quête:sa

In 2007 an Italian film festival invites Mouse on Mars to score a film of their choice. The organizers claim to be able to clear the rights for any movie the band chooses. Werner Herzog’s fictional documentary Fata Morgana, which merges footage of several desert explorations by Herzog and his team into one continuous association, has long been a band’s favorite. The film comes with a soundtrack by Mozart, Leonard Cohen, Third Ear Band and field recordings. Andi Toma and Jan St. Werner are sent a DVD to Düsseldorf and start working. The idea is to score the film in real time so instrumentation has to be readily at hand: guitar, percussion, electronics, mouth harp, pedals, software, tapes, samplers. Once the arrangement for the three-part film is sorted Mouse on Mars bring their score to stage. Herzog Sessions is performed twice: first when the band still thought the rights had been cleared, and a second time at London’s Southbank Center knowing that Herzog would have never approved a new score.

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Mouse On Mars – London Queen Elizabeth Hall soundtracking Werner Herzog.
By Mike Diver, 24.04.2009

Filmed in 1971, Fata Morgana is perhaps not one of Herzog’s best-known works (think Grizzly Man, Rescue Dawn, et cetera…), but then Mouse on Mars have never been ones to embrace the mainstream, quietly letting their modern, experimental take on krautrock do the talking over the years, thus producing some quietly brilliant electronica that far outweighs their modest profile.

The film itself is not altogether dissimilar to the wonderful, Phillip Glass-scored Koyaanisqatsi, with sweeping landscape shots and no obvious plot or narrative, though Fata is concentrated purely in one place – in and around the Sahara Desert, switching from images of barren wasteland to desert tribes and dead, skeletal cattle.

The obvious thing to do when soundtracking such powerful imagery is to vie for dreamy electronic soundscapes which can be sustained for a long period, and whilst this ambient shoegaze approach was present and correct (also carefully constructed and highly effective), Mouse on Mars added a human element to the performance, incorporating a live dimension by using and looping guitars, harmonicas, processed vocals and even a live horn player (quite possibly a flugelhorn. Look it up if you don’t believe me) for the final section of the film.

Some of the most interesting points arose when the duo suddenly switched from solemn, ambient tones to glitchy, bouncing electro (reminiscent of their more upbeat work) whilst on the same film shot – causing the audience mood to flick from tripped-out bliss to attentive semi-wired, utterly subverting any idea of a narrative the film may have possessed. Clever stuff.

Ranging from sinister to surreal to humorous, all the moods portrayed in Fata Morgana were successfully matched by Mouse on Mars’ live rescore – no mean feat. The duo also went above and beyond the call of duty with their own soundtrack, adding a fascinating personal signature to an already unique film.

Fat Freddy’s Drop hit the ground running with new studio album SLO MO, a bass-heavy blast of redemption and resolution. Described by Fitchie as 'afro rhythmic soul music, an exploration of Black music from Polynesia’, this heady mix creates the undefinable Freddy’s sound. Renowned worldwide for euphoric live shows, the Aotearoa band stepped inside their BAYS studio in Wellington, sunup to sundown, to craft a sixth studio album. SLO MO is the strongest studio representation yet of a Freddy’s live show’, says Chopper Reeds. 'Usually we take the stage to the studio and this time, we're excited about taking our studio creation on to the stage.'
Emerging with nine tunes, SLO MO will drop first on double vinyl, opening the door for the full length album to be experienced as a body of work curated as Freddys intended.
Chopper Reeds continues, 'Towards the latter part of the record, Joe Dukie’s vocal presence becomes quite spectral allowing listeners to inject themselves into the music.
The evocative cover art is by Dan Tippett, Aotearoa New Zealand Artist, who describes the image as ‘an ancient ngahere forest in a Jurassic Aotearoa dreamtime.’

Fat Freddy’s Drop hit the ground running with new studio album SLO MO, a bass-heavy blast of redemption and resolution. Described by Fitchie as 'afro rhythmic soul music, an exploration of Black music from Polynesia’, this heady mix creates the undefinable Freddy’s sound. Renowned worldwide for euphoric live shows, the Aotearoa band stepped inside their BAYS studio in Wellington, sunup to sundown, to craft a sixth studio album. SLO MO is the strongest studio representation yet of a Freddy’s live show’, says Chopper Reeds. 'Usually we take the stage to the studio and this time, we're excited about taking our studio creation on to the stage.'
Emerging with nine tunes, SLO MO will drop first on double vinyl, opening the door for the full length album to be experienced as a body of work curated as Freddys intended.
Chopper Reeds continues, 'Towards the latter part of the record, Joe Dukie’s vocal presence becomes quite spectral allowing listeners to inject themselves into the music.
The evocative cover art is by Dan Tippett, Aotearoa New Zealand Artist, who describes the image as ‘an ancient ngahere forest in a Jurassic Aotearoa dreamtime.’

Sub Pop and Mudhoney celebrate the barnstorming self-titled debut album by Seattle punk/rock/fuzz/g****e legends Mudhoney, originally released in 1989, with a fresh colored-vinyl pressing. This classic album contains 12 tracks of roaring rock music, including the megahits "This Gift" and "Here Comes Sickness." Mudhoney frontman Mark Arm says "Turn up the tape hiss!!" This special 35th anniversary edition is limited to 1000 copies on Petrol coloured vinyl, YES PETROL, it looks mighty fine, and comes in a single-LP jacket with poster insert!

limited edition 2xlp of 3138 copies on opaque white 180 gram vinyl LP1 original album remastered by Bob Weston LP2 full album remixed from original multi-track almasters liner notes by Steve Albini and Ethan Buckler gatefold jacket with full color inner sleeves hand numbered 1 through 3138 SLINT is a band from Louisville, Kentucky. tweez was its first recording. LP1: Originally recorded by Steve Albini and released in 1989, tweez has been remastered by Bob Weston at Chicago Mastering Studio from the original analog master tapes. LP2: tweethan mix. Per Ethan Buckler (Slint bassist on tweez), "Finally - after thirty-five long years - the other guys in Slint decided to be nice to me and let me have my Tweez remix. I complained incessantly back in the day about how the Albini production style ruined our first recording." In 2023, Ethan took the original multi-track recordings to a local studio in Louisville. Upon handing the engineer a copy of a pre-tweez Slint practice tape, he said "Make it sound like this." LP2 of this "tweez (35th anniversary edition)" is the result. Mastered by Bob Weston at Chicago Mastering Studio.

