Buscar:park st

Maddie Jay has always had a fixation with taking things apart, examining every tiny piece, and putting them back together in her own way. In fact, in her teens, she tore out all the electronics of her first bass guitar in her parent’s garage, in order to re-paint it neon yellow, green and pink. This fascination with restructuring didn’t end with gear. For years, she has been taking apart music itself, and studying every facet of songwriting, melody and production, in order to patch it back together into her own colorful, quirky package.

This approach in life has brought her from her tiny hometown in northern British Columbia, Canada, to studying bass in Boston, and then to Los Angeles to pursue a career as a “hired gun.” After a year of travelling and supporting artists all around the globe, she was finding more satisfaction on her days off, producing on her laptop. Fast forward to 2020, and Maddie’s first EP “Mood Swings” has gained over 2 million streams on Spotify, and she has a feature on Grammy winning artist RAC’s LP “BOY.”

Hedvig Mollestad must surely be one of the hardest working musicians on the Norwegian music scene at the moment, with “Tempest Revisited” being her third album in a mere 18 months, all at a consistently high artistic level. Her first solo album, “Ekhidna” (2020), received a Spellemannpris (Norwegian Grammy), appeared on several jazz and rock best of the year lists and got her into Downbeat´s “25 for the future” selection. “Tempest Revisited” draws lines back to 1998 and the very beginning of Rune Grammofon. This was the year we released “Electric”, the collected electronic works of Arne Nordheim, one of Norway´s greatest composers. It was also the year when parts of “The Tempest”, possibly his most cherished and well-known work, was chosen to be performed at the opening of Parken, the new cultural house in Ålesund, birthplace of Hedvig Mollestad. To celebrate 20 years, the culture house was ready for a new storm, and the first name that came to them was Hedvig, a local artist that was already making waves on the international scene with her power-trio. Hedvig took inspiration from the front of the house, adorned with Nordheim´s score for “The Tempest”, at the same time making a direct connection to the sometime heavy weather conditions of this coastal area in the northwest part of Norway. One could say it´s a big paradox that over all this might be Hedvig´s most lyrical and less aggressive collection of music. On the other hand it´s quite a dynamic record, lots of light and shade and enough sonic parts at work to evoke the elements, the mighty Gran Cassa drum only one of them. The music included here was adapted from the initial performance in 2018 and produced by Hedvig in the studio the following year for this album release. The musicians included are old friends Marte Eberson from the Ekhidna band, Ivar Loe Bjørnstad from her trio and Trond Frønes (Red Kite) on bass as well as three sax players. Yet another triumph in a more than impressive discography.

30 is the first new music from Adele since the release of her third studio album 25 in November 2015. The album is produced with former collaborators Greg Kurstin, Max Martin and Shellback and Tobias Jesso Jr., as well as new collaborators Inflo and Ludwig Goransson.

This product is currently on pre-order. All orders containing this product will be dispatched in line with the release date. Available from November 19th, 2021.

Artistry was Sirone's first album as a leader, recorded in 1978, just after the split of the Revolutionary Ensemble. Artistry has an Atypical combination of instruments, bass, cello, flute and percussion and delivers aplenty.

Available in White coloured vinyl (200 ltd press only) and Black standard vinyl



Sirone - Bass

James Newton - Flute

Muneer Bernard Fennell - Cello

Don Moye - Percussion



Sirone (Norris Jones) had an enormously prolific career as a bassist, both as a member of the Revolutionary Ensemble and playing with many of the best musicians of the 20th century - from Pharoah Sanders, Albert Ayler, John Coltrane, Gato Barbieri, Noah Howard, William Parker, Cecil Taylor, Sun Ra, Sonny Sharrock ,Marion Brown ... and the list goes on.

Artistry was Sirone's first album as a leader, recorded in 1978, just after the split of the Revolutionary Ensemble. Artistry has an Atypical combination of instruments, bass, cello, flute and percussion and delivers aplenty.

Available in White coloured vinyl (200 ltd press only) and Black standard vinyl



Sirone - Bass

James Newton - Flute

Muneer Bernard Fennell - Cello

Don Moye - Percussion



Sirone (Norris Jones) had an enormously prolific career as a bassist, both as a member of the Revolutionary Ensemble and playing with many of the best musicians of the 20th century - from Pharoah Sanders, Albert Ayler, John Coltrane, Gato Barbieri, Noah Howard, William Parker, Cecil Taylor, Sun Ra, Sonny Sharrock ,Marion Brown ... and the list goes on.

By way of some cosmic miracle, only one Total Hell pops up
when the band moniker is searched on Discogs. And that would
be the band responsible for the five-song blast of heavy metal
sounds at hand. Now active for about two years plus change
and exported from the very metal and punk fertile New Orleans,
Total Hell is DD Deth (aka Drew Owen—Sick Thoughts
wheelman, Trampoline Team etc) on drums / vocals, Henry
Hell (John Henry of Static Static, Heavy Lids) on bass / vocals,
and guitarists Jason “Panzer” Craft (Persuaders, Tirefire) and
Michael Maniac (Michael He-man of Trampoline Team).
If self-deprecation is beyond the listener’s processing skills,
then please know that as self-described purveyors of the “New
Wave of Shitty Heavy Metal”, Total Hell’s big-boy debut is
not “shitty” in any manner whatsoever. These four recordings
(“Desecrate”, “Clones From Hell”, “Violator”, and “Disfigured”)
are melodic monstrosities that hit with a wall-to-wall, floorto-
ceiling hugeness, while doing so in an economical manner.
There will be no mistaking this for Broken Bones screeching out
of an iPhone inside the vegan squat. On the flip, this is no Bob
Rock joint. DD Deth elaborates: “Recorded on a Tascam 8-track
cassette live at home (aka “The Parkway”) by Michael He-Man
and the process was a nightmare. Original tape crapped out on us
back in early 2020 so we had to redo the whole thing. Intros and
interludes were done last minute by me with the cheapest midi
keyboard on the net.” Well, color Goner Records impressed.
One might get momentarily lost in the cavernous drums that
introduce opener “Desecrate”, but soon the buzzsaw-riff-wall
will crush one into a smudge on the bathroom floor. Without
rocking some safety goggles and diving headfirst down a
terminology rabbithole, this is punk jumping into the sack
with metal and leaving black boots on the bedroom floor rather
than white hightops. Xmas came early for fans of Anti-Cimex,
Celtic Frost, pre-shit Discharge, Motörhead, Blitz, Midnight,
Venom, Broken Bones and...one gets the picture.

