quête:praise

"Magdalena Bay, the Los Angeles-based duo of Mica Tenenbaum and Matthew Lewin, create magical pop music that floats in the ether of our collective social cosmos. While they call California home, their essence lies in the clouds, emitting unique yet familiar frequencies of synthesized nostalgia, kitschy catchiness, and warped neo-hooks. Suited for the times, Magdalena Bay blends the known and felt with innovative sonic landscapes.

Tenenbaum and Lewin met as teenagers in a Miami high school music program. Tenenbaum, who moved from Buenos Aires to Florida at age one, and Lewin, a guitar shredder influenced by his dad’s prog and concept rock records, quickly recognized their kindred spirits. They formed a prog band called Tabula Rasa and began a romance. Both were skilled musicians; Tenenbaum a pianist and singer, and Lewin self-taught in production and music theory. Despite attending different colleges, they maintained their band, traveling hours to rehearse before realizing two things: their relationship was undeniable, and prog rock wasn’t resonating with young audiences.

Shifting their focus to pop, they explored its craft, leading to the creation of Magdalena Bay. They learned the complexities of pop writing and production, striving to create something interesting within the genre. Describing their music broadly as ""pop,"" they released several EPs and singles before debuting their album, ""Mercurial World,"" in 2021. Praised for its melodic hooks and meticulous production, it was often labeled as ""synth-pop.""

Their success is reflected in streaming numbers, social media followers, and festival appearances. Magdalena Bay's stylized online aesthetic complements their music, creating a cohesive artistic vision. Tenenbaum says, “We love extending the world of our music past sound into videos or graphics.” Lewin adds, “We’re trying to create an atmosphere or an emotional quality with it.” This integrated approach, termed ""world-building,"" is central to their artistry."

This new and heavyweight 12" from Robot84 is a fresh fusion of Italo and house vibes that are defined by lively percussion, lush pianos, 808 drum fills, and an irresistible vocal hook. The original of this has already garnered attention with high praise from Manchester legend Justin Robertson who dropped it at a Hacienda 51 gig for its 30th anniversary. Sean Johnston, Heidi Lawden, Laurent Garnier and more have all also been playing it out recently which tells you all you need to know, really. Flip it over for a dubbed-out headwrecker that is just as good.

American trumpeter Chet Baker was a major innovator in cool jazz, leading him to be nicknamed “the prince of cool”. He earned much attention and praise through the Fifties, partic- ularly for albums featuring his vocals. This included his 1954 album Chet Baker Sings and its follow-up Chet Baker Sings Again in 1985. The latter he released on the Dutch jazz label Timeless Records. He recorded the album with bassist Ricardo Del Fra, drummer John Engels and pianist Michel Graillier.

Back in 1993... Early acid Techno from the U.S. … Golden age of the Electronic Music... When Trance, techno and Breakbeat were one and only scene called Rave ! 25 years later, here comes a reisuue of these praised records, remastered by Isotop, cut by Simon The Exchange... The second vinyl brings 3 remixes : one from Biri & The Geezer for a bloody Hackney Acid style ! Another oldschool acid story for a familly meltdown... Then comes a Magy remake more than a remix, re-playing all instruments and all melodies entirely... Sampless tune ! For the last track we have this Big-Beat/Breakbeat version from Monstafunkaz... The remix EP coming with the album is the result from a little challenge remix done on social medias last year... Visual is from Artcoton.

American trumpeter Chet Baker was a major innovator in cool jazz, leading him to be nicknamed “the prince of cool”. He earned much attention and praise through the Fifties, particularly for albums featuring his vocals. This included his 1954 album Chet Baker Sings and its follow-up Chet Baker Sings Again in 1985. The latter he released on the Dutch jazz label Timeless Records. He recorded the album with bassist Ricardo Del Fra, drummer John Engels and pianist Michel Graillier. Chet Baker's Sings Again is available as a limited edition of 500 copies on yellow coloured vinyl.

Meghan Parnell (vocals) and Dave Barnes (guitar) are the founding
members of Bywater Call, a powerhouse seven-piece Southern soul,
roots rock band from Toronto, Canada
The band is completed by Bruce McCarthy on drums, Mike Meusel on Bass,
newest member, John Kervin on Keys, Stephen Dyte on Trumpet and Julian Nalli
on Tenor Sax. Bywater Call has received multiple Independent Blues and
Maple Blues Award nominations including Entertainer, Electric Act and Best
Female Vocalist for the 2024 Awards Season. They have toured extensively in
Europe where shows have been praised by Dutch, German and UK media, with
references to Meghan as one of the best female voices in blues and roots today.
In August 2023, the band participated in Joe Bonamassa's thirdKeeping the Blues
Alive at Sea Mediterranean Cruise alongside headliners Blackberry Smoke and
Christone "Kingfish" Ingram, and were invited to perform at the All-Star Jam on
the mainstage with Bonamassa himself. Guitarist Dave Barnes was also asked to
join legendary blues artist Jimmy Vivino (Conan O'Brien's Basic Cable Band) on
stage. On October 24, 2023, Bywater performed a live stream performance for the
famed German TV show and festival Rockpalast. The band's music is an
exploration of life's highs and lows. From intimate ballads that lay bare the
complexities of human emotion to electrifying anthems that demand to be played
at full volume, their catalogue is a journey through the human experience,
incorporating influences from the likes of The Band, The Wood Brothers, Tedeschi
Trucks Band, Otis Redding, Little Feat, Sly and the Family Stone, among others.
Video Link:

First Word Records is proud to bring you 'Resonance'; a full-length album from Essa & Pitch 92. A lyricist, lawyer and a Londoner, Essa initially released music under the name Yungun in the early noughties, in the midst of UK hip hop's own "golden era". He earned praise from artists such as Nas and Mark Ronson, and performed and recorded with such luminaries as De La Soul, Wu-Tang Clan, Guru, Slum Village and Pharoahe Monch. His classic debut album 'The Essance' originally dropped whilst he was at law school, 20 years ago (which was recently given a full re-issue on First Word). This was followed with a collaborative album with DJ Mr Thing ('Grown Man Business'), then some years later with 'The Misadventures of a Middle Man' in 2014. Essa also released a track on Juneteenth 2020 entitled 'Justice', as a powerful reaction to George Floyd and the BLM movement. It saw support from the likes of Gilles Peterson, and raised money for an assortment of access-to-justice organisations. ...

