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Margot - Walk With Me / Falling In Between Days

Today Margot share new single Walk With Me via Full Time Hobby. The Peckham band ended 2019 supporting Swimming Tapes on their U.K. as well as releasing their debut EP earlier this year. New single Walk With Me is a song about empathy, depression and the power of talking. All channelled by frontman Alex Hannaway's pastel vocal hues and searingly honest delivery. Walk With Me works as a conversation between someone experiencing a depressive episode and another trying to understand. "It’s about listening, friendship, understanding, I’ve had experiences where friends, family members have been patient, they’ve been persistent and caring, and it’s this that has really helped me in my life" explains Hannaway. In addition to the official video, the band have also shared a 'Karaoke Video' for the single. "We've been using home karaoke sessions to blow off steam during the lockdown period. Often feeling confined, bored, angry, frustrated; the elation and release of belting out familiar songs in our living room felt cathartic. So it felt perfect for the video, capturing not only the isolation of lockdown but also the communal, spirited moments too" explain Margot. Margot comprises of five friends who moved from the suburbs of south London to Peckham after finishing University. In two separate bands at the time, drunken nights out discussing the merits of a merger evolved into the first few rehearsals. It went well - Margot formed in 2018 and released a steady stream of singles across the year. The band employ a DIY ethic, self-producing their recordings in their home studio. After ending 2019 supporting Swimming Tapes on their UK tour, the band released their debut EP in February 2020 and are set to support Dana Gavanski on her upcoming tour in March 2021. Margot's nuanced blend of dream-pop, neo-psychedelia and jangle-guitar create a propulsive, cruising feel reminiscent of Real Estate or War on Drugs. Expect to hear more from them in 2020.

pre-order now28.01.2021

expected to be published on 28.01.2021

NEP - Pop Not Pop (Songs For New Europe 1985-1989)

NEP was a loose multimedia collective formed in 1982 Zagreb, ex-Yugoslavia. The founder Dejan Krsic collaborated with various artists in a quest of re-thinking the stale concepts of art history, position of the author and the barriers between pop and elitist high culture. Heavily influenced by Walter Benjamin and Andy Warhol in theory and Brian Eno and Kraftwerk in music, Krsic created NEP as an umbrella term (meaning Nova Evropa or New Europe) of diverse rule-breaking activities, covering graphic design, music, photography, video, news-media and theoretical work. Musically NEP focused on experiments in ambient and tape-music, self-released and hard to find compilation tapes like "The Cassette Played Poptones" (1988). Deeply immersed in pop-culture, politics and art theory Krsic's search for perfect pop music with cutting critical edge peaked in 1989, the year 'Decadance' track was conceived in studio. Fox & His Friends published the single in 2017 with Snuffo Remix on B-side. It received rave reviews in music press like MixMag and DJ Mag and it is still played on dance-floors around the world. But the story around the NEP is musically (as well as artistically) much wider: for the first time Fox & His Friends team compiles best cuts from unreleased and rare NEP tapes, covering the period from 1985 to 1989 on POP NOT POP abum. Dejan Krsic is now famous graphic designer and art historian in Croatia. Other collaborators include Laibach and Borghesia photographer Jane Stravs, artist and TV director Gordana Brzovic, Jovan Culibrk, now Bishop at The Serbian Orthodox Church and Anja Rupel, singer of cult Yugoslavian synth-pop group Videosex as well as the other members of Videosex, Iztok Turk and Janez Krizaj who produced some of the tracks. Other collaborators were talented producers Robert Logozar and Davor Daga Devcic, singers Linda Cooper, Natalija, Alexx Kovacs... The list of collaborations is long. Some of the memorable moments on POP NOT POP album are early demo version of Decadance 'How Do I Dance To This Music?' with blue movies samples and drum machine experiments like early Cabaret Voltaire, then Krsic's reinterpretation of legendary Kraftwerk's Trans Europe Express anthem as 'Transcendance', or 'Radical Chic', where Dejan himself and Anja Rupel from Videosex make lovely couple of dandy-esque fashionistas, singing chart-friendly radio synthpop tune that contrasts the A-side (The 'NOT POP' side) - full of experiments, dark wave and industrial nods to Test Department and Cabs. B-side is 'THE POP' side that will surprise most of the NEP followers from their early experimental cassette days. Sunny, danceable, joyfull pop that reveals the many faces of NEP. As Kraftwerk today is more of a concept than a band, NEP does the same by re-writing its products (musical, graphical, theoretical, activist) and constantly puts them in permanent state of change or re-mix. In the future, only NEP logo will be enough to consider something an art piece, and NEP will be everybody who wants to, as their Art Manifest claims. Until that day comes, 'POP NOT POP' is a document of how the vivid and creative were art-scenes in socialist Yugoslavia. Some of the graphic work, cut-ups from theory and Manifesto are also included on this LP, designed by Dejan Krsic aka NEP himself. This release is made from the original master tapes and published for the first time on vinyl.

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Last In: 5 years ago
KIWI JR. - Cooler Returns

Kiwi Jr.

Cooler Returns

12inchSPLP1400
Sub Pop
22.01.2021

Kiwi Jr. is a phenomenal "rock" and/or "punk" and/or "indie-rock" (whichever you like more) band from Canada, made up of Jeremy Gaudet (mic, guitar), Brohan Moore (drums), Mike Walker (bass), and Brian Murphy (guitar). Cooler Returns is their second album, and their first for Sub Pop. Despite being a snapshot of the pandemic-infused beginnings of this decade, Cooler Returns is truly a whole lot of fun. RIYL indie-pop from down under, things that are smart/exuberant/catchy all at once. Buildings burning in every direction; macabre unknowns in your friendly neighbor's basement; undecided voters sharpening their pencils: under pressure we could call Kiwi Jr.'s Cooler Returns "timely." But what year is it, again? On Cooler Returns, Kiwi Jr. cycle through the recent zigs & looming zags of the new decade, squinting anew at New Year's parties forgotten and under-investigated small town diner fires, piecing together low-stakes conspiracy theories on what's coming down the pike in 2021. Put together like a thousand-piece puzzle, assembled in flow state through the first dull stretch of quarantine, sanitized singer shuffling to sanitized studio by streetcar, masked like it's the kind of work where getting recognized means getting killed, Cooler Returns materializes as a sprawling survey from the first few bites of the terrible twenties, an investigative exposé of recent history buried under the headlines & ancient kings buried under parking lots. Not so long since their debut Football Money in archaeological time, unending gray eons later in the dog years of quaran-time, spiritually antipodean Canadians Kiwi Jr return to disseminate this year's annual report to the shareholders, burying the incriminating numbers in the endless appendices of a longform narrative record, a 3,000 word tract for stakeholders to pore over. These stories - memories of Augusts past, unrepressed & transcribed fast - go down easier thanks to meaningful changes enacted in 2019's KiwiCares Pledge: delivering on a promise to transition from Crunchy to Smooth by 2021, the caveman chug of Football Money has been steamed & pressed with the purifying air of a saloon piano - operated with bow-tie untied - and a spring green side-salad of tentatively up-tempo organ taps & freshly fluted harmonica. A chronically detuned spin of the dial through swivel-chair distractions & WFH daydreams, an immersive ctrl-tab deluge cycling through popular listicle distractions like the unentombing of Richard III, or the deja vu destruction of the Glasgow School of Art, Kiwi Jr. sing this song to an indoor audience, crisscrossing canceled, every other prestige distraction source wrung dry, only songwriting remaining to deliver engrossing tales to the populace, just how I imagine it worked in the old days. Fixing loose ingredients into a sturdy whip, Kiwi Jr. beam in live from the 9-5, striding into 2021 with a mastered brainwave that comes equally from the back room of the record store as the penalty box. And how do we, left holding this box of deliberate entanglements, sign off to those as yet uninitiated, undecided, uncertain, unseen, absent return coordinates - Best Wishes, Warm Regards, Good Luck? Cooler Returns, Cooler Returns, C o o l e r R e t u r n s ! Cooler Returns was produced by Kiwi Jr., mixed and engineered by Graham Walsh (METZ, Bully) in Toronto, and mastered by Phillip Shaw Bova at Bova Labs in Ottawa, Ontario.

pre-order now22.01.2021

expected to be published on 22.01.2021

KIWI JR. - Cooler Returns

Kiwi Jr.

Cooler Returns

12inchSPLOSER1400
Sub Pop
22.01.2021

LTD. LOSER EDITION

Kiwi Jr. is a phenomenal "rock" and/or "punk" and/or "indie-rock" (whichever you like more) band from Canada, made up of Jeremy Gaudet (mic, guitar), Brohan Moore (drums), Mike Walker (bass), and Brian Murphy (guitar). Cooler Returns is their second album, and their first for Sub Pop. Despite being a snapshot of the pandemic-infused beginnings of this decade, Cooler Returns is truly a whole lot of fun. RIYL indie-pop from down under, things that are smart/exuberant/catchy all at once. Buildings burning in every direction; macabre unknowns in your friendly neighbor's basement; undecided voters sharpening their pencils: under pressure we could call Kiwi Jr.'s Cooler Returns "timely." But what year is it, again? On Cooler Returns, Kiwi Jr. cycle through the recent zigs & looming zags of the new decade, squinting anew at New Year's parties forgotten and under-investigated small town diner fires, piecing together low-stakes conspiracy theories on what's coming down the pike in 2021. Put together like a thousand-piece puzzle, assembled in flow state through the first dull stretch of quarantine, sanitized singer shuffling to sanitized studio by streetcar, masked like it's the kind of work where getting recognized means getting killed, Cooler Returns materializes as a sprawling survey from the first few bites of the terrible twenties, an investigative exposé of recent history buried under the headlines & ancient kings buried under parking lots. Not so long since their debut Football Money in archaeological time, unending gray eons later in the dog years of quaran-time, spiritually antipodean Canadians Kiwi Jr return to disseminate this year's annual report to the shareholders, burying the incriminating numbers in the endless appendices of a longform narrative record, a 3,000 word tract for stakeholders to pore over. These stories - memories of Augusts past, unrepressed & transcribed fast - go down easier thanks to meaningful changes enacted in 2019's KiwiCares Pledge: delivering on a promise to transition from Crunchy to Smooth by 2021, the caveman chug of Football Money has been steamed & pressed with the purifying air of a saloon piano - operated with bow-tie untied - and a spring green side-salad of tentatively up-tempo organ taps & freshly fluted harmonica. A chronically detuned spin of the dial through swivel-chair distractions & WFH daydreams, an immersive ctrl-tab deluge cycling through popular listicle distractions like the unentombing of Richard III, or the deja vu destruction of the Glasgow School of Art, Kiwi Jr. sing this song to an indoor audience, crisscrossing canceled, every other prestige distraction source wrung dry, only songwriting remaining to deliver engrossing tales to the populace, just how I imagine it worked in the old days. Fixing loose ingredients into a sturdy whip, Kiwi Jr. beam in live from the 9-5, striding into 2021 with a mastered brainwave that comes equally from the back room of the record store as the penalty box. And how do we, left holding this box of deliberate entanglements, sign off to those as yet uninitiated, undecided, uncertain, unseen, absent return coordinates - Best Wishes, Warm Regards, Good Luck? Cooler Returns, Cooler Returns, C o o l e r R e t u r n s ! Cooler Returns was produced by Kiwi Jr., mixed and engineered by Graham Walsh (METZ, Bully) in Toronto, and mastered by Phillip Shaw Bova at Bova Labs in Ottawa, Ontario.

pre-order now22.01.2021

expected to be published on 22.01.2021

WALKING PAPERS - WALKING PAPERS

The Light Below is the third album from Walking Papers. This is a limited edition collector’s double white vinyl
The Seattle-based blues rock outfit were called ‘the best rock band in Seattle’ by The New York Times and UK’s Classic Rock magazine voted Walking Papers one of the Top Bands of 2016. The Light Below is a continuation of the impactful and artful sound Walking Papers have developed that brings listeners to new places every time

pre-order now22.01.2021

expected to be published on 22.01.2021

Bubbha Thomas - Life & Times..

