Cerca:prix

Neues Soloalbum des legendären Hard Rock Sängers Robin McAuley. Auf diesem neuen Album trotzt McAuleys Stimme weiterhin der Zeit und klingt so inspiriert und kraftvoll wie eh und je. Die Musik selbst ist härter und rockiger als sein vorheriges Werk "Standing On The Edge". Dieses Album liefert und übertrifft wohl das Versprechen des Debüts der Band und sieht erneut Robins kraftvollen Gesang in einer fantastischen Hardrock-Umgebung. Wieder einmal ist Robins inspirierte Gesangsleistung eine Offenbarung. Robins Begleitband ist die gleiche, die mit ihm auf dem vorherigen Album aufgetreten ist, darunter Gitarrist Andrea Seveso, der wieder einmal mit seinen Talenten absolut verblüfft, Bassist / Keyboarder Alessandro Del Vecchio (der auch wieder produziert) und Schlagzeuger Nicholas Papapicco. Robin McAuley gilt weithin als einer der großen Sänger einer goldenen Zeit in der Hardrockmusik. Seine Stimme ist auf Alben von Grand Prix und Far Corporation zu hören, und natürlich auf den MSG-Chartstürmern "Perfect Timing", "Save Yourself" und "MSG". Nachdem er MSG verlassen hatte, veröffentlichte er 1999 ein Soloalbum, schloss sich dann den AOR-Legenden Survivor an und ging dann zum Michael Schenker Fest auf ihren jüngsten Alben "Resurrection" und "Revelation". Und natürlich kam er 2020 als Frontmann der Supergroup Black Swan heraus. "Alive" könnte nicht treffender betitelt werden, wenn Sie dieses glorreiche Rock'n'Roll-Album hören.

"The Concert" is the first discographic collaboration between percussionist Alexandre Babel and visual artist Latifa Echakhch. The record is intimately linked to the eponymous exhibition presented at the Swiss Pavilion during the 59th Venice Art Bienniale.

For her exhibition in the Swiss Pavilion, Latifa Echakhch created an orchestrated and enveloping experience, a rhythmic and spatial proposal that allowed the visitor a complete perception of time and of his own body. What is the origin of rhythm? How does the body perceive time? How does the mind rearrange it? Can we substitute one perception for another, the visual for the sound? Can fragments of memory go back in time and recreate a different story?

Her proposal entered a dialogue with the building around it, designed by Bruno Giacometti. The artist revisited its architectural programme as well as the prototypical progression of these exhibition spaces, originally defined for the display of classical art. She appropriated the entirety of the spaces, simultaneously exploring continuity, movement and sequence. Their relationship to light, and the different sounds that emerge from them. Yet the exhibition was entirely silent and the musical composition "The Concert" functions as its sound rendering, by following a similar path.

This one-sided vinyl is a complementary and inseparable partner piece to the exhibition and its eponymous catalogue, the latter having been published in April 2022 by Sternberg Press. The music features field recordings made at the Swiss Pavilion itself as well as pre-recorded percussion sounds and significant contributions by the Berlin-based musicians Jon Heilbronn, Rebecca Lenton, Theo Nabicht, Nikolaus Schlierf.

The record, available only after the closing of Latifa Echakhch’s exhibition offers a concluding phase to the project. The resonance of its sensory score. It reactivates the experience of the physical journey of the installation, without imposing itself as a transcription or an illustration. Through texture, temporality and its totality, the record stands as a resonance of the rhythms that have structured the pavilion, the harmonies that have composed it and the sounds that have inhabited it.

Latifa Echakhch Lives and works in Vevey, Switzerland. She graduated from the École nationale supérieure d’arts in Cergy-Pontoise and the École nationale des beaux-arts in Lyon. Galleries representing her include kamel mennour (Paris and London), kaufmann repetto (Milan and New York), Dvir Gallery (Tel Aviv/Brussels) and Pace (New York). She took part in the main exhibition of the Venice Biennale Arte in 2011 and was awarded the prix Marcel-Duchamp in 2013 and the Zurich Art Prize in 2015. Through her interdisciplinary installations, Latifa Echakhch is recognized for the fine balance between forcefulness and fragility of her visual language, inserting surrealist and conceptual elements, and her use of symbols that–in her own words–are both "political and poetic".