Dust & Disquiet is the band’s fourth full-length album and the follow up to 2012’s stellar Waking Season. Recorded at Q Division Studios in Somerville, Massachusetts, Caspian once again tapped Matt Bayles (Isis, Cursive, Screaming Females, The Sword) to produce and mix. On Dust & Disquiet, Caspian again refuses to be confined by genre. Listeners will find those familiar intricately textured soundscapes that the band has become known for. Caspian released, Waking Season, in 2012 to critical acclaim, with Spin proclaiming it as the “Best Post Rock Album of 2012.” The band followed with the release of Hymn For the Greatest Generation in the fall of 2013, an EP that was to serve as Caspian’s epilogue to Waking Season. Hymn for the Greatest Generation was also well received, finding praise everywhere from Pitchfork to Nylon to Alternative Press.

Wiederveröffentlichung des Albums von 1998, mit dem für dälek alles begann, diesmal mit sechs Bonustracks. Enthält ein 12-seitiges Booklet mit Liner Notes von John Morrison und neuen Grafiken von Mikel Elam & Paul Romano.

Als Däleks Debüt 'Negro Necro Nekros' im Herbst 1998 erschien, befanden sich die ästhetischen und kommerziellen Konventionen des Hip-Hop im Umbruch. Während der Mainstream-Rap den Prozess der vollständigen Integration in die Mainstream-Popkultur mehr oder weniger abgeschlossen hatte, war im Underground-Hip-Hop eine aggressive Gegenbewegung entstanden.

Die Experimental-Hip-Hop-Pioniere Dälek haben Jahrzehnte damit verbracht, sich eine einzigartige Nische zu schaffen, in der sie Hardcore-Hip-Hop und Noise mit einer klanglichen Radikalität verschmelzen. Von Anfang an traten Dälek in die Fußstapfen ihrer Vorgänger Public Enemy und schöpften aus so unterschiedlichen Einflüssen wie My Bloody Valentine und den deutschen Experimentalisten Faust. Dälek ist es gelungen, der Rap-Musik völlig neue strukturelle Dimensionen zu verleihen. Seit 1998 haben sie sieben Studioalben und unzählige EPs, Singles und Kollaborationen veröffentlicht.

Transparent yellow with black and red splatter, limited to 700 copies. SUMMONING THE LICH return this summer with the latest installment in their fantasy universe of technical death metal. The St. Louis, Missouri band's forthcoming second album, Under the Reviled Throne, is set for release via Prosthetic Records on July 26. Following the events of their established world of Arrias on their debut album, United In Chaos, Under the Reviled Throne sees the next chapter of the Lich come to life through tales of isolationist kingdoms, malevolent mages, witch queens and cannibalistic armies hellbent on destruction. After three years of extensive US touring and shows with the likes of Allageon, Gorod and Inferi among others, as well as headline stints, SUMMONING THE LICH set about bringing Under the Reviled Throne to life. Intended as a death metal equivalent of sorts to The Empire Strikes Back in scope, the group set their sights on raising the stakes in both story and songwriting. Recorded throughout 2023 at Sicktones Studio with Jack Daniels, SUMMONING THE LICH took the considered approach of eschewing superfluous technicality in favor of a leaner and more streamlined focus on song structure. Each of the tracks on Under the Reviled Throne were written with the purpose of guiding the listener through the eponymous Lich's descent into misanthropy and tyranny, without sacrificing their idiosyncratic sound.

LOS ANGELES—To celebrate the 40th anniversary of the celebrated Talking Heads and Jonathan Demme’s concert film Stop Making Sense, the set will be re-released as a 2LP and 2CD/Blu-ray set this summer.

Released last year, the sold-out Deluxe Edition of the soundtrack will return as a 2-LP black vinyl on Rhino and 2-LP crystal clear vinyl at retail. Both variants feature a 12-page booklet with liner notes from all four band members –Tina Weymouth, David Byrne, Chris Frantz, and Jerry Harrison—and band photos. The 2CD/Blu-ray version includes the entire 28-page booklet from last year’s Deluxe Edition and a Dolby Atmos mix of the complete concert, mixed by Jerry Harrison and E.T. Thorngren, who also mixed the original release. Both will be available on July 26. Pre-order now.

The band appeared together for a sold-out screening and Q&A last night at the Pantages Theater, the same theater at which Stop Making Sense was recorded. They were joined by Blondshell, who performed “Thank You For Sending Me an Angel.” Another special screening with the band will occur in Brooklyn at the King’s Theater on June 13, with the Q&A hosted by Questlove and The Linda Linda’s performing “Found a Job.” The two events cap off a banner year of celebrations for what many consider to be the best concert film of all time.

The inspiration for Stop Making Sense came when director Jonathan Demme saw Talking Heads perform during the band’s 1983 tour for Speaking in Tongues. Afterward, he approached them with the idea of making the show into a concert film. They agreed and worked together over the next few months to finalize the details. Ultimately, Demme filmed three shows at Hollywood’s Pantages Theater in December 1983 to create Stop Making Sense.

The concert film presents a retrospective of the band up to that point, with a performance that weaves together songs from all six of its studio albums. The show progresses methodically, opening with Byrne onstage performing “Psycho Killer” alone with a drum machine. After each song, he’s joined by a new band member until Weymouth, Frantz, and Harrison are all on stage with him. The group continues to grow throughout the concert as members of the stellar touring band are added: keyboardist Bernie Worrell, percussionist Steve Scales, guitarist Alex Weir, and backup singers Lynn Mabry and Ednah Holt.

The band performs 18 songs in Stop Making Sense, including its recent single at the time, “Burning Down The House.” That summer, the song was in heavy rotation on radio and MTV, helping the song become the band’s first top 10 hit in America. It was, however, a different song from Speaking in Tongues that was destined to deliver one of the film’s signature moments. Talking Heads would perform “Girlfriend Is Better” wearing the now iconic, oversized suit inspired by costumes worn in traditional Japanese theater. For good measure, a picture of David Byrne in the suit also graces the album cover.

Stop Making Sense focuses mainly on music by Talking Heads but does include a few songs recorded outside the band: “Genius Of Love” by Tom Tom Club, “What A Day That Was” and “Big Business” from Byrne’s 1981 album, The Catherine Wheel. Limited edition vinyl versions of both of these albums, along with Harrison’s The Red And The Black, were released for this year’s Record Store Day.

When it arrived in September 1984, Stop Making Sense was an artistic and commercial triumph. The film had people dancing in theatre aisles, and the soundtrack sold over two million copies. Just last year, the Library of Congress added Stop Making Sense to the National Film Registry in recognition of its cultural, historical, and aesthetic significance.

Weymouth praises Demme as a collaborator: “…Jonathan was a very enthusiastic, highly adaptive, and imaginative guy who was just as good a listener as he was a talker and collaborator. From the get-go you just got the impression he was as flexible as he was disciplined. Being team players, that boded well for a great relationship and a great film!”