This year marks 25 years since Oasis’ two iconic record breaking live concerts at Knebworth Park in Hertfordshire on the 10th and 11th August 1996. The shows were both the pinnacle of the band’s success and a landmark gathering for a generation of young people. Released alongside the cinema debut of the feature length documentary film of the event, ‘Oasis Knebworth 1996’ is the definitive live recording featuring a setlist packed with stone cold classics album taken from across both nights of the concert, from the opening salvoes of ‘Columbia’ and ‘Acquiesce’, to ‘Champagne Supernova’, ‘Don’t Look Back In Anger’, ‘Live Forever’, an orchestra backed ‘I Am The Walrus’, and ‘Wonderwall’ the first song from the 1990’s to reach over one billion streams on Spotify and universally loved anthem.

A true psychedelic masterpiece!
Black vinyl LP in black and white jacket with miniature two color booklet. Limited second pressing.
Blind Owl Wilson was a truly great guitarist and vocalist whose deep well of psychedelic blues songs were buried amongst the catalog of major label rockin’ blues band Canned Heat. Blind Owl served as Canned Heat’s guitarist and would chip in a song here and there as a front man. A couple of those songs became huge hits in the 60’s – “Going Up The Country” and “On The Road Again”.
Blind Owl’s songs for Canned Heat stood in stark contrast to the bands blustery blues rock – his was a gentle and nuanced voice and the themes of his song were all about personal heartbreak, grasp- ing for cosmic understanding, and ecological justice.
Here we have an LP of Blind Owl’s songs from Canned Heat’s records – left to sit alone and take you somewhere unexpected. Blind Owl’s personal vision quest can be heard throughout these songs. “Poor Moon’ tells the tale of Alan’s heartbreak as he watches the moon being misguidedly bombed by man, ‘My time ain’t long’ confronts death, “Parthenogen in 3 Blind Owls’ and ‘Parthenogen childs end’ take you to the psychedelic limits, and oh yes, we have the hit tunes on here too. Co-release with Sutro Park records.

New York United is an experimental group at the musical intersection of a classic New York avant-garde scene and forward-looking electronic production. Comprised of multi-instrumentalist and 577-cofounder Daniel Carter (Saxophone, Flute,Trumpet, Clarinet), electronic producer Tobias Wilner from Blue Foundation (Synthesizers, Percussion, Vocals, Piano, Guitar), Wu-Tang Clan bass playerDjibrilToure and 577’s Federico Ughi (Drums), their sound reflects their decades of collaboration. This second volume follows their celebrated debut, the eponymous New York United (2019), and matches its characteristically dreamlike effect, while maintaining a steady, rhythmic momentum. Like the first volume, this album was initially recorded in an improvised studio performance, and manipulated by Wilner in post-recording production, lending a uniquely ambient, electronic effect to otherwise spontaneous composition between musicians. Inescapably connected to its namesake city, the project is a testament to the transformative energy that sustains New York, dissolving individual boundaries into a collective sense of itself

* Jonny L is widely and rightly regarded as one of the most talented and influential artists working in the scene today. His style is hard to define as he rarely repeats an idea or theme in any track, and this can be easily felt in this eclectic but essential selection of previously unreleased work. Each track here was made in the early years of rave, and yet each maintains the standard high quality and accomplished sound you would expect from Jonny L. This is a rare opportunity to grab hold of some of his formative work, and as an EP, it is simply outstanding and unmissable..

This one is about the 14th district of Paris.
On the first side, you'll find a track by MLM which invites you to a minimal trip between the René Coty Street and the Montparnasse tower. The track name is a reference to a french poetic movement.
Next is L-e-o's track which takes you around the parisian "prison de la santé" in a very trippy way.

On the side B, you'll find Soufflé Caramel's track that brings you to the Alésia neighborhood and reminds us the early hours of Minimal music.
Then, the maestro Djebali pleases us with a reference to his now world-known Ideal Ghetto Touch.
Finally, the geniuses KERAW make you lose your head with this galactic jungle that will get you travelling around the famous Montsouris Park.
We hope you'll like it !

LMR003, 12", Paris 2021.
Master by SFX Mastering.

Clint Mansell's incredible synth score to Ben
Wheatley’s ‘In The Earth’.
 The score is pressed on 180g black vinyl and
housed in a deluxe spined sleeve with double
sided printed insert and digital download card.
 For the score, Mansell actually captured the sound
of singing plants via the PlantWave MIDI Sprout
machine, in keeping with the vegetal themes of the
film.
 “It’s big, ominous, sometimes beautiful and often
eerie - think Blade Runner or ‘Annihilation’ - not to
mention unsettling at times,” says Clint. “Paranoia,
isolation, anxiety, synths, plants... something for
everyone!”
 ‘In The Earth’ was made by Ben Wheatley during
lockdown and was one of the most talked about
films of Sundance Film Festival. As the world
searches for a cure to a devastating virus, a
scientist and a park scout venture deep into the
woods. As night falls, their journey becomes a
terrifying voyage through the heart of darkness as
the forest comes to life around them.
 Press - Features in Brooklyn Vegan, Empire, The
Guardian, The Quietus, Dead Central.

[a] Mycorrhiza [60-250 Hz]




[f] Mycorrhiza [250-500 Hz]


[i] Mycorrhiza [2-4 Hz]

The long awaited Jorun PMC album is finally here! Available on all formats – double vinyl, download from Jorun and Phill’s bandcamp pages plus limited CD and Cassette. Jorun Bombay and Phill Most Chill have impressive individual catalogues and together on AE Productions have a clutch of vinyl releases as Jorun PMC stemming from the debut ‘Magic Disco Machine’ EP with the associated 7” ‘The Champ’ from 2013. After a brief hiatus while working on other projects they returned with the ‘Check Out This’ 12” in September 2018 followed by the Stay Back (Keep Your Distance) b/w Sammy Davis 7” in February 2019. Due to some delays at the label the album was unfortunately delayed from it’s intended 2019 release but is now available including stunning sleeve artwork by the amazing Dan
Lish with design and layout by regular AE artwork supremo Mr Krum.