Houston’s reputation for developing first-class jazz acts is well-established, as a stream of young players have been distinguishing themselves for decades…among those musicians and mentors who stood tallest, Bubbha Thomas was no exception (and a major key-player) in this long tradition of talent.

Before becoming an artist and educator, Bubbha Thomas (born 1937) was a Fourth Ward kid who grew up in a music-filled household. In High School he divided his time between music & basketball (he excelled at both) and studied with jazz legend Conrad “Prof” Johnson. “Prof” would later bring jazz glory to Texas with the Kashmere Stage Band, the group of teenagers who would win the “Best High School Stage Band In The Nation” prize in Mobile, Alabama in 1972 and who were anthologized in 2006 on Now-Again’s ‘Thunder Soul’ (which led to the 2010 Jamie Foxx documentary of the same name).

After finishing college, Bubbha got drafted in the service (he was a Korean War veteran) and would return to Houston in the early 1960s where he found work as a session drummer for the Duke and Peacock labels. Thomas drummed on recordings by O.V. Wright, Buddy Ace and the Mighty Clouds of Joy. He was playing his own stuff and backing luminaries such as R&B singer Chuck Jackson and homegrown legends like Lightnin’ Hopkins. Bubbha Thomas also teamed up with some of his equally legendary peers (like guitarist Melvin Sparks & organist Leon Spencer) and eventually established his own group, the Jazz Merchants.
Bubbha learned every style that was thrown at him and he played straight-ahead jazz with renowned artists before the political and social upheaval of the late 1960s led him to a path first charted by Coltrane and Sun Ra…the result of these new found influences was the incredible spiritual jazz ensemble ‘The Lightmen’, who released four incredible recordings in the 1970s. Their first album ‘Free As You wanna be’ predates the deep-set, maverick jazz issued by the likes of Tribe and Strata East and is a harbinger of some of the best in the 1970s jazz underground. The Lightmen albums eventually fell out of print until 2017 when the Now-Again record label brought them back into circulation and generated new interest in Bubbha Thomas’ work.
Thomas had a storied career as a drummer and bandleader, but perhaps his most enduring work is that as founder of Houston’s Summer Jazz Workshop, a remarkable program that nurtured upcoming talent for generations...we can’t begin to count the number of young people who benefitted from the exposure to music-arts because of Bubbha Thomas and what he meant to the Houston music community. In his career he earned five Grammy nominations and authored a pair of books. Next to this he was also a writer/editor for several local newspapers, ran one of the first Houston African American Television shows and he hosted a radio program on KYOK. Impressive to say the least!

Bubbha Thomas passed away in March 2020 at the age of 82. It was obvious he was a principled, fiery & wise person…and any anger he felt at America’s (and the world’s) injustices he met with music, intellect, activism and unity!

Next to his work with ‘’The Lightmen’’, Bubbha also released the fantastic (solo) album ‘Life & Times’ in 1985. ‘Life & Times’ (which we are proudly presenting you today) is particularly interesting to boogie-enthusiasts because of its high doses of funky twerks, solid grooves, crazy synth work, soulful vocals and excellent drum-beats courtesy of Mr. Thomas himself. You’ll quickly find yourself shaking hips the moment the needle hits the first track! The whole album is backed by a fantastic cast of all-star players and includes Howard Harris (Ruth Copeland), Dwight Sills (Bobby Lyle - TLC), Jerry McPherson (Donna Summer), Leo Polk (Kashmere Stage Band), John Gordon (Strata East) and Jackie Simley (Queen Latifah - Lionel Richie). All of the above makes this LP an essential purchase for any self-respecting fan and collector.

Tidal Waves Music now proudly presents the FIRST ever vinyl reissue of this fantastic album (originally released in 1985 on Lightin’ Records). This rare record (original copies tend to go for large amounts on the secondary market) is now finally back available as a limited 180g vinyl edition (500 copies) complete with the original artwork.

pre-order now22.01.2021

expected to be published on 22.01.2021

The Master Scratch Band - The Breakwar

The Master Scratch Band was first break-dance / hip-hop / electro funk band in Yugoslavia in 1984. The band members were Zoran Vracevic, Zoran Jevtic and Milutin Stoisiljevic, previously known as Data and Sizike. Jugoton, the biggest label in Yugoslavia, published Data 7'' and MSB's 'Degout' 12'' with limited edition cassette containing two bonus tracks. Impossible to find on the collectors market, Fox & His Friends team in collaboration with Jugoton / Croatia Records is releasing a full, complete version of the rare "The Breakwar" tape, with tracks "Tonight" and "Pocket" never pressed on vinyl. All tracks are sourced from original studio tapes. With the kind help of Zoran Vracevic on credit list and liner notes, this is now the ultimate Master Scratch Band album, released originally in a year 1984 when break-dance was in the peak of its popularity in Yugoslavia. While Data was synthpop, Sizike mellow synth-disco recorded in private studio, this release is pure breaks and hip-hop electro, done old-school way in one of the best studios in Yugoslavia, Enco Lesic's 'Druga maca' in Belgrade. MSB used impressive electronic gear and were helped by huge list of famous musicians and guests: Duca Markovic from hit-show 'Hit meseca' (Yugoslavian Top Of The Pops); Japanac on bass, Max Vincent of Max & Intro on synths, Dudu Vudu from Du-Du-A, Goranka Matic as photographer and many more. MSB sampling technique and choices are unique: from obscure industrial records to freestyle; from found-sounds to cut-up breaks and even real prank-calls. This is document of time that still sounds fresh and needs to find it's new, young audience of hip-hop history researchers, break-dancers, b-boys, b-girls and DJ's. When you know that it's produced in 1984 Yugoslavia, far away, but actually, so close to its USA & EU brothers and sisters, it's even more mind-boggling. Thanks to Fox & His Friends and Jugoton CR collaboration, this gem is waiting for your freezes, footwork and electric boogie moves. ----- Equipment used: Commodore 64 Computer, Roland MC-4B Microcomposer, Prophet Pro-One, RSF Cobol II Expander, Korg Mono-Poly Synthesizer, PPG Wave 2.3 Synthesizer, PPG Waveterm Computer, Boss DE-200 Digital Delay, Drumtraks Digital Drum Machine, Roland TR-808 Rhythm Composer, Electro Harmonix Vocoder, Linn Drum MKII, Juno 60, SH-101, SVC-350, VP-330 Vocoders, Polysix & MS10, Simmons drum module.

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Last In: 4 months ago
J.S. Bach & Itzhak Perlman - Sonaten Und Partiten

Itzhak Perlman, the supreme violinist of his time, performs the supreme works for unaccompanied violin. In preparing the Bach Sonatas and Partitas, Perlman sought authenticity through the score itself, not through musicological research: “Music is a language, and, performed responsively, with musical logic as guide, it will make sense.”

Bach’s Sonatas and Partitas are a landmark not only of the solo violin repertoire but of all music history. No composer before or since has created a comparable architectural miracle, or made better use of the violin’s polyphonic capabilities, than did Bach in this set of six works. The improvements in instrument-making introduced by such experts in the field as Niccolò Amati and his pupil Antonio Stradivari meant that performers and composers could now push the tone and power of the violin to bold new limits. The Second Partita also includes a Chaconne which appears to stand outside space and time. Its complexity, power and splendor make it in a way the keystone of the entire musical edifice — a magnificent set of variations on a single theme which exploits the violin’s full harmonic and contrapuntal potential. While the great virtuosos of the nineteenth century, Paganini chief among them, expanded the instrument’s technical capabilities, Bach had already established its limits in terms of polyphony.
Perlman made several earlier attempts at recording the set, none of which was ever released, then performed it live on stage at venues around the world. In other words, he had the wisdom to wait until he had achieved a level of excellence in both performing and understanding this music before committing it to disc. The most practised of ears may detect a subtle difference in tone between the C major and A minor Sonatas, which he recorded on the “Soil” Stradivarius, and the other four works, recorded on the Guarneri del Gesù “ex-Sauret”.

pre-order now22.01.2021

expected to be published on 22.01.2021

850020209088 - TRIBES

850020209088

TRIBES

2x12inchLPCOMU002
CARRY ON MUSIC
22.01.2021

In 1976 Rolling Stone called prog-rock pioneers Crack The Sky ‘one of year’s most impressive debuts.’ Today, 40+ years later, the band releases a new studio album entitled Tribes, due out in January 2021.
The title track speaks volumes about modern society’s perpetual cultural divide, wherein each side believes its inalienable right to champion the only opinion that matters.
Side 4 of the album includes bonus tracks from Crack The Sky’s catalog, not available on the digital or CD versions.

pre-order now22.01.2021

expected to be published on 22.01.2021

THE BRIGHT SIDERS - A MIND OF YOUR OWN

‘A Mind of Your Own’ is the debut release from The Bright Siders, the duo of acclaimed songwriter and musician Kristin Andreassen and NYC child psychiatrist Kari Groff, MD. Brimming with uplifting and empowering songs, the album invites its listeners to think deeply on feelings and emotions that come with growing up, while focusing on resilience and mindset.
Along with a slew of all-star guests including Ed Helms, The War and Treaty, Oh Pep!, The Hokes (a.k.a. Punch Brothers), Gaby Moreno, and more, The Bright Siders bring profound sensitivity and vivacity to songs about friendship, bullying, anger, acceptance of others, and coping with sadness and change.
This music is sure to spark meaningful conversations and bring families closer as they explore the beauty and complexity of their emotional lives together.

pre-order now22.01.2021

expected to be published on 22.01.2021

WILLIE NELSON - HEROES (GREEN COLOURED VINYL)