Harrison says the film still holds up today: “To me, Stop Making Sense has remained relevant because the staging and lighting techniques could have been created in a much earlier time period. For example, Vari-Lights, lights with motors to re-aim them, had just come into vogue. Had we used them, there would have been a timestamp on the film, and it eventually would have felt dated...The absence of interviews, combined with the elegant and timeless lighting, created a film that can be watched over and over.”

Byrne says it’s interesting that this album was – for many people – an introduction to Talking Heads. “We had done a live album before this, but coupled with the film, and with the improved mixes and sound quality, this record reached a whole new audience. As often happens, the songs got an added energy when we performed them live and were inspired by having an audience. In many ways, these versions are more exciting than the studio recordings, so maybe that’s why a lot of folks discovered us via this record.”

Frantz recalls the sheer joy surrounding the entire Stop Making Sense experience. “I’m talking about real, conscious, transcendent joy… I’m talking about what the Southern gospel people call ‘getting happy,’ which means ‘to be filled with the Spirit.’ That is what happened to us onstage every night, and from my seat behind the drums, I recognized that this was happening to the audience too. Joy was visible in front of me and all around me every night.”

Established in 2008, the French band The Lumberjack Feedback comprises talented members from diverse musical backgrounds. Their music is all instrumental, characterized by heavy, powerful riffs, two drummers (!) and hypnotic atmospheres, creating a unique dark though melodic sonic universe. The genesis of the band traces back to a shared passion for innovative metal and a desire to create immersive, captivating music. Over the years, The Lumberjack Feedback has honed its musical identity, blending diverse influences ranging from sludge to doom and post-rock. The result is a complex, entrancing fusion capable of transporting the listener to emotional soundscapes. Through their epic music, The Lumberjack Feedback transcends linguistic and cultural boundaries, resonating with audiences worldwide. The band continues to make its mark in the worldwide thriving post-rock music landscape, delivering energetic and mind-blowing live performances that leave no one indifferent. Brown onyx vinyl.

English musician Bryn Jones is one of the most original and productive artists on the post-industrial scene. He has released an incredible amount of music in just 16 years. According to current estimates, he has released at least 200 albums for a total of over 1,900 songs in circulation.

The Extreme Years 1990-1994 is a compilation of all Muslimgauze's music, released on the Australian label Extreme Music between 1990 and 1994.

According to many critics and fans, this was a unique and very special period in Bryn's work, during which he went from amateur musician to experimental sound sculptor. Sadly, Bryn passed away in early 1999 at the age of 38.

The original tracks have been perfectly remastered for this first vinyl release and the new masters have been praised by Extreme Music owner Roger Richards.

LOS ANGELES—To celebrate the 40th anniversary of the celebrated Talking Heads and Jonathan Demme’s concert film Stop Making Sense, the set will be re-released as a 2LP and 2CD/Blu-ray set this summer.

Released last year, the sold-out Deluxe Edition of the soundtrack will return as a 2-LP black vinyl on Rhino and 2-LP crystal clear vinyl at retail. Both variants feature a 12-page booklet with liner notes from all four band members –Tina Weymouth, David Byrne, Chris Frantz, and Jerry Harrison—and band photos. The 2CD/Blu-ray version includes the entire 28-page booklet from last year’s Deluxe Edition and a Dolby Atmos mix of the complete concert, mixed by Jerry Harrison and E.T. Thorngren, who also mixed the original release. Both will be available on July 26. Pre-order now.

The band appeared together for a sold-out screening and Q&A last night at the Pantages Theater, the same theater at which Stop Making Sense was recorded. They were joined by Blondshell, who performed “Thank You For Sending Me an Angel.” Another special screening with the band will occur in Brooklyn at the King’s Theater on June 13, with the Q&A hosted by Questlove and The Linda Linda’s performing “Found a Job.” The two events cap off a banner year of celebrations for what many consider to be the best concert film of all time.

The inspiration for Stop Making Sense came when director Jonathan Demme saw Talking Heads perform during the band’s 1983 tour for Speaking in Tongues. Afterward, he approached them with the idea of making the show into a concert film. They agreed and worked together over the next few months to finalize the details. Ultimately, Demme filmed three shows at Hollywood’s Pantages Theater in December 1983 to create Stop Making Sense.

The concert film presents a retrospective of the band up to that point, with a performance that weaves together songs from all six of its studio albums. The show progresses methodically, opening with Byrne onstage performing “Psycho Killer” alone with a drum machine. After each song, he’s joined by a new band member until Weymouth, Frantz, and Harrison are all on stage with him. The group continues to grow throughout the concert as members of the stellar touring band are added: keyboardist Bernie Worrell, percussionist Steve Scales, guitarist Alex Weir, and backup singers Lynn Mabry and Ednah Holt.

The band performs 18 songs in Stop Making Sense, including its recent single at the time, “Burning Down The House.” That summer, the song was in heavy rotation on radio and MTV, helping the song become the band’s first top 10 hit in America. It was, however, a different song from Speaking in Tongues that was destined to deliver one of the film’s signature moments. Talking Heads would perform “Girlfriend Is Better” wearing the now iconic, oversized suit inspired by costumes worn in traditional Japanese theater. For good measure, a picture of David Byrne in the suit also graces the album cover.

Stop Making Sense focuses mainly on music by Talking Heads but does include a few songs recorded outside the band: “Genius Of Love” by Tom Tom Club, “What A Day That Was” and “Big Business” from Byrne’s 1981 album, The Catherine Wheel. Limited edition vinyl versions of both of these albums, along with Harrison’s The Red And The Black, were released for this year’s Record Store Day.

When it arrived in September 1984, Stop Making Sense was an artistic and commercial triumph. The film had people dancing in theatre aisles, and the soundtrack sold over two million copies. Just last year, the Library of Congress added Stop Making Sense to the National Film Registry in recognition of its cultural, historical, and aesthetic significance.

Weymouth praises Demme as a collaborator: “…Jonathan was a very enthusiastic, highly adaptive, and imaginative guy who was just as good a listener as he was a talker and collaborator. From the get-go you just got the impression he was as flexible as he was disciplined. Being team players, that boded well for a great relationship and a great film!”

Harrison says the film still holds up today: “To me, Stop Making Sense has remained relevant because the staging and lighting techniques could have been created in a much earlier time period. For example, Vari-Lights, lights with motors to re-aim them, had just come into vogue. Had we used them, there would have been a timestamp on the film, and it eventually would have felt dated...The absence of interviews, combined with the elegant and timeless lighting, created a film that can be watched over and over.”