Black Truffle is thrilled to announce ViewFinder / Hide & Seek, a new release from acclaimed American experimental composer David Behrman, presenting recordings made in collaboration with Jon Gibson and Werner Durand between 1989 and 2020. Last heard from on Black Truffle as part of the collaborative art song/live electronics madness of She’s More Wild, these recordings find Behrman continuing the pioneering work in interactive electronics that have established him as one of the major living experimental composers.

Side A presents excerpts from two live realisations of Unforeseen Events (1989), the fourth in a series of pieces focussing on the interactions between instrumental performers and responsive software. Like the classic earlier works in the series, On the Other Ocean (1977), Interspecies Smalltalk (1984) and Leapday Night (1986), Unforeseen Events is an “unfinished composition” in which a computer system listens for and responds to specific pitch cues from an instrumentalist. Performed by the composer on electronics and Werner Durand on soprano saxophone in Berlin in 1989, the first realisation immediately ushers the listener into an environment of long soprano notes, lush, sustained synth harmonies, randomised percussive interjections and distantly burbling arpeggiated patterns.

The 1999 realisation recorded in New York with Jon Gibson on soprano shows how much room for the instrumentalist to affect the course of the music exists in Behrman’s interactive pieces, in which, as he notes, ‘performers have options rather than instructions’. Beginning in a roughly similar area to the version with Durand, this later recording eventually becomes substantially more active, as polyrhythmically layered arpeggios and percussive patterns respond to fast chromatic lines and dynamic phrases from the saxophone, moving Gibson in turn to respond with cycling figures and moments of extended technique that touch on the soprano languages pioneered by players like Steve Lacy and Evan Parker. Yet even at its most active, the lack of conventional forward movement in the music allows it to retain what Behrman’s friend Jacques Bekaert called its ‘fragile tranquillity’, as episodes of activity appear only as momentary disruptions of an underlying calm.

On the B side, we are treated to a new collaborative work from Behrman and Werner Durand, building on the 2002 installation work ViewFinder, in which a camera detecting physical motion triggered changes to electronic sound. The piece presented here is a long-distance studio construction, recorded by Behrman in the Hudson Valley and Durand in Berlin, offering up an expansive duet between Behrman’s lush, gliding synth tones and the alien, untempered tones of Durand’s invented and adapted wind instruments. Presented in a stunning gatefold sleeve with art from Terri Hanlon, archival photographs and new liner notes from Behrman and Durand,ViewFinder / Hide & Seek is an essential release showcasing the continuing vitality of a legendary figure in experimental music.

Long before John Brannon of Negative Approach cemented himself as a USHC icon, you
would hear rumblings about his pre-NA glam group, STATIC. Only a handful of people were
lucky/brave enough to see them live. Scenesters spoke of a tape but never seemed to have
one. Their most well-remembered song, Toothpaste and Pills, allegedly featured smashing
beer bottles against John’s mom’s basement wall as a percussion instrument. Could this be
real?

Fast forward to 2020 and a few months into the covid-19 lockdown, Brannon came across a
bunch of tapes he dug out of a box in his Mom’s closet - STATIC “DEMOS ‘78”, STATIC
“LIVE AT GROSSE POINTE SOUTH H.S.”, STATIC “LIVE AT PLEWA HALL”. Holy shit! The
legend is true! And best of all, STATIC rule!

John Brannon grew up in Grosse Pointe Park just a few blocks from the Detroit border. John
was always into music, but as soon as he heard T-Rex, The Stooges and Alice Cooper, he
was obsessed (and still is) and had to start a band to channel his obsessions. With the help
of neighborhood kid and collaborator Billy Daniels and a local drummer simply known as
“Red”, STATIC was born.

Before Negative Approach changed the face of punk and hardcore, before Laughing Hyenas
scared the world silly and blew everyone else off the stage and before Easy Action started
melting minds all over the world, there was STATIC. STATIC was real. STATIC was real as
shit.

Third Man Records is beyond ecstatic to be providing this long-missing piece of the
American Underground Music puzzle. We worked closely with John Brannon and Warren
Defever, one of Third Man Mastering’s resident wizards, to put together this essential
collection of demos and live recordings.

Independent leaders in the UK drum and bass scene, Hybrid Minds have paved their own way to success through operating from left of centre and keeping true to themselves at every step of the way. Their early tracks, ‘Meant To Be’ and ‘Touch’ firmly established them within the circuit, before they went onto amass 25 million streams for the latter, release a popular debut album and set up their own label, Hybrid Music. The huge support from tastemakers in the scene doesn’t stop there, with editorial playlist adds across Spotify and Apple Music, spins on George FM, BBC Radio 1,1Xtra, Kiss FM UK, Kiss Dance, Kiss Fresh, Studio Brussels, FM4, triple j and Capital Dance, UKF backing and a memorable DJ Mag HQ live stream, Bad To Me offered a glimpse of what’s to come from the Drum & Bass duo when they drop the full EP this October. What’s more, a recent release alongside Pendulum for Louder Than Words saw the Australian heavyweights go liquid for the fourth and final track listing on their own EP. Always staying true to their sound and style, Hybrid Minds previous success came from their early tracks, Meant To Be and Touch, before they went on to boast over 1 million monthly listeners on Spotify, remix tracks for Above & Beyond and Tom Walker, and collaborate with the DJ heavyweight, Netsky for the global smash release, Let Me Hold You. More recently, they secured a primetime show on Kiss FM, embarked on a sell-out New Zealand tour and sold out their October ‘Outline’ o2 Academy, Brixton show, six months out!