Alexandre Babel Lives and works in Berlin. He is a drummer, composer, and curator. His projects redefine the boundaries of musical convention, confounding listener expectations in the conquest of new contexts. Babel has been the artistic director of the contemporary percussion group Eklekto 2013–2022. In 2020, the monographic Festival Les Amplitudes in La Chaux-de-Fonds focused on Babel’s compositional and curatorial work. He is a laureate of the Swiss Music Prize from the Federal Office of Culture 2021.

From 1985, the beginning of their collaboration in Amsterdam, Peter Bosch and Simone Simons have been involved in performances, concerts and theatre productions. Since 1990, however, they have focused in particular on the development of autonomous music machines.

All these machines are dynamic: Sound and movement are constantly evolving. »Krachtgever« is their best-known piece for its Golden Nica, received at Prix Ars Electronica, Linz, 1998. The other projects on the LP are »Cantan un Huevo«, commissioned by the Ives Ensemble in 2000 and awarded in 2002 at the 29th edition of the International Competition of Electroacoustic Music and Sonic Art, Bourges, France, and one of their first installations, »Was der Wind zum Klingen bringt«, from 1989/90, shown in the Stedelijk Museum, Amsterdam, 1990, as part of the exhibition »Energieën«, and in 1991 at the Multimediale 2, Z.K.M., Karlsruhe. The LP demonstrates that sound produced by the Bosch & Simons music machines can also be listened to as autonomous »music«.

Discover all the gems of House and Techno music in a double vinyl special collection! A selection by the Rex Club, the emblematic Parisian club that has hosted the greatest names in electronic music, from Laurent Garnier with the Wake up nights to Jeff Mills, as well as Chloé or Ellen Allien. DISCOVER THE FIRST VOLUMES OF THE REX CLUB COLLECTION! HOUSE & TECHNO

"Commemorating the 25th anniversary of Sir Georg Solti’s passing “The Greatest Recording Of All Time” Now sounding better than ever before on Hybrid SACD Transferred and remastered in HD sound at 24bit / 192kHz from the original two-track stereo mastertapes The first all-new transfer in over twenty-five years The first-ever stereo production of Wagner’s Ring cycle, still considered the benchmark today. “Here is the greatest achievement in gramophone history yet”, wrote Gramophone in 1965. For many, it still is!
ALL FOUR OPERAS IN THE CYCLE WILL BE RELEASED IN DELUXE HYBRID SACD EDITIONS:This iconic recording is released internationally for the first time on Hybrid SACD, delivering Solti & Culshaw’s sonic vision in the highest quality possible. The Hybrid SACD format combines the high density 24bit / 192kHz stereo mix with a standard CD layer meaning these discs will also play in any normal CD player, delivering unrivalled listening flexibility . Each edition includes lavishly illustrated booklets featuring technical information on the new HD remaster and original recording techniques, introduction to each opera by Producer John Culshaw, synopses and libretti in English & German plus many original session photographs and rare facsimiles “The greatest recording of all time”: Gramophone Magazine 1999 · BBC Music Magazine 2011 Grammy Award · Edison Award · Grand Prix Mondial du disque.

The Earth is burning, covering all environments in ashes. Smoke comes to us from computers-from social networks accelerating the spread of burnt affects, damaging our ability to feel and respond to what the planet strives to express. We need to cool down. Thomas Köner's music can help change the pace of our perceptions: 1) In DAIKAN (2002) - a Japanese term meaning "the coldest" or "the coldest part of the year"-the ear stretches until touching the depth of time that persists in the ice; a sonic drama offers the slowness thanks to which the skin of perceptions can reconstitute themselves; icequakes awaken listeners to the frozen life without scaring them. 2) Banlieue du Vide, considered by many to be Thomas Köner's most iconic audiovisual work and best kept secret, has not been released previously. It is in the collection of a couple of art museums, e.g. the Centre Pompidou in Paris, and has been awarded the Golden Nica at Prix Ars Electronica in 2004, in the category Digital Musics. Banlieue du Vide is the result of months of time-lapse observations of empty streets in the Finnish Arctic Circle, shown in glacially slow slow-motion. Phase cancellation, on which all noise cancelling technology is based, here affects the perception of time, the sense of the flow of time extinguishing itself. At this stage the void is not yet empty, traces of past noise fill the listeners mind with their haunting presence. A remastered stereo version of the soundtrack is released as a special premiere as Bonus Track of the DAIKAN album. Listening to this album, an excess of heat turns into an empowering coldness-like the transient feeling of our terrestrial embodiment in the midst of entropy.

