover that would be right at home in a picture frame as well as a record bin.

System Olympia’s ‘Passi Mai’ is a beautiful 80’s inspired driving riddim layered with her own vocals that wouldn’t be out of place in an arcade or a sticky nightclub floor. Followed up by ‘Leven’ by Brassfoot, we get a wobbler from the NTS regular. Layed with Jamaican vocal samples and audacious arpeggiated bleeps, Leven is a soulful approach to techno tropes that have been bouncing around Brassfoot’s head. Shamos’ 737363 is a cryptic masterpiece. With dreamy pads as a backdrop for shuffling drum beats, euphoric sweeps and dynamically designed synthesis, this closes off the themes explored in the first half of the record.

Side B kicks off with J M S Khosah’s contribution to the record titled ‘Lessons’ which is a dancefloor filler, adorned with glamorous percussion, vocal samples and syncopated stabs ontop of a driving 4x4 kick pattern. Kicking things into 6th gear is a club-ready production from London's most soulful selector Shy One. Groovy basslines and a 2-step riddim make ‘Candy Floss’ an ode to the grimey and the glittery sides of London nightlife. This project champions one of the people that have been pivotal in the success of the label, Steven Julien whose track E46 is an emotional journey through his synth-laden East London studio. Bookending the project are two compositions from Compton’s-own AshTreJinkins. Showcasing his abilities to approach the project from both an ambient and a pure beat-making perspective in order to hold the whole project together.

First Ever LIVE Release! “Even 33 plus years later, it hasn’t lost any of its charm, intensity, or unvarnished power.” – American Songwriter “Vocalist/rhythm guitarist Dan Baird and lead man Rick Richards let the slippery riffs fly.” – Vintage Guitar Magazine “You can really hear the bar-band roots of this band listening to this show . . . There’s a real magic to the chemistry they all had as a group.” – Ultimate Classic Rock “. . . the live album sounds wonderful and captures their exciting show nicely.” – Goldmine “. . . offers fans a chance to travel back through time and experience a singular night of all-out rock and roll as only the Georgia Satellites could provide. The title of the album is absolutely accurate.” – Exclusive Magazine “. . . captures the the sweaty excitement and spontaneity . . . of that special night 33 years ago.” – The Music Universe In 1988, the Georgia Satellites rolled into Cleveland, Ohio for a blistering Monday night at local watering hole Peabody’s, formerly the punk haven Pirates Cove. With Open All Night giving the band a second album to draw on, their salty, wide-open Chuck Berry riff’n’roll was full swagger – whether drawing on their reprise of the Swinging Blue Jeans’ “Hippy Hippy Shake” from the Tom Cruise film “Cocktail,”Joe South’s swerving “Games People Play,” George Jones’ “White Lightnin’”or Jerry Lee Lewis’ all-out “Whole Lotta Shakin’.” Just as importantly, gap-toothed guitarist/lead singer Dan Baird and combustive lead guitarist Rick Richards set the pummeling groove of drummer Mauro Magellan and bassist Rick Price ablaze. Delivering an 18-song masterclass in roots, rock and raunch, the Satellites not only incinerated “Battleship Chains,” “Railroad Steel” and “Can’t Stand The Pain,” they led the beyond SRO crowd through a shout-along of “Keep Your Hands To Yourself” threaded with a brazen stripper grind on the Rolling Stones’ “It’s Only Rock & Roll.” Fans of reverb, thrashing drums, the rush of rock & roll momentum and all manners of electric guitars giving it over to basic 3 chord rock & roll, Lightin’ in a Bottle retires the jersey. As the southern equivalent of the Replacements, the Ramones hillbilly (redneck) little brothers, no band delivered as much balls as the Satellites, who’ve never had an official live record. For a band who leaves it all onstage, that seems wrong. Leave it to Cleveland International to unearth this blistering recording, wipe off the sweat and somehow figure out how to get it all in one double disc package captured in the Rock & Roll Capital of the World. -Holly Gleason