In 1971, Bulbous Creation poured what little personal surplus they had into a full day of recording at Cavern Studios, tracking enough material for a full length album. The band wouldn’t stay together long enough to save up for a custom pressing on Rock. Singer/guitarist Paul Parkinson was deeply individualistic, and left to perform his songs as he thought they should be, as a solo act. He preferred coffee shops to concert halls, and would stick to his craft another 20 years before hanging it up. Drummer Horstmann followed suit. Jim “Bugs” Wine and guitarist Alan Lewis soldiered on, shortening their name to the more sensible Creation and adding vocalist Wayne Austin, dynamic drummer Tommy Ward, and guitarist Roger Sewell. The Bulbous Creation LP was nearly doomed to oblivion, but for the efforts of Rich Haupt, who issued an unauthorized eight song LP in 1995 on his Rockadelic imprint. Lewis died in 1998 of esophageal cancer. When Paul Parkinson died of leukemia in 2001, a lone copy turned up amongst his possessions, with piece of mind that someone, somewhere, was listening.”

GLASVEGAS return with their triumphant fourth album ‘Godspeed’, – the music we all need right now. The latest single Shake The Cage (für Theo) sums up the dazzlingly eclectic sound of Godspeed perfectly – this is an electronic barrage with devastatingly powerful spoken word lyrics which call to mind I’m Gonna Get Stabbed from the band’s astonishing debut.

The single is perfectly positioned at the end credits of Alan McGee’ new movie ‘Creation Stories’, written by Irvine Welsh and executively produced by Danny Boyle. Hand picked as the only current track to grace the music mogul’s biopic, it is a kind of


dystopian, free-associative ‘Choose life’ sermon (’Stand on a wave / calculate quantum mechanics / Surf, dance / Believe in chance”) set to the escalating dread and claustrophobia of a John Carpenter murder-chase.

A month before the pandemic hit Norway – and the rest of the world for that sake – Darling west released their fourth album, «We’ll Never Know Unless We Try». They managed to get through two or three shows before everything was canceled, and the country went into lockdown. It may sound a bit counterintuitive to records a live album while in lockdown, but that is exactly what Darling West decided to do. When Norway partly opened during the fall of 2020, the band recorded their gigs at Parkteatret in Oslo and at Folken in Stavanger, and these recordings make out the songs on «Live 2020». Even though the gigs were played at venues with restricted capacity, it’s nice to see that they can reach bigger a bigger audience with this recording. «Live 2020» consists of songs from Darling West’s entire catalogue, and you can almost hear that they’ve been longing to play live on a stage. It had been six months since they’d been in front of an audience when these recordings were made, and the energy in the rooms were very special. This record is a document of this.

Following critically acclaimed releases with Dance Regular and Rhythm Section (releasing under SAUL with Jack Stephenson-Oliver), London-based producer/DJ Footshooter lands on Astral Black with his full-length debut, the 'Southside Hymns' LP.

'Southside Hymns' is a decadent tribute to the community, club nights and culture of London that Barney Whittaker (Footshooter) is intrinsically a part of. This ethos is embodied in the skippy, broken-beat of the MA.MOYO featuring 'Passing Clouds' (a tribute to the community-ran venue of the same name), whilst the piercing synth stabs and horn laden grooves of 'Juno Café' is a nod to the South East London club space it's named after.

Following the Albertina-featuring single 'Twilight', the EP transitions from a dusk drive through the city - taking in the sights and sounds of Whittaker's favourite foliage-flaunting haunts, to parking the listener firmly on the dance floor with the trunk rattling bass of 'Untether' and the Natty Wylah featuring 'Bloom'.

Through enlisting a guest cast including the likes of vocalists MA.MOYO, Natty Wylah & Albertina, guest instrumentalists and long-term collaborators Wilf Petherbridge, Isobel Risk, Ebyan Rezguli & James Mollison, as well as artwork by Illustrator & NTS resident Anu Ambasna - Footshooter has ensured that 'Southside Hymns' at once embodies the contemporary London music community that it is also a dedication to.

'Southside Hymns' drops October 1st on 12" vinyl & digital DL via Astral Black Records.

Founded in Amsterdam in 1967 by saxophonist Willem Breuker, pianist Misha Mengelberg, and percussionist Han Bennink, Instant Composers Pool (or ICP) was an independent free jazz label and orchestra that would go on to release over fifty albums featuring such pillars of the scene as Derek Bailey, Peter Brötzmann, Evan Parker, Jeanne Lee, John Tchicai, and Steve Lacy. Based around the concept that improvisation was, in fact, an act of instantaneous composition, ICP's legacy on improvised and free music is impossible to overstate.

A live performance from May of 1970 in Rotterdam, Groupcomposing features a North Sea-crossing ICP lineup of British free improv luminaries Derek Bailey on guitar, Evan Parker on saxophone, and Paul Rutherford on trombone, along with ICP mainstays Han Bennink, his brother Peter, Misha Mengelberg, and Peter Brötzmann. The first side, "Groupcomposing, Part 1" is a nearly all-out assault with the reeds trio and Rutherford's trombone blasting nigh-continuously for the album's first side, culminating in a blistering Peter Bennink bagpipes solo. "Part 2" acts at first as the comedown, beginning with a playful piano and percussion back-and-forth before meandering a dark, brooding, path of trill horns to the album's eventual, tense conclusion.

Recorded just a few years into the ICP's long tenure, it is hard to think of a release more representative of the label's musical principles – or, more broadly, of the power of free group improvisation – than the aptly-named Groupcomposing. This limited reissue marks the first time the album has been in print on vinyl in over forty years.

Barenaked Ladies return with their first new album in four years, ‘Detour de Force’. The 14-track effort is the result of both pre- and post-lockdown recording sessions. The band spent five weeks at vocalist/guitarists Ed Robertson’s cabin outside Toronto pre pandemic writing and recording in a makeshift studio. During pandemic lockdown, they decided they wanted to polish things up a bit. They returned to a Toronto studio when the lockdown lifted to rework the tracks resulting in ‘Detour de Force’. The Barenaked Ladies are Ed Robertson: Guitar, Vocals Jim Creeggan: Bass, Vocals Kevin Hearn: Keyboards, Guitar, Vocals Tyler Stewart: Drums, Vocals Over the course of their remarkable career, Barenaked Ladies have sold over 15 million albums, written multiple top 20 hits (including radio staples “One Week,” “Pinch Me,” “If I Had $1,000,000”), garnered 2 GRAMMY nominations, won 8 JUNO Awards, had Ben & Jerry’s name an ice cream after them (“If I Had 1,000,000 Flavours”), participated in the first-ever “space-to-earth musical collaboration” with astronaut Chris Hadfield, and garnered an international fan base whose members number in the millions. In 2018, the band were inducted into the Canadian Music Hall of Fame and Toronto Mayor John Tory declared October 1st “Barenaked Ladies Day.”