At 87 and with an impressive career spanning more than seven decades, Willie Nelson really needs no introduction. Heroes is a testament to his status as a rebel of country music: a beautiful collection of popular pop-country songs, covers of classic songs from the 30’s & 40’s and new songs. It features guest appearances from Kris Kristofferson, Merle Haggard, Snoop Dogg, Sheryl Crow and others. But he also gives us his interpretation of more modern classics, such as Coldplay’s “The Scientist” and Pearl Jam’s “Just Breathe”. Heroes is available as a limited edition of 1000 individually numbered copies pressed on solid green vinyl.

pre-order now22.01.2021

expected to be published on 22.01.2021

FOX FACE - END OF MAN

Fox Face

END OF MAN

12inchZZZ163
DIRTNAP
21.01.2021

Thinking about a fox face may give many warm, fuzzy feelings,
but don’t forget that foxes have teeth.While Milwaukee quartet
Fox Face may not bite one’s face, their new album End Of Man
might just melt it off.
Featuring players drawn from various corners of the Brewtown
music scene, Fox Face came together organically ahead of the
recording sessions for their November 2017 debut album, Spoil
+ Destroy. Main songwriter Lindsay DeGroot (The Olives)
started working on her songs with multi-instrumentalist Lydia
Washechek (Static Eyes). Eventually fellow Olives member
Mary Hickey joined up on bass, and the final piece of the band
was found with the addition of drummer Christopher Capelle
(Midwest Beat, Long Line Riders). Spoil + Destroy was one of
the best garage punk albums of 2017-2018, taking on science
deniers, misogynists and other jerks with songs anchored by
fiery guitar playing and rock-solid ensemble playing.
End Of Man bumps up the furious guitar sound of Spoil +
Destroy a few more notches. It’s not hard rock, per se, but the
album’s sound edges in that direction. And one can tell that Fox
Face has been playing together for several years now, because
these recordings are tight AF. There’s no filler or extraneous
padding; the arrangements and playing make for a cohesive
whole, and lyrically the songs are direct and to the point while
still remaining universal enough to be met on personal terms by
the listener.
End Of Man may not be a party record … at least, once letting
the lyrics filter past the lizard brain enjoyment of the blazing
riffs. But art is not supposed to be all fun and games. Standing
up and speaking truth may not be the easiest path for a band or
its listeners, but there is much to be said for catharthis. Anyone
feeling despair and helplessness about the current political and
societal breakdown should find some common ground to rage
along with these new songs from Fox Face.

pre-order now21.01.2021

expected to be published on 21.01.2021

Derek Russo - Primordial Stance EP

The first release for Broad Channel is from label head Derek Russo, whose early immersion in house music and long-held love for techno come through in this four-track EP. Primordial Stance, as it’s named, offers techno with a twist; these tracks are leftfield in their approach and yet firmly rooted in a soulful, classic sound. The EP is both cohesive and fully dynamic, presenting a range of styles from rugged, acidic techno to entrancing ambient.

With this EP it’s difficult to pick a standout; each track is distinctive and able to hold its own, offering multitudes to the release as a whole. A through-line is felt in Russo’s original production style, marked by twists and departures that feel original, creating perpetual elements of surprise. Whether introducing new rhythmic structures mid-groove, incorporating raw percussion, or peppering a track with an organic element (i.e. bird sounds) as in the house-infused gem “Ocean Hill Groove”, Russo knows how to keep listeners engaged. “Primordial Stance”, the title track, is a prime example of this interesting layering: metallic percussion and a submerged bassline give way to claps and a hypnotic vocal sample, before ushering in a Recondite-style acid line. “Mosquito Paranoia” is a gritty dance floor requiem, in which crazed synth arpeggiation induces the kind of madness one expects from only the best warehouse parties. A similar kind of synth work is adopted for the send off track, “Long Afternoon of Earth” — a beatless arrangement that rounds out the release and encourages deep listening. These tracks expand and unfurl as they progress, until both ear and body are utterly hooked. Absolutely one for the collection.

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Last In: 3 years ago
Evitceles / Spite Cathedral - Split LP

Evitceles/Spite Cathedral

Split LP

12inchSORES023
Sores
19.01.2021

After two full-length albums, freshly released and shortly out on S+M, Evitceles & Spite Cathedral meet their equally twisted but often polar approaches to electronic music for a 12” split release. Five tracks are inhabiting the Evitceles side of the record and while two of them we already heard on his latest cassette they seem to be living a completely new life when put in the context of this shared release. ‘Endless Reachʼ deceivingly sets a more dreamy tone which is instantly shattered by the tracks to follow. Itʼs not until the second half of ‘Restless Headʼ that the skies are clear again and weʼre once again ready to fall in the warm embrace of “Нелюбов”, the most heart-breaking track in the ever-growing discography of Bulgarian producer Etien Slavchev as Evitceles. While a bigger chunk of Spite Cathedralʼs tracklist can be found on forthcoming new full-length ‘The Human Touch” (Sores022) his side on this record is not less tense and emotionally charged. Usually indulging his musical searches in lengthier releases, here Dan Mortazavi teams up with his long term partner Karsten Svendsen on several tracks to offer us a more dense and saturated version of his recent work as Spite Cathedral. The first half of the material is more rhythm and beat oriented, then the producers carefully refocuses on melody until it all disintegrates into amorphic ambiances and microsound debris.

out of Stock

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Last In: 3 years ago
Candy Opera - The Patron Saint Of Heartache

"When Candy Opera first appeared on the kaleidoscopic early 1980s Liverpool music scene, by rights they should have changed the world" ~ Louder Than War
"Very welcome news as a highly underrated band who is now back with a force. While their previous output is stellar, this new single is even more commanding of attention. This is absolutely stunning, the band reaching higher than ever before" ~ Big Takeover Magazine
Sometimes it takes a while to realise what you’ve got. So it goes with pop craftsmen Candy Opera, who emerged during Liverpool’s 1980s golden age and whose new LP 'The Patron Saint of Heartache' is their first collection of new material in nearly three decades.
Ahead of that, they present 'These Days Are Ours', a rally cry of hope for the current times and the first single from this long-play, which is due for release in mid-November via European / UK label A Turntable Friend Records. The video was created / produced by James
Davies and Paul Malone.
Mixed by Grammy award-winning producer Guy Massey and featuring back vocals by Paul Simpson of The Wild Swans, the track was recorded at Elevator Studios in Liverpool.
With all the hallmarks of an enduring pop anthem, this impeccably produced, adrenalin-fuelled song captures the essence of Candy Opera’s infectious energy and celebrates life with a genuine wonder-lust, whilst delivering the excitement of their live performances.
Following the overdue release of two archival sets - '45 Revolutions Per
Minute' and 'Rarities' (released in 2018 by Firestation Records., quickly selling out of their first runs) - their new album 'The Patron Saint of Heartache' picks up where the band left off, with 14 fresh songs ready for discovery of a sound as timeless as any Candy Opera output.
Candy Opera were formed in Liverpool in 1982 and went through various incarnations before calling it a day in 1992. By 1985, the band had played alongside the likes of The Pogues, The Go-Betweens and The Redskins, as well as appearing on Granada TV.
The band's current line-up is drawn from all eras of the band’s existence and features Brian Chin Smithers (guitar, vocals), Alan Currie (drums), Frank Mahon (bass), Paul Malone (vocals, guitar), Ken Moss (guitar) and Gary O'Donnell (keyboards, vocals, percussion).
This new LP also features a swathe of friends and contemporaries, including Paul Simpson (The Wild Swans) and Phil Jones (Afraid of Mice). The result is an exquisite piece of pop craftsmanship that brings their songs into the light. This is a labour of love born of experience, but retaining the sense of wonder that brought the band together in the first place.

pre-order now15.01.2021

expected to be published on 15.01.2021

Candy Opera - The Patron Saint Of Heartache

"When Candy Opera first appeared on the kaleidoscopic early 1980s Liverpool music scene, by rights they should have changed the world" ~ Louder Than War
"Very welcome news as a highly underrated band who is now back with a force. While their previous output is stellar, this new single is even more commanding of attention. This is absolutely stunning, the band reaching higher than ever before" ~ Big Takeover Magazine
Sometimes it takes a while to realise what you’ve got. So it goes with pop craftsmen Candy Opera, who emerged during Liverpool’s 1980s golden age and whose new LP 'The Patron Saint of Heartache' is their first collection of new material in nearly three decades.
Ahead of that, they present 'These Days Are Ours', a rally cry of hope for the current times and the first single from this long-play, which is due for release in mid-November via European / UK label A Turntable Friend Records. The video was created / produced by James
Davies and Paul Malone.
Mixed by Grammy award-winning producer Guy Massey and featuring back vocals by Paul Simpson of The Wild Swans, the track was recorded at Elevator Studios in Liverpool.
With all the hallmarks of an enduring pop anthem, this impeccably produced, adrenalin-fuelled song captures the essence of Candy Opera’s infectious energy and celebrates life with a genuine wonder-lust, whilst delivering the excitement of their live performances.
Following the overdue release of two archival sets - '45 Revolutions Per
Minute' and 'Rarities' (released in 2018 by Firestation Records., quickly selling out of their first runs) - their new album 'The Patron Saint of Heartache' picks up where the band left off, with 14 fresh songs ready for discovery of a sound as timeless as any Candy Opera output.
Candy Opera were formed in Liverpool in 1982 and went through various incarnations before calling it a day in 1992. By 1985, the band had played alongside the likes of The Pogues, The Go-Betweens and The Redskins, as well as appearing on Granada TV.
The band's current line-up is drawn from all eras of the band’s existence and features Brian Chin Smithers (guitar, vocals), Alan Currie (drums), Frank Mahon (bass), Paul Malone (vocals, guitar), Ken Moss (guitar) and Gary O'Donnell (keyboards, vocals, percussion).
This new LP also features a swathe of friends and contemporaries, including Paul Simpson (The Wild Swans) and Phil Jones (Afraid of Mice). The result is an exquisite piece of pop craftsmanship that brings their songs into the light. This is a labour of love born of experience, but retaining the sense of wonder that brought the band together in the first place.