First Ever LIVE Release! “Even 33 plus years later, it hasn’t lost any of its charm, intensity, or unvarnished power.” – American Songwriter “Vocalist/rhythm guitarist Dan Baird and lead man Rick Richards let the slippery riffs fly.” – Vintage Guitar Magazine “You can really hear the bar-band roots of this band listening to this show . . . There’s a real magic to the chemistry they all had as a group.” – Ultimate Classic Rock “. . . the live album sounds wonderful and captures their exciting show nicely.” – Goldmine “. . . offers fans a chance to travel back through time and experience a singular night of all-out rock and roll as only the Georgia Satellites could provide. The title of the album is absolutely accurate.” – Exclusive Magazine “. . . captures the the sweaty excitement and spontaneity . . . of that special night 33 years ago.” – The Music Universe In 1988, the Georgia Satellites rolled into Cleveland, Ohio for a blistering Monday night at local watering hole Peabody’s, formerly the punk haven Pirates Cove. With Open All Night giving the band a second album to draw on, their salty, wide-open Chuck Berry riff’n’roll was full swagger – whether drawing on their reprise of the Swinging Blue Jeans’ “Hippy Hippy Shake” from the Tom Cruise film “Cocktail,”Joe South’s swerving “Games People Play,” George Jones’ “White Lightnin’”or Jerry Lee Lewis’ all-out “Whole Lotta Shakin’.” Just as importantly, gap-toothed guitarist/lead singer Dan Baird and combustive lead guitarist Rick Richards set the pummeling groove of drummer Mauro Magellan and bassist Rick Price ablaze. Delivering an 18-song masterclass in roots, rock and raunch, the Satellites not only incinerated “Battleship Chains,” “Railroad Steel” and “Can’t Stand The Pain,” they led the beyond SRO crowd through a shout-along of “Keep Your Hands To Yourself” threaded with a brazen stripper grind on the Rolling Stones’ “It’s Only Rock & Roll.” Fans of reverb, thrashing drums, the rush of rock & roll momentum and all manners of electric guitars giving it over to basic 3 chord rock & roll, Lightin’ in a Bottle retires the jersey. As the southern equivalent of the Replacements, the Ramones hillbilly (redneck) little brothers, no band delivered as much balls as the Satellites, who’ve never had an official live record. For a band who leaves it all onstage, that seems wrong. Leave it to Cleveland International to unearth this blistering recording, wipe off the sweat and somehow figure out how to get it all in one double disc package captured in the Rock & Roll Capital of the World. -Holly Gleason

Matte Gold 180g. Free MP3 Download. GUM aka Jay Watson is a multiinstrumentalist, founding member of POND and touring member of Tame Impala. Gum’s 2015 album Glamorous Damage has been newly remastered by tour mate Kevin Parker. ‘Glamorous Damage,’ is a warped comb running thru the shiny blonde hair of pop and disco. Produced and mixed by GUM and mostly recorded at home, the album is at times reminiscent of the elastic robo-glam of Prince, the sci-fi waves of Chrome, early Eno experimentalism and a love of Beach Boys melody. In 2015 ‘Glamorous Damage’ was critically acclaimed by the likes of Pitchfork, NME and Stereogum and featured on the longlist of the 2015 Australian Music Prize. Glamorous Damage features lead single ‘Anesthetized Lesson.’

Famous present their first vinyl release, a double EP comprising their lauded 2021 EP The Valley on side A, and their equally acclaimed 2019 debut England on side B. The Valley is an intense, engrossing body of work from a band firmly stepping into their own space, foregoing the easy route, whilst interrogating themselves and everything around them. References to Soundcloud rap stand side-by-side with Greek Tragician Euripedes, along with the white noise of endless Simpson’s repeats colliding with daydreams of settling down and one day owning a gilet. It’s both complex and accessible, the sound of a silver-lining appearing from a dark cloud. England presents a distinctively hyperbolic, mythic re-imagination of urban life; using theatricality and the emotional authority of art to navigate the chaos of anxiety. The music is, nonetheless, thoughtful and surprising, as shown by the six self- contained yet interconnected tracks that make the whole. Opener ‘England 2’ is a rumbling call to arms that ushers in the haywire ‘Surf’s Up!’. The heart of the record is the two-punch of tainted-pop cut ‘Forever’ and the skittish paranoia of ‘Jack’s House’. All that remains is the expansive, circling ‘2004’ before the most tender moment ‘My Crumpet’ closes the show. Famous live shows are intense brash affairs. Alternating between the pathetic showmanship of Vegas-era Elvis and the controlled experimentations of post punk, the band has built a reputation as one of the best live acts on the London underground circuit. Playing shows with Black Midi, Sports Team, Jockstrap and supporting Black Country, New Road on their full UK tour, Famous has undeniably placed itself at the centre of that new generation of English bands. 2022 sees the band playing major festival dates and venues across Europe, alongside supporting Los Bitchos on tour in France, in April.