Founded in Amsterdam in 1967 by saxophonist Willem Breuker, pianist Misha Mengelberg, and percussionist Han Bennink, Instant Composers Pool (or ICP) was an independent free jazz label and orchestra that would go on to release over fifty albums featuring such pillars of the scene as Derek Bailey, Peter Brötzmann, Evan Parker, Jeanne Lee, John Tchicai, and Steve Lacy. Based around the concept that improvisation was, in fact, an act of instantaneous composition, ICP's legacy on improvised and free music is impossible to overstate.

The ICP Tentet's Tetterettet is made up of recordings from 14-17 of September, 1977, cut and spliced together by pianist/composer Misha Mengelberg in a style similar to Teo Macero's work with Miles Davis. The first side is taken up entirely by Mengelberg's multi-part title track that breaks in and out of different tempos, with a loose arrangement style owing more than a bit to Charles Mingus' finest work on Black Saint or Ah Um.

Traversing across decades and styles from free-jazz funereal marches, to carnivalesque excursions, broken piano rolls, and ear-splitting skronk, ICP Tentet show remarkable skill and chops in both their compositional craft and improvisational symbiosis. There's a playful undercurrent here that finds its home in some previously uncharted land between Mingus and Spike Jones.

Featuring numerous ICP regulars along with the brilliant Alan Silva on bass, and a return to the fold of the amazing saxophonist John Tchicai, Tetterettet is one of the best of ICP's larger group recordings; humorous, unnerving, and ultimately, quite beautiful. This limited-edition reissue marks the first time this album has been in print on vinyl since its initial release.

Founded in Amsterdam in 1967 by saxophonist Willem Breuker, pianist Misha Mengelberg, and percussionist Han Bennink, Instant Composers Pool (or ICP) was an independent free jazz label and orchestra that would go on to release over fifty albums featuring such pillars of the scene as Derek Bailey, Peter Brötzmann, Evan Parker, Jeanne Lee, John Tchicai, and Steve Lacy. Based around the concept that improvisation was, in fact, an act of instantaneous composition, ICP's legacy on improvised and free music is impossible to overstate.

Yi Yole – recorded in 1978 – was the first time the legendary South African saxophonist Dudu Pukwana had worked with the ICP. An innovator in the genre of Cape Jazz with the Blue Notes – which also featured Chris McGregor, Louis Moholo, and Johnny Dyani – who fled the apartheid regime for London in 1964, Pukwana's style is the perfect complement to ICP co-founders Han Bennink and Misha Mengelberg, who round out the trio here.

Relaxed and somewhat understated for the ICP catalog, Yi Yole is the one and only time these leaders in European free improvisation would record together in a trio setting. This limited reissue marks the first time the album has been in print on vinyl since its initial release.

Featuring Anthony Green of Circa Survive, Adam Lazzara and John Nolan of Taking Back Sunday and additional percussion from Benjamin Homola of Grouplove, Fuckin Whatever is a fluid project born of longtime friendships and late nights on the road, but what it could grow to become is entirely unwritten. It all started on the 2016 Taste Of Chaos tour. After Green wrapped his opening set with Saosin each night, itching to play more music, he started setting up impromptu acoustic gigs in the parking lots after his set. One night, his restless energy led to an impromptu backstage jam session with Lazzara, Nolan, Homola, and others––except there were no instruments involved. Using just their voices and a stomp or two in lieu of percussion... before they even realized it, Fuckin Whatever was born. They decided to start recording these nightly jam sessions on their phones, and by the end of the tour, there were literally dozens of recordings. There are some as long as 17-minutes, some recorded in bathrooms, and even one in the legendary tunnel between the stage and sound booth at Red Rocks Amphitheatre in Colorado. What they share in common is the camaraderie of the many talented voices (and sounds) involved. Fast forward to 2020––ugh. With a creative need to continue making and releasing music, Anthony approached the group about releasing some of those recordings. Feeling a similar restlessness, Nolan suggested they try making and recording something for real instead. "I'm Waiting On You" is what came next, and it's truly the spark that led to the rest of this EP coming together. There are zero instruments on Fuckin Whatever's self-titled debut. "It's pretty much 80% mouth noises and 20% Ben slapping things around the house," Lazzara explains. Those voices, however, are among some of the most recognizable in modern rock music, yet here they take on a new life. Call it a band, or a supergroup... it's Fuckin Whatever.

In 1988, on a break from his band the Rolling Stones, Keith Richards released his first ever solo album, Talk Is Cheap. This universally respected debut is an eleven track masterclass in everything that's good about rock 'n roll and features guest appearances from an all-star cast including Sarah Dash, Bootsy Collins, Maceo Parker, the Memphis Horns, Patti Sciafia and Mick Taylor.

Remastered from the original tapes by Richards' collaborator, Steve Jordan, the album's joyous swagger is re-energised and permeates through each and every song.

Talk Is Cheap sounds as good today as it did thirty years ago; in Keith's words: 'As fresh as the day it was made.