Byrne says it’s interesting that this album was – for many people – an introduction to Talking Heads. “We had done a live album before this, but coupled with the film, and with the improved mixes and sound quality, this record reached a whole new audience. As often happens, the songs got an added energy when we performed them live and were inspired by having an audience. In many ways, these versions are more exciting than the studio recordings, so maybe that’s why a lot of folks discovered us via this record.”

Frantz recalls the sheer joy surrounding the entire Stop Making Sense experience. “I’m talking about real, conscious, transcendent joy… I’m talking about what the Southern gospel people call ‘getting happy,’ which means ‘to be filled with the Spirit.’ That is what happened to us onstage every night, and from my seat behind the drums, I recognized that this was happening to the audience too. Joy was visible in front of me and all around me every night.”

Things are getting better is a bold statement to make in a time when the world seems to be on the verge of world war 3 and the cost of living is rising beyond most of our reach. Five years ago when I started the Voices of Creation with Jack I knew the world would need new songs, new mantras and prayers for this new day that is dawning. We would need more faith, we would need love, we would need vision, and we would need each other. A part of every beginning is an ending, this is an observable law of nature. So it is with unyielding faith and a hopeful heart that I look out at this world and find reasons and ways to keep moving forward with love; making music that echoes with the sparks of this new world I’m working to see come into view. Things may be falling apart, old ways of being becoming unsustainable; death, war, chaos, genocide, famine, and floods; symptoms of the internal combustion of a society wracked with fear and given more access to weapons than to their own feelings.

This collection of songs are my testimony in a way, a sonic exploration of finding my faith and figuring out how to use my faith to navigate life and this great big old world after losing family (my mother Betty and my brother Keith) and in a way losing my sense of hope for what my future could even be. Through the writing and singing of these songs I healed myself of the doubt and mistrust of the unknown. I found a way to forge my faith into what is now a mighty sword of song, community, and ministry with the intention of healing myself and others. I’ve always felt as though melody and language were tools that could be agents of change and healing if used with intention and integrity. To witness the expanding joy and shared purpose grow within the choir and to see the contagious nature of faith and togetherness through our rehearsals and shows showed me how necessary it is to the human experience. This has been truly revelatory, further anchoring me in what I feel my purpose is on the planet; and that is to sing and bring to life more joy, peace, love, community, unity, faith, and praise. With more of those energies flowing around the planet, things will surely get better and better and better…ad infinitum. Word to Nina, Jimmy & Betty, and all my angels and ancestors riding wit me. We still here and God is still good.

"An artist's duty, as far as I'm concerned, is to reflect the times." Nina Simone

Roy Brooks began his career in the 1950s and remained at the forefront of the US jazz scene until his death in 2005, starting with the Horace Silver combo in the early 1960s and continuing with the bands of such eminent artists as Stanley Turrentine, Yusef Lateef and Charles Mingus.
He was also a member of the legendary Detroit spiritual jazz label TRIBE and M'Boom (a cutting-edge project in which all members were percussionists) led by legendary drummer Max Roach, and had a huge impact on the US jazz scene.
Roy Brooks And The Artistic Truth, a spiritual jazz group led by Roy Brooks himself, is a group of highly purified Blackness and sharpened spirituality!

This is the ultimate in spiritual jazz, praised as one of the rarest, most spiritual and grooviest albums of all time, The tension-filled sound with strong black musicians such as Joe Bonner (Piano), Reggie Workman (Bass), Sonny Fortune (Alto Sax) and Cecil Bridgewater (Trumpet) is as "ultimate" as "ETHNIC EXPRESSIONS". A definitive spiritual jazz album!

There are two versions of Perennial: the adventurous art-punk modernists, layering British Invasion pop, 60s soul, 90s Dischord post-hardcore, electronic music, and free-jazz, and the live three-piece whose bombastic 20 minute sets have become a “must-see” in the New England music scene. What started in 2015 as an all-encompassing art project has since grown into an honest-to-goodness word-of-mouth phenomenon, with over 300 shows played in the last six years (including shows with Guerilla Toss, Bully, Calvin Johnson, Jon Spencer, Sheer Mag, Teenage Halloween, and Downtown Boys) and multiple pressings of both of their full-length records. Perennial formed the band they always wanted to hear, and when they play, they're the band they always wanted to see. Perennial’s breakthrough 2022 LP, In The Midnight Hour, was their first time working with producer Chris Teti (The World Is A Beautiful Place & I Am No Longer Afraid To Die), a collaboration that garnered rave reviews from BrooklynVegan, Under The Radar, Post-Trash, Pop Matters, NPR Music and more, and marked a new creative benchmark. Feeling inspired, the band once again worked with Teti on 2023’s 7” EP The Leaves Of Autumn Symmetry, which earned more high praise from Stereogum, Paste, Consequence, Alternative Press, and Bandcamp Daily. Their latest release is the adventurous, experimental mod punk LP Art History, available June 7 via Ernest Jenning Record Co. and Safe Suburban Home.

Buddy Rich (1917 - 1987) was described and announced around the world as 'The World's Greatest Drummer.' Rich is still considered one of the most legendary drummers of all time. A master of his instrument, his technique, energy, and speed were praised globally. The jazz drummer and bandleader began his drumming career as a child. When Rich was 18 months old, he started playing the instrument and later performed as a child, becoming known as 'Traps the Drum Wonder.'

Buddy Rich always sought to surpass himself; the next show was always better than the previous one. Nothing could hinder this goal—not even a broken arm or a heart attack could stop Rich from giving a better performance than the last.
In 1978, Buddy Rich and his 14-piece big band played a spectacular show, and thanks to NSJ Records, NTR, AVROTROS, and MOJO, this legendary concert is now available on LP!

Buddy Rich is one of the LPs that is part of the North Sea Jazz Concert Series. Other concerts in this series feature artists like Dizzy Gillespie, Ray Charles, Dexter Gordon, and Jan Akkerman.

The North Sea Jazz Concert Series will include officially licensed releases that will be released as standard on 180-gram white vinyl in a sleeve of heavy paper and printed on reversed board. The records will be captured in mainly black-and-white artwork by Hans Pol in his signature style of the festival with inspiration from the covers of classic older jazz releases from the Blue Note label, for example. The liner notes are written by journalist and jazz expert Jeroen de Valk.

John Birks "Dizzy" Gillespie (1917 - 1993) was a legendary trumpeter, composer, and bandleader. Gillespie was praised worldwide for his trumpet playing, using not just any trumpet, but one with a bell bent at a 45-degree angle. The unique shape of the instrument, according to his autobiography, was not intentional but the result of an accident. Fortunately, Gillespie liked the altered sound, and this unique shape and sound became the artist's trademark.