Limited Edition 100 Only Red Vinyl LP - Hand Signed and Numbered / Quantity: 100 - Beth Blade and The Beautiful Disasters are a melodic Hard Rock band based out of Cardiff, South Wales. The four-piece provide monster riffs, huge choruses and a dose of old school rock and roll attitude. With aggressive muscle and melodic sensitivity, this band is reigniting the flame of British Hard Rock. They have an unmistakable modern presence whilst keeping the spirit of old school rock and roll alive. The band have been a non-stop force to be reckoned with, building a strong pedigree touring with Marco Mendoza and The Electric Boys, and have supported old and new legends such as Kee Marcello, Y and T, Dan Reed and Danny Vaughan, Ricky Warick and Damon Johnson, Massive Wagons, Those Damn Crows, Tyketto and Graham Bonnett. They are no strangers to festivals either having performed at Hard Rock Hell, Planet Rockstock, Monsterfest and most notably with KISS on the globally renowned KISS Kruise in the US. The band's first two albums received glowing reviews across the rock press and resulted in international radio airplay including heavy rotation on major networks in the UK. Beth herself has sung backing vocals on the last two Thunder albums with the latter reaching number 3 in the U.K. Top 40 Album Chart and number 1 in the U.K Rock Chart in March 2021. The band are currently working on album number 3 and have a number of live shows and festivals already booked alongside The Treatment, Mason Hill, Collateral and will be hitting the road again on a UK tour with Swedish Rockers Thunder Mother. The band is fiercely determined and has the grit to surpass their previous accomplishments through intense live performances and a passion for rock and roll that is unrivalled.'

Felicia Atkinson’s music always puts the listener somewhere in particular. There are two categories of place that are important to »Image Langage«: the house and the landscape. Inside and outside, different ways of orienting a body towards the world. They are in dialogue, insofar as in the places Atkinson made this record—Leman Lake, during a residency at La Becque in Switzerland, and at her home on the wild coast of Normandy—the landscape is what is waiting for you when you leave the house, and vice-versa. Each threatens—or is it offers, kindly, even promises? —to dissolve the other. Recognizing the normalization of home studios these days, she revisited twentieth-century women artists who variously chose, and were chosen by, their homes as a place to work: the desert retreats of Agnes Martin and Georgia O’Keefe, the life and death of Sylvia Plath. Building a record is like building a house: a structure in which one can encounter oneself, each room a song with its own function in the project of everyday life.

At times listening to »Image Langage« is immediate, something like visiting a house by the sea, sharing the same ground, being invited to witness Atkinson’s acts of seeing, hearing, and reading in a sonic double of the places they occurred. In an aching moment of clarity in »The Lake is Speaking,« a pair of voices emerge out of the primordial murk of piano and organ, accompanying the listener to the edge of a reflective pool that makes a mirror of the cosmos. "I open my feet to fresh dirt, and the wet grass. I hold your hand. You hold his hand. In the distance without any distance. The comets, the stars." At other times, listening to »Image Langage« is more like being in a theatre, the composition a tangle of flickering forms and media that illuminate as best they can the darkness from which we experience it. On »Pieces of Sylvia,« a noirish orchestra drones and clatters beneath and around a montage of vocal images, stretching the listener across time, space, subjectivities. Atkinson says that "Image Langage" is like the fake title of a fake Godard film. There is indeed something cinematic about Atkinson’s work—not cinematic in the sense that it sounds like the score for someone else’s film, but cinematic in the sense that it produces its own images and langage and narratives, a kind of deliberate, dimensional world-building in sound.

»Image Langage« is built from instruments recorded as if field recordings, sound-images of instruments conjured from a keyboard, instruments Atkinson treats like characters, what she calls “a fantasy of an orchestra that doesn’t exist.” And then, speaking of Godard, there are the monologues, operating as both experimental-cinematic device and a literary style of narration. Voice can be a writerly anchor or a wisp of a textural presence. Atkinson’s capacious and slippery speech plunges into and out of the compositional depths, shifting shapes, channelling the voices of any number of beings, subjectivities, or elements of her surroundings—not unlike her midi keyboard, able to speak as a vast array of instruments.