"Die Puhdys liebten die (West-)Berliner Waldbühne und die Fans liebten es, uns auf der Waldbühne zu erleben" erinnert sich Puhdys Gitarrist und Sänger Dieter "Maschine" Birr an die Auftritte der Band in der Berliner Open-Air Arena. Allein Anfang der 1980-er Jahre waren sie dreimal in der Waldbühne zu Gast. Dann gönnten sie sich eine kleine Waldbühnen-Auszeit von 13 Jahren und als sie1996 in das Rund im Berliner Westend zurückkehrten, hatte sich das Rad der Geschichte zwischenzeitlich gehörig gedreht. Sieben Jahre nach dem Mauerfall lud der WDR-Rockpalast zu einem Open-Air mit insgesamt acht Bands aus beiden Teilen Deutschlands ein. Neben den Puhdys standen noch Stern Combo Meissen, Karat, Die Zöllner, City, Die Prinzen, Extrabreit sowie Selig auf der Bühne. Alan Bangs vom "Rockpalast" und Ingo Dubinski von "Elf 99" moderierten. Die Stimmung war von Anfang an grandios, die Puhdys kamen als vorletzter Act auf die Bühne. Die Band lieferte eine großartige Show, mit den großen Hits wie z. B. "Wenn ein Mensch lebt", "Alt wie ein Baum" oder als Abschluss die "Rockerrente" wurden die Fans voll bedient. Da in der Waldbühne immer um 23 Uhr Feierabend sein musste, konnten die Puhdys leider keine Zugabe mehr spielen damit die Prinzen auch noch ihr Set abliefern konnten. Vor genau 50 Jahren veröffentlichten die Puhdys bei Amiga ihr erstes Album auf Vinyl, dieser Mitschnitt aus dem Jahr 1996 wird das letzte Puhdys Album. Der Kreis hat sich jetzt geschlossen, ein würdiger Abschluss.

DJ MAG:
"Spanning 10 tracks, 'The Fifth Chakra (Ambient Space Tea)' explores sound system culture, covering one of the British-Jamaican artist's biggest influences. The record is largely beatless and focuses on the power of sub-bass and other electronics, moving away from the percussive house energy of much of his past material."


909Originals:
"The largely ambient album is a departure from the thumping beats that Mr G has become famous for, but it also displays his personal, emotional side - tracks like Constant, Solar Eclipse NYC and The 5th Chakra encapsulate an artist allowing himself the freedom to roam through his influences."


Resident Advisor:
"Never did I think I'd get to a meditative place and learn restraint,' he said. "This is the album I've always wanted to make, never thinking I could. Also, after loving others' bass-heavy albums, it's a joy to put my own into the mix. But I always remember my thing is weight and tone in whatever I take on. Especially in this flat, compressed world."

Queen’s self-titled debut album will be remixed and released this October. This is the first time that a Queen album has been remixed. Retitled Queen I for this release, the front cover’s Queen logo, originally designed by Freddie Mercury, will be updated with the addition of the Roman numeral “I”. The original album was recorded in 1972 and was released in July 1973 on EMI Records in the UK and Elektra in the USA.

Featuring the singles “Keep Yourself Alive” and “Liar”, the album achieved Gold sales in the UK and USA, and has been a fan favourite ever since.

This Collector’s Edition sees the album presented in a whole new light, having been newly mixed from the original multi-track masters, and with the song “Mad The Swine” now reinstated into the album running order in its originally intended place.

The bonus discs that complete the 6CD+1LP set include: De Lane Lea Demos (also newly mixed from the original multi-track masters for the very first time); a CD comprised entirely of previously unreleased Queen I session out-take music and dialogue; a CD of instrumental and backing track versions of the album; a live CD featuring some of the best and most interesting live performances of songs from this album (some of which are previously unreleased); and finally, a disc comprised of Queen I tracks that were recorded for BBC Radio One (including DJ announcements).

Queen I – including “Mad The Swine” – is also presented on 180g black vinyl.

The Collector’s Edition is complemented by the addition of a 108-page 12” hardback book, which features a treasure trove of rare and previously unseen photography, hand-written lyrics, Freddie Mercury’s sketches, and more.

Presented in a rigid two-piece box with fold-out poster and four photo prints

Queen’s self-titled debut album will be remixed and released this October. This is the first time that a Queen album has been remixed. Retitled Queen I for this release, the front cover’s Queen logo, originally designed by Freddie Mercury, will be updated with the addition of the Roman numeral “I”. The original album was recorded in 1972 and was released in July 1973 on EMI Records in the UK and Elektra in the USA.

Featuring the singles “Keep Yourself Alive” and “Liar”, the album achieved Gold sales in the UK and USA, and has been a fan favourite ever since.

This Collector’s Edition sees the album presented in a whole new light, having been newly mixed from the original multi-track masters, and with the song “Mad The Swine” now reinstated into the album running order in its originally intended place.

The bonus discs that complete the 6CD+1LP set include: De Lane Lea Demos (also newly mixed from the original multi-track masters for the very first time); a CD comprised entirely of previously unreleased Queen I session out-take music and dialogue; a CD of instrumental and backing track versions of the album; a live CD featuring some of the best and most interesting live performances of songs from this album (some of which are previously unreleased); and finally, a disc comprised of Queen I tracks that were recorded for BBC Radio One (including DJ announcements).

Queen I – including “Mad The Swine” – is also presented on 180g black vinyl.

The Collector’s Edition is complemented by the addition of a 108-page 12” hardback book, which features a treasure trove of rare and previously unseen photography, hand-written lyrics, Freddie Mercury’s sketches, and more.