Listening to the story of Canadian duo cleopatrick is a bit like hearing the plot of the best, most righteously validating coming-of-age film never made. Two friends meet aged four in Hicksville, Nowheretown (real name: Cobourg, Ontario, population 19,000), grow up completely inseparable, form a band and, against numerous obstacles, blossom into a genuine, global underground sensation. There are heroes and villains, highs and lows and, crucially, some of the most poetic plot twists that could seem almost too perfect, were they not completely true. Take the story of 2017 breakthrough track ‘hometown’ for example. “It’s one of the craziest, most ironic things that’s ever happened,” begins vocalist and guitarist Luke Gruntz. “I was going to college because I was too scared to put all my chips in the band pile, and that’s what ‘hometown’ is about: it’s a song about feeling like we’re doing all this stuff and we’re working so hard and we’re just never going to be heard. It’s literally a song about people probably never hearing our songs. And then by some act of the universe, that song ended up unlocking all the doors for us.” Today, cleopatrick has logged 77 million streams and counting - all from an increasingly dedicated fanbase who’ve found the duo, completed by drummer Ian Fraser, their own way: no major label, no big budget, just two best pals knuckling down, cementing a unique sonic alchemy and filling a space of honest, empathetic yet undeniably heavy-hitting rock music that they’d been searching for themselves for years. Between multiple sold out tours in Canada, the US and the UK/EU and appearances at Lollapalooza, Austin City Limits and Reading/Leeds, the pair have been crafting BUMMER: a debut album that sees cleopatrick harness all the magic they’ve been brewing over their two-decade friendship and funnel it into a record that aims to reinvigorate the rock landscape from the ground up. Taking the ethos of their New Rock Mafia collective - a group of friends and fellow bands, united in making a more inclusive, equality-driven space in rock music - and imbuing it with the sonic ambition and ferocity of a record designed to be played hard and loud, it’s an album about two friends, who’ve been with each other since the formative first steps that adorn ‘BUMMER’’s heartwarming cover image and made something that’s a testament to the power of sticking to your guns.

If you went down the wrong alleyway, took a shortcut through the park or crossed the wrong open space after dark in the UK in the 1970s, you stood a fair chance of being accosted by someone with a big mouth, low morals and some gurning mates to impress, usually reeking of fags and cheap booze and always ready to put the boot in. And, before you could say, “sickening violence”, a short but chaotic scuffle would ensue and a winner eventually emerge, battle scarred and bruised. The boot boy was the worst kind of hooligan. There wasn’t anything you could do or say to appease him. You had the same chance as a fly caught up in a spider’s web. Zero. Your best bet was to run. His intent was always to give you, and vicariously the rest of the world, a good kicking. Thugs, long-haired louts, short-haired louts; the anti-hippy. Birds, booze, bovver and football on their criminal minds. So fasten your braces for a white knuckle-duster ride. 14 bovver rock bruisers for all of you peace-loving losers. Somebody’s going to get their head kicked in tonight... Put the boot in.

LTD Edition inklusive Bonus 7inch!

Park Hye Jin hat gestern ihr mit Spannung erwartetes Debütalbum, „Before I Die“, angekündigt, das am 10. September 2021 bei Ninja Tune erscheint. Das Album - komplett von der in Südkorea geborenen und nun in L.A. lebenden Produzentin, Rapperin, Sängerin und DJ geschrieben, produziert und performt - folgt auf die Veröffentlichung ihrer sehr erfolgreichen EP, „How Can I“ vom letzten Jahr, sowie auf eine Reihe von Kollaborationen mit Künstler*innen wie Clams Casino & Take A Daytrip („Y DON'T U“), Blood Orange („CALL ME“ Freestyle) und Nosaj Thing („CLOUDS“), sowie auf den Remix von Galcher Lustwerk für „Can You“.

Seit gestern Abend ist die Leadsingle und der Album-Opener, „Let’s Sing Let's Dance“ zu hören, ein wehmütiger Dance-Track, der Hye Jins mantraartigen Gesang über Klavierakkorde und wummernden Bässen platziert. Auf den anderen Tracks des Albums demonstriert sie eine deutlich erweiterte Klangpalette, in die sie eine Reihe von Einflüssen aus den Bereichen Elektronik, Hiphop und Downtempo einfließen lässt, um die bisher vollständigste Vision ihres Sounds zu präsentieren.

„Before I Die“ wird am 10. September 2021 auf Ninja Tune veröffentlicht, anschließend geht Hye Jin später in diesem Jahr auf Tour in Nordamerika, darunter eine Co-Headline-Show mit Shlohmo in New York, sowie Shows in Toronto, San Francisco, Miami und New Orleans.

Ihr Debütalbum folgt auf ein paar unglaubliche Jahre für die junge Künstlerin, in dem sie ihre gefeierte „How Can I“ EP auf Ninja Tune veröffentlichte. Eine Platte, die von Rolling Stone, Pitchfork („25 Most Anticipated Albums of the Summer“), FADER, i-D, Resident Advisor und vielen anderen hoch gelobt wurde und in zahlreichen „Best Of“-Listen 2020 von Billboard, The Guardian und anderen vertreten war. Auch in Deutschland fand die EP sensationellen Anklang, mit lobenden Artikeln und Beiträgen in u.a. Süddeutscher Zeitung, Rolling Stone Deutschland, im Missy Magazin, im Deutschlandfunk Kultur, im BR2, bei Radio Fritz oder im Musikexpress, die sie ebenfalls in ihre Liste der hoffnungsvollsten Newcomer*innen für 2021 aufnahmen.

Hye Jin wurde auch in die NME 100-Liste der „Essential emerging artists for 2021“ und in die „Generation V“-Serie des V Mag aufgenommen. Auch die britische GQ und Stereogum bezeichnen sie als „one to watch“. Die Lead-Single der EP, „Like This“, wurde auch im Soundtrack von FIFA 2021 verwendet und erhielt große Unterstützung von BBC Radio 1 und 6 Music, war #1 der „Top Electronic“ in den NACC-Charts (North American College and Community Radio) und in den „Top 200“ insgesamt, mit weiterer Unterstützung von KEXP, KCRW, SiriusXMU und mehr.

Dedicated to the sounds of Black & Brown musicians. Reviving and releasing unissued cuts from back in the day. Each release in direct collaboration with the creators & producers to retain a legacy for these almost forgotten tracks

Releasing in September 2021, PNFG & LNFG are proud to bring you the
remastered “I’ve Seen Everything” from Scotland’s legendary band -
Trashcan Sinatras.
The album will be released in a number of vinyl formats, a deluxe CD (with 6
bonus B side tracks) will also be available.
On its release, Tim Harrison of the Ealing Leader described I’ve Seen Everything
as a “melodic, velvety concoction” with “a lot of subject matter” and “strong
echoes of The Housemartins”.
He concluded: “I’ve Seen Everything is an economic, restrained and sensitive
collection well worth listening to.”
The Irish Independent wrote: “Their debut was a fine beginning, but on its
successor they’ve hardened their approach and broadened the scope of their
songwriting. Whereas before they tended to sit back and admire their pretty
chord structures, they’re now audibly relishing the opportunity to get stuck in
to the material.
Brent Ainsworth of the Santa Cruz Sentinel felt the album was “abundant [with]
luscious, flowing pop”, with the “softer songs” being best.
David Mark of the Asbury Park Press commented: “Following up Cake would
be difficult, but I’ve Seen Everything is an equally interesting effort from a very
good group.
While Cake was a bouncy album, I’ve Seen Everything is a notch more somber.
The work, always interesting musically and lyrically, is something of a cross between The Beatles’ Rubber Soul and XTC’s Skylarking.