»Image Langage« is an environmental record, in the vastest sense of the world. It is about getting lost in places imagined and real; it registers, too, the dizzying feeling of moving between such sites. It puts forth a concept of self that is hopelessly entangled with the rest of the world, born of both the ache of distance and the warmth of proximity.

For Félicia Atkinson, human voices inhabit an ecology alongside and within many other things that don’t speak, in the conventional sense: landscapes, images, books, memories, ideas. The French electro-acoustic composer and visual artist makes music that animates these other possible voices in conversation with her own, collaging field recording, MIDI instrumentation, and snippets of essayistic langage in both French and English. Her own voice, always shifting to make space, might whisper from the corner or assume another character’s tone. Atkinson uses composing as a way to process imaginative and creative life, frequently engaging with the work of visual artists, filmmakers, and novelists. Her layered compositions tell stories that alternately stretch and fold time and place, stories in which she is the narrator but not the protagonist.

Tape

Charlemagne Palestine (born Charles Martin ni 1947 in Brooklyn, New York) wrote intense, ritualistic music in the 1970s, intended by the composer to rub against audiences' expectations of what is beautiful and meaningful in music. A composer-performer, he always performed his own works as soloist. His earliest works were compositions for carillon and electronic drones, and he is best known for his intensely performed piano works. He also performs as a vocalist. Palestine's performance style is ritualistic; he generally surrounds himself (and his piano) with stuffed animals, smokes large numbers of kretek (Indonesian clove cigarettes) and drinks cognac.

Oren Ambarchi (born 1969 in Australia) is a composer and multi-instrumentalist with longstanding interests in transcending conventional instrumental approaches. His work focuses mainly on the exploration of the guitar, "re-routing the instrument into a zone of alien abstraction where it's no longer easily identifiable as itself. Instead, it's a laboratory for extended sonic investigation". (The Wire, UK).

Oren Ambarchi's works are hesitant and tense extended songforms located in the cracks between several schools: modern electronics and processing; laminal improvisation and minimalism; hushed, pensive songwriting; the deceptive simplicity and temporal suspensions of composers such as Morton Feldman and Alvin Lucier; and the physicality of rock music, slowed down and stripped back to its bare bones, abstracted and replaced with pure signal.

From the late 90's his experiments in guitar abstraction and extended technique have led to a more personal and unique sound-world incorporating a broader palette of instruments and sensibilities. On releases such as Grapes From The Estate and In The Pendulum's Embrace Ambarchi has employed glass harmonica, strings, bells, piano, drums and percussion, creating fragile textures as light as air which tenuously coexist with the deep, wall-shaking bass tones derived from his guitar.

Ambarchi works with simple constructs and parameters; exploring one idea over an extended duration and patiently teasing every nuance and implication from each texture; the phenomena of sum and difference tones; carefully tended arrangements that unravel gently; unprepossessing melodies that slowly work their way through various permutations; resulting in an otherworldly, cumulative impact of patiently unfolding compositions.

Ambarchi has performed and recorded with a diverse array of artists such as Fennesz, Otomo Yoshihide, Pimmon, Keiji Haino, John Zorn, Rizili, Voice Crack, Jim O'Rourke, Keith Rowe, Phill Niblock, Dave Grohl, Gunter Muller, Evan Parker, z'ev, Toshimaru Nakamura, Peter Rehberg, Merzbow, Kassel Jaeger, Anthony Pateras, Crys Cole, Giuseppe Ielasi, Judith Hamann, Sunn 0))), James Rushford, Stephen O'Malley and many more.

For 10 years together with Robbie Avenaim, Ambarchi was the co-organiser of the What Is Music? festival, Australia's premier annual showcase of local and international experimental music. Ambarchi now curates the Maximum Arousal series at The Toff In Town in Melbourne and has recently co-produced an Australian television series on experimental music called Subsonics. Ambarchi co-curated the sound program for the 2008 Yokohama Triennale. Ambarchi has released numerous recordings for international labels such as Touch, Southern Lord, Table Of The Elements and Tzadik.

Belgian drummer Eric Thielemans is one of the most idiosyncratic figures in Belgian music, someone who not only demonstrates that special musicians always seek out (and find) their own place, but above all that they always remain students of the art of questioning and listening. No musician better illustrates the difference between playing music and playing with music than percussionist Eric Thielemans. He gets to the heart of the matter with an at times extremely minimalist approach, but on the other hand he frequently relies on a range of objects beyond the regular drum kit: a drum placed on its side, a bicycle wheel with a bow, hands and the body.

