Suche:sat r day

Kali Malone's anticipated new album "All Life Long" is a collection of music for pipe organ, choir, and brass quintet composed by Kali Malone, 2020 - 2023. Choral music performed by Macadam Ensemble and conducted by Etienne Ferschaud at Chapelle Notre-Dame-de-L'Immaculée-Conception in Nantes. Brass quintet music performed by Anima Brass at The Bunker Studio in New York City. Organ music performed by Kali Malone and Stephen O'Malley on the historical meantone tempered pipe organs at Église Saint-François in Lausanne, Orgelpark in Amsterdam, and Malmö Konstmuseum in Sweden. Kali Malone composes with a rare clarity of vision. Her music is patient and focused, built on a foundation of evolving harmonic cycles that draw out latent emotional resonances. Time is a crucial factor: letting go of expectations of duration and breadth offers a chance to find a space of reflection and contemplation. In her hands, experimental reinterpretations of centuries-old polyphonic compositional methods become portals to new ways of perceiving sound, structure, and introspection. Though awe-inspiring in scope, the most remarkable thing about Malone's music is the intimacy stirred by the close listening it encourages. Malone's new album All Life Long, created between 2020 - 2023, presents her first compositions for organ since 2019's breakthrough album The Sacrificial Code alongside interrelated pieces for voice and brass performed by Macadam Ensemble and Anima Brass. Over the course of twelve pieces, harmonic themes and patterns recur, presented in altered forms and for varied instrumentation. They emerge and reemerge like echoes of their former selves, making the familiar uncanny. Propelled by lungs and breath rather than bellows and oscillators, Malone's compositions for choir and brass take on expressive qualities that complicate the austerity that has defined her work, introducing lyricism and the beauty of human fallibility into music that has been driven by mechanical processes. At the same time, the works for organ, performed by Malone with additional accompaniment by Stephen O'Malley on four different organs dating from the 15th to 17th centuries, underscore the mighty, spectral power that those rigorous operations can achieve. All Life Long simmers in an ever-shifting tension between repetition and variation. The pieces for brass, organ, and voice are alternated asymmetrically, providing nearly continuous timbral fluctuation across its 78-minute runtime even as thematic material reiterates. Each composition's internal framework of fractal pattern permutations has the paradoxical effect of creating anticipated keystone moments of dramatic reverie and lulling the listener into believing in an illusory endlessness. On an even more granular level, the historical meantone tuning systems of each organ used, and the variable intonation of brass and voice, provide further points of emotional excavation within the harmony. The titular composition "All Life Long" appears twice on the album, first as an extended canon for organ and again in the final quarter, compactly arranged for voice In the latter, Malone pairs the music with "The Crying Water" by Arthur Symons, a poem steeped in language of mourning and eternity. For organ, "All Life Long" moves with a patient stateliness, the drama concentrated in moments when shifting tonalities generate and release dissonance and ecstasy. For voice, each word is saturated with feeling, the singers swooping gracefully downward to capture the melancholy of the narrator's relationship to the timeless tears of the sea. "Passage Through The Spheres," the album's opening piece, contains lyrics in Italian pulled from Giorgio Agamban's essay In Praise of Profanation. In it, Agamban defines profanation as, in part, the act of bringing back to communal, secular use that which has been segregated to the realm of the sacred, a process Malone enacts each time she performs on church organs. This is not music of praise, or of spiritual revelation, but it is an artistic enactment of translating the indescribable. It carries the gravity of liturgical chant, and its fixation on the infinite, but draws its weight from the earthly realm of human experience. A music that draws the listener into the present moment where they can discover themselves within the interwoven musical patterns that can come to resemble the passage of days, weeks, years, a lifetime.

From 1967-1980, Kansas City's Forte Records captured nearly every iteration of popular Black music; basement beehiver-y from The Ray-Ons and Four Darlings, funky soul from Gene Williams Lee Harris, Louis Chachere, and The Fantastiks, downtempo disco ballads from James W hitney and Sharon Revoal, and the newly independent work of James Brown's former Soul Sister # 1 Marva Whitney. Compiled here are 28 of the label's enduring sides, contextualized with copious photos, ephemera, and essay, all housed in heavy weight gatefold jacket. Who knows how to do "The Hen"?

From 1967-1980, Kansas City's Forte Records captured nearly every iteration of popular Black music; basement beehiver-y from The Ray-Ons and Four Darlings, funky soul from Gene Williams Lee Harris, Louis Chachere, and The Fantastiks, downtempo disco ballads from James W hitney and Sharon Revoal, and the newly independent work of James Brown's former Soul Sister # 1 Marva Whitney. Compiled here are 28 of the label's enduring sides, contextualized with copious photos, ephemera, and essay, all housed in heavy weight gatefold jacket. Who knows how to do "The Hen"?