"You and Me" by Penny & the Quarters simply refused to stay lost. For 40 years, the song sat silent in a box of reels before heartthrob Ryan Gosling selected it to star in 2010's indie weeper Blue Valentine. The power of the track set off an international treasure hunt in pursuit of the mysterious artists behind it. Since then, "You and Me" has soundtracked thousands of weddings, spawned hundreds of YouTube covers, and tugged heartstrings for scores of advertisements and films. Fifteen years after "Eccentric Soul: The Prix Label" became Numero's worst selling compilation, we've reanalyzed the tapes and selected 11 equally-as-fascinating rehearsals caught by engineer Clem Price in Columbus, Ohio, in 1970.

“You and Me” by Penny & the Quarters simply refused to stay lost. For 40 years, the song sat silent in a box of reels before heartthrob Ryan Gosling selected it to star in 2010’s indie weeper Blue Valentine. The power of the track set off an international treasure hunt in pursuit of the mysterious artists behind it. Since then, “You and Me” has soundtracked thousands of weddings, spawned hundreds of YouTube covers, and tugged heartstrings for scores of advertisements and films. Fifteen years after Eccentric Soul: The Prix Label became Numero’s worst selling compilation, we’ve reanalyzed the tapes and selected 11 equally-as-fascinating rehearsals caught by engineer Clem Price in Columbus, Ohio, in 1970.

"You and Me" by Penny & the Quarters simply refused to stay lost. For 40 years, the song sat silent in a box of reels before heartthrob Ryan Gosling selected it to star in 2010's indie weeper Blue Valentine. The power of the track set off an international treasure hunt in pursuit of the mysterious artists behind it. Since then, "You and Me" has soundtracked thousands of weddings, spawned hundreds of YouTube covers, and tugged heartstrings for scores of advertisements and films. Fifteen years after "Eccentric Soul: The Prix Label" became Numero's worst selling compilation, we've reanalyzed the tapes and selected 11 equally-as-fascinating rehearsals caught by engineer Clem Price in Columbus, Ohio, in 1970.

"You and Me" by Penny & the Quarters simply refused to stay lost. For 40 years, the song sat silent in a box of reels before heartthrob Ryan Gosling selected it to star in 2010's indie weeper Blue Valentine. The power of the track set off an international treasure hunt in pursuit of the mysterious artists behind it. Since then, "You and Me" has soundtracked thousands of weddings, spawned hundreds of YouTube covers, and tugged heartstrings for scores of advertisements and films. Fifteen years after "Eccentric Soul: The Prix Label" became Numero's worst selling compilation, we've reanalyzed the tapes and selected 11 equally-as-fascinating rehearsals caught by engineer Clem Price in Columbus, Ohio, in 1970.

“You and Me” by Penny & the Quarters simply refused to stay lost. For 40 years, the song sat silent in a box of reels before heartthrob Ryan Gosling selected it to star in 2010’s indie weeper Blue Valentine. The power of the track set off an international treasure hunt in pursuit of the mysterious artists behind it. Since then, “You and Me” has soundtracked thousands of weddings, spawned hundreds of YouTube covers, and tugged heartstrings for scores of advertisements and films. Fifteen years after Eccentric Soul: The Prix Label became Numero’s worst selling compilation, we’ve reanalyzed the tapes and selected 11 equally-as-fascinating rehearsals caught by engineer Clem Price in Columbus, Ohio, in 1970.