Tape

Charlemagne Palestine (born Charles Martin ni 1947 in Brooklyn, New York) wrote intense, ritualistic music in the 1970s, intended by the composer to rub against audiences' expectations of what is beautiful and meaningful in music. A composer-performer, he always performed his own works as soloist. His earliest works were compositions for carillon and electronic drones, and he is best known for his intensely performed piano works. He also performs as a vocalist. Palestine's performance style is ritualistic; he generally surrounds himself (and his piano) with stuffed animals, smokes large numbers of kretek (Indonesian clove cigarettes) and drinks cognac.

Oren Ambarchi (born 1969 in Australia) is a composer and multi-instrumentalist with longstanding interests in transcending conventional instrumental approaches. His work focuses mainly on the exploration of the guitar, "re-routing the instrument into a zone of alien abstraction where it's no longer easily identifiable as itself. Instead, it's a laboratory for extended sonic investigation". (The Wire, UK).

Oren Ambarchi's works are hesitant and tense extended songforms located in the cracks between several schools: modern electronics and processing; laminal improvisation and minimalism; hushed, pensive songwriting; the deceptive simplicity and temporal suspensions of composers such as Morton Feldman and Alvin Lucier; and the physicality of rock music, slowed down and stripped back to its bare bones, abstracted and replaced with pure signal.

From the late 90's his experiments in guitar abstraction and extended technique have led to a more personal and unique sound-world incorporating a broader palette of instruments and sensibilities. On releases such as Grapes From The Estate and In The Pendulum's Embrace Ambarchi has employed glass harmonica, strings, bells, piano, drums and percussion, creating fragile textures as light as air which tenuously coexist with the deep, wall-shaking bass tones derived from his guitar.

Ambarchi works with simple constructs and parameters; exploring one idea over an extended duration and patiently teasing every nuance and implication from each texture; the phenomena of sum and difference tones; carefully tended arrangements that unravel gently; unprepossessing melodies that slowly work their way through various permutations; resulting in an otherworldly, cumulative impact of patiently unfolding compositions.

Ambarchi has performed and recorded with a diverse array of artists such as Fennesz, Otomo Yoshihide, Pimmon, Keiji Haino, John Zorn, Rizili, Voice Crack, Jim O'Rourke, Keith Rowe, Phill Niblock, Dave Grohl, Gunter Muller, Evan Parker, z'ev, Toshimaru Nakamura, Peter Rehberg, Merzbow, Kassel Jaeger, Anthony Pateras, Crys Cole, Giuseppe Ielasi, Judith Hamann, Sunn 0))), James Rushford, Stephen O'Malley and many more.

For 10 years together with Robbie Avenaim, Ambarchi was the co-organiser of the What Is Music? festival, Australia's premier annual showcase of local and international experimental music. Ambarchi now curates the Maximum Arousal series at The Toff In Town in Melbourne and has recently co-produced an Australian television series on experimental music called Subsonics. Ambarchi co-curated the sound program for the 2008 Yokohama Triennale. Ambarchi has released numerous recordings for international labels such as Touch, Southern Lord, Table Of The Elements and Tzadik.

Belgian drummer Eric Thielemans is one of the most idiosyncratic figures in Belgian music, someone who not only demonstrates that special musicians always seek out (and find) their own place, but above all that they always remain students of the art of questioning and listening. No musician better illustrates the difference between playing music and playing with music than percussionist Eric Thielemans. He gets to the heart of the matter with an at times extremely minimalist approach, but on the other hand he frequently relies on a range of objects beyond the regular drum kit: a drum placed on its side, a bicycle wheel with a bow, hands and the body.

Led by vocalist/multi-instrumentalist Simi Sohota, Healing Potpourri specialize in effervescent guitar pop that incorporates elements of ‘70s soft rock, chamber pop, lounge, and more, to create songs that are all but guaranteed to leave the listener in a better mood. But on the San Franciscobased band’s sophomore LP, Paradise, the group offers more than just sonic escapism. Written and recorded over the past two tumultuous years, Paradise finds Sohota and company processing the often overwhelming deluge of stress, frustration, and despair that’s become a part of modern life—but rather than be completely deflated, the band have created some of their most vibrant and instantly appealing music to date. The result is eleven hopeful songs that seek to imagine a better world and strive to make it a reality, while still taking the time to appreciate the moments of brightness that can shine through in hard times.