Presented in a rigid two-piece box with fold-out poster and four photo prints

Anna McClellan's childhood summers were spent in front of the TV, cementing a love of narrative that would later reveal itself through songwriting. By seventeen, Anna was performing original songs in her hometown of Omaha, Nebraska. Her debut album, Fire Flames, garnered attention and earned her an opening slot on a Frankie Cosmos tour, setting the stage for her subsequently adored albums, 2018's Yes and No and / saw first light, released in late 2020. Now, with her forthcoming fourth album Electric Bouquet, out October 25, 2024 via Father/Daughter Records, McClellan crafts a musical journey that unfolds like one of her cherished television series. Each track is an episode, chronicling the past four years of her life - navigating a career change, a cross-country move, and relationships gone sour. Electric Bouquet is a narrative tour de force showcasing McClellan's remarkable ability to transform life's myriad of messy experiences into captivating musical stories. While writing the album, Anna attended trade school, apprenticing to become an electrician to escape the service industry grind and secure a foundational career alongside music. Eager to break free from Omaha, she decided to take her newfound electrical skills to pursue a career in the film industry in Los Angeles, CA where she's now based. Recorded in multiple sessions in Baltimore, MD and Omaha and co-produced with long-time collaborator Ryan McKeever and Another Recording Company Studios engineer Adam Roberts, Electric Bouquet shifts seamlessly between piano-driven melodies and guitar-anchored anthems, each song a miniature universe slowly opening unto itself.

Geplant war es von Omega damals logischer Weise nicht, die eigene Karriere in Genre-Phasen einzuteilen. So etwas machen später Musikjournalisten und Fans - und unter ihnen besonders die Statistiker. Nach deren Lesart gilt die zweite Hälfte der Siebziger als Space-Rock-Ära der ungarischen Band. Abgebildet wird sie durch die Trilogie "Time Robber" (1976), "Skyrover" (1978) und schließlich "Gammapolis" (1979). Zwar waren sphärische Klänge bereits davor und auch danach noch im Schaffen des Budapester Quintetts zu vernehmen, derart konzeptionell fokussiert zeigten sich Omega jedoch tatsächlich nur auf diesem Triple. Nimmt man die Erfolgs-LP "Time Robber" weiterhin als Qualitätsmaßstab, hielt auch "Gammapolis" mühelos mit. Die Kompositionen der Gruppe um Sänger Jànos Kòbor waren melancholischer geworden, die bittersüßen Melodien schmeichelten. Das galt besonders für den siebenminütigen Opener "Dawn In The City" ("Hajnal a város felett"), dem Titelsong "Gammapolis" und "Silver Rain" ("Ezüst esö"). Zwischen der westeuropäischen, englischsprachigen Version und dem ungarischen "Original" gibt es neben dem Gesang und der Sprache in der Titelreihenfolge und bei der Songlänge einige kleine Unterschiede. Minimal ließen Omega die instrumentalen Passagen einiger Stücke auf der Muttersprachenvariante länger fließen. Für die westeuropäischen Omega-Platten-Käufer jedoch hatten diese feinen Unterschiede keine Relevanz, kannten sie meist die ungarischen Songs gar nicht. Ebenso wenig dürften sie registriert haben, dass GAMMAPOLIS in Omegas Heimat mit fast einer dreiviertel Million Einheiten die am besten verkaufte LP der Band-Karriere wurde. Das deutsche Cover-Artwork wich jedoch von der ungarischen Version erheblich ab: Zeigte die Bacillus/Bellaphon-Variante die Silhouetten der Musiker vor einem von Flak-Scheinwerfern durchschnittenen Nachthimmel, war auf dem Pepita-Album offenbar die zwar futuristische, allerdings auch karge Welt auf einem fremden Planeten zu sehen.

8 cuts of minimalist electronic bliss

"Dark Entries calls on Philadelphia experimental duo The Ghostwriters to resurrect their 1981 LP of minimalist mayhem, Objects In Mirrors Are Closer Than They Appear.

The late Buchla maestro Charles Cohen and multi-instrumentalist Jeff Cain joined up in 1971 to craft electroacoustic chaos as Anomali, later renaming themselves The Ghostwriters. Their collaborations with choreographers and visual media artists led to their singular style, straddling improvisation and composition, the oneiric and the immediate.

1981 saw the release of their debut album, Objects In Mirrors Are Closer Than They Appear, a whirling, messy, telepathic slipstream cascading across an imaginary landscape. Recorded in Don Buchla’s childhood home, Objects offers 8 cuts of minimalist electronic bliss, equal parts icy and quirky, with standout cuts including the grooving havoc of “Fix it in the Mix” and the otherworldly hymn “Moon Chant.” These angular pearls will be cherished by fans of John Bender, Ceramic Hello, and all strains of outsider 80s electronics.

Objects In Mirrors Are Closer Than They Appear has been freshly remastered and includes an insert with photos and liner notes. Proceeds from the album will be donated to SOSA (Safe from Online Sex Abuse), a nonprofit that combats online child sex abuse and trafficking"

IPPON is a rich music, with varied influences, which evokes the electro rock of Soulwax or LCD Soundsystem as well as dark disco.

Effective bass lines, cosmic synthesizers, saturated drums and reverberated vocals: the duo navigates between electro, languorous and sensual dark disco or even progressive pop rock

"?Released in the spring of 1989, Gang Starr’s debut album, No More Mr. Nice Guy, arrived right at the crucial intersection of the old school and golden age of New York rap. You cannot begin to discuss New York rap lineage without drawing a line through the first decade of Gang Starr. Should history be corrected to appropriately acknowledge Gang Starr’s influence and brilliance, it will need an origin story. No More Mr. Nice Guy is that saga. It’s a hard ridge in a changing landscape, the sound of everything shifting, the kernel of greatness germinating. It is Guru and Preemo. Preemo and Guru. An essential title not just for what it would lead to, but because of what it is."