Opening with the buzz of a smartphone on vibrate, First Hate’s sophomore album Cotton Candy launches to life with “Someone New,” a synth-driven statement of intent. The Danish duo’s charged songs are rooted in a recognizable universe, but traverse a wide array of genre experiments and pop detours. Cotton Candy follows the quest of its protagonist stumbling through a crumbling world, winning and losing lovers, swinging from extreme highs to hopeless lows. The title alludes to transience and ecstasy, the surge of a sugar rush before nausea sets in, the way cotton candy dissolves into nothingness leaving only sticky fingers. Throughout, the productions glitter with synthetic detail and hypermodern finesse, effervescent but elusive. “Life is a rollercoaster and we’ve ridden the ups and downs.” During the recording sessions, a collage of Copenhagen musicians flowed through the studio. First Hate is a fixture of the city’s creative community, but ultimately exists in their own sphere, carving a niche as parallel universe pop stars, embracing sweet and bitter, risk and reward: “Sometimes the ones who love you most are the ones who hold you back.” Anton and Joakim grew up in Copenhagen and met when they were 15 through common friends on the street where they lived. “I didn’t enjoy being home so I used to stay at my friend Jakob's basement in an old church on Willemoesgade street,” says Wei. “His mom was the priest. She baptized Anton at age eight during his Jesus phase when he demanded a late baptism from his atheist parents. Jakob was friends with Elias who lived up in Anton’s end and they introduced us to each other. One summer my parents finally married after 20 years of dating. Joakim moved in for two weeks and we accidentally trashed the apartment while they were on their honeymoon. Later on Jakob, Elias, and two other friends, Dan and Johan, formed the band Iceage. Watching our friends’ growing success was a catalyst in creating our own project. At that point everybody in our friend group was making punk music, so the most punk thing we could think to do was start a pop duo.” The First Hate catalog comprises more than nine years of work, including their 2017 cult classic, A Prayer For The Unemployed, a collaborative album Dittes Bog, two EPs and several singles. All of the recordings are self-produced, until they are ready to be finished in the studio. “We have sort of a twin alliance. Like couples finishing each other’s spaghetti at restaurants, we finish each other’s music. Having people enter this sacred mix has been such a pleasure.” On stage Anton and Joakim embody the contrasting yet complimentary energies of yin and yang: Joakim pushing buttons, steering the ship, working synths and samplers with harmonious calm, while Anton’s body bullets around the stage, pounding out his kinetic dance moves. The name Anton means fragile flower, an apt metaphor for his stage presence. A fragile flower shooting through concrete. To behold a performer who consistently delivers such intense live performances is a rare pleasure. “Live means love. When everything is right. When we meet the audience heart to heart. Then the planet spins even faster.” First Hate has performed over a hundred shows across Europe, Asia, the U.S., and Russia, both as headliners and alongside fellow Copenhagen acts Iceage, Lust For Youth, Communions, Soho Rezanejad, Trentemøller and Grand Prix. “We are on a quest of love, yes it’s as cheesy as that.”

Extravaganter als Elton John, catchy wie ABBA, intensiv wie Slipknot und cooler als Limp Bizkit – all das und mehr ist TROLLFEST. Nach ihrer Napalm Records Debüt-EP Happy Heroes, kehren TROLLFEST mit ihrem neunten offiziellen Studioalbum Flamingo Overlord am 27. Mai 2022, zurück und liefern elf Tracks, die zweifellos neue Fans überzeugen und die alten begeistern werden.

Auf Flamingo Overlord verbinden TROLLFEST ihre Liebe zur Musik in all ihrer Vielfalt mit Extravaganz, Ausgelassenheit, Wahnsinn und einer Ansteckungskraft, die sich nur als pures K.A.O.S. beschreiben lässt. TROLLFEST wurde 2003 von Gitarrist John Espen Sagstad (Mr. Seidel) und Sänger Jostein Austvik (Trollmannen) gegründet und machte sich mit energiegeladenen Auftritten auf renommierten Festivals wie dem Wacken Open Air, 70.000 Tons of Metal und Summer Breeze einen Namen. Die Band erreichte Millionen von Streams auf allen Plattformen und hat sich eine treue Fangemeinde erspielt, die TROLLFESTs einzigartige Fähigkeit schätzt, Genres mit ihrem K.A.O.S.-getriebenen Sound zu verschmelzen. Die erste Single
des neuen Albums, ””Dance Like A Pink Flamingo””, brachte ihnen sogar die Teilnahme am norwegischen Melodi Grand Prix ein, der Qualifikationsshow für den renommierten Eurovision Song Contest!

"Queen Of Nowhere" is the result of the photographic works by Kourtney Roy and the musician Dayve Samek (Trance Farmers) initiated by IIKKI, between November 2021 and March 2022.

The man behind the name Trance Farmers is Dayve Samek, a wanderer from Los Angeles to Louisiana, and his music has picked up just about every influence it can along the way. He has recorded his first album in 2014 on Leaving Records (Stones Throw Records). Not sure how to classify his music ranges, but something between sweaty, garage-born ballads brush shoulders with drifter anthems and gasoline drenched doo wop with at some points some beats close from the past Anticon works should make the point.

The Canadian photographer Kourtney Roy was born in Northern Ontario in 1981. Intrigued by the possibility of creating a tragic mythology of the self, she conjures an intimate universe pervaded by both wonder and mystery. Her photographer’s eye is drawn to places and settings whose lyrical qualities underscore the sublime banality of everyday life.