EL PERRO is a brand new band led by guitarist/vocalist/songwriter/
producer Parker Griggs of RADIO MOSCOW
The sound contains elements that fans of Radio Moscow will recognize, but this
is rock music with a new, fresh spin and feel. The band's debut album, 'Hair Of El
Perro', takes heavy psychedelic rock as a starting point but jams into more
syncopated territory, spicing its sound with Latin rhythms and hints of Funkadelicstyle grooves. You could say that EL PERRO plays psychedelic funk rock, and you
wouldn't be wrong.

It's hard to believe it's taken this long for a proper retrospective of legendary Los Angeles collective CVE. "We Represent Billions" is a crucial portrait of one of the West Coast's most low-key influential crews - a hydra-like collective of rappers, producers, designers and engineers who were key members of the Good Life Cafe's open mic scene, going on to inspire artists like Jurassic 5, Kendrick Lamar amongst many other. Initially called Chillin Villain Posse before morphing into Chillin Villain Empire in the late 1980s, they eventually centered around the core trio of Riddlore, NgaFsh and Tray-Loc. The crew were years ahead of their time, self-producing music without samples and pioneering a stream of consciousness lyrics that still sound fresh and innovative. CVE were self-sufficient and motivated from the beginning, named "Chillin Villains" because that's how they were perceived by white America. This social motivation was channeled into their groundbreaking performances at Good Life Cafe, the South Central session that evolved into Project Blowed and later on came to influence LA club night 'Low End Theory'. It was chronicled by Ava Duvernay, herself an MC in short-lived duo Figures of Speech, in her "This is the Life" documentary, where she interviewed CVE alongside Jurassic 5, Freestyle Fellowship, Abstract Rude and Busdriver. On "We Represent Billions", we're treated to a snapshot of the CVE sound from 1993-2003, their most prolific era. The retrospective collects music from the handful of albums the crew released on their own Afterlife Recordz label (mostly as limited edition CD-R's) plus many previously unreleased tracks and highlights their untethered eccentric creativity and sheer breadth of influence. Whether twisting twitchy West Coast electro on 'All Over Da Globe' or free associating over horror synths and foley sounds on 'Made in Chillz Ville' there's a sense that their music was just too future for its time. Assembled from heaving industrial samples and graced by back-and-forth tongue twisting flows, 'Thugs and Clips' is as eerie and hard-hitting as anything 2Pac's "The Don Killuminati: The 7 Day Theory" full-length. Fuzzed-out and unsettling, 'Calistylics' welds an ambient synth loop and bone-rattling percussion to Tricky-esque percussion, while the flickering closer 'Unicycle' is a cross between Dr. Dre's icy G-gunk pressure and Three 6 Mafia's pitch black lo-fi funk. In many ways, 2022 is the perfect time to rediscover this music: an urgent, creative fusion of spine-tingling pre-grime electronic minimalism and mind bending wordplay that still sounds completely idiosyncratic and utterly alien. Tracks: 1 All Over Da Globe 2 Thugs and Clips 3 C.V. Vault 4 Made in Chillz Ville 5 Bring It On 6 Calistylics 7 No Feelins 8 Let's Get It On 9 Today Was A Fucked Up Day 10 Untitled (Freestyle) 11 Unicycle