Ali Shaheed Muhammad and Adrian Younge are best known for their collaborations with vocalists and MCs, but these two multi-instrumentalists and producers excel in their ability to conjure musical moods with or without vocal accompaniment. Similarly, the musical legends that these two handpicked to collaborate with across this series are all jazz legends equally at home crafting unadorned compositions as they are collaborating with vocalists. This collection presents exclusive instrumental versions of songs originally released on the Jazz Is Dead albums; Roy Ayers JID002, Marcos Valle JID003, Gary Bartz JID006, and Joao Donato JID007. More than the previous eight Jazz Is Dead releases Instrumentals JID009 delivers on Adrian and Ali's original promise of showcasing the music made with their heroes, laying bare the inspired compositions created when different generations of musicians come together to collaborate in the studio. For nearly all of these songs, Adrian and Ali began with sketches and elements of songs that they developed alongside the featured musicians live in Adrian Younge's Linear Labs studio located in the Highland Park neighborhood of Los Angeles.

The Madness, originally released in May 1988, is the only album recorded by Suggs, Chas Smash, Chrissy Boy and Lee Thompson of Madness. Calling themselves “The Madness”, the group explored a new direction without Mike Barson, Woody and Mark Bedford. The result was an album bathed in all the new technology the late 1980s had to offer, and features some of this incarnation of Madness’ most experimental work.

Lead vocals were shared between Suggs and Chas Smash, while all members of the group contributed music and lyrics. The album also features a host of other musicians including Steve Nieve (Elvis Costello & The Attractions) on keyboards and The Specials’ Jerry Dammers on piano.

Although short-lived, this version of Madness marked a significant detour from the original band’s trajectory and preceded one of the most extraordinary music comebacks ever witnessed, when the whole band reformed in 1992 for two sold-out “Madstock” shows in London’s Finsbury Park. The fans’ excitement led to a legendary mini-earthquake, and ‘Madstock’ would prove that no members of Madness ever truly leave the band.

This LP reissue is pressed on 180g black vinyl and features brand new liner notes by Chrissy Boy, Chas Smash and Lee Thompson.

Highly anticipated debut from 2020 breakthrough artist, London-based musician and poet Arlo Parks.
“My album is a series of vignettes and intimate portraits surrounding my adolescence and the people that shaped it. It is rooted in storytelling and nostalgia
- I want it to feel both universal and hyper specific.” - Arlo Parks
This album news continues an outstanding year for Arlo, who was included on the BBC Sound Of 2020 poll and Radio 1 Brit List, as well as the Dazed 100 list,
and was named as an ambassador for mental health charity CALM.
Winner of the BBC Music Introducing Artist Of The Year 2020.
Includes the Radio 1 A-listed singles ‘Black Dog’ and ‘Hurt’.
First LP pressing is on 180g deep red vinyl with foldout poster and digital download code

During the production of two singles (This being the first) unfortunately William Stuckey passed away, below are some words from my partner in the project Brian Sears regarding our work with him pm his LP.

Brian Sears - I'm not one that likes to write but I wanted to say a few things about William Stuckey. William Stuckey passed away last in August 2021 at age 73, and is an artist that I've been working with since last summer. He was a key fixture in the Little Rock music scene and most notably was one of the driving forces behind the legendary True Soul label. Lee Anthony, the owner of True Soul Records, once told me that William Stuckey was the most talented musician he had ever worked with, and if you know anything about that label or Lee Anthony, that's quite a compliment.


When I reached out to William last summer about re-releasing his material, he ignored my calls and messages. Fortunately, I was able to reach his son, Erreyon who was kind enough to listen to me. I've worked a lot of terrible sales gigs in my past and "getting to the point" is sometimes a hard thing to achieve, especially when you're trying to talk about the music business and music that's 50 years old. But the point was simple, his music matters and deserved to be preserved. This resonated with William and Erreyon and they gave Euan Fryer and myself a chance.There was a memorable handoff of the master tapes in a parking lot and from that point forward I knew William Stuckey trusted me. Trust is something he had to do a lot in his life due to the fact that he was visually impaired and I'm thankful he trusted us. As I wrote before, there was a long process of transferring the tapes, but it was successful, and the album has never sounded so good. William had incredible hearing and was able to pick out details most might not detect. He was gifted and that shined through his own playing and voice through copious recordings. Speaking with him after he finally heard the newly remastered album, the way he had intended for it to sound, is something I'll never forget. Moments like that are really the reason why I feel so compelled to work with older musicians that didn't get a fair shake the first time.

Meeting William Stuckey face to face earlier this summer was one of the highlights of my year. We laughed and hung out at his place where he had lived for the past 50 years. I told him his music was internationally known and the re-release was well received. He was humble and felt like a long lost friend that I hadn't seen in a long time. I'll never forget that. I told him I wanted to take some photos, and I'm so glad I did.We had a good time and it was a beautiful summer night and as I left his place his neighbours noticed me walking to my car and wanted to chat, so we talked briefly and it ultimately lead to one of them getting into their car and cranking "The First Time" on the stereo system in their driveway. I wasn't sure if Stuckey could hear it from his house, but part of me knew he probably could and hearing his song echo in the background as I drove off and thinking about Stuckey and the time we shared and his music being appreciated by so many, even in that moment, is a wonderful memory. I'd like to think he was smiling.His music and legacy will live on forever.
Rest in peace to a great one.