Roy’s studies in photography, at Emily Carr University of Art and Design in Vancouver and later at the Ecole Nationale Supérieure des Beaux-Arts in Paris, inspired her to develop her finicky aesthetic, which lends itself particularly well to both glossy paper and film. Roy works extensively as an independent photographer/filmmaker in the art world. Instilled with a dark sense of humor, taking their clues as much from the grotesque nature of seemingly placid settings as from the tensions simmering just under the surface, her photographs have garnered many prizes, including the Prix Picto in 2007, The Emily Award in Canada in 2012 and the Prix Carte Blanche PMU/Le Bal in 2013 and the Pernod Ricard Carte Blanche in 2018.

Remastered vinyl reissues of the two essential albums by Turkish folk singer Tülay German, starting with the self-titled release (1980) and followed by "Hommage to Nazım Hikmet" (1982) in early 2022.

Referring heavily on turkish poets and the tradition of aşıks (singer-poets and wandering bards) these two albums represent unique and modern interpretations of turkish folk songs unmatched to this day. A matured artist with full conviction at the height of her powers!
Back in the 60s Tülay German (*1935 in Istanbul, Turkey) shook the turkish music landscape with several 7" records. Most notably her first 7" record "Burçak Tarlası" (1964) is now considered the cornerstone of what was to become the Anadolu Rock/ Pop movement and underlines her rebellious nature and sense of justice.
But due to the increasing repression Tülay German and her lifelong partner and intellectual impetus Erdem Buri decided to leave Turkey a few years later. In fact, an impending prison sentence for Erdem Buri for translating Hegel's "Dialectic and Science of Logic" and
Plekhanov's "Fundamental Problems of Marxism" led the couple to emigrate to France.

In France Tülay German signs a major contract with Philips resulting in many 7" releases sung in french under her french moniker Toulaϊ. In the long run Tülay German doesn't feel quite comfortable with this major deal. And thus, despite the success and recognition she had
gained, she decides to quit the contract with Philips!
Later on she signs to independent world-music label Arion to pursue her actual artistic goals more in line with her origin and temperament. Back to her mother tongue, Tülay German records above mentioned albums for Arion under full artistic freedom, the only full-lenghths
in her 20+ years career. Alongside with double-bass virtuoso and turkophil François Rabbath (*1931 in Aleppo, Syria) the albums consist of aşık traditionals and intonated poems mainly
by Nazım Hikmet. Her passionate voice and the restrained arrangements of François Rabbath turn these centuries old melodies and poems into glowing manifestos for love and
justice. The fruitful collaboration of these artists-in-exile adds significantly to the rich heritage of turkish folk music.

The self-titled debut, which was awarded with the prestigious "Grand Prix du Disque" of Académie Charles Cros in 1981, is now seeing a vinyl reissue after 40 years.
Tülay German ended her musical career in 1987 and after the death of Erdem Buri in 1993 she retired from public life completely, leading a quiet life in Paris where she still lives to this day. In 2021 Tülay German was awarded with the Lifetime Achievement Award by the Istanbul Foundation for Culture and Arts, Turkey.

"In Vivo" is the result of the photographic work of Klavdij Sluban at the Fleury-Mérogis Young Offender Institution (France) from 1995 to 2016 Beds in addition to his work from Izalco prison, located in El Salvador, from 2008 [visiting rooms] connected to the music of Gareth Davis.

Gareth Davis is an artist, composer and musician living in Amsterdam. He plays clarinet(s), the result of a somewhat impulsive purchase whilst window shopping in Covent Garden, London, around ten years before the turn of the century. The serendipitous location of a rather wonderful (and equally important, rather cheap) second hand record shop less than 10m from the bus stop required for seven years of schooling, combined with delivering newspapers on a daily basis, lead to a somewhat eclectic, dusty and generally unclassified taste in music.

The result. Activity covering sonic art and contemporary classical music through rock, improvisation and noise with collaborations that have included the premiering of new written pieces by composers such as Bernhard Lang, Peter Ablinger, Toshio Hosokawa and Jonathan Harvey, soloist with orchestras including the SWR Symphonieorchester, Warsaw Philharmonic and Orquesta de la Comunidad de Madrid, performances with groups and performers ranging from the Neue Vocalsolisten and Arditti Quartet through to improvisers Elliott Sharp and Frances Marie Uitti, electronic artists Robin Rimbaud and Merzbow and multimedia work with artists including Christian Marclay and Peter Greenaway.

"In Vivo" is his second solo release after to have recorded a bunch of collaborative albums with artists such as Scanner, Machinefabriek, Steven R. Smith, Kleefstra Brothers, Frances-Marie Uitti, Merzbow, Adain Baker, Duane Pitre and more...