Gillespie began playing the trumpet at the age of 13 and formed his first big band in 1937 with Teddy Hill (1909 - 1978). Later, Dizzy Gillespie led his own big band from 1946 to 1950, making pioneering contributions to the jazz world. Gillespie was a versatile musician, known not only as a memorable trumpeter but also as a fantastic pianist and trombonist. He even made an unsuccessful bid for the presidency.

In the 80s, Dizzy Gillespie gave some beautiful and unforgettable performances at North Sea Jazz, and thanks to NSJ Records, NTR, AVROTROS, and MOJO, this legendary concert is now available on LP!

Dizzy Gillespie is one of the LPs that is part of the North Sea Jazz Concert Series. Other concerts in this series feature artists like Dizzy Gillespie, Ray Charles, Dexter Gordon, and Jan Akkerman.

The North Sea Jazz Concert Series will include officially licensed releases that will be released as standard on 180-gram white vinyl in a sleeve of heavy paper and printed on reversed board. The records will be captured in mainly black-and-white artwork by Hans Pol in his signature style of the festival with inspiration from the covers of classic older jazz releases from the Blue Note label, for example. The liner notes are written by journalist and jazz expert Jeroen de Valk

"Relive Enoch's mystical journey in his quest to defeat the fallen angels!

El Shaddai Ascension of the Metatron is back on Nintendo Switch in full HD and for the first time in vinyl format!

To celebrate the occasion, in partnership with CRIM headed by creator and designer Sawaki Takeyasu, here's the game's original soundtrack in a magnificent Gatefold 2 x LP edition with white discs.

The El Shaddai Ascension of the Metatron soundtrack is composed and arranged by Masato Kôda and Kento Hasegawa, and features a variety of epic orchestral pieces and sacred, dreamlike melodies.

It has been praised for its quality and distinctive style, which fits perfectly with the game's artistic design and narrative."

Inspired by the Buddhist sutras, Blitzen Trapper’s radiant new album, 100's of 1000's, Millions of Billions, offers a captivating take on rebirth and transcendence, navigating its way through the space beyond dreams and reality, beyond gods and mortals, beyond life and death. The songs here are as sincere as they are surreal, rooted in rich character studies and deep reflection, and the production is intoxicating to match, blending lo-fi intimacy and trippy psychedelia into a mesmerizing swirl of analog and electronic sounds. Add it all together and you’ve got a gorgeous collection of stripped-down bedroom folk wrapped in lush layers of synthesizers and washed out electric guitars, a poignant, expansive exploration of perception and purpose that manages to look both forwards and backwards all at once. This LP is pressed on clear blue vinyl and limited to 1,000 copies worldwide. Launched roughly two decades ago in Portland, OR, Blitzen Trapper broke out internationally with 2008’s Furr, which cemented their status at the forefront of the modern indie folk revival. Rolling Stone hailed the band’s “hazy, psychedelic Americana,” while NPR praised their “explosive live performances and infectious roots-rock swagger.” Dates with Fleet Foxes, Wilco, and Dawes followed, as did festival appearances at Bonnaroo, Lollapalooza, Newport Folk, and Coachella, among others. The band would go on to release six more similarly lauded studio albums, culminating with 2020’s Holy Smokes Future Jokes, which Mojo proclaimed “sounds like the Beatles at Big Pink.”

Released in July 1963, "Impressions" is a compilation of recordings from various sessions between 1961 and 1963 of John Coltrane. The album showcases the range of Coltrane's musical interests, from modal jazz and hard bop to ballads, reflecting his evolving style during the early 1960s and received positive reviews for its adventurous spirit and technical brilliance. Critics and fans alike praise the album for capturing a pivotal moment in Coltrane's career as he moved towards more experimental and spiritual jazz. The early 1960s were a period of significant evolution for Coltrane. Having recently left Miles Davis's sextet, Coltrane was delving deeper into modal jazz, a style that focuses on scales (or modes) rather than traditional chord progressions. This period saw Coltrane pushing the boundaries of jazz with extended solos, complex improvisations, and a deeper spiritual search, which would later culminate in his iconic album "A Love Supreme."

Ironman is the debut solo album by Wu-Tang Clan rapper Ghostface Killah, released in 1996. Produced by Wu-Tang Clan mastermind RZA, the album’s music and lyrics draw prominently on Blaxploitation films and soul samples. Many music critics have praised the album for Ghostface Killah’s imaginative lyricism and RZA’s production style, with some revering it as one of the greatest Wu-Tang solo albums of all time. The album contains Ghostface Killah’s highly praised unique up-tempo, stream-of-consciousness rhyming style, which he would go on to further utilize on his highly acclaimed second studio album Supreme Clientele. Ironman debuted at number two on the Billboard 200 and Top R&B/Hip-Hop Albums, and is certified platinum.

Although a solo album, Ironman features many Wu-Tang collaborations, with furthermore Raekwon and Cappadonna. In addition, the album features the hit “All That I Got Is You” featuring Mary J. Blige.

To celebrate the 25th anniversary of one of the greatest hip hop debuts of the 90’s, Ironman is available as a limited anniversary edition of 4000 individually numbered copies on translucent blue (LP1) and translucent red (LP2) coloured vinyl.

The first time we discovered Emanuel‘s voice was during the making of Pinnacle Sound‘s album Soul Medicine (BAT 007), it was in 2021. Some slaps leave a deep and indelible mark. We knew then that a new adventure was about to be born. Everything comes in time to those who wait, and what was supposed to happen happened: Emanuel contacted Bat Records for the realization of his new project. Nations Shall Know is the fruit of this meeting.

Emanuel & The Bionites are the many facets of one man. A diligent producer, it is with a selection of his best compositions that he knocks on the door of Bat Records to put his unique style on tape. The idea is clear, to produce a Showcase album: for each vocal, a dub mixed by the flagship duo Dub Shepherds. From a children’s song with soulful power in the introduction to “Arkitect“, to Africa as the central theme on “Imansion“, to the pure song of praise on “Jah Love“, through warm riddims carrying texts with apocalyptic resonances like on the title “Nations Shall Know”, there will be something for everyone.