It's hard to believe it's taken this long for a proper retrospective of legendary Los Angeles collective CVE. "We Represent Billions" is a crucial portrait of one of the West Coast's most low-key influential crews - a hydra-like collective of rappers, producers, designers and engineers who were key members of the Good Life Cafe's open mic scene, going on to inspire artists like Jurassic 5, Kendrick Lamar amongst many other. Initially called Chillin Villain Posse before morphing into Chillin Villain Empire in the late 1980s, they eventually centered around the core trio of Riddlore, NgaFsh and Tray-Loc. The crew were years ahead of their time, self-producing music without samples and pioneering a stream of consciousness lyrics that still sound fresh and innovative. CVE were self-sufficient and motivated from the beginning, named "Chillin Villains" because that's how they were perceived by white America. This social motivation was channeled into their groundbreaking performances at Good Life Cafe, the South Central session that evolved into Project Blowed and later on came to influence LA club night 'Low End Theory'. It was chronicled by Ava Duvernay, herself an MC in short-lived duo Figures of Speech, in her "This is the Life" documentary, where she interviewed CVE alongside Jurassic 5, Freestyle Fellowship, Abstract Rude and Busdriver. On "We Represent Billions", we're treated to a snapshot of the CVE sound from 1993-2003, their most prolific era. The retrospective collects music from the handful of albums the crew released on their own Afterlife Recordz label (mostly as limited edition CD-R's) plus many previously unreleased tracks and highlights their untethered eccentric creativity and sheer breadth of influence. Whether twisting twitchy West Coast electro on 'All Over Da Globe' or free associating over horror synths and foley sounds on 'Made in Chillz Ville' there's a sense that their music was just too future for its time. Assembled from heaving industrial samples and graced by back-and-forth tongue twisting flows, 'Thugs and Clips' is as eerie and hard-hitting as anything 2Pac's "The Don Killuminati: The 7 Day Theory" full-length. Fuzzed-out and unsettling, 'Calistylics' welds an ambient synth loop and bone-rattling percussion to Tricky-esque percussion, while the flickering closer 'Unicycle' is a cross between Dr. Dre's icy G-gunk pressure and Three 6 Mafia's pitch black lo-fi funk. In many ways, 2022 is the perfect time to rediscover this music: an urgent, creative fusion of spine-tingling pre-grime electronic minimalism and mind bending wordplay that still sounds completely idiosyncratic and utterly alien. Tracks: 1 All Over Da Globe 2 Thugs and Clips 3 C.V. Vault 4 Made in Chillz Ville 5 Bring It On 6 Calistylics 7 No Feelins 8 Let's Get It On 9 Today Was A Fucked Up Day 10 Untitled (Freestyle) 11 Unicycle

Overcome is a new Dave Douglas recording, alongside vocalists Fay
Victor and Camila Meza, trombonist Ryan Keberle, bassist Jorge Roeder,
and drummer Rudy Royston, who banded together over a period of
months to create a new album of songs
A statement of purpose, an acknowledgement of forebears, and an exhortation to
activism, Overcome involves the six musicians in an emotional and powerful
statement of human engagement towards justice: Racial justice. Climate justice.
Voting justice. Gender justice. The project began with a reimagining of the Civil
Rights anthem, "We Shall Overcome," featuring Victor and Meza each singing a
verse before joining for arousing final verse. As Douglas began working on the
originals for the album, this unique communal vocal interplay became a key
element of three more pieces: "Overcome" and "When We Are Together Again" are
both inspired by the challenges of pandemic isolation; "Good Trouble" celebrates
activist John Lewis. Victor takes the spotlight on "Peace" as she voices poignant
poetry from Langston Hughes. And the free- spirited Royston original
"Perspective" brings a nice balance to the proceedings. This is spirited communal
music on a mission. Released direct- to- fan previously, the LP is available
worldwide for the very first time. Pressed on 180 gram black vinyl.

"Fashion Nugget" ist das zweite Studioalbum der Alternative-Rock-Band Cake. Es wurde 1996 veröffentlicht und enthält 14 Songs. "The Distance" und "I Will Survive" wurden die erfolgreichsten Singles des Albums. L'adhésion de CAKE à ses principes directeurs originaux n'a fait que se renforcer. Formé à l'origine comme une réponse quelque peu antagoniste au grunge, les processus démocratiques de CAKE, son autosuffisance provocante et sa musique lucide mais toujours inventive en ont fait un État-nation à part entière, sans pairs évidents, n'appartenant à aucune école. En plus d'écrire, d'arranger, de produire et d'interpréter leur propre musique, ils ont appris à concevoir leurs projets d'enregistrement dans leur studio à énergie solaire, qui produit en fait plus d'énergie que nécessaire pour le faire fonctionner, ce qui fait tourner le compteur électrique du bâtiment à l'envers.