From the moment Kamaal The Abstract begins, it’s evident that this is Tip at his most free and vulnerable, musically, up until that point. Most songs transform into (and end in) extended jams or have solos sprinkled throughout (or both). Jazz serves as the base, with Tip and his band using its colorful and intricate chord progressions to explore funk, rap, rock, R&B and soul — sometimes all on the same song. The album is an artistic statement that’s just as musically bold as it is conflicted, with a playful Tip at the center of it all, just trying to find freedom through music.

Weval (consisting of Harm Coolen and Merijn Scholte Albers) are an Amsterdam-based duo who have established a solid reputation across the globe for crafting highly textured and sophisticated electronic music. They announce a new EP called ‘Night Versions’ which contains brand new, club-focused alternatives to key tracks from their recent critically acclaimed album, ‘Remember’. ‘Night Versions’ is set to release on Ninja Tune imprint Technicolour on 4th October. With the announcement Weval share a Night Version reimagining for title track “Remember".

Speaking about these new versions, Weval say, "It was so much fun to return to the material and make some bold moves. Just to see how far we could push the tracks with the dance floor in mind. We've been road-testing a few of these in our DJ sets lately, and it's so rewarding to watch people dance and hear the tracks blasting on the dance floor. It's addictively fun to experience and see the second life of the songs from the LP."

‘Remember’ embarked on a high energy journey of nostalgic memories and euphoric emotions, with elements of pop, dance and every genre in between being thrown in and whittled down to make an intense, spontaneous and substantial work. PopMatters noted the album as "a kaleidoscopic, gut-turning, jaw-dropping wondrous journey" while it received additional support from the likes of Cool Hunting, Clash Magazine and Stereogum among others.

Emerging producer Très Mortimer dishes out eight huge heaters on the highly-anticipated ‘M1 City’ release, a dedication to the mighty Korg M1, coming to Seth Troxler’s Slacker 85 on 25th October.

Kicking off ‘M1 City’ is the simplistic, but refined and booth-rattling ‘Work That Body’. A crisp M1 stab is the main character in this, amplified by thunderous and high energy drums.

Then there’s ‘Secrets’, a house jam inspired by the likes of MK that utilises TR-909 drums, a subtle rolling bassline, intimately whispered and soulfully sung vocal shots, and, of course, classic Korg M1 synth stabs. Together with dramatic contemporary builds, a highly danceable house smasher is formed.

‘No More’ is pure gasoline for the dancefloor. Très pairs another barrage of clean M1 stabs with a rousing vocal sample that leads into, with the help of a rolling snare, another highly effective house drop. Following the extremely saucy ‘Big Daddy’ skit, we’re dropped straight into ‘One Of Those Nights’, a show-stopping track complete with cutting, sharp stabs, a bulging bassy synth and a West Coast-esque synth sound.

‘Bitch I’m From Chicago’ feat. Gleebz is, as the title suggests, a dedication to the city where house music found its name. Batting off all the poser cities like LA and Miami in the sassy lyrics, it embodies the spirit of Chicago with hefty kick drums and weighty chord stabs.

At the tail end of the release, ‘Let Me Go’ and ‘Love’ (featuring vocalist 7000 (7K)), bring things to a rousing emotive close. Both tracks see Très put clean vocals over piano riffs, giving off differing moods – the former is euphoric, the latter melancholic. Synths bubble beneath, and each track funnels their own respective house grooves, resulting in two tracks fit for both the dancefloor and headphones.

Très Mortiner explains: “The M1 sound is classic. It automatically transports you back to those timeless house songs that never get old. For me, house music is all about connection. People experiencing a little moment of euphoria together when they hear a riff that they all know on the dance floor. That’s what it’s all about. With this project I wanted to tap into that 90s rave sound and spirit. I wanted it to sound like the OG Chicago rave scene.”

“M1 City is my first project to be released on vinyl. I think vinyl is very much alive. It’s essentially for music connoisseurs now. I don’t expect people to have a vinyl collection when all music is always available to everyone on their phones. Nevertheless, I love the idea of some random DJ finding this record in a shop in 10 years. Who knows what I’ll be producing then?”

Très Mortimer is a key figure in Chicago's house scene, steadily building a strong following with his no-nonsense, dancefloor-driven sound. Drawing inspiration from his Polish roots, Trés has signed with major labels like Mad Decent, Insomniac’s IN/Rotation, and Ministry of Sound, while also launching his own imprint, Optics Records. He made his mark with a clever rework of Zombies' 1968 hit ‘Time Of The Season’ (1M+ streams). Standout releases include his downtempo collaboration with plumpy, "BAMBU," and his latest single, "At Night I Think Of You," which was recently given a remix makeover by Seth Troxler and Nick Morgan.

Slacker 85, launched in 2023, is the record label behind ‘M1 City’. Founded by Seth Troxler, it aims to give a platform to "oddball, esoteric and diverse sounds," positioning itself as a counter to the polished, refined dance artists dominating the scene. Troxler, upon the label’s launch, declared that he wanted to create something for "the anti-hero, the kids who could have done it but didn’t care to try”—essentially, "the slacker." So far, it’s delivered a range of releases from artists like Jackmaster, Danny Daze, Dan McKie, and Andre Salmon, offering tracks rooted in house music's past but evolving within its present boundaries.

‘M1 City’, this ode to a piece of gear that consistently finds itself at the heart of house music history, highlights Très Mortimer’s respect for and knowledge of the scene and its key gear. Trè combines this admiration and inspiration of house music’s greats with a modern sensibility, resulting in eight tracks worthy of today’s dancefloors and today’s ravers.

THE DYNAMICS • DRAG’N'FLY
by VINCENT HELLO.

Jamaica, 1960s. Ska artists, rock steady and reggae take back some soul songs of the United States, thus giving their versions that will in turn become future classics. The hits of the moment are also seasoned with Jamaican sauce, no matter where it comes from Original, pop, country, jazz... The rhythms of the island permanently transform the tracks of origin. In 2024, with their third album called Dragn'fly and decorated with a beautiful dragonfly (a "dragonfly" so in the language of King Tubby) the Dynamics honour Jamaican tradition and dynamite 10 versions of hits from yesterday and today. The Dragonfly spread his wings reggae, soul, funk to land in all headsets at the heart of good stereos and on spicy dancefloors. Because this dragonfly is a true superfly that speaks to the heart... and legs.