Cult jazz soundtrack to supernatural Soho
strangler epic ‘Der Wurger Vom Tower’ by Swiss
electronic pioneer Bruno Spoerri that has been
locked away since 1966.
 Translated as ‘The Strangler In The Tower’, this
lesser-known thriller possibly stretched the
imaginations of cinematic crime buffs beyond the
genre’s parameters before disappearing into
obscurity.
 Liberated from Bruno Spoerri’s meticulous master
tape vault this, his first-ever feature-length
soundtrack commission, can finally take its place
alongside other recently resuscitated oblique jazz
scores by the likes of Basil Kirchin, Krzysztof
Komeda (Cul-De-Sac), Roger Webb and Jonny
Scott.
 The real sacred jewel in Bruno Spoerri’s crown as
the leader and pioneer of Switzerland’s electronic
underground (not to mention sample source
amongst rap royalty) and a mysterious monarchial
figure in European jazz and music technology

If it wasn't for the global lockdown, we might never have had the chance to hear one of this year's most intriguing and inventive albums. Lonely Guest was conceived and put together over the last 18 months by one of British music's true innovators: Tricky. Bu tas he's keen to make clear: this ain't noTricky album. Rather it's a thrilling meeting of musical mavericks, with the likes Idles' JoeTalbot pitting his unique approaches to songwriting against Tricky's otherworldly production. From an unsettling tale of isolation courtesy of Maxïmo Park's Paul Smith ('Christmas Trees') to the grunge stylings of Marta's 'Move Me', via the tense storytelling of London rapper Kway's 'On A Move', these diverse statements come together as a bold artistic statement of their own. The late artistic visionary and legend Lee "Scratch" Perry features vocals on 'Atmosphere' with Tricky and Marta. It is with great sadness that Tricky and the False Idols team acknowledge and honour Lee "Scratch"Perry's passing.

Blue Vinyl

Park Hye Jin hat gestern ihr mit Spannung erwartetes Debütalbum, „Before I Die“, angekündigt, das am 10. September 2021 bei Ninja Tune erscheint. Das Album - komplett von der in Südkorea geborenen und nun in L.A. lebenden Produzentin, Rapperin, Sängerin und DJ geschrieben, produziert und performt - folgt auf die Veröffentlichung ihrer sehr erfolgreichen EP, „How Can I“ vom letzten Jahr, sowie auf eine Reihe von Kollaborationen mit Künstler*innen wie Clams Casino & Take A Daytrip („Y DON'T U“), Blood Orange („CALL ME“ Freestyle) und Nosaj Thing („CLOUDS“), sowie auf den Remix von Galcher Lustwerk für „Can You“.

Seit gestern Abend ist die Leadsingle und der Album-Opener, „Let’s Sing Let's Dance“ zu hören, ein wehmütiger Dance-Track, der Hye Jins mantraartigen Gesang über Klavierakkorde und wummernden Bässen platziert. Auf den anderen Tracks des Albums demonstriert sie eine deutlich erweiterte Klangpalette, in die sie eine Reihe von Einflüssen aus den Bereichen Elektronik, Hiphop und Downtempo einfließen lässt, um die bisher vollständigste Vision ihres Sounds zu präsentieren.

„Before I Die“ wird am 10. September 2021 auf Ninja Tune veröffentlicht, anschließend geht Hye Jin später in diesem Jahr auf Tour in Nordamerika, darunter eine Co-Headline-Show mit Shlohmo in New York, sowie Shows in Toronto, San Francisco, Miami und New Orleans.

Ihr Debütalbum folgt auf ein paar unglaubliche Jahre für die junge Künstlerin, in dem sie ihre gefeierte „How Can I“ EP auf Ninja Tune veröffentlichte. Eine Platte, die von Rolling Stone, Pitchfork („25 Most Anticipated Albums of the Summer“), FADER, i-D, Resident Advisor und vielen anderen hoch gelobt wurde und in zahlreichen „Best Of“-Listen 2020 von Billboard, The Guardian und anderen vertreten war. Auch in Deutschland fand die EP sensationellen Anklang, mit lobenden Artikeln und Beiträgen in u.a. Süddeutscher Zeitung, Rolling Stone Deutschland, im Missy Magazin, im Deutschlandfunk Kultur, im BR2, bei Radio Fritz oder im Musikexpress, die sie ebenfalls in ihre Liste der hoffnungsvollsten Newcomer*innen für 2021 aufnahmen.

Hye Jin wurde auch in die NME 100-Liste der „Essential emerging artists for 2021“ und in die „Generation V“-Serie des V Mag aufgenommen. Auch die britische GQ und Stereogum bezeichnen sie als „one to watch“. Die Lead-Single der EP, „Like This“, wurde auch im Soundtrack von FIFA 2021 verwendet und erhielt große Unterstützung von BBC Radio 1 und 6 Music, war #1 der „Top Electronic“ in den NACC-Charts (North American College and Community Radio) und in den „Top 200“ insgesamt, mit weiterer Unterstützung von KEXP, KCRW, SiriusXMU und mehr.

Diana Ross sings “Thank You” to the world. “This collection of songs is my gift to you with appreciation and love. I am eternally grateful that I had the opportunity to record this glorious music at this time,” said Ms. Ross. Her new album, “Thank You” is scheduled for release this fall through Decca Records / Universal Music Group. The title track and first single,” Thank You,” will be available for streaming and download on June 17.

Recorded in her home studio, “Thank You" offers a powerful, inclusive musical message of love and togetherness. With its songs of happiness, appreciation and joy, it wholeheartedly acknowledges that we are in this all together. Her family, friends and loyal and loving audiences all around the globe have been an integral part of her wonderful life’s story. In this special moment, it is time to step into the light.

Ms. Ross co-wrote and collaborated on the 13 songs along with award-winning songwriters and producers including: Jack Antonoff, Troy Miller, Triangle Park, Spike Stent, Prince Charlez, Amy Wadge, Neff-U, Freddie Wexler, Jimmy Napes, Tayla Parx, Fred White, and Nathanial Ledgewick.

Let us come together in harmony and gratitude with Diana Ross now and for the future. “I dedicate this songbook of love to all of you, the listeners. As you hear my voice you hear my heart. "Let Love Lead the Way”