Klavdij Sluban, winner of the European Publishers Award for Photography 2009, of the Leica Prize (2004) and of the Niépce Prize (2000), main French prize in photography, is a French photographer of Slovenian origin born in Paris in 1963.

He develops a rigorous and coherent body of work, nourished by literature, never inspired by immediate and sensational current affairs, making him one of the most interesting photographers of his generation. The Balkans, the Black Sea, the Baltic Sea, the Caribbean, Central America, Russia, China and the Antarctic (first artistic mission in the Kerguelen islands) can be read as many successive steps of an in-depth study of a patient proximity to the encountered real.

His images have been shown in such leading institutions as the Metropolitan Museum of Photography of Tokyo, the Maison Européenne de la Photographie in Paris, the Rencontres d’Arles, the Museum of Photography in Helsinki, the Fine Arts Museum in Canton, the Musée Beaubourg, the Museum of Texas Tech University. His many books include East to East (published simultaneously by Actes Sud, Dewi Lewis, Petliti, Braus, Apeiron & Lunwerg with a text by Erri de Luca), Entre Parenthèses, (Photo Poche, Actes Sud), Transverses, (Maison Européenne de la Photographie) and Balkans -Transit, with a text by François Maspero (Seuil). Since 1995, Sluban has been photographing teenagers in jails. In each prison he organizes workshops with the young offenders to share his passion. First originated in France, in the prison of Fleury-Mérogis with support of Henri Cartier-Bresson during 7 years, as well as Marc Riboud and William Klein punctually. This commitment was pursued in the disciplinary camps of Eastern Europe –Serbia, Slovenia, Ukraine, Georgia, Moldavia, Latvia – and in the disciplinary centres of Moscow and St Petersburg as well as in Ireland. From 2007 to 2012, Sluban has been working in Central America with imprisoned youngsters belonging to maras (gangs) in Guatemala and Salvador. In 2015, he started photographing imprisoned teenagers in Brazil. In 2013, the musée Niépce showed a retrospective of K.Sluban’s work, After Darkness, 1995-2012. In 2015/16, he was awarded the Villa Kujoyama Residence in Kyoto, Japan. K.Sluban is member of national and international jurys, such as prix Niépce, prix de la Jeune Photographie de Niort, prix Leica, All About Photo…

"Flowers Bloom, Butterflies Come" is the result of a dialog between the stunning Japanese photographer and artist Miho Kajioka and the wonderful UK musicians and composers Ian Hawgood and Craig Tattersall (The Humble Bee), initiated by IIKKI, between August 2019 and January 2021.

Born in the United Kingdom, Ian Hawgood spent most of his adult life living in Japan, Italy and Poland. Currently he calls Peacehaven (on the south coast, near Brighton) his home. Since 2009, he’s well-known with his work as the curator of the Home Normal label. He makes music using an array of reel-to-reel and tape machines in his studio by the sea, where he also master works for many labels and artists alike. You could often catch him on the coast with his faithful Nagra recorder, hydrophone and field microphones. These days his focus of music is on decayed ambient works using old synths and reels mostly, alongside his childhood piano. (site)

Craig Tattersall is a former member of The Remote Viewer and Famous Boyfriend bandmate Andrew Johnson. Tattersall's music can be found these days more often under his alias The Humble Bee; as a founder member of The Boats; and in his collaborative works with the likes of Bill Seaman in The Seaman And The Tattered Sail. He has run the wonderful label Cotton Goods from 2008 to 2015 and since 2009 he has recorded 12 albums on his moniker The Humble Bee.

Miho Kajioka (b. 1973, Japan, lives in Kyoto) is an artist and a photographer since 2011. Kajioka’s work has been exhibited in Spain, Italy, France, the Netherlands, the USA, Germany, Belgium, Portugal and the United Kingdom. Kajioka’s latest book ‘so it goes’ won Prix Nadar in October 2019. "Kajioka's artistic practice is in principal snapshot based; she carries her camera everywhere and intuitively takes photos of whatever she finds interesting. These collected images serve as the basic material for her work in the darkroom where she creates her poetic and suggestive image-objects through elaborate, alternative printing methods. Kajioka regards herself more as a painter/drawer than as a photographer. She feels that photographic techniques help her to create works that fully express her artistic vision. Her images evoke a sense of mystery in her constant search for beauty. The focused, creative and respectful way in which she uses the medium of photography to creating her works seems to fit in the tradition of Japanese art that is characterized by the specifically Japanese sense of beauty, wabi sabi. (…) According to her, photography captures moments and freezes them; printing impressions is like playing with the sense of time and getting lost in its timeline." (Ibasho Gallery)

Teenage Fanclub release a limited-edition double A side 7” ahead of their tenth studio album, Endless Arcade, released via their own label PeMa in the UK/Europe and Merge in the US.