After two albums whose success led them to walk the globe of Glastonbury in Tokyo, honoured by the large elders (the first part of Lee Perry here, a regular dj support of Don Letts over there) the Dynamics are alive so their 'soul reggae vocal sound system” in front of audiences specializing in Jamaican or to those who are who were lucky enough to meet them by chance in Chemical Brothers... or Lady Gaga.

The Dynamics have forgotten the weight of ancestors to make their own recipe. They proclaim it, they are Sound System! The voices of Mounam, Steve Levi and Mr Day are in the front row, so making lovers, preachers, crooners and crooners to Turns of Duty, while Fab Master Flab all in one of the roots and futuristic echos. But if the mind is a sound system, the dynamics sounds also as a group through instruments live performances that plunge the tracks into a fervor unique. And then there are the hits, so, from all times and of all styles.
The low rider becomes toaster and leaves the road a American carried by these vocal harmonies Sky to take the exit Kingston. On the roadside, the joker delivers his lovers soft rock after a small detour to Muscle Shoal, The time to borrow a guitar from Duane Allman. In the south again, Mounam “Mrs Dynamics” meets the spirit of «Mr Dynamite» and tells him his radical, soul version. “ man’s world...” inna digital style! The spiritual anthem “you got to have freedom” by Master Pharoah Sanders becomes a universal skank, pop and dub who sends resounding high its universal message Dance! The dynamics are mutating the classic of ESG into a small, minimal pop bomb that is not without resemblance to the Neptunes of Mr Pharell Williams. On the edge of the track, Peter Gabriel sees his “Sledgehammer” groover as he does could imagine it and dissolve into sublime soul scrolls. Later, “After laughter...” soul classic celebrated and sampled Born into a rock steady air promised also to eternity. JJ Cale’s "cocaine," leaves its on the dancefloor for a reggae disco version, necessarily! And then, we must conclude. So it’s time to send an original title. It will be "Rubba Sub", to the aromas of sleng teng, which proves that far from the hits, the Dynamics deploys same layouts to deliver fresh and authentic sounds. And when the dub echoes evaporated, that the riddims have been silent, only remains an album majestic, in turn a future classic, full of unique Dynamics sound that mixes with instinct the echoes of yesterday to its own voices today.

After working within various collectives, rapper Davodka is celebrating his ten-year solo career with the album "Heritage." With a myriad of concerts in France and Europe, 6 solo albums, and features with the entire French independent rap scene (Demi Portion, Melan, Dooz Kawa, 3ème Œil, Swift Guad...), Davodka is known for his incisive words and the speed of his flow, making him one of the leading lyricists.

This new album is the heritage of the past ten years, where the artist takes a step back and captures the universe in which he has evolved, paying homage to it through music. The rapper's lyrics have never been more personal. He addresses rarely discussed topics in rap, such as his depression in the track "Arc en ciel," his relationship with his autistic child in "Enfant bulle," and his awareness of the difficulty in having completely selfless relationships as an artist in "On naît seul, on meurt seul."

"Heritage" attests to Davodka's undeniable place in conscious rap, notably with the track "Avec des mots," where he shares the mic with Sinik, an emblematic artist of the golden age of French rap. Although Sinik, a French artist with countless certifications, had announced the end of his career two years earlier, he makes an exception for Davodka and records a powerful track in homage to all those who come from the bottom.

Davodka, true to himself and his audience, primarily raps over boom bap and trap beats; however, he ventures into unknown territories, notably in "On naît seul, on meurt seul," where he adopts a ragga flow, and "Feuille froissée," with its auto-tuned chorus. He also takes the time to pay homage to the beginning of his career, when he was part of the MSD collective, by reprising a verse written at the time in the track "Les minots dorment – Remix."

Join him on October 25, 2024, to discover "Heritage," Davodka's 7th album. He will be touring throughout France, Switzerland, and Belgium, and in Paris at the Cabaret Sauvage on December 5, 2024, for the release party.

'Once Bitten' ist das dritte Studioalbum der amerikanischen Rockband Great White aus dem Jahr 1987. Bekannt für seine Hit-Singles wie 'Rock Me', zeigt das Album den Blues-beeinflussten Hardrock-Sound der Band und verhalf ihr in den späten 80er Jahren zum Mainstream-Erfolg.

Man Power returns to Echocentric. Swirling, hypnotic genre escapism for the open-minded DJ.

Psych, space, kraut and drones from songwriter Julius Lind and his trio with members from Action & Tension & Space, The Megaphonic Thrift and Gold Celeste. Arising from the Norwegian alternative scene they experiment with a vibrant mix of genres and refer to many golden eras on the history of pop and rock music! The album was recorded in Studio Paradiso with Christian Engfelt (Cato Salsa Experience) as technician and co-producer in 2023.

John Williams' Home Alone soundtrack is a heartwarming classic that perfectly complements the holiday season. Known for his work on Star Wars, E.T.and Harry Potter, Williams brings the same orchestral magic to this beloved Christmas film. The score includes memorable tracks like 'Somewhere in My Memory,' a recurring theme throughout the film, and 'Star of Bethlehem,' which captures the festive spirit with choral and orchestral elegance. The standout track, 'Setting the Trap,' diverges from Williams' usual orchestral sound, incorporating electronics and percussion to enhance Kevin's creative showdown with the burglars. Alongside traditional Christmas carols like 'O Holy Night' and 'Carol of the Bells,' the soundtrack blends nostalgia with whimsy. Though the album repeats familiar motifs, its charm makes it a refreshing alternative to typical holiday music. The Home Alone soundtrack is available in a limited edition red and gold vinyl 2xLP, making it an essential for any festive playlist. Whether it's playing while decorating the tree or enjoying Christmas cookies, this release brings the holiday spirit alive.