pre-order now15.01.2021

expected to be published on 15.01.2021

MIDNIGHT SISTER - Painting The Roses

As Midnight Sister, multi-disciplinary LA artists Juliana Giraffe and Ari Balouzian make motion pictures. Yes, sometimes with moving images _ but most often only with the music they create together. Balouzian's serpentine, string compositions are movie scenes that allow Giraffe, a brilliant character actor, to cloak herself in a new roles and voices. A bit of Jon Brion's score work; some old Hollywood strings; a solid dose of glam and outsider disco from 70s independent cinema. Any perceived artifice is always matched by an indelible human fingerprint, something perfectly off. Giraffe and Balouzian's respective work in fashion, visual art, video and film scoring _ along with the gang of virtuosos with which they surround themselves _ all wonderfully coalesce as Midnight Sister. And if 2017's `Saturn Over Sunset' was their collection of short films about outcast life in The San Fernando Valley, then their new album `Paining the Roses' is the inventive, meta motion picture that cements them as auteurs. `Painting the Roses' is in many ways a fairy tale -- not so much the sweet-and-happyending kind as something richer, packed with imagination and rooted in the complex human messiness beneath a story's artifice. Frontwoman Giraffe describes it as "this tightrope of being real yet synthetic, organic yet staged, light yet dark, logical yet irrational, beautiful yet dilapidated. Joyful nonsense." Here, disguises like masks and paint are not meant to hide but to liberate, to "set a part of us free", and Midnight Sister often embody this themselves, appearing highly stylized, curious, warm and inviting but a little askew. `Painting the Roses' is a story told through the looking glass, one where we examine ourselves in a funhouse mirror but find clarity in its twists. Giraffe traveled to visit family in Argentina during the making of the album and reconnected greatly with that part of her family history, art and culture. Balouzian created the core album opener "Doctor Says" during a session in the desert outside of LA. The guitar, which reminded Giraffe of South America, has a slow, sweltering surf-tango to it, like Dick Dale doing Carlos Gardel. And even though the song was inspired by Giraffe's reconnection with Argentina, the song is about the fading of some close friendships during the making of the album. "Man, you have changed," Giraffe sings, unclear if tis directed to a friend or to herself. Later on the album, "Wednesday Baby" _ named after Giraffe's rescue dog _ is patient, subtly baroque pop. It follows Giraffe through one of those gloomy days spent in tunnelvision doldrums from which only a sunbathing turtle or your canine companion can pull you out. By the time collaborator Max Whipple's saw comes beaming down from heaven in the song's 3rd part, we're hypnotized by the song's charming ennui. The song lands someplace both familiar and aloof, a little slice of timelessness taken straight from The Cake of Perfect Songcraft.

pre-order now15.01.2021

expected to be published on 15.01.2021

Ed Kelly & Friend - Pharoah Sanders

In 1978 Pharoah Sanders went into the studio with pianist, Ed Kelly, who was an important figure in the local San Francisco and Oakland jazz scene. The two of them recorded six tracks which ranged from covers of standards, through soul jazz through to two real gems. The album was originally released as Ed Kelly and Friend due to Pharoah being contracted to Arista Records at the time. Indeed, as you can see, the cover shows Kelly playing next to Pharoah’s hat, shoes and Selmer tenor saxophone.

Rainbow Song, a Kelly composition, opens matters in a manner far removed from Pharoah’s work on his Impulse albums (although there had been a dramatic change of course when he signed with Arista and recorded). This is firmly in Grover Washington Junior territory with a liberal sprinkling of oh so tasteful strings. The Master’s sound is full and mighty as ever.

With the radio track out of the way it is business as hoped for and Newborn is a Sanders composition that burns with intensity. The power of his solo is as good as anything he has produced and he runs over the full span of the tenor’s range and onwards into territory lesser known or explored by 99% of sax players.

Sam Cooke’s You Send Me is treated with reverence and respect, with Pharoah delivering a sensitive and heartfelt rendition and ending with some extraordinary phonics, which we will meet again on later albums. Kelly’s accompaniment complements Sander’s playing before he receives his own space for a shimmering yet restrained solo which discloses what this non-pianist assumes to be an agile right hand.

Answer Me My Love is an early 50’s ballad with a fascinating back story. On its initial release in post-war Britain, covers of this fine melody stirred sufficient controversy for the song to be banned by the BBC. What led to it being barred from broadcast on the Light Programme and treated like Anarchy For The UK, Wet Dream and Give Ireland Back To The Irish? I can reveal that the reason for this draconian action was that the original version was entitled ‘Answer Me, My Lord’. In the olden days, it seems that a direct appeal to God was considered to be blasphemous- especially if set in a secular or selfish. Further research indicates that Nat King Cole made the most celebrated recording and that Bob Dylan used to sing it live in the 1990’s, presumably during his overtly Christian phase. Anyway, it is a grand tune.

Pharoah went on to record at least three studio versions of his great anthem You’ve Got To Have Freedom but the one here is the earliest incarnation that I am aware of. It is also the most restrained treatment of the theme, although Pharoah’s solo shows his ability to play with fire and power over the entire range of the horn. There’s plenty of space for Kelly’s piano too and he provides an elegant setting for Sanders’ exploratory work.

pre-order now15.01.2021

expected to be published on 15.01.2021

BLUNT - Paradox Interactive EP

Bright Sounds welcomes BLUNT. The new musical project by Paris based graffiti artist and creative Vincent Desmont where he connects the dots between his musical outings and his visual works.

Over the course of four tracks he delivers a lively package of warm and driven dubtechno. It's a complete and well rounded debut on the ever reliable and fresh Bright Sounds imprint.

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Last In: 5 years ago
BUCK MEEK - TWO SAVIORS

Buck Meek

TWO SAVIORS

12inchKSLP43
Keeled Scales
15.01.2021

Der BIG THIEF-Gitarrist BUCK MEEK veröffentlicht mit "Two Saviors" sein zweites Soloalbum. "Two Saviors" entpuppt sich als ein geradezu kathartisches, nacktes Geständnis von Herzschmerz, Widerstandsfähigkeit und Verzauberung. Produziert wurde das Zweitwerk von Andrew Sarlo, der bisher auch für alle BIG THIEF-Alben verantwortlich war. Sarlo schlug vor, das Album während der heißesten Zeit des Jahres in New Orleans an nicht mehr als sieben Tage auf einer 8-Spur-Tonbandmaschine live aufzunehmen. Die Takes gab es bis zum letzten Tag nicht für die Musiker zu hören. Das Ergebnis zeichnet sich durch eine rohe und menschliche Qualität aus.

pre-order now15.01.2021

expected to be published on 15.01.2021

BUCK MEEK - TWO SAVIORS

Buck Meek

TWO SAVIORS

CassetteKSCASS43
Keeled Scales
15.01.2021

Der BIG THIEF-Gitarrist BUCK MEEK veröffentlicht mit "Two Saviors" sein zweites Soloalbum. "Two Saviors" entpuppt sich als ein geradezu kathartisches, nacktes Geständnis von Herzschmerz, Widerstandsfähigkeit und Verzauberung. Produziert wurde das Zweitwerk von Andrew Sarlo, der bisher auch für alle BIG THIEF-Alben verantwortlich war. Sarlo schlug vor, das Album während der heißesten Zeit des Jahres in New Orleans an nicht mehr als sieben Tage auf einer 8-Spur-Tonbandmaschine live aufzunehmen. Die Takes gab es bis zum letzten Tag nicht für die Musiker zu hören. Das Ergebnis zeichnet sich durch eine rohe und menschliche Qualität aus.

pre-order now15.01.2021

expected to be published on 15.01.2021

DEGURUTIENI - DARK MONDO

Degurutieni

DARK MONDO

12inchVR12118
Voodoo Rhythm
15.01.2021

"From Nishinari Osaka Japan Weird Wild Obscure Spooky exotica burlesque toy junk Muzak Trash One Man Band music made with broken cassette desks and fucked up record players feat members of (Acid Mother Temple)" - VRR 20202 Vinyl LP, starker Karton, bedruckte Innenhülle, Download inklusive. Willkommen in der wilden obskuren und seltsamen Welt von DEGURUTIENI und seiner ONE MAN BAND. teuflisch exotischer Striptease Kinder Spielzeug Krach mit ausgedientes Tonbandgerät und zerbrochenen Plattenspielern mit Mitgliedern von ua Acid Mother Temple in einigen Songs. Dies hier ist eine Zusammenstellung mit älteren Songs (selbst Veröffentlichungen und auf kleinst Labels) und viele neue Songs die noch nie vorher veröffentlicht wurden. Ich dachte, es ist an der Zeit, dass die Welt etwas über DEGURUTIENI erfährt (ich hatte Wochen, bis ich seinen Namen richtig buchstabieren konnte, hahaha ) Er tourt ständig durch die ganze Welt (pre Covid-19) und tritt in regulären Konzertsälen sowie in Theatern, Kunstgalerien oder sogar auf der Straße auf. wenn man ihn zum ersten mal sieht ist es eine Lebens Erfahrung die man nicht wider vergisst und es bleibt ein großes Lächeln im Gesicht und ein verzerrtes Fragezeichen in deinem Gehirn. Alco Degurutieni wurde Ende der 60er Jahre im Nishinari Ghetto von Osaka geboren (Alco Degurutieni: Diese Zeit in den 1970er Jahren war eine harte Zeit für alle, einmal im Monat Unruhen auf den Straßen. Rot Licht viertel Prostitution und die Yakuza-Mafia waren uns vertraut. Diese Erinnerungen an ein jugendliches Chaos sind seitdem ein Katalysator für mein Peter-Pan-Syndrom.) Degurutieni schafft Harmonie durch Gegenüberstellung, indem er ihnen Melodie aus Chaos und Dekadenz aus Abfall extrahiert. Mit 13 Jahren bekam er seine erste Boombox und wurde der beste Kunde in seinem örtlichen Leih-Platten und Trödler laden. Er arbeitete sich durch alle Genres von den Beach Boys bis zum Black Sabbath. Ab 16 Jahren begann er, seine eigenen Songs mit den einzigen Dingen zu kreieren, zu denen er Zugang hatte; Müll, umgebaute Kinderspielzeuge und ein ausgedientes Tonbandgerät. All dies spielt noch heute eine wichtige Rolle in seiner Musik. Auf diesem Album findest du ,Acme in the afternoon, ein komplett Hit, Tom Waits Blues Jazz Burlesque, dann mit ,Blur Blur Blur, hörst du ihn super minimalistisch und verloren im All Blues, oder den unglaublichen ,Midnight Express' mit einem orientalischen Trash-Flair der dich in einen neuen Blade Runner film katapultiert, und Zigeuner Fanafare und Rock'n'roll in ,13th Floor City ' zusammen mit: Orchester du Belgistan (aus Belgien) oder mein favorit ,Dreaming party' das wie ein psychedelischer horror film Soundtrack daher kommt LINE UP Alco Degurutieni (mostly all instuments) aditional Musissians on the Album Jyonson Tsu (ACID MOTHERS TEMPLE) Machiko Kuniki (Sujiko Sumoguri) Akiyoshi Kajitani (MOHIKAN FAMILIES) Atsushi Sekitani Watanbe (BRO TÜRK,PATO LOL MAN) Naoya Takami (Ichibanboshi Crue) Kwandae Park (UMA UMA UMA) Akira Ohno Tadahiro Ishihara Keigo Matsunaga (Rock'n'TASUKE'Roll & THE CAPTAIN SWING,MOHIKAN FAMILY'S) Tom Manoury (Orchestre du Belgistan) Mbengue Ndiaga Jordi Grognard (YOKAI) Akiko Igaki (TAYUTAU,COLLOID) Kiri Mochida Takeo Touyama (PATO LOL MAN) Shuichi Hirose (HUMNED) Takeo Touyama (PATO LOL MAN)

pre-order now15.01.2021

expected to be published on 15.01.2021

The City of Prague Philharmonic Orchestra - Music of Game of Thrones

In 2011 composer Ramin Djawadi was first asked to score a new TV series called Game of Thrones. In its first season much of the music was written for a small string ensemble, and filled out with synthetic pads and percussion. Over the course of the next six seasons the music budget got bigger and bigger to match the ever-increasing viewing figures the show was enjoying. This release celebrates the rich tapestry of music over the six series with the full firepower of an 80-piece symphony orchestra and choir.