And in discomix, ladies and gentlemen, following Emanuel‘s favourite format! Latest illustration of a rising figure of a certain Roots revival in Europe, this album will reconcile young zealous dubbers and old reggae backpackers.

a a1. Arkitect (Discomix) 8.25
[b] a2. Imansion (Discomix) [7.28]
[c] b1. Jah Love (Discomix) [8.26]
[7.42]

After remaining unavailable for years, here's the long-awaited vinyl reissue of the debut album (originally released in 1972) by one of the epoch-making groups in the history of Peruvian rock: We All Together. Their original compositions -all sung in English- betray their passion for McCartney, taking Beatle centrism to new heights in South America. While the Uruguayan Los Shakers could remind us of the first phase of the Fab 4, We All Together is like their '70s version. Amazing compositions, with nods to prog rock and the twilight imprint of singer-songwriters living the end of the hippy dream, that show both diversity and a defined identity. A must for any '70s rock collector. DESCRIPTION Between 1967 and 1974 Saúl and Manuel Cornejo led a series of epoch-making groups on the MAG label (New Juggler Sound, Laghonia and We All Together) in the history of Peruvian rock. All these bands were directly influenced by the British invasion and used new sounds from Hammond, phase shifters, synthesizers and tapes played backwards, which stimulated rivalry with other groups. Another hallmark of the brothers was the technical quality of their records, thanks to Saul's supervision of all MAG recordings between 1972 and 1974. At the end of 1971, when Laghonia was working on the last tracks of "Etcétera", they met Manuel Antonio Guerrero's (MAG) son, Carlos, who had just got back from the USA, and gladly joined in the choruses of the last songs Laghonia was recording. They met up again soon after to rehearse some of Paul McCartney's songs. As soon as he heard them play, Guerrero Senior urged them to form a group focused on cover versions of foreign hits not yet known in Peru. Initially, the Cornejo brothers weren't enthused by a project so different from Laghonia, but ended up accepting as it gave them the opportunity to spend time in the studio. Carlos' melodic voice was another incentive, although they made it clear that the new group, We All Together (WAT), would stick to the mixing desk: "The group isn't into presentations or shows, we're about recording music and purifying it to the max," stated Saúl at that time. Their first album included four covers of Paul McCartney and Badfinger, several compositions by Carlos Guerrero -appealing Beatles-style melodies- and two songs from Saúl and Manuel's archives. 'Children', by keyboardist Carlos Salom, opens the LP: a nostalgic description of childhood, with the distinctive piano sound (achieved through mixing) that permeates the record. Although WAT sang and composed in English, they had no intention of undermining or alienating national culture. Their aim was much more innocent: they simply wanted to make it in the English-speaking world. 'It's a Sin to Go Away' was composed during Laghonía's lifetime as a band and it features guitars played backwards and a psychedelic-progressive style closely attuned to the era. After being included on several compilations, praise for the song has flowed from Europe and the United States in recent years. The album was released in July 1972 and became one of the best-selling Peruvian rock LPs.

It’s been exactly a year since the 6th Borough boys emerged from their hiatus to bring us the Rhythm & Truth EP. This killer three tracker picked up where they left off and showed us that fans of deep, dusty, dubbed-out disco were as hungry as ever for new 6BP material and went on to garner praise from the likes of Jamie 3:26, Luke Solomun, Dam Swindle, Young Pulse and the Faith crew to name a few. Here on their follow up we’re treated to more of the good stuff and sees Craig Smith and Graeme ‘Revenge’ Clark whipping up four new cuts spanning speaker- wobbling sub-aquatic grooves and stripped back deep house.

One Way sets the tone with a subtle yet infectious percussive workout which is one of those mood setting tools which looks set to become a lot of DJ’s secret weapons this summer. Filtering strings and tweaked synths add that classic Chicago energy which won’t fail to get you locked into it’s groove. Spare Change treads a similar path but goes heavier on the echoing synth stabs and deep string pads proving that when the rhythm is rolling this nicely just let it roll.

Flip over for Backlash which takes us deeper still with lush chords and driving square wave bassline taking centre stage supported by an unrelent ing kick drum which helps to keep an intensity throughout the arrangement. Closing out the EP we have The Other, which sees 6BP dropping the BPM’s to create a low-slung slice of deep, underground house perfection.

This is part of an ongoing 45 series that also features Westside Gunn, Raekwon, Blu, Conway The Machine, DJ Babu, Curren$y, and others. This 7" single will set the table for Rude One's official follow-up, Upper Space, which will release physically and digitally on October 11th. The album contains a new single with Roc Marciano as well as songs with Valee, RXK Nephew, Pink Siifu, Stove God Cooks, The Twilite Tone, and more. DJ Rude One's ONEderful LP was released in 2016 and earned praise from Pitchfork (6.9), HipHopDX, XXL, Noisey, Fakeshoredrive, and others. It featured Conway, Your Old Droog, Westside Gunn, and Roc Marciano, all of whom are at the top of the Underground Hip Hop food chain. "His rasping voice is suited for Rude One’s gritty sound. Almost everything here is sonically consistent, with rapper and producer perfectly in sync." - Pitchfork. Full color jacket 7". Roc Marciano is hailed as a leader in Hip Hop's current underground renaissance. The smooth rapper and producer has his fingerprints all over the scene, and regularly receives praise from critics and his established peers. In 2016, Roc lent his services to DJ Rude One's ahead of its time LP, ONEderful. Together, the two crafted stand out cuts such as "Triple Black Benz" and "Murder Paragraphs", the latter of which is the latest installment of Closed Sessions limited 7" series. "Murder Paragraphs" is Roc Marciano at his finest and showcases DJ Rude One's signature less-is-more, grimy sound. This 7" contains the original and instrumental version, new artwork by Spectacular Diagnostics, and follows previous entries from Raekwon, Blu, WestSide Gunn, Conway, Open Mike Eagle, and more. This pressing is limited to 500 copies, and will also set the table for DJ Rude One's forthcoming LP, Upper Space, which will feature Stove God Cooks, Valee, RXK Nephew, and of course a new collaboration with Roc Marciano.

With Pere Ubu on hiatus since 1982’s excellent ‘Song Of The Bailing Man’, David Thomas had recorded a` much-praised solo album and the band had now signed to a major label. In a period of rampant world commercialism, what would happen next? Another crucial era for the band unravelled, Pere Ubu’s journey charted new undulating territory and so began a three-album escapade that retooled our understanding of what pop music is. Things were further obscured with ‘Cloudland’ when they released “their industrial strength equivalent of a class Beach Boys album from musicians more familiar with factories than surf.” (Greg Kot, Chicago Sun Times).

There has been some waiting for new music by Giuseppe Leonardi since his highly-praised releases for Second Circle and, well… now the waiting is over, here it is: Seven amazing tracks form the aptly titled mini-album 7, out now on (still quite) new label Unsure. 7 starts with the in every way unexpected Suzi Wong, a highly addictive (and unusual) kind of reggae- and dub-influenced mutant disco adventure with amazing vocals and unbelievably tripping grooves. Anti Narcotics Police follows this road of raw and playful coolness, but Giuseppe of course has way more to offer: Both and Rrrrrrr are uplifting House Music with a quirky touch of Pop, the compelling rhythms and basslines of Wonder Girls and Wondering remind a little of Stefan Schwanders new thing While My Sequencer Gently Bleeps and the funkiness and sweetness of Deadline and its magical melodies brighten the gloomiest day. A unique pleasure!