Sam Redmore made a significant impact on the UK music scene with his debut album Universal Vibrations, a vibrant collection of eclectic, dancefloor-ready tracks that earned extensive radio play on BBC 6 Music. His follow-up album Modulate builds on this foundation, blending electronic and live instrumentation across a diverse range of genres, from house and funk to afrobeat and salsa. Sam, now exploring and expanding his creative process, incorporated live performances into the album's development, and collaborated with notable artists including Dele Sosimi and Abdominal.

Something About Livingis an album of live recordings by experimental jazz composer/multi-instrumentalist Robert Stillman. The music was captured over the course of Stillman's time as the solo support act for The Smile (Thom Yorke, Jonny Greenwood, Tom Skinner). The album weaves excerpts from various theater and arena shows along the tour's North American routing into a seamless whole, creating a 40-minute program that represents an expanded version of Stillman's ever-transforming live set.

Something About Livingis the product of a steady, on-stage evolution that happened over the course of the nearly 60 shows opening for the Smile across the EU, UK, US, Canada and Mexico. However, the creative origins of the set began in relative isolation during the pandemic, through Stillman's work on projects like his multi-media installationUnseen Forcesand his monthly broadcast for Margate Radio, both of which drew upon solo improvisation using saxophone, cassettes, Yamaha DX7 synthesizer, and effects.

"At the time The Smile asked whether I'd like to open for them on their first tour, I felt like I'd already been preparing without really knowing it," says Stillman. "I'd been doing this music constantly, but always for a hypothetical audience" During the pandemic, Stillman's solo set-up served as the research lab where he worked on all the concepts he was interested in: solo improvisation, creating and manipulating cassettes, FM synthesis, analogue delays chains, no-input mixing, and non-metric rhythmic pulses. So when he was offered the first Smile tour, the idea was to bring "the lab" onto the stage.

What Stillman could not have prepared for was the experience of playing in venues with capacities of up to ten thousand listeners. "The first tour was in summer 2022, so not that long after the worst of the pandemic, when I had pretty much made peace with the idea that I might never be able to perform for an audience again. Then all of a sudden I found myself in front of huge numbers of people, and felt the massive responsibility of being with an audience, of this thing I'd done alone for so longactually being witnessed, and it was completely overwhelming!" On the flip-side, Stillman also recalls, was a new appreciation of how powerful the live performance was as a social phenomenon. "It's a cliche, but also true: the moment of making and hearing music in a shared time and space has a very specific meaning and power; there was a sense that everyone in the venue was necessary to make it real, regardless of what they were doing, or how they felt about it. There was an inevitability about it that I'd never fully appreciated."

Over the course of the tours that followed, Stillman transformed this appreciation of the shared moment into an ethic of spontaneity that guided the development of his live set. "An important reference for this set has always been an Animal Collective show I saw when I first moved to New York, probably in 2001 or so, that has always set the high-water mark for what I wanted to do live- they were improvising a lot, and out of what would seem to be absolute chaos they'd find their way to something structured, and then back out again into the unknown. It was so thrilling to witness".

ThoughSomething About Livingcompiles recordings from different dates along the tour, Stillman has edited and mixed them into a work that seeks to reflect the ebb and flow between 'chaos and control' that characterizes his live set. Among the compositions featured are some from previous album releases ("Time of Waves", "What I Owe", "What Does it Mean to Be American") as well as some new compositions ("The Dream of Waking", "Renaissance 2.0," and the title track, "Something About Living").

The album/track title "Something About Living" is a reference to a line from Stillman's favorite film,My Dinner With André: "André Gregory is explaining the value of life experiences that, as he says, are'to do with living'.That really struck me, the way he articulated it. I strongly believe live music situations can ask these kinds of questions, for performers and audiences. I hope that's reflected in this music."

[a] 01: Time of Waves (Live in Miami FL) [Live]
[b] 02: What Does It Mean to Be American (Live in Forest Hills NY) [Live]
[c] 03: The Dream of Waking (Live in St Augustine FL) [Live]
[d] 04: Something About Living (Live in Richmond VA) [Live]
[e] 05: What I Owe (Live in Chesterfield MO) [Live]
[f] 06: Renaissance 2.0 (Live in Chesterfield MO) [Live]

“Christmas is constant,” says Ben Folds. “Allowing you to take stock of what’s different, to understand who you are and all the ways you’ve grown and changed.” That notion lies at the heart of Folds’ brilliantly titled new holiday collection, Sleigher. Built on an eclectic mix of originals and reimagined classics, the album examines thepassage of time through the lens of Christmas, reflecting on memory, loss, and longing as it explores the variety of ways the yuletide season marks the chapters of our lives. The songs are playful here, full of humor and cheer, but they’re also laced with an inescapable sense of melancholy, a looming darkness that always seems to hover around the periphery of those late December nights. Folds’ performances, meanwhile, flirt with the standards while stretching the boundaries of tradition, at times offering up flashes of Vince Guaraldi and Burt Bacharach while still remaining true to Folds’ singularly virtuosic brand of off-kilter indie pop. The result is not so much a Ben Folds Christmas record as it is a Ben Folds record set at Christmas, a meditation on the inexorable turning of the calendar and our ever changing selves as observed at the most wonderful—and challenging—time of the year.

Chuck's first album in 4 years is inspired by the cumbia bands he saw at San Francisco clubs in the pandemic's aftermath, while undergoing cancer treatment. The music was a source of joy, during a dark time. He started playing with ¿Qiensave? a cumbia band based in Salinas, CA. The result is 11 new Chuck Prophet songs wrapped in a cumbia shell. The latin rhythms & chord progressions merge with Chuck's signature song styles to create something new that defies genre, but is undeniably joyful.