Game of Thrones really is a television phenomenon. HBO's epic small screen adaptation of George R.R. Martin's series of fantasy tomes continues to draw in record audiences around the world and shows no signs of slowing down. Indeed some 8.9m people tuned in to the Season Six finale in the US and with repeats, recordings and on-demand viewings taken into consideration, it is estimated that Game of Thrones enjoys an average of 23m viewers per instalment. With a whopping thirty-eight Emmy Awards (and counting), this series remains the darling of prime-time pay TV.

With so much music created for the sixty episodes so far broadcast, this album can of course only take in so much. The particular cues and themes it does highlight, though, lend themselves beautifully to this symphonic re-imagining.

pre-order now08.01.2021

expected to be published on 08.01.2021

STAR FEMININE BAND - DEBUT ALBUM

Without warning, a group of young girls from a remote region of Benin is shaking up the world of garage rock with breathtaking freshness, ingenuity and energy, playing spot-on, loud and clear.

A musician named André Baleguemon decided to form an exclusively female band rooted in the concerns of its time. He puts the spotlight on the guitar, drums and keyboard, instruments he has admired since his childhood, symbols of modernity in this remote region. His observation is simple: “In the North, girls have no room to advance and women are put aside. I simply wanted to show the importance of women in the societies of North Benin by forming a female orchestra “.
On July 25th, 2016, with the support of the city of Natitingou, André launched a press release on Nanto FM offering to help train girls in music for free. A few days later, dozens of aspiring musicians showed up at the Youth Center. “The girls who came didn’t know anything about music. We selected seven girls of the Waama and Nabo ethnic groups from the surrounding villages, some had never even seen these types of instruments before. “
The girls quickly became passionate about their new musical activities, learning how to play drums, guitar, piano and sing vocal harmonies. Their progress was astounding. An intense work of musical training took place, starting with drum workshops, their favorite instrument. Angelique and Urrice on drums and vocals, assisted by Marguerite, the third drummer. Sandrine is on keyboards, as is Grace, who also sings vocals. Julienne is on bass and Anne on guitar.
André’s determination is one of the key elements of this human and artistic success. The girls have already performed dozens of concerts in the region, forging and expanding an already solid repertoire, while attracting an ever-increasing local audience. In addition to musical progress, he has been personally involved with each family, showing them the importance of his project, both musically and humanly and in particular the fact that each girl must remain in school and not be forced into marriage.

At the end of 2018, their encounter with the young French sound engineer Jérémie Verdier accelerated the course of things. On a mission in the region, he called on his Spanish friends Juan Toran and Juan Serra who showed up with their recording equipment in order to record the band’s first songs in the annex of the local museum. Random encounters and fate led Jean-Baptiste Guillot to hear the tapes. He decided to go meet them at the end of 2019. This short but memorable journey sealed the fate of the record you are now holding in your hands.

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Last In: 5 years ago
Vādin - Taiyō

Vādin

Taiyō

2x12inchUTTER7
Utter
17.12.2020

Utter presents the debut album ‘Taiyō’ by Vādin, a new collaborative project from Lucie Štěpánková (Avsluta) and Christian Duka.

They describe the record:

“Vādin is a shapeshifter formed through sound, a seismic energy. ‘Taiyō’ is Vādin’s first word. It was improvised and recorded in the Welsh wilderness over three days within a makeshift yurt studio using analogue and digital synthesizers, voice, location field recordings and amplified objects. ‘Taiyō’ is an entity emerging from the process of opening up, inviting, curiously exploring and being vulnerable; it is inspired by the flow of life in all its finite magic, intangibility and imperfection.

The album opens with the drizzling drone scenery interweaved with shivering whispers of ‘The Seven Laws’ followed by the disintegrated rhythms and warm ripples of ‘First Contact’. ‘Merging’ is a multi-layered organism of spiralling undulations, astral droplets and hypnotic pulsations while ‘The Forest’ narrates a sensuous connection with the world where the suggestive monologue and extra-terrestrial pearls float atop galloping liquid rhythms. ‘Sufi Trance’ is a slow-burning cyclone, an ecstatic rite, a hypnotic pilgrimage into the centre of the Sun - ‘Taiyō’ - which brings the journey to a stirring climax with its morphing drops and electrifying trills.”

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Last In: 5 years ago
Various - Motor Jazz: Them to Us

Various

Motor Jazz: Them to Us

2x12inchBAT001X
Bathurst
15.12.2020

This compilation sees the coming together of independent music makers from across the globe to meet in one place and gather as a single entity. That simmering hub of warmth and affection is known as Motor Jazz - a place for artists to congregate and share their devotion for songs that are infused with rhythms created by anodic wires, buttons and other digital paraphernalia. That's electronic music to you and me, and in this case electronic music with swing, a sense of freedom and improvisation that some might call 'Jazz'.

The album opens with the ominous drone of the Mega Corp., sounding like one of the parties responsible for 2020's almost post-apocalyptic feel. It's perhaps an unlikely opener for a what's a positive and optimistic collection courtesy of young musicians from across the globe, but we all need to be reminded of who's in charge sometimes, and Dutch producer Jon Sewi does just that!

The mood soon lightens though, with the soulful strings and enticing keys of Gladdics by the mysterious Black Soyls, before well established German musical artisan Renegades of Jazz brings the family in for It's Tea Time with ticking clocks, warm tea pots and slices of cake, whilst being serenaded by a very vintage sounding horn section.

Serafin Plum almost steer us into drum & bass territory with their off-the-wall percussive nugget Jagged, whilst keeping a calming hand on the shoulder (as all good parents should) with soothing keys, before it's playtime once again.

There's nothing conventional about the Motor Jazz family though, and after tea time and play time, it's time to rave! In Greek mythology, The Maenads were female followers of Dionysus; their name literally translating as "the raving ones". Often they were portrayed as being inspired by the god into a state of ecstasy through a combination of dancing and intoxication, during which time they would dress in fawn skins and carry a thyrsus - a long stick wrapped in ivy or vine leaves and tipped with a pine cone. With a sound ranging between Jazz, Techno, Rave and Breaks their track, Opera, delivers a psyche and Jazz influenced piece with colliding styles, busy drums and rich melodies.

Heading over to Dublin, Ireland, and multi-talented producer, musician and DJ, Donal Sharpson (aka Double Screen) makes his presence known with grandiose brass preempting a four-to-the-floor wood block frenzy in the shape of Sheikah, complete with enthusiastic whoops and a persuasive bassline. Meanwhile, somewhere below the Irish Sea, aquatic artiste Stubby Dials delivers the bass worrying Put It On Ice the only way he knows how - living in a submarine, he emerges from time to time to leave his master tapes on the beach with a note saying "Release this!" before submerging, never been seen again.

Back in the Netherlands, Bram van der Hoeven, otherwise known as Lucinate, is an electronic Jazz producer par excellence. His effortless balance of organic musical roots like Fusion, Bossa Nova and Soul, into the world of modern beat orientated sounds is something to behold, and with The Cards he offsets life-affirming keys with rolling drums reminiscent of some of the seminal liquid Drum & Bass he grew up with.

As the global Motor Jazz family expands, we head to Canada, where the wonderfully monikered Woodpecking Mantis brings a little acid to the party with his squelchy, stuttering and brilliantly entitled Waving At A Melting Square Tooth Of A Specific Rabbit……. We're guessing they like acid a lot in Canada.

We're going down under to Newcastle, Australia next, where things take a more serene turn. Wrenasmir, known to his parents as Craig Smith, used to be a baroque pipe organist before he discovered samplers and synthesizers. Now he makes imaginary soundtracks at his studio for the twilight beachside city that lives in his head - full of vinyl and pixels and bittersweet memories. The gorgeous Lucempight is exactly that.

Keeping things low key and tranquil, Poets And Rockets, the latest offering from Jay Solomon is a horn driven slice of futuristic dub that makes way for The Motion Orchestra's majestic Midnight Sun, complete with Alexander Bednasch on double-bass, Mark Matthes on violins, Andy Sells on drums and David Hanke on electronics and production. Though influenced heavily by neo-classical and jazz sensibilities they occupy a musical space that sits in neither sphere, with a compositional style that deftly fuses the orchestral and electronic worlds. The full Motion Orchestra album, All One, will be released later this year on Bathurst.

Sixteen year old, self taught producer and multi-instrumentalist Teis Ortved is something of a prodigy. The Copenhagen based wunderkind has so far self-released two EPs, and if What, his offering here, is anything to go by, he's going to be making big waves across the eclectic music spectrum for years to come.

If Teis is the new kid on the block then what better way to round off this compilation that with its patriarchal figure. Funki Porcini has over a quarter of a century of recordings in his back catalogue, and has spent fifteen of those years dedicated to the independent UK behemoth that is Ninja Tune records. The Last Recording From Earth is exclusive to this album and is in many ways the perfect closing song. Perhaps more concept art than traditional piece of music, the idea behind it is that an alien archeologist has found this recording tens of thousands of years after humans have disappeared into the sand…. You never know, it might just happen, and hopefully Them To Us will take on a whole new meaning.

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Last In: 5 years ago
Dezron Douglas & Brandee Younger - Force Majeure

In March of 2020 bassist Dezron Douglas & harpist Brandee Younger were nestled in their apartment in Harlem, New York, not long after every live concert in the world was cancelled and most folks in the United States were forced to shelter in place for the covid lockdown. With all their gigs cancelled and their incomes strapped.. the two came up with an idea. They would host a live-stream performance from their living room, where they would perform classic tunes for friends and family to watch online, and folks could send them donations. They called it “Force Majeure: Brunch in the Crib with Brandee & Dezron,” the first part in homage to the ubiquitous contract clause that never seems to have any use (except all of sudden, c/o a covid-induced live music industry collapse). The immense popularity of their first performance roped them into doing it again, and again, until it eventually became a weekly ritual for Douglas, Younger, and their many friends and family who tuned in every Friday morning (ourselves included). Knowing the beautiful, natural sound they made in their living room would be as enjoyable (or more) as a record as it was through a social media stream… we mailed them a microphone to record themselves. What’s heard on this album, Force Majeure, is a collection of highlights from Douglas & Younger’s legendary lockdown livestream brunch sessions. It includes gorgeous interpretations of songs by Alice & John Coltrane, The Stylistics, The Jackson 5, Pharoah Sanders, Kate Bush, Sting, and The Carpenters… plus some solid gold nuggets of their banter between tunes. It’s an uplifting suite of real, soulful comfort music – a spiritual salve, emanating warmth from the hearth of a Harlem sanctuary.