Fresh off the press, YokoO's latest release "You" sets the perfect mood for winter nights and summer days.

With three solid deep groovers, "whether it's the afternoon, evening, early night, or early morning the day after, there should be something for everyone to dig into on this record," says YokoO, speaking about the diverse appeal of the EP.

Adding to the allure of the package is the liquid smooth remix by the talented Düsseldorf duo Superlounge. Their unique touch infuses the release with an extra layer of sophistication, making it an essential addition to any Satya music lover's collection.

Double LP on recycled & random-coloured "Re-Vinyl" Return to the unwavering wild in Downpour, where you explore new, harsh lands and survive new predators. As time passed, the slugcat has evolved. With five variants of the species - take advantage of various skills that they possess and explore their own personal tales. Black Screen Records, Videocult and Akupara Games are excited to take you an aural journey into the strange land of "Rain World: Downpour". Two LPs pressed on recycled & random-coloured "Re-Vinyl". The soundtrack is housed in a beautiful gatefold sleeve comes with UV spot varnish. The artwork was created by Kelocitta who has also reimagined the vinyl art for "Rain World". The "Rain World: Downpour" soundtrack is a collaborative work that was made possible by James Primate, Lydia Esrig, Intikus, Ongomato, Connor "12LBS" Skidmore and Progfox. A unique piece of music and very interesting mesh of different styles that truly bring the environment of Rain World to life. It's fully enjoyable without the game itself. The songs of "Rain World: Downpour" are a treat to experience, with some themes referencing the original soundtrack, such as "Threat - Waterfront Complex" or "Reflection of the Moon", and some being whole new, entirely original tracks, such as "Breathing Hyometer", "Fragile" and "Sheer Ice Torrent". Once you've experienced the "Rain World" soundtrack and gotten a feel for the style of the artists who worked on the music, "Rain World: Downpour" is an amazing continuation to experience next.

Sign Libra's third album Hidden Beauty is an intimate voyage through feminine nature, guided by the arts of subtext, musical collage, and mysterious allusions. Elegantly arranged, enigmatic, and mischievous, Hidden Beauty seeks to "release the invisible and bring fragility to the surface." From the rainforests of Closer to the Equator (Sounds of the Dawn, 2016 / Antinote, 2018) to the surreal lunar landscape of Sea to Sea (RVNG Intl., 2020), Agata Melnikova, the Latvian musician behind the Sign Libra symbol, has developed a signature blend of evocative composition with lyricless, ethereal vocalizing. Hidden Beauty attends to a closer space than her first two albums, a playfully layered pastiche of refined references, drawing musical inspiration from the assortment of Erik Satie, the early work of Mylène Farmer and Laurent Boutonnat, and 90s R&B. The first inklings of Hidden Beauty arrived in 2019, with the basic contours of the album sculpted in 2020 and early 2021. Like Sea to Sea, Hidden Beauty was invented as a solitary creative effort, but this time under uniquely hermetic impositions. Tethered to the world only by screen, the artist sought inspiration from an unlikely array of activities: new, unorthodox approaches at composing, learning French, a virtual pedagogical practice, and plenty of jubilant dancing in her flat, sunglasses on, to 90s dance music. Hidden Beauty moves inward from the distant spaciousness of Sea to Sea in favor of a "chamber-like" sound, reflecting the intimate environs of its creation. Balancing the New Age balletic resonance of Closer to the Equator and the cosmic-dancerly tracks of Sea to Sea, Hidden Beauty combines deft, postmodern arrangements with popular, contemporary suggestions. The reverb drenching her previous recordings is sponged up in the songs of Hidden Beauty, giving the exercises contained within a feeling of presence, and closeness. And always Agata's crystalline vocal furnishings, less a lead vocal than a first instrument, the ever-returning counterpoint in a beatific swirl. The other hidden elements of this work are plenty, and perhaps best left concealed for the listener's enjoyment. Or perhaps they are hidden in plain sight and sound, depending on what the puzzle pieces reveal to your imagination. Sign Libra's Hidden Beauty will be released in vinyl, Japanese import CD, and digital editions on November 3, 2023. A portion of the proceeds from this release will benefit Coral Guardian, a non-governmental organization working internationally and with local communities to protect coral ecosystems.