Cleveland death metal legends-in-waiting 200 Stab Wounds have returned with Manual Manic Procedures, a superlative sophomore effort that follows 2021’s Slave to the Scalpel, their tour de force debut. The new album is a brutal slab of old school death metal with a contemporary edge. Not for the faint-hearted, Manual Manic Procedures may well be the album that puts classic gore-themed ferocity back into the metal community’s collective consciousness. The band's debut, "Slave to the Scalpel" saw 200 Stab Wounds insinuate themselves into the minds of extreme metal fans, leading to praise from Pitchfork for their “unpretentious brilliance, pitch-black sense of humor” and an “aesthetic that’s built around a chugging, groovy riff that stomps down a path of destruction.” Manual Manic Procedures sees the band upping the ante both musically and lyrically. Ultimately, for 200 Stab Wounds, it’s all about creating art that they enjoy. “I know that if we like it, our fans will like it,” says Buhl. “That's really all that matters to us. And if we keep touring, it's just gonna get bigger and bigger. Then everyone's happy, far as I'm concerned.” The songs on Manual Manic Procedures are not safe for work – perhaps unsafe most anywhere. But that’s its dark charm in a world where even heavy music can play it too safely. 200 Stab Wounds have crafted Manual Manic Procedures for themselves and like-minded brethren: thrill-seekers, carnage cravers, horror fans, and aficionados of the most extreme metal. Above all, 200SW created a future death metal classic.

B-side features “Torii Gates” on vinyl for the first time ever due to fan demand.

Acclaimed by outlets like Aquarium Drunkard and NPR, who praised his, “Cosmic country with a gentle sweetness, reminiscent of Beachwood Sparks and Silver Jews at their twangiest.”

His rhythm section is drummer Dana Buoy (Akron/Family) and bassist Alex Chapman and enlists pedal steel player Connor Gallaher (Anna St. Louis, Lana Del Rey) to flesh out the songs.

2024 festival plays at Treefort, Kilkenny Roots, Otis Mountain Get Down, and west coast summer tour.

Publicity campaign by Riot Act Media

Recent touring with William Tyler, Fruit Bats, and more.

RIYL: JJ Cale, Mapache, William Tyler, Steve Gunn, Rose City Band, Amen Dunes, Jake Xerxes Fussell, SUSS, North Americans, Chuck Johnson

The Orquesta Broadway played a significant role in the evolution of Cuban music, and the album New York City Salsa’ stands as a testament to its creativity and lasting impact on the music scene. Released in 1978 on the Coco Records label, the album is often praised for its influence in merging different musical styles, including salsa and Afro-Cuban jazz. It features dynamic compositions and sophisticated arrangements that further solidified Orquesta Broadway’s reputation in the world of Latin music. Unavailable for many years, it is now released in a limited edition on TRANSPARENT DARK BLUE vinyl.

Cleveland death metal legends-in-waiting 200 Stab Wounds have returned with Manual Manic Procedures, a superlative sophomore effort that follows 2021’s Slave to the Scalpel, their tour de force debut. The new album is a brutal slab of old school death metal with a contemporary edge. Not for the faint-hearted, Manual Manic Procedures may well be the album that puts classic gore-themed ferocity back into the metal community’s collective consciousness. The band's debut, "Slave to the Scalpel" saw 200 Stab Wounds insinuate themselves into the minds of extreme metal fans, leading to praise from Pitchfork for their “unpretentious brilliance, pitch-black sense of humor” and an “aesthetic that’s built around a chugging, groovy riff that stomps down a path of destruction.” Manual Manic Procedures sees the band upping the ante both musically and lyrically. Ultimately, for 200 Stab Wounds, it’s all about creating art that they enjoy. “I know that if we like it, our fans will like it,” says Buhl. “That's really all that matters to us. And if we keep touring, it's just gonna get bigger and bigger. Then everyone's happy, far as I'm concerned.” The songs on Manual Manic Procedures are not safe for work – perhaps unsafe most anywhere. But that’s its dark charm in a world where even heavy music can play it too safely. 200 Stab Wounds have crafted Manual Manic Procedures for themselves and like-minded brethren: thrill-seekers, carnage cravers, horror fans, and aficionados of the most extreme metal. Above all, 200SW created a future death metal classic.

Heavener', the fourth album 2023 by the Port Neches, Texas, metalcore band Invent Animate. The release follows their most recent single 'Elysium', which earned praise from RockSound "an atmospheric and pain-staking piece of modern metalcore brute force", Wall of Sound, and Heavy Mag. Their 2021 EP 'The Sun Sleeps, As If It Never Was' 2M+ streams earned praise from HM Magazine "a powerful discourse on the ricochet effect of trauma and addiction", Wall of Sound "dark in nature yet beautifully honest", and Blunt Magazine. 2020 full-length 'Greyview' has 10M+ streams. Additional praise from Kill Your Stereo, Frontview Magazine, Chaospin, Distorted Sound. Released independently via Australia's leading heavy music label UNFD.

“The place where I’m taking my inspiration from is a place of pure harmony and light. I’m just like everyone else – I’m very anxious, I have my issues and demons, but there is a place inside me which is much more in peace and harmony, so I took inspiration from this part of myself, rather than the dark part.”

As the world we live in grows darker and more bewildering with every passing day, the transformative power of music has never been more vital. Formed in the small French town of Bagnols-sur-Cèze at the dawn of the century, underground icons Alcest have always been clear about their desire to transport listeners to somewhere different, somewhere better. Led by founder and multi-instrumentalist Neige, the French artists have been one of the most consistently radical voices in all of heavy music, with a sound that eschews metal’s often myopic devotion to casting shadows, in favour of a sublime blend of darkness and blinding bright light.

The release of Alcest’s debut album Souvenirs d’un Autre Monde in 2007 blazed a unique trail through the underground metal world, eliciting high praise and feverish condemnation in equal amounts. Ostensibly a black metal project, Neige’s crew gifted an entirely new perspective to the black metal scene: wherein beauty, fragility, melody and positive vibrations co-exist with the fast, furious aesthetic of true extreme metal. Almost instantaneously influential, Alcest were able to steadily establish themselves as a unique force, both with a series of acclaimed albums and a sturdy reputation as a transcendent live act.