Razorlight were at the forefront of the indie-rock resurgence of the early 2000s, their biggest moments - ‘Golden Touch’, ‘Somewhere Else’, ‘In The Morning’, ‘America’ and ‘Wire To Wire’ - driving three Top 5 albums, nine Platinum album certifications, an NME Award, and live highlights including headlining the Reading Festival and performing at Live 8. After reuniting for live shows in 2021, the classic line-up - Johnny Borrell (vocals/guitar), Björn Ågren (guitar), Carl Dalemo (bass) and Andy Burrows (drums) - will release the new album ‘Planet Nowhere’ on October 25th, their first together since 2008. Razorlight preview the set by sharing its first single, ‘Scared Of Nothing’. Since reuniting, Razorlight have sold-out a headline tour which included a London show at the Eventim Apollo, and played shows as guests to Muse, Kaiser Chiefs and James. But as the ever ambitious Johnny challenged himself, “Who wants to be a greatest hits band?” So he hatched a plan, and late in 2023 booked a five-day session with the legendary producer Youth (The Verve, James) at his Space Mountain studio in Spain. Youth knew what they had to achieve, telling the band, “Razorlight’s quite simple isn’t it? Just a driving bassline, driving drums and a story.” For whatever reason, things weren’t that simple. After four days they had a stack of ideas, but nothing really worth pursuing. And then, as Johnny recalls, something remarkable emerged from out of nowhere. “I’d been down in the barranca, and came back up to find the studio empty. So I picked up this weird six-string bass/guitar hybrid I'd never seen before and wrote this thing. On our last night, I started playing it with the guys. The drums came in hard, the bass pounded. It sounded like shit. Absolute shit. But Youth was there, saying 'Can, Velvets, see where it takes you’ and 'Why don’t you try it like that?' But still, the track just wouldn't budge, locked in its own inertia. Youth says, 'You're getting there, just one more' and almost instantly the song came out, from nothing to something, like a statue coming up out of marble.” That song was ‘Scared of Nothing’ and listening back to the finished track, it’s easy to see why it resparked Razorlight’s mojo. Exuding taut, spiky post-punk energy in a way that’s instantly infectious - the very traits that attracted highfalutin praise from NME back when they started out (“More tunes than Franz, more spirit than The Strokes, and more balls than nearly every band out there”). And as ever, Johnny demonstrates the swaggering, high-intensity charisma that took him from being a figurehead of the Camden scene to rise to become a Vogue cover star. It was also the track which unlocked Razorlight’s creativity, leading the band to return to Spain with Youth for a second session earlier this year, during which they crafted an extensive catalogue of songs for the upcoming album. Other titles vying for inclusion include ‘Zombie Love’, ‘U Can Call Me’, ‘Dirty Luck’ and ‘Cool People’. Since returning, Razorlight have also looked back on their initial achievements, first releasing ‘Razorwhat? The Best of Razorlight’ (complete with the new song ‘You Are Entering The Human Heart’) and then last month issuing the 20th Anniversary Deluxe Edition of their breakthrough debut album ‘Up All Night’. Never a dull moment. Writing a new ending for themselves, Razorlight are back to cast out the boring in your life.

"“Tenalach - The relationship with the land, the sky, the water and the deep connection that allows you to hear the earth sing and be one with nature”

Following on from their many mutual remixes and first collaborative EP “Pleamar” (Wonderwheel Recordings 2020) Chancha Via Circuito y El Búho return with a new EP “Tenalach"" which sees the duo enter new territories and soundscapes. This mysterious, atmospheric and melancholic EP is like the soundtrack to a videogame that takes place in a strange and wonderful parallel universe.

Imagine Zelda set in the jungles and mountains of Latin America.

Croaking frogs sit next to driving snares on the genre-defying Sapo Cururú, birds float above strobing synths on Oropéndola while Sumay’s epic synth lines melt into Chancha’s trademark percussions on Sumay. Opener El Samurai is perhaps the closest to the pair’s well-known folktronic sound, marrying cowbells with bowing violins and its animal-esque synth line.

While the BPM may have risen, this is neither ‘downtempo’ nor ‘umtempo’ and an EP that cannot easily be pigeon-holed - it is fresh and original. It also reflects a darker side to the pair’s music, a sub-conscious reflection of a changing world, holding in each song a constant tension and the desire to escape to new realities where the connection between humans and nature is blurred and equal."

Icelandic indie-pop songwriter Kaktus Einarsson will release his second album ‘Lobster Coda’ via One Little Independent Records on October 25th. Amidst a collection of lush, electronic earworms, Kaktus has penned an honest account of his recovery from a sudden functional neurological disorder (FND) that required him to relearn how to use his motor functions, while also performing his duties as a new father.

‘Lobster Coda’ incorporates dreamy, glistening synth-pop and melancholic ambience, created through layers of atmospheric keys, percussion, and groove-laden funk bass. Kaktus details his journey following a stress-induced nonepileptic seizure that halted his brain’s ability to communicate with the rest of his body, resulting in losing control of his legs, arms and causing involuntary facial tics. Crucially, he spent months on a course of physical therapy while also trying to care for his children and his partner, that by his own admission he then needed to reconnect with. With an occasionally brutal candour, Kaktus’s new album is about taking the time to reflect and recognise changes that need to be made, to listen to your body, and to trust the process no matter how long it might take.

Icelandic indie-pop songwriter Kaktus Einarsson will release his second album ‘Lobster Coda’ via One Little Independent Records on October 25th. Amidst a collection of lush, electronic earworms, Kaktus has penned an honest account of his recovery from a sudden functional neurological disorder (FND) that required him to relearn how to use his motor functions, while also performing his duties as a new father.

‘Lobster Coda’ incorporates dreamy, glistening synth-pop and melancholic ambience, created through layers of atmospheric keys, percussion, and groove-laden funk bass. Kaktus details his journey following a stress-induced nonepileptic seizure that halted his brain’s ability to communicate with the rest of his body, resulting in losing control of his legs, arms and causing involuntary facial tics. Crucially, he spent months on a course of physical therapy while also trying to care for his children and his partner, that by his own admission he then needed to reconnect with. With an occasionally brutal candour, Kaktus’s new album is about taking the time to reflect and recognise changes that need to be made, to listen to your body, and to trust the process no matter how long it might take.