Dezron Douglas & Brandee Younger are long time companions in life and in music. The two East Coast natives met early in life and have accompanied each other, personally and professionally, through their equally prolific careers. Douglas, a bassist who has established himself as a musician’s musician, is known to many for his work with Pharoah Sanders, Ravi Coltrane, David Murray, and Keyon Harold. Younger, a harpist who has distinguished herself as one of the premiere voices in her field, is known for her work with Jack DeJohnette, Charlie Haden, Stevie Wonder, The Roots, Lauryn Hill, and Moses Sumney. To the day Douglas and Younger often accompany each other in many of the ensembles they lead, respectively. The two played together in sessions for Makaya McCraven’s 2018 release Universal Beings, on which they are both featured artists. Of Force Majeure, McCraven says: “It’s a testament to the power of music to uplift us through the most challenging times.

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WhoMadeWho - Synchronicity 2x12"

Whomadewho

Synchronicity 2x12"

2x12inchKOM427
Kompakt
11.12.2020

“We have always been very fortunate to meet and know many talented producers. In recent years, we have been exploring those relationships with different remixes and collaborations, and every time something exciting came out. That’s why we started our Synchronicity project. To challenge ourselves making inspiring, fun and beautiful music.‘Synchronicity’ means "the simultaneous occurrence of events which appear significantly related but have no discernible causal connection. This very well describes how our path led to the place we are now – somewhere between the club and indie scenes.” – WhoMadeWho

KOMPAKT welcomes back Copenhagen’s WhoMadeWho. Tomas Barfod’s penchant for electronic music poetically juxtaposed with Tomas Høffding and Jeppe Kjellberg’s respective backgrounds in rock and jazz, gives their music an electrifying combination of sounds, merging a variety of influences to produce a unique sonic fingerprint that is emotive, irresistible and immensely satisfying.

Though we both have yet to strike a note together since the release of their 2012 full length “Brighter” (KOM 254), WhoMadeWho have been remarkably productive. With two full lengths, a DJ mix for Watergate’s series and releasing two of 2019’s most played out club tracks together with Rampa (Innervisions) and Artbat (Watergate Records), the trio have found themselves diving more and more into the world of electronic music, tapping into their goldmine of connections within the scene to spearhead an array of collaborations.

Synchronicity is all about ‘meaningful coincidences’ – bringing interpretation to bear on connections that have no actual causal relationship. It’s a canny concept to pin onto Copenhagen trio WhoMadeWho’s latest album, which sees them return to Kompakt for the first time since 2012’s Brighter.

This re-established connection helps us to understand the synchronicity at play, the way that the WhoMadeWho core ave built an album around collaboration with friends and peers, much as Kompakt is all about cross-connections and family. On Synchronicity, WhoMadeWho call on friends old and new – Michael Mayer, Echonomist, Adana Twins, Alex Boman, Robag Wruhme, Frank Wiedemann, Sainte Vie, Mano Le Tough, Marc Piñol, Rebolledo, and Perel is the cast list; WhoMadeWho direct the material, shaping it into one lovingly flowing gem of dance-pop glory.

There’s something particularly generous about hearing an album as all-inclusive and open-hearted as Synchronicity in the midst of the profound social and cultural shifts we’re currently experiencing. While some songs on Synchronicity were recorded together, in real time, such as the collaborations with Adana Twins and Rebolledo, most of them have taken place via long distance, thanks to the pandemic lockdown. But you don’t need to know who was where to understand either the magnesium-flare melancholy of “Sooner”, recorded with Piñol, which has you holding your breath with the gentle thrill of the song’s lush melody, or the stomping strut of the following Adana Twins collaboration, “Shadow Of Doubt”.

Elsewhere, there’s the stentorian robot voice at the heart of “Hamstring”, where they’re joined by Michael Mayer; the lustrous headsoak of “Twenty Tears”, a tender intervention by Rebolledo; the strip-light, slow-motion disco strut of “Cecil”, produced alongside Echonomist; or the glittering, arpeggio dreamwork that Perel helps sculpt into shape on “Der Abend birgt keine Ruh.”… Really, there’s so much to celebrate here, a panoply of pleasures. From pop revelations to dancefloor delirium to slow-burning brooders, Synchronicity is just that; a space for the joys of the unexpected to collide, and to be given meaning by their coincidental co-existence in WhoMadeWho’s beautiful world.

"Wir hatten immer schon das Glück, viele talentierte Produzenten kennenzulernen. In den letzten Jahren haben wir diese Beziehungen durch verschiedene Remixe und Kollaborationen vertieft und jedes Mal kam etwas Aufregendes dabei heraus. Aus diesem Grund haben wir unser Synchronicity-Projekt gestartet: um uns selbst herauszufordern inspirierte, lustige und schöne Musik zu machen. “Synchronizität” bedeutet das gleichzeitige Auftreten von Ereignissen, die scheinbar in einem signifikanten Zusammenhang stehen, aber keinen erkennbaren kausalen Zusammenhang haben. Das beschreibt sehr gut, wie unser Weg zu dem Ort geführt hat, an dem wir jetzt sind - irgendwo zwischen der Club- und der Indie-Szene". – WhoMadeWho

KOMPAKT freut sich über Rückkehr der Kopenhagener Band WhoMadeWho. Tomas Barfods Vorliebe für elektronische Musik im poetischen Kontrast zu Tomas Høffding und Jeppe Kjellbergs jeweiligem Hintergrund im Rock und Jazz macht ihre Musik zu einem elektrisierenden Konglomerat, in das verschiedene Einflüsse zu einem einzigartigen klanglichen Fingerabdruck verschmelzen: gefühlvoll, unwiderstehlich und immens befriedigend.

Obwohl wir seit der Veröffentlichung von "Brighter" (KOM 254) in 2012 keine gemeinsamen Dinger gedreht haben, waren WhoMadeWho in der Zwischenzeit bemerkenswert produktiv. Mit zwei Full-Length-Alben, einem DJ-Mix für die Watergate-Reihe und der Veröffentlichung von zwei der meistgespielten Clubtracks aus dem Jahr 2019 zusammen mit Rampa (Innervisions) und Artbat (Watergate Records), taucht das Trio mehr und mehr in die Welt der elektronischen Musik ein. Für ihre Kollaborationen greifen WhoMadeWho immer wieder auf ihre Goldgrube an Bekanntschaften innerhalb der Szene zurück.

Bei “Synchronicity” geht es um "sinnvolle Zufälle" - also um die Interpretation von Verbindungen, die keinen tatsächlichen Kausalzusammenhang haben. Es ist ein ausgeklügeltes Konzept, das dem neuesten Album des Kopenhagener Trios WhoMadeWho anheftet: Diese wieder hergestellte Verbindung hilft uns, die Synchronizität im Spiel zu verstehen; die Art und Weise, wie WhoMadeWho ein Album um die Zusammenarbeit mit Freunden und Gleichgesinnten herum aufgebaut hat: schließlich geht es auch bei Kompakt um Querverbindungen und Familie. Auf Synchronicity richten sich WhoMadeWho an alte und neue Freunde: Michael Mayer, Echonomist, Adana Twins, Axel Boman, Robag Wruhme, Frank Wiedemann, Terr, Sainte Vie, Mano Le Tough, Marc Piñol, Rebolledo und Perel stehen auf der Liste. Das Trio führt Regie und sorgt für den Feinschliff. Das Ergebnis: ein echtes Juwel aus Dance, Pop und Glorie.

Inmitten der tiefgreifenden sozialen und kulturellen Veränderungen, die wir derzeit erleben, ist es etwas Besonderes, ein Album zu hören, das so offenherzig ist wie “Synchronicity”. Zwar wurden einige Songs gemeinsam und in Echtzeit aufgenommen – etwa die Kollaboration mit den Adana Twins und Rebolledo – die meisten Sessions fanden aufgrund der Pandemie jedoch über größere Entfernungen statt. Letztlich muss man aber gar nicht wissen wer wo war, um die Melancholie von "Sooner" mit Marc Piñol zu verstehen und im sanften melodischen Rausch des Liedes den Atem anzuhalten. Auch die eher brachiale Energie der darauf folgenden Adana-Twins-Kollaboration , "Shadow Of Doubt" vermittelt sich eingehend über die soziale Distanz hinweg.

An anderer Stelle ertönt die schallende Roboterstimme im Herzen von "Hamstring", wo sich Michael Mayer zu ihnen gesellt; die schimmernden "Twenty Tears", einer zärtlichen Intervention von Rebolledo; der Zeitlupen- Disco-Nummer "Cecil", die zusammen mit Echonomist produziert wurde; oder der glitzernde Arpeggio-Traum, den Perel in "Der Abend birgt keine Ruh" in Form bringt.. Ja, es gibt tatsächlich einiges zu feiern: Von Pop-Enthüllungen über Dancefloor-Delirium bis hin zu Stücken, die sich ihre Zeit nehmen - Synchronicity bietet Platz für all das; das Album spendet Raum, in dem die Freuden des Unerwarteten aufeinanderprallen und durch ihr zufälliges Nebeneinander in der Welt von WhoMadeWho Sinn ergeben.

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Last In: 4 months ago
Holly Childs & Gediminas Žygus - Hydrangea

The debut album from writer and artist Holly Childs and artist Gediminas Žygus formerly known as J.G. Biberkopf.

Initiated in 2017, Hydrangea grew out of a series of performances emphasising conspiracies and the designer realities that they generate. Navigating a tangle of digitally induced subjectivities and relationships, Hydrangea sees Childs & Žygus amidst a continuously evaporating world in which narratives dissolve, leak, fold in on themselves and loop.

Childs & Žygus ask: As individuals are siloed online, can rifts in reality ever be reconciled? Is history a form of science fiction? And are narrators ever reliable? The process of creating Hydrangea was defined by the search for a form to bind fiction, poetry, and musical experience. Its narrative is influenced by technical instructions, lectures and whispered conversations, in which slippage and floating focus can create new meanings in the listener that weren’t intended by the speaker.

Aspects of physical and informational security including passwords, codes, locks and obstacles speak to the ways in which meaning or material can be locked, unlocked or instrumentalised for a range of potential outcomes. Hydrangea reflects on the Machiavellian strategies of political ideologists such as Steve Bannon, Aleksandr Dugin and Vladislav Surkov who have made use of contemporary and postmodern artistic strategies to design narrative uncertainty—covertly braiding together questionable truths, slippery narratives and bespoke reinterpretations of history for undisclosed political ends.

"Hydrangea’s Just the Password Though, Right?"

Childs & Žygus employ a musical language that layers their cumulative practices and experiences. The compositions are cinematic and spatial, working with the illustrative qualities of Disneyesque string melodies and taking cues from Maurice Ravel’s impressionistic piano works.