From the enlightened primitivism of 2010’s Écailles de Lune, and the definitive, holistic squall of Les Voyages De L’Âme (2012), to the magical, post-rock splendour of Shelter (2014) and the dark, dynamic Kodama (2016), Neige’s vision has been presented in the most vibrant and revelatory colours. Meanwhile, the legions of like-minded “blackgaze” bands that have followed in Alcest’s wake speak volumes about the Frenchmen’s profound and enduring influence.

Released in October 2019, Alcest’s sixth studio album marked another grand milestone in their story. Their first record for Nuclear Blast Records, Spiritual Instinct deftly sustained the conceptual and musical preoccupations of past achievements, while taking Neige and long-time drummer Winterhalter into new sonic realms, both grittier and more nuanced than ever before. Inevitably, plans to tour their new music were eventually scuppered by the global pandemic that broke out early in 2020. But Alcest’s creative journey continued regardless, and the results can be heard on the band’s latest album, Les Chants de L’Aurore.


Having redirected his artistic energies, Neige began work on the follow-up to Spiritual Instinct, newly inspired by the experiential essence that first led him to his band’s ground-breaking musical life. As with Souvenirs d’un Autre Mode, Les Chants de L’Aurore draws inspiration from the spiritual childhood experiences that have shaped Neige, both as a musician and a human being. A liberated nosedive into the very notion of consciousness and the layered mists of reality, the seventh Alcest album amounts to a euphoric homecoming.

“The place where I’m taking my inspiration from is a place of pure harmony and light. I’m just like everyone else – I’m very anxious, I have my issues and demons, but there is a place inside me which is much more in peace and harmony, so I took inspiration from this part of myself, rather than the dark part.”

As the world we live in grows darker and more bewildering with every passing day, the transformative power of music has never been more vital. Formed in the small French town of Bagnols-sur-Cèze at the dawn of the century, underground icons Alcest have always been clear about their desire to transport listeners to somewhere different, somewhere better. Led by founder and multi-instrumentalist Neige, the French artists have been one of the most consistently radical voices in all of heavy music, with a sound that eschews metal’s often myopic devotion to casting shadows, in favour of a sublime blend of darkness and blinding bright light.

The release of Alcest’s debut album Souvenirs d’un Autre Monde in 2007 blazed a unique trail through the underground metal world, eliciting high praise and feverish condemnation in equal amounts. Ostensibly a black metal project, Neige’s crew gifted an entirely new perspective to the black metal scene: wherein beauty, fragility, melody and positive vibrations co-exist with the fast, furious aesthetic of true extreme metal. Almost instantaneously influential, Alcest were able to steadily establish themselves as a unique force, both with a series of acclaimed albums and a sturdy reputation as a transcendent live act.

From the enlightened primitivism of 2010’s Écailles de Lune, and the definitive, holistic squall of Les Voyages De L’Âme (2012), to the magical, post-rock splendour of Shelter (2014) and the dark, dynamic Kodama (2016), Neige’s vision has been presented in the most vibrant and revelatory colours. Meanwhile, the legions of like-minded “blackgaze” bands that have followed in Alcest’s wake speak volumes about the Frenchmen’s profound and enduring influence.

Released in October 2019, Alcest’s sixth studio album marked another grand milestone in their story. Their first record for Nuclear Blast Records, Spiritual Instinct deftly sustained the conceptual and musical preoccupations of past achievements, while taking Neige and long-time drummer Winterhalter into new sonic realms, both grittier and more nuanced than ever before. Inevitably, plans to tour their new music were eventually scuppered by the global pandemic that broke out early in 2020. But Alcest’s creative journey continued regardless, and the results can be heard on the band’s latest album, Les Chants de L’Aurore.


Having redirected his artistic energies, Neige began work on the follow-up to Spiritual Instinct, newly inspired by the experiential essence that first led him to his band’s ground-breaking musical life. As with Souvenirs d’un Autre Mode, Les Chants de L’Aurore draws inspiration from the spiritual childhood experiences that have shaped Neige, both as a musician and a human being. A liberated nosedive into the very notion of consciousness and the layered mists of reality, the seventh Alcest album amounts to a euphoric homecoming.

On her sophomore album "Germ in a Population of Buildings", upsammy moves through her surroundings with the curiosity of a place-bending landscape architect. The album is rooted in her interest for ambiguous environments in constant shift, and the feeling of discovering strange patterns in different ecosystems. Often, the Amsterdam-based artist finds herself zooming in and out beyond a place's most recognizable surface features to inhabit the microscopic and gigantic. Gathering field recordings and evocative environmental sounds, she shapes this source material into vibrating electro-acoustic rhythms and unstable, psychedelic textures. upsammy's debut album, 2020's critically-acclaimed "Zoom", was praised for its careful reimagining of IDM, evolving vignettes that nodded towards the dancefloor without being shackled to its rigid set of rules. On "Germ in a Population of Buildings" her process has evolved considerably; the skeletal trace of IDM is still present but it's been trapped in amber, allowing her unique sonic landscape to develop organically. 'Being is a Stone' is a proof of concept in many ways, layering upsammy's contorted voice in rickety patterns beneath a lattice of fragile rhythms and faintly melancholy synths. It's never immediately obvious where the sounds are coming from - a hiccuping beat might be glass cracking underfoot, and larger pulses could be wet concrete, rusted iron or bent plastic. As the sounds develop they morph into each other, demolishing what came before and building on top of the ornamental wreckage. On the dynamic 'Constructing', upsammy's sound design fluxes through hyperactive bass music structures, abstracting expectations at every turn. Often her sounds are whisper quiet, rattling and vibrating until heavier masonry drops and disrupts the structure. And when discernible rhythms subside into the background, like on the album's eerie title track, they become almost illusory, morphing between the real world and the electronic. upsammy's processed voice works like a bridge between these realms, snaking between stark, whimsical melodies on 'Patterning', arching from AutoTuned detachment into cooing, dreamy intimacy. By considering the harmonies between each location she's visited, upsammy has been able to build a unique topology that's an uncanny digital amalgam of her lived experience. It's a thoughtful alternative in an era more concerned with flatting the landscape than crumpling it and examining its peaks and troughs.

From Lova Lova to Skand, ska and Roots, the al;sbum is a pure jewel of an autoprod / Autodistro !

Support da Sound System culture ! Support its roots !

British Sea Power"s widely-praised soundtrack for the film "From The Sea To The Land Beyond" is released on double vinyl accompanied by the film through Rough Trade Records. The album features a bonus track not available on the original soundtrack. The soundtrack consists of re-workings of previous British Sea Power songs and was recorded in Brighton and mixed by Ken Thomas (Sigur Ros, Daughter, M83, Cocteau Twins, Moby).