Kari Faux is a multi-faceted artist - rapper, singer, producer, DJ and
clothing designer - from Little Rock, AR - She is known for her bold
fashion and genre-bending music, fusing elements of southern hip-hop,
funk, and alternative soundscapes
Her unique style of rhyming, dashes of sultry vocal harmonizing and confidence
have helped garner a cult following and make her a force amongst the new
generation of hip-hop's most fearless and outspoken female voices. At the start
of her career, Kari's hit 'No Small Talk' was remixed by Childish Gambino and
featured on HBO's Insecure. Since then, she has made an imprint on the music
industry as an independent artist who has released four projects, headlined tours,
opened for acts such as Steve Lacy and Mick Jenkins, and has written or
produced on tracks for artists such as The Internet. Kari Faux's forthcoming
album, Lowkey Superstar Deluxe, drops September 24 and features fellow heavyhitters Smino, J.I.D, Yung Baby Tate, Jazz Cartier and Deante' Hitchcock. Lowkey
Superstar represents a new chapter along Kari Faux's creative journey. What
started as a phrase has turned into two independent albums, a record label,
clothing line and identity representative of Kari's innate superstar qualities mixed
with her lowkey demeanor. The Lowkey Superstar Deluxe album is a sonic
conglomeration of Kari's longtime influences, including funk, alternative, and
southern rap soundscapes and covers a range of topics from self-preservation to
dating to braggadocious raps.

Taking direction from both the cinematic song stylings of sardonic yet
unfettered troubadours like Randy Newman, Brian Wilson, and Harry
Nilsson and the "visual scoring" of indie pop song placement in 21stcentury films, Best Move's music suggests the sound of a decade of
winding, disparate avenues finally convening in a perfect center
The Sacramento-based trio is composed of Kris Anaya, Joseph Davancens, and
Fernando Olivia. Anaya, a talented songwriter with a penchant for wry, offbeat
guitar-based folk-pop songs, and Davancens, who holds higher education degrees
in avant- garde composition and jazz double bass, formed the electronic act
Doombird together in 2016, but in 2019 the pair gravitated back to what they
consider more natural inclinations: organic instruments, earnest songwriting, and
a more true-to-themselves direction. Adding Oliva, Best Move was born. Many of
Best Move's songs maintain an intentionally similar sonic feel. Guitars strum and
piano twinkles while a layer of manipulated or synthesized instruments spread a
hazy overtone on top of it all, and steady yet minimal drums keep things moving.
Lyrically, the standards prevail - love, loss, friendship, searching for purpose - but
the themes bubble under the surface of a sea of metaphor, leaving the listener to
decipher the message in their own way. Anaya calls the sound a "thank you to the
past," and while a warm, familiar tone echoes throughout the band's universe,
something unmistakably modern remains.

Matmos are one of the most prominent experimental electronic artists working today, crafting work by creating new conceptual frameworks & immediately testing those frameworks absolute limits. For Regards / Uklony dla Boguslaw Schaeffer they've focused on another artist known, in large part, for doing the same. Boguslaw Schaeffer was one of the first Polish artists creating electronic music. In step with American contemporaries like John Cage and Morton Feldman, he worked across the boundaries of classical composition, electronic experimentation, and radical theater in playfully form-breaking ways. Matmos are not the first ones to recognize the power of his catalog, from Solo (a 2008 documentary that garnered numerous international awards), to the annual Shaeffer's Era Festival (most recently celebrated simultaneously in Warsaw and Los Angeles) his work continues to inspire. Regards.. however, was not just inspired by his work, Matmos were given access to the entirity of Schaeffer's recorded works to use as they saw fit, commissioned by the prestigious Instytutu Adama Mickiewicza. They re-assembled & re-combined these recorded works with modern instrumentations in a way that only Matmos could, and what emerges is a composite portrait of the utopian 1960s Polish avant-garde and the contemporary dystopian cultural moment regarding each other across a distance. To facilitate the transcultural exchange that is the album's essential premise, all song titles and liner-notes are provided in both English and Polish. The album was mastered by Rashad Becker and features illustration and design by acclaimed artist Robert Beatty (Tame Impala, Osees, Mdou Moctar). Like the anagrams of the letters of Boguslaw Schaeffer's name that were re-assembled to create some of the song titles, the album itself is a musical re-assemblage of component parts into possible but unforeseen new shapes. Adding harp from Irish harpist Una Monaghan, erhu, viola and violin from Turkish multi-instrumentalist Ulas Kurugullu, and electronic processes from Baltimore instrument builder Will Schorre, and Horse Lords wunderkind Max Eilbacher, the resulting arrangements constantly toy with scale as they move from the close-mic-ing of ASMR and the intimacy of chamber music to the immensity of processed drones and oceanic field-recordings that close the album. Offering a "life review" of production styles, Regards / Uklony dla Boguslaw Schaeffer builds temporary shelters out of the panoramic wreckage of modernist composition, sixties tape music, seventies dub, eighties industrial music, nineties postrock and dark ambient, 2000s era glitch fetishism, and contemporary post-everything collage sensibilities.