Andrew Choi doesn’t claim to have all of the answers when it comes to talking about work in America. But if anyone is uniquely well positioned to raise questions, it’s him. Over the course of two decades, the Midwest-born, New York-based singer-songwriter—who performs under the name St. Lenox—has been a musician, a clothing store employee, an underpaid graduate student and scholar, and a salaried corporate attorney. This tremendous amount of experience is channeled into Andrew’s latest album.

Teen Jesus and the Jean Teasers are a powerhouse, celebrated for their raw emotion and incisive social observations. Their talent has earned them nominations for Best Independent Punk Album or EP at the AIR Awards, Emerging Songwriter of the Year and Song of the Year at the APRA Awards, along with nods from the J Awards and Rolling Stone Awards. Recognised as Spotify's RADAR Artist, their rising global influence is undeniable. Following their award winning 2022 EP, Pretty Good For A Girl Band, their debut album I Love You charted at number 6 on the ARIA Albums Chart, marking a significant milestone.

The accompanying tour saw them sell out iconic venues like 170 Russell in Melbourne, the Metro Theatre in Sydney, and The Triffid in Brisbane. They capped off the year supporting the Foo Fighters at AAMI Park in Melbourne and launched into 2024 by supporting The Vaccines across the EU/UK. I Love You showcases the bands growth, with each member contributing to songwriting. It stands as a definitive statement of their sound—joy, rage, and euphoria, delivered with precision and heart. Teen Jesus and the Jean Teasers continue to make waves, solidifying their place in the music industry.

Following the release of the acclaimed EPs Collblanc and SET during early 2024, Joe Webb releases his much-anticipated full-length album Hamstrings & Hurricanes, featuring the formidable talents of Will Sach on bass and Sam Jesson on drums. This album more than confirms the trio's early promise and elevates them to a unique location in the modern jazz landscape.

Back in print, on white & purple splatter vinyl!

Hailing from Buffalo, NY, Head North has used their indie-influenced pop-punk to break out of the local scene and demand the attention of a national audience. Packing in sentiments as big as their sound, the band hits home with walls of guitar lines, frenetic punk rock drums and an emotional complexity anchored behind their lyrics. Singer Brent Martone hits raspy notes of anger and sadness, knowing when to shriek and when to soften, adding a layer of versatile energy to back up his passion.

RIYL: The Dangerous Summer, Brand New, Have Mercy

Blending elements of post-hardcore, emo and Southern-tinged indie rock, Microwave balance frankness with a penchant for wit, allowing for seemingly standard personal confessions to make a significant and striking impact. While often tipping into the heavier side of resonant punk, the band shines brightest in soft reservation. Their self-released debut album Stovall feels like a snapshot in time, bringing to mind that same unforgettable feeling that albums like Jimmy Eat World’s Bleed American, Manchester Orchestra’s I’m Like A Virgin Losing A Child and Taking Back Sunday’s Tell All Your Friends did years ago.

RIYL: Manchester Orchestra, All Get Out, Taking Back Sunday"

"“There are times in life when you’re so present, so fully immersed in the moment that you can catch a glimpse of another universe, of a realm beyond our own,” says Louisa Stancioff. “It might last for a second or an hour, it might come in the midst of bliss or sadness, you might be alone or with a lover, but when it happens, there’s nothing quite like it.”

When We Were Looking, Stancioff’s stunning Yep Roc debut, is full of those moments. Written and recorded through a period of deep heartbreak and uncertainty, the collection is the raw and unflinching work of a nomadic soul who spent stints living in Alaska, California, New York, and North Carolina before returning home to her native Maine, one that holds nothing back in its bittersweet reckonings with pain, healing, acceptance, and growth. Stancioff writes with a cinematic eye here, conjuring up richly detailed stagings for her emotionally-charged character studies, and the guitar-and-synth-focused arrangements are immersive and nuanced to match, thanks in part to the evocative sonic landscaping of producer/keyboardist Sam Kassirer (Josh Ritter, Craig Finn), who proves to be an ideal creative foil on the record. Add it all up and you’ve got a dreamy, nostalgic Polaroid of an album that blurs the lines between indie stoicism and folk sincerity, a lush, cathartic work that hints at everything from Phoebe Bridgers and Arlo Parks to Big Thief and Waxahatchee as it learns to find the beauty in grief and rebirth."

Heated Garage is a sonic snapshot of what happened when boundless musical energy and middle American moxie combined to create a cultural phenomenon. The tracks are drawn from a vast archive of Kay Bank master tapes - some are ultra rarities you’d be hard pressed to snatch from the collectors’ market without mortgaging a kidney. Others are alternate versions and outtakes never before released in any form! “The joke was, some bands didn’t become garage bands because it was too damn cold...you can’t go outside when it’s 25 below zero. So, a lot of people are honing their craft in their basements.” High Spirits guitarist Owen Husney explains. Knowing more about them is not only unnecessary, it would mar their mystique. They exist forever in a moment of raw rock ‘n’ roll glory that transcends time, a space shared by their Heated Garage brethren. Looking back on The Pagans’ songs, for example, Kip Sullivan says, “They feel sacred to me.” Recollecting his High Spirits adventures, Owen Husney sighs, “I would go back to those heydays in a minute.” Now he can. And we can all come along.

Neue limitierte Pink-in-Green/Colour-in-Colour Vinylauflage von "Sweet Tooth" (2022), dem dritten Album der kalifornischen Emo-Band Mom Jeans., aufgenommen in den Barber Shop Studios in New Jersey mit Produzent Brett Romnes (The Front Bottoms, Oso Oso, Dogleg). Die Band spricht von einem echten, umfassenden Studioerlebnis, das sie befähigte, ohne jegliche Abstriche ein bisher unerreichtes Maß an Feinschliff zu erreichen. Tyler Povanda (Save Face) und Kory Gregory (Prince Daddy & The Hyena) steuerten Vocals bei.