The work is also influenced by both artists’ lifelong experiences of rave culture, beginning for Žygus during childhood in newly independent Lithuania, spending time juggling Disney and happy hardcore cassettes on the family stereo, and for Childs as a preteen in Australia, tagging along with her sisters to doofs and warehouse parties. Initiated while the artists were both working between Amsterdam and Rotterdam in 2017, the work also draws on Dutch gabber music.

Hydrangea’s development has been influenced by collaboration with artists and filmmakers Metahaven, who created the album art.

Holly Childs is a writer and artist. Her research involves filtering stories of computation through frames of ecology, earth, memory, poetry, and light. She is the author of two books: No Limit (Hologram) and Danklands (Arcadia Missa); and has presented her work at ICA (London), Stedelijk Museum (Amsterdam), Trust (Berlin), Elam School of Art (Auckland) and more.

Gediminas Žygus is an artist working within the fields of sound, documentary and performance. Their practice assembles a spectrum of influences deriving from architecture, ecology, ethnography, science studies, and media theory. As J.G. Biberkopf, their releases have found homes on Knives and Danse Noire. Žygus has performed at Barbican Centre (London), Berghain (Berlin), Sonic Acts (Amsterdam), and Centre Pompidou (Paris), among others. credits

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Last In: 5 years ago
Moon (Johannes Albert & Iron Curtis) - Industrie & Zärtlichkeit 2x12"

2X12" repressed !

Welcome to - Industrie & Zärtlichkeit , the raw, quirky yet emotional debut album from Moon! Although the Berlin-based duo is revered for dancefloor bangers such as - Ze power', Johannes Albert and Johannes Paluka (better known as Iron Curtis) have put much effort into making this album a true listening experience without sacrificing their roots in House Music. - Industrie & Zärtlichkeit (which translates into - Industry & Tenderness ) effortlessly achieves what is claimed in its title, namely a fusion of seemingly disparate elements: the rough and the smooth, dirty beats and soothing harmonies, bizarre sounds and comforting chords. The title track is a fine example of this perfectly-dosed blend with its detuned strings that glide over a crisp electro beat and an infectious melody which would make Kraftwerk proud. Cafe Del Landwehrkanal' is a lighthearted and kinky gem while - Light Of Virtue combines warm synth pads (Detroit is not far) with dusty drums and an acid bassline. MFB Nights' and Machine Rhythm Tomorrow' are also illustrations of the duo's undeniable savoir-faire, with the former celebrating garage classics thanks to its cheeky vocal sample and gorgeous rhodes chords while the latter plays out as a dedication to the early 90's, a time when people didn't care about genres and just dived in the novelty of electronic dance music.
But as we all know, there is a dark and secret side of the Moon, an aspect which is best expressed via the freaky organ chords of - Proto and its detuned melody. Not to mention the excellent ambient pieces - Fjordig or - The Bitter End which showcase the duo's ability to venture into uncharted territory.
All in all, Industrie & Zärtlichkeit feels like drinking fresh orange juice gently sparkled with chilli... and it concludes flawlessly with two reworks that prolong the album's laidback yet assured vibe. First off is Black Spuma (Lauer of Tuff City Kids fame and Italian disco legend Fabrizio Mammarella) who rework the title track into a hands-in-the-air boogie monster that will definitely be a festival staple this summer. Finally, Lerosa emphasizes the deeper shade of the album's spectrum with an impressive new wave rework of - Appeal .

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Last In: 5 years ago
Superior Elevation - Freaky With You

Previously Unreleased material recorded in 1979 at Allen Toussaint's legendary Sea-Saint Recording Studio in New Orleans, LA.

Freaky With You is a Six-and-a-half minute Psychedelic Disco Funk excursion taking you on a wild mojo trip with a four on the floor backbeat and extended conga breakdown peppered with some New Orleans Voodoo that reaches for the Bondye Celestial Heavens.

On the B-Side, Welcome To My World is a Modern Soul Steppers masterpiece. A version was also recorded by Joe Chopper for the Lanor Records label.

James Dumaine remembers the studio session well. After having oral surgery that morning, a grotesque, theatre of the absurd incident followed causing him to bleed onto the microphone as he was singing. That combined with the miscommunication with the audio engineer to watch the volume levels on his new synthesizer: The Engineer decided not to take heed to the warning… Half way into the recording all the band could see from the other side of the glass were heads frantically rushing to the mixing board. The synthesizer levels had caused the monitors in the control room to blow up. Superior Elevation wasn't invited back to record at Sea-Saint. 40 years later, with all that chaos, hoodoo and gris-gris enveloped into the magnetic tape, it magically survived the catastrophic 2005 floods during Hurricane Katrina and ended up in the hands of Mike Nishita along with many other Reel to Reel Tapes of Allen Toussaints' masters of The Meters albums he produced and recorded. It's available now, preserved with Family Groove Records.

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Last In: 5 years ago
Savage Gary - Quarantine Sampler 2

Despite current circumstances, Speedy have had a busy year. The London-based label run by producer Dan Carey alongside Alexis Smith and Pierre Hall were recently coveted with the Best Small Label Award by AIM after being nominated for the second year in a row. Carey also picked up UK Producer Of The Year earlier in the year at the prestigious Music Producer Guild Awards. He also produced the critically acclaimed sophomore album ‘A Hero’s Death’ by Fontaines D.C. which landed a welldocumented No. 2 position in the official album charts.
Speedy Wunderground released their fastest ever selling 7” - The Lounge Society’s timely tour de force ‘Generation Game’, the second band to be signed to the label for a forthcoming EP release following Squid’s ‘Town Centre’ EP in 2019. They also announced the label’s first ever full album release - Tiña’s ‘Positive Mental Health Music’, with recent single ‘Golden Rope’ having just come off the A-list at 6 Music.
Bringing bands into the studio wasn’t an option so the label started an ongoing project called ‘The Quarantine Series’ in which Carey under his Savage Gary techno/electronic alter ego collaborated with artists and friends, old and new over the internet and then uploaded them to the label’s Soundcloud/socials with little or no fanfare - no PR-ing or radio pluggers, just let the bands do their own thing, organically.
The common thread throughout all is Carey, whether it be in his regular name or his Savage Gary guise. However, collaborators in the series so far have included a wide range of people: Kae Tempest, PVA, Willy Mason, Heartworms, Warmduscher, Charlotte Spiral, Boxed In, Stephen Fretwell, Goat Girl and more.
“We chose two tracks/artists that I think we really wanted to shed some more light on” says label co-runner Pierre Hall. “Two that we really didn’t want to go under the radar - and in our opinion reflect this parallel strand of the label that’s forming - with new artists we’re really excited about - and that will hopefully draw people in to explore the series as a whole.”
First on the release is ‘Wait & See’ from rising Bajan artist RoRo. A hypnotic masterful flow which meanders seamlessly around Carey’s pulsating electronics. It’s bursting with attitude and originality. “I saw Dan Carey play with Kate Tempest on one of my first few times ever being out in London” she says, “it was such an amazing show. I was extremely excited to then get the chance to work with him. I’d been trying to do so while in London, but it didn't quite work out that way. We did manage to make it happen remotely whilst I was back in Barbados though, and we knocked it out!”
Second is ‘Cigarettes Pt. 2’ from the enigmatic Londoner youngblackmale AKA Rutare Savage: “It’s a poem, transformed into a song by the ever amazing Dan Carey. It touches (lightly) upon the topics of fear of the police, drug and alcohol abuse, family, and pulling oneself out of a nihilistic worldview driven by a newfound lust for life. This is me trying to reason with the void.”

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Last In: 5 years ago
Various - Boogie Angst Edition Three Vinyl Sampler

Ending the season on a breezy note, our new VA 'Boogie Angst, Edition Three' delivers the ideal wares for a buoyant last stretch to an otherwise trying year. Spanning a brightly hued kaleidoscope of pop-infused house and mellifluous boogie, Edition Three pushes forth a selection of our choicest grooves from the past year as well as a batch of unheard and exclusive gems to keep you in the warmest, most positive mindset for the winter to come. Through fifteen cuts covering a wide but cohesive spectrum of balmy sonics, the compilation once again offers a much spitting image of what the label's been up to in recent times.

HIGH HØØPS playful revamp of Secret Rendezvous' fresher-than-fresh RnB joint 'Back In The Day' sets the tone right away, followed closely by Moods & Two Another's lush coastal disco number 'Control' and Snacks & Eric Biddines neo-big band style house treat 'All Night' - a singular chunk of ballroom bop tinged with soulful blues tropes and Caribbean melodic accents, sure to have the dancers jiving without further ado.

Here comes Inkswel's synth-splattered mix of 8-bit pixelation and Run DMC-esque hip-hop 'Too Late' (ft. Stan Smith) and Saux's dream folk excursion 'You're Not Wrong'. A highlight of the package and mesmerizing piece of wistful, kosmische-laced disco, Kraak & Smaak 'Centro De Placer' ushers us in a realm of velveteen ingenuousness and sun-streaked utopianism, steering us away from the tar-scented gloom of soulless metropolises into an all engulfing prism of hope, love and grace.

Utrecht-based vibist Feiertag punches the clock with 'Encino Boogie' - a four minute-odd slab of buoyant funk sprinkled with laid-back house tropes and brass-heavy, loungey dub tonalities, perfect for drawing out the pleasure of dreamlike summer boogie sessions. Clear your mind and shuffle your feet to that solar-powered mix of fevered drums, slap bass and sensually aqueous groove.

Next, Kraak & Smaak's add their easily identifiable, almost Beck-ian spin to Jean Tonique's lysergic pop hit-en-puissance 'Too Bad' whilst Bondax lo-slung remix of Moods' sense-awakening soul tune 'Slow Down' (ft. Damon Trueitt) eases you into a place of inviting suavity.

Inkswel's funky robot chugger 'The People' (ft. Dave Aju) picks up the torch next, followed by Flevans, your go-to man for proper electroid floor traction. The UK-based producer has you covered with 'Everything I See' - a surefire, bass-driven roller inbound for severe club impact with its infectious mix of fiery riffs, mangled female vox slivers and racing groove. Next, Secret Rendezvous' sun-beamy ballad 'Your Love' takes us on a gently bouncy, romantic ride.

Last but not least, Vhyce's smooth hybrid of synth-strewn RnB and lo-velocity funk 'Lose Our Minds' (ft. Yves Paquet), David Harks' metronomic disco-pop anthem 'Twice' and Saux's sleek-textured synthpop exponent 'Night Is All There Is' round off the package on a typically smooth and vibrant sentimental touch.