Recorded in an abandoned water tank in rural northwest Colorado and inspired by Muriel Rukeyser’s circa-1935 poem of the same name, violinist Leslee Smucker explores the range and saturation of intense natural reverb on Breathing Landscape. The artist pushes her instrument to the limit –by turns percussive, sweeping, and scraping– and, on several tracks, utilizes her own voice as well, resulting in an album that combines breathtaking beauty and visceral texture. Leaning into the meditative quality being present in one moment can provide, this is music you can feel on your skin, calling out from our decomposing modernity into the indifferent sky above. Conjuring deep time but captured in one day, the album is simultaneously immediate and vaporous, primeval-sounding yet unapologetically modern. When you travel out of the mountains down into the rangelands of what we know today as western Colorado, the horizon opens up to reveal an ancient and scarred land. Cell phone coverage is spotty at best and towns are sparse. Time escapes our efforts to contain it and is instead etched into the hot, dry canyons. Approaching The Tank, outside the settlement of Rangely, oil pumps work ceaselessly on the other side of the gravel road, extracting a grim future. Inside The Tank it is 20 degrees warmer than outside, a zone of strange harmonics, exchanges of sound and stillness, and explorations of landscapes both exterior and interior. In what she describes as a "sauna of sound", Smucker "was transported by the reverberation to another realm. Birds and trucks passed outside, while the wind was an integral part to the sound making

Aroop Roy’s star is deservedly in the ascendancy! As one of London’s most exciting selectors, he’s managed to position himself in the sweet spot of being the DJ’s DJ and causing wild scenes wherever he plays, with headline grabbing sets at Defected Croatia, We Out Here, Gilles Peterson’s Worldwide and many more.

As a producer, musician and label owner, he continues to excel, armed with a vast knowledge of outernational sounds, from rare African disco, jazz, funk, to house, UKG and seemingly everything in-between. His open-minded approach has led to brilliant releases and remixes for labels as diverse as Soundway, Heavenly Sweetness, Permanent Vacation, Club Bad, Delusions of Grandeur, Atjazz Recordings and his own Vive La Musique imprint.

Having played a few gigs together, it was only a matter of time before Jimpster convinced Aroop to get an EP together for Freerange and the resulting Re Bulele EP couldn’t be any more satisfying!

Leading the charge, 'Mama Mwana' captivates with entrancing thumb piano loops and a traditional African vocal all propped up by a subtle yet chunky house beat to lock the dancers in.

'Re Bulele' features the hypnotic vocals of Botswana native Fox Meropa. Aroop masterfully combines a deep, techy Afro House groove with glassy synth pads to form a stripped back instrumental with the vocals front and centre. Seemingly disparate elements shine on this wonderful alternative to the deluge of maximal Afro House tracks being released these days.

Moroccan producer FNX Omar delivers the goods with a sublime remix of Re Bulele. Creating tension with layers of looping vocals along with a rolling, percussive groove. Like the original, this remix transcends genres and will create special moments on the dancefloor, whether it be in a dark, sweaty basement or daytime festival in the sunshine.

The British progressive rock band Quatermass existed from 1969 until 1971, during those days they released one album, the self-titled Quatermass. The trio, which formed as a power trio with Hammond organ as the main instrument, consisted of bass player and vocalist John Gustafson, keyboardist J. Peter Robinson and Mick Underwood on drums. They keyboard-driven album gained a cult status during the years and received a lot of credits from both critics as prog rock fans. This overlooked masterpiece rocks every moment, sometimes in a funky way and other times in the strength of their heavy sound. The most rock-ish song here is “Black Sheep Of The Family”, later covered by Rainbow on their first album. Progressive parts of the album features surprising time shifts and unique sounds, which gives both lovers of rock as metal the thrills.

The British progressive rock band Quatermass existed from 1969 until 1971, during those days they released one album, the self-titled Quatermass. The trio, which formed as a power trio with Hammond organ as the main instrument, consisted of bass player and vocalist John Gustafson, keyboardist J. Peter Robinson and Mick Underwood on drums. They keyboard-driven album gained a cult status during the years and received a lot of credits from both critics as prog rock fans. This overlooked masterpiece rocks every moment, sometimes in a funky way and other times in the strength of their heavy sound. The most rock-ish song here is “Black Sheep Of The Family”, later covered by Rainbow on their first album. Progressive parts of the album features surprising time shifts and unique sounds, which gives both lovers of rock as metal the thrills.

Featuring a fabulous mix of R&B classics such as "That's the Way of the World" (Earth Wind & Fire), "Lovely Day" (Bill Withers), "You're the One I Love" (Barry White), "Kiss" (Prince) with more contemporary pop material like "I Belong to You" (Lenny Kravitz), "It Runs Through Me" (Tom Misch), "Roads" (Portishead) and others, Vanessa and Tim Pierce (arranger) have delivered a supremely satisfying and ultra-rewarding album, one that is also beautifully recorded (tracked and mixed by maestro Michael C. Ross).