The 7” vinyl features an edit of current single ‘Home’ (version only available on vinyl on this release) and previous single ‘Everything is Falling Apart’

Endless Arcade follows the band’s ninth album “Here”, released in 2016 to universal acclaim and notably their first Top 10 album since 1997; a mark of how much they’re treasured. The new record is quintessential TFC: melodies are equal parts heart-warming and heart-aching; guitars chime and distort; keyboard lines mesh and spiral; harmony-coated choruses burst out like sun on a stormy day.
Endless Arcade was virtually finished by the time lockdown was announced, bar the odd tinker under the engine hood. For the track ‘Home' It seems timely, given how everyone has had to stay home under lockdown, the track typifies TFC’s relaxed groove, culminating in Raymond’s peach of a guitar solo. Norman’s search for ‘home’ could be literal: after all, he’s been living in Canada for the last 10 years. But it’s also figurative.

In the 1990s, the band crafted a magnetically heavy yet harmony-rich sound on classic albums such as “Bandwagonesque” and “Grand Prix”. This century, albums such as “Shadows” and “Here” have documented a more relaxed, less ‘teenage’ Fanclub, reflecting the band’s stage in life and state of mind, which Endless Arcade slots perfectly alongside. The album walks a beautifully poised line between melancholic and uplifting, infused with simple truths. The importance of home, community and hope is entwined with more bittersweet, sometimes darker thoughts - insecurity, anxiety, loss.

Superb EP offering very very well done tunes in quiet a large range of style : Banger Hardcore meltdown Rock/Techno to Electro Techno banger like Narcosamples :)

A2 is the most impressive tune for me here... A BANGER of Drum Metal !! Outta Your Mind !!

Sound playing 45 RPM like crazy.

Legendary Turkish psych innovators Moğollar grace the Artone Studios in Haarlem for a masterclass in the original Anadolu psych roots, cutting a compendium of their rawest hits and most-wanted psychedelic rock classics – including the J.Dilla-sampled ‘Haliç’te Güneşin Batışı’ – for the latest edition of Night Dreamer’s essential Direct-to-Disc series.

In the beginning, there was Moğollar.

Formed at the end of 1967 with five young musicians, Moğollar were the original Anadolu psych originators. They were the first Turkish pop band who tried to blend the microtonal folklore and traditional instruments of rural Anatolia with Western pop and rock; they were the first Turkish psychedelic band to achieve overseas recognition, winning the prestigious French Grand Prix Du Disque in 1971 after a period in Paris; and they coined the very phrase ‘Anadolu Pop’ with their first album release. They were radical, innovative, and hugely popular, and when the great artists of the Turkish rock revolution appeared on the scene, Moğollar were already there – stars including Barış Manço, Selda, Cem Karaca and Ersen all recorded with them or briefly joined the line-up. Moğollar were and are the undisputed pioneers of the style.

More than fifty years after first forming, Moğollar materialised in the Artone Studios to give a masterclass in fuzzed-out folklore and Turkish psychedelic roots for Night Dreamer’s Direct-to-Disc series – a fitting follow-up to Night Dreamer’s BaBa ZuLa set, coming straight from the group who laid the foundations of the genre.

In 1971, having already released numerous singles, they secured an album deal with French label Guild International du Disques. Travelling to Paris that year, they recorded their first major statement, Danses Et Rythmes de la Turquie d’Hier à Aujourd’hui, a set later released in Turkey as Anadolu Pop. The album won a prestigious French award – the Grand Prix du Disque from the L’Académie Charles Cros, an honour that had been won in the past by Jimi Hendrix, Pink Floyd and Soft Machine. Moğollar, and Anadolu psychedelic pop, had arrived on the international scene.

In 1976, after many more releases and line-up changes, and pressured by an increasingly difficult political situation in Turkey, the group dissolved for seventeen years, and various members dispersing to exile in Paris and Berlin. However, after a petition from their fanbase asked them to reform, they agreed to play a comeback concert in 1993. It was a huge success, and reunited, they went on to record some of their greatest work. Led today by original member Cahit Berkay alongside original bass player Taner Öngür, and joined by Cem Karaca’s son Emrah, Moğollar continue to push their uniquely original brand of fuzz-scorched folk-rock and crackling Anadolu psychedelia forward into a new millennium.