For the wax heads out there, a limited 9-track vinyl sampler will be issued alongside the digital compilation, featuring some of the tracks on the album + a few alternative versions, and furthermore a vinyl exclusive of Kraak & Smaak's remix of Izo FitzRoy's 'When The Wires are Down', initially released only digitally via Jalapeño Records.








h 08 | Inkswel The People (Cody Currie Remix) feat Dave Aju
feat Wolfgang Valbrun

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Last In: 5 years ago
Lorenz Rhode (Sound Support) - Sandpaper EP ft. Jamie Lidell

We are very pleased to finally present you a new Lorenz Rhode release, for the „Sandpaper EP“ Lorenz Rhode and Jamie Lidell get together again. Their first collab „Any Kind of Pressure“ was followed by Lorenz joining Jamie’s world tour and a remix of „Big Love“ for Warp Records. Jamie performs with an amazing energy, and his
soulful voice is carried by a warm and playful house backing: Minimoog bass, Rhodes piano and just some sparkles of a very old Roland synth that Lorenz had just bought, and which is now broken.
The second new jam „On the Nightshift“ is a fun stabby tune based on a spiraling chord progression. It loops every three-and-a-half bars, just to make life harder for DJs. A real nice warm groover.
The remix for „Sandpaper“ is a true family affair! Sound Support is the all new project by Lars Dales better known as 1/2 of Detroit Swindle and Lorenz himself. They’ve just released their debut EP on Prins Thomas’ “Internasjonal” label in October this year, here they take Jamie’s vocal into a more dramatic and electronic territory touching
electro grounds. To close things out we also added an instrumental on the vinyl and radio mix on the digital version of this new EP. Enjoy as much as we did putting this together for you!

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Last In: 4 years ago
Napoleon Demps - Norma Jean / Norma Jean (Instrumental)

It gives us great pleasure to introduce the baddest new voice in the land, Napoleon Demps. A Flint Michigan native, he grew up listening to Soul luminaries OV Wright, Willie Hutch and Sam Cooke, whose influence led Demps down a path to becoming an accomplished Soul singer himself - scoring his first hit at the age of 24 in the still thriving Southern Chitlin Circuit of the early aughts. Demps, having been a long time Daptone fan, connected with the Dap-Kings at a soundcheck at a Detroit nightclub for an impromptu rendition of “A Change is Gonna Come.” Bosco Mann was floored by his voice and swore they would meet again. Last year, with that sweet soulful voice still ringing in his ears, Mann would reconnect with Demps and bring him out to Penrose Recorders in Riverside, California to finally cut his first Daptone side. "Norma Jean" is a funky soul groover that lands somewhere between the nuanced big city sounds Chicago and Detroit were pumping out in the late '60s: think the grit of Twinight's houseband Pieces of Peace, kissed by the sophisticated Motor City production of Dave Hamilton or The Brothers of Soul and you're getting warm. Napoleon's smooth, commanding voice injects a je ne sais quoi that's wholly fresh, bypassing the affected trappings that plague many of today's singers. In short... Napoleon Demps is a Soul singer's Soul singer. Take a listen and hear for yourself!

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Last In: 5 years ago
Faster - Twisted Cables

Faster

Twisted Cables

12inchTEC229
Sci+Tec
02.12.2020

decade into its ongoing experimentation that has pushed the sonic fusion between science andtechnology, SCI+TEC remains at the very forefront of electronic music. From day one Dubfire’s label has
continuously forged its own path, with its feet firmly on the dance floor and its sights set on the future.
SCI+TEC has consistently championed and encouraged new and unsung talent from around the world,amplifying legions of rising names; Carlo Lio, Paul Ritch, SHADED, Reset Robot, The Junkies, Alex Mine, Basti Grub, Habischman and countless more include SCI+TEC releases in their rich histories.
Next up on SCI+TEC is this two-tracker by Romanian DJ and producer Faster. His interest in music began at the age of 16, when he started producing underground hip-hop music. This passion for music soon led him to electronic music, where he quickly learned how to take over the decks and became a sought after DJ in Romania and later, playing at famous clubs and underground parties world wide for more than 10 years.
It was time for the creative label-owner to have his SCI+TEC debut release.
‘Butter Twisted Cables’ delivers two unique tracks, each with a unifying energy. The A-Side opens with ‘Twisted Cable’, a stand-out energetic groove, providing a warm feeling of satisfaction. ‘Butter’
on the flipside is the stand out track melting into your ears with an eclectic housy vibe.

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Last In: 4 years ago
Liam Bailey - Ekundayo

Liam Bailey

Ekundayo

12inchBCR091LP
Big Crown Records
01.12.2020

Big Crown Records is proud to present Ekundayo, Liam Bailey’s debut record on the label. This album is a long time in the making, and after listening, clearly worth the wait. It didn’t take a long time to record, but it did take years for all the stars to line up.

Bailey, born and raised in Nottingham, England, the son of an English mother and Jamaican father got his early influences from his mom’s record collection. Bob Marley and Dillinger, Stevie Wonder and The Supremes, The Beatles and Jimi Hendrix would eventually shape the singer/songwriter we know today.
Fast-forward to 2005, Liam is in London and doing the whatever-gig-you-can-get musician hustle with hopes of landing a record deal. And it was through this time that Liam first teamed up with Leon Michels, musician / producer luminary, and the co-founder of Brooklyn's own Big Crown Records. Liam flew out to New York and those first sessions together produced the now classic tunes “When Will They Learn” and “I’m Gonna Miss You” which still get spins at reggae spots around the globe. That trip helped kick off what was to follow next for Liam: a slew of record releases, label deals, and working with some wildly-notable mainstream producers. Even a just-famous Amy Winehouse heard one of Liam's apartment-made, lo-fi recordings through a friend and liked what she heard. Regardless of the audio quality, Liam's particular sound shone through—all guitar, warm-rough and genuine soul. She signed him to her label shortly after.

But, as the story can go with major labels, they already had an idea of the Liam they wanted to make, promote, and push. With the typical pay-day enticement, Liam did his best to fit into whatever shape they put him to. "'Maybe I can make it work,' that's what you're thinking," Liam remembers, "but, you quickly find out that you can't."

While Liam’s career went through a bunch of record industry twists and turns he and Michels stayed in touch and would regularly connect and collaborate. Finally, in 2019, the time was right to do a full-length album together. And this time, it would be free of any restricting major label presumptions and opinions. "This is the record we always wanted to make," says Michels. Set to release in November 2020, the album is called Ekundayo. And the word's meaning may be all you need to know to get to the essence of this project. It means "sorrow becomes joy" in Yoruba, a language spoken mostly in Western Africa. On the surface, Ekundayo is a weighty Reggae record, full of new and old textured riddims. But listen more in-depth, and you'll find subject matter that's more recognizable from a modern-day R&B record. An example of the former is the first single off the album. Sung to the most beautiful woman at the nightspot, "Champion" is a joyous anthem powered by a silly-thick Juno-bass throb and 808-proof drums. In short, "Champion" is dancehall-ready. But then there's a song like "Don't Blame NY." Moody and sparse with a somber drive, you might have to resist the urge to compare it to a Frank Ocean-ish type vibe. Liam's voice is in a different but fitting element here, showing stripped-back emotion and soulful restraint. Anyone who has lived and tried to thrive in New York won't have a hard time relating to the lyrics but they may join the masses who blame the city, while Liam points the finger at himself and sings praises to The Big Apple.

Credit to Leon's hand, elements of Jamaican production are everywhere, peppered throughout the record. Like the pitch-perfect organ stabs that push through the authentically positive "White Light," or the muted, percussive guitar strums that chug along in the back of "Fight." In the same vein of any fantastic singer/songwriter album, Ekundayo is a reflection of who Liam Bailey is, taking on topics and approaches he never would think of just a few years ago. Some evidence: "Ugly Truth" is about reconnecting with his biological father, a subject he once thought would be too personal to address. The journey from conforming to major labels to this latest record has been a long one for Liam, and a bit of a struggle. But struggle may be the only way we truly grow and evolve. With a new clarity of purpose, sound, and life, Liam has found joy out of those struggles. And it's called Ekundayo.

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Last In: 5 years ago
Various - Soul Festival

Various

Soul Festival

12inchLPEXP56
Expansion
01.12.2020

While Soul Togetherness' on Expansion continues to feature the best new floor fillers of each year, Soul Festival' is here now with a collection of music reflecting the label's love of 70s soul.
    
Soul Festival' spans the period from when new soul music took influence from the Northern soul we enjoy here at UK clubs and events. As the decade progressed, records became more lavish in their arrangement and grander in production, always with that essential soul feel, and that's what you will find here on this compilation.

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Last In: 5 years ago
D Leria - Still Standing

D Leria

Still Standing

12inchAVN040
Avian
01.12.2020

D Leria debuts on Avian.

Giuseppe Scaccia shows his range on a new six track EP, arriving late 2020.

Produced diligently across the last two years, the record showcases a range of styles. Tonally, the material is bound by a recognisable engineering palette – driven, but not to the point of corrosion, tight and focused in the low end with caustic, percussive synth patches driving much of the more dance floor material.

In the terms of the form, though – Scaccia draws for a disparate arrangement. Opener A Life On The Run clocks in at over 140bpm, with a demented lead synth line providing the action buoyed by a simplistic drum machine rhythm. Divergences offers a more immersive experience in terms of tempo – again letting the lead do the work, while shifting hats operate around the sonic periphery to break up the recording. On Il Giardino Degli Unicorni the artist utilises a single, staccato sequence, letting the sends do the bulk of the business with careful processing and live articulation helping to build the intensity. On the flip, pulsing workout Noises from The Room develops surreptitiously over its run time – fathoms deep kicks are submerged under a heated sequence and Red Flowers, an exercise in careful reduction reintroduces a little musicality to the record, before warping closer Tribalism places the listener back on the dance floor with a half-time rhythm driving the droning sound design.

A careful meeting point at which the multiple styles that underpin Scaccia’s D Leria project meet, Still Standing offers insight into how future work might manifest whilst remaining a valuable document on the current state of both left field Techno music and the artist’s own creative identity.

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Last In: 6 months ago
KiNK - Toplo

Kink

Toplo

12inchSOF004
Sofia
30.11.2020

The 4th release on Sofia by KiNK is all about warmth. The harmonies are deep, the instruments are muffled, the rhythms are humanised. Even when some of the tracks are getting a bit aggressive, they are not hurting, but giving the right amount of energy and surprise. This record is built from some of the live streams Strahil was doing during the pandemic lockdown in April. "101 Reasons" is a track with disco epic-ness and techno attitude. It captures KiNK's dream of being on the sweaty floor again, surrounded by dancers, one big family, like it used to be. "Dreamer" is low key house music, with melodies, leaking between the notes and the rhythms are somehow derailing, but instead of chaos, you get that dreamy feeling like if you watch a ribbon in the sky. The phenomenal Dutch artist Frits Wentink delivers a tighter version of the track with his unique swing on the drums and extra chords, which uplift the track with new energy. The closing song "Set The Mood Right" is recorded with his usual collaborator Rachel Row on the vocals. It's a very relaxed downtempo track, which takes an unexpected turn and it's a perfect open end for the record. A warm record for the cold days.

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