For this Night Dreamer session, Moğollar spent two days in the Artone studios, recording sides A and B on the first day, and C and D on day two. With BaBa ZuLa’s Murat Ertel adding contemporary sonic punch behind the boards, the band revisited their most renowned hits to lay down energised new versions, and dusted off some of the most sought-after cuts from their enormous catalogue. The result is a showcase set by a band that are one of true pioneers in global psychedelic rock, and a masterclass in the true roots of the Anadolu psych sound: fuzzed-out, committed, and straight from the source.

Highlights of the set include:
-‘Haliç’te Güneşin Batışı’, an Anadolu psych classic which was first issued as the b-side to the ‘Ternek’ single in 1970, before being recorded again for the Danses Et Rythmes de la Turquie d’Hier à Aujourd’hui LP in 1971. A tense slab of roughneck psychedelia, the final breakdown of the original recording was sampled by none other than J. Dilla for the ‘Intro’ cut on Welcome To Detroit.
-‘Gel Gel’, a 1974 song with head-nodding tempo change, originally featuring Cem Karaca. It is here voiced by his son Emrah Karaca, now a permanent member of Moğollar.
-‘Çığrık’, a 1972 cut which originally appeared on one of Moğollar’s most coveted singles, is a funky psych-rock workout with an unforgettably riff, a ringing guitar motif, and twist of Led Zeppelin.
-‘Düm Tek’, the title track of the bands second full LP (Düm Tek, 1975), a raw psych screamer, laced with hardcore davul drum patterns.
-‘Bi’Sey Yapmali’, first recorded for the 1996 Dört Renk album, became the anthem of huge street protests that took place in Turkey that year after an investigation uncovered a huge network of state, police and mafia corruption.
-‘Dinleyiverin Gari’, a hit from the 1994 come-back album Moğollar 94, addresses a notorious corruption scandal of the era.

Fragile X is an exciting new collaboration between vocalist Inga Schunn and producer Dylan Chase.

The group began in 2019 when Schunn posted an iPhone voice recording on Facebook in which she sang an acapella in her native German. Her friend Chase, who was recording and releasing at that time as Caffeine Worldwide, heard the 30-second clip and immediately asked Schunn, at that time only an acquaintance, if she might like to record something. Neither of them realised at the time that the first sessions would lead to a debut 4-track EP that capably references as many styles as most full-length albums from established artists, while also setting a blueprint for a project that could go anywhere from here.

The opening track alone, 'Lifetime', opens with a woozy blend of UKG rhythms and Royksopp synths, before giving way to Schunn's sedate rendition of Daniel Johnston's 'Some Things Last A Long Time'...basically the years 1990-2002 distilled into 5 furious minutes of 5am energy.

Across the whole release, Chase's productions show the same cinematic flair that made his previous releases on French Press Lounge, Third Try and Human Concrete Block must-haves for your late-night record bag.
A2 'Prix' with the kind of R&S attitude that would make forebears like LFO or Lone proud, could be the soundtrack for an illegal outback rave or a sunset drive over a Big Sur overpass.
The album closer, 'Fragile X Theme,” sounds something like if late 90's Bjork was commissioned to soundtrack the movie Hackers with Akai samplers on loan from the Hartnoll brothers.

The whole release may be overshadowed by the B1, 'Karaoke Girl', a track Schunn and Chase wrote in Mexico City in 2019 after a rough night at a Zona Rosa karaoke bar.
Opening with dripping synths as soft and inviting as the last drink before sunrise, Schunn tells a story of a woman who overstays her invite at an intimate birthday party between friends, taking the mic from the birthday girl and singing "Seal, Rush and Kate Bush" with a "death grip on the mic."
It's a bizarre, vivid song for such new artists to have come up with, and the lyrics are underpinned by Chase's equally adventurous combination of Nordic disco elements with heavily treated bursts of Japanese koto.
The Lifetime EP's title is a reference to the laborious process that it took to make the record, with multiple recording sessions across two countries followed by endless edits and a Covid 19 related vinyl slowdown bringing its release to a crawl.
The record itself is a fast-paced, dopamine rush debut that we are proud to share with you as both the culmination of a long process, and the beginning of a strange new story.