Many plaudits must also be directed at the magnificent group of creme de la creme LA-based session musicians who are backing Vanessa's latest effort. This is basically the same outstanding group that played on her previous album (GRV1200 I Want You): Tim Pierce (guitars), Alex Al (bass), Victor Indrizzo (drums), Jeff Babko (keyboards), Felipe Menolio (acoustic guitars), and Luis Conte (percussion). Felipe, a brilliant young guitarist from Brazil, is the one new addition and delivers some truly incredible playing - wait till you hear his solo on the samba-driven version of "It Runs Through Me"!

A Little While Longer: a longing for a brief moment in time. A thought back to days past and time spent with loved ones or friends. What we do with the brief moment we have in this life. What we decide is important enough to spend it on.

Van Halen did more than announce to the world the earthshaking arrival of a revolutionary guitarist. Performed by an enterprising California quartet that took its name from two of its principal members, the 1978 debut ripped headlines away from punk, injected fresh energy into a then-moribund rock 'n' roll scene, reimagined how heavy music and throwback pop could coexist, and invited everyone to experience the top-down pleasures of a beach-front Saturday night every day of the week no matter where they lived. Painstakingly restored by Mobile Fidelity Sound Lab, and the first of a multi-album series in an exciting partnership between the famous reissue label and Van Halen, Van Halen delivers feel-good thrills and hormonally charged desires like never before.

Limited to 12,000 numbered copies, pressed on dead-quiet MoFi SuperVinyl at RTI, and mastered from the original analogue master tapes, Mobile Fidelity's ultra-hi-fi UltraDisc One-Step 180g 45RPM 2LP collector's edition pays tribute to the record's merit and allows fans to experience Van Halen's original blend of raw power, Hollywood flair, and vaudeville fun for generations to come. Playing with reference-setting sonics that elevate a 10-times-platinum landmark whose importance cannot be quantitatively measured, this definitive version provides a clear, clean, transparent, balanced, and turn-the-volume-up-to-11 view of an album that birthed entirely new styles. Since MoFi's unique SuperVinyl compound allows you to crank the decibels to your wildest desires without risking noise-floor interference, prepare to not only hear but feel Van Halen in your chest, no fifth-row concert seat necessary.

The premium packaging and gorgeous presentation of the UD1S Van Halen pressing befit its extremely select status. Housed in a deluxe box, it features special foil-stamped jackets and faithful-to-the-original graphics that illuminate the splendor of the recording. No expense has been spared. Aurally and visually, this UD1S reissue exists as a curatorial artefact meant to be preserved, touched, and examined. It is made for discerning listeners that prize sound quality and production, and who desire to fully immerse themselves in the art – and everything involved with the album, from the iconic cover art to the meticulous finishes and, yes, of course, Eddie Van Halen's pioneering fretwork and his brother Alex's double-bass percussion.

Indeed, could a piece of music that transformed how countless guitarists approached their instrument be more fittingly named than "Eruption"? Likely not, and in just 102 seconds, Eddie Van Halen rewrote, reimagined, and reconfigured a vocabulary last significantly updated a decade earlier by fellow six-string wizard Jimi Hendrix. Akin to the Washington State legend, Eddie Van Halen developed his own techniques and tones all the while making his seismic accomplishments seem effortless. Devoid of the pretence, ego, and showiness that infected many of his imitators, the Dutch native sticks to a straightforward approach that underlines the authority, prowess, and visionary scope of his playing and then-unheard-of finger-tapping skills. Throughout Van Halen, he establishes himself as an instant idol – a savant whose otherworldly combination of breadth, poise, feel, speed, force, and melody seems beamed in from another galaxy.

As does nearly every song on the record, whose cohesiveness and dynamic put into perspective the advanced chemistry and one-for-all spirit the youthful band had out of the gates. Having paid its dues for years in bars and clubs – going as far as recording a 24-track demo for Kiss bassist Gene Simmons at Village Recorders only to be spurned by management companies that felt its music wouldn't go anywhere – Van Halen finally got a deserved break when Warner Bros. executives signed the group in 1977. The subsequent recording sessions further testify on behalf of the band's synergy and alignment. Completed in just a few weeks with producer Ted Templeman, Van Halen was primarily cut live in the studio with minimal overdubs and edits. The explosiveness, energy, and electricity remain definitive, and as heard on this UD1S set, put the group on a private stage – humming amplifiers, Frankenstrat guitar, bright spotlights, sweaty headbands, and then some.

Van Halen yielded just one hit in the form of a Top 40 single (a breathless cover of the Kinks' "You Really Got Me") but practically every song on the revered LP has become a staple. Named the 202nd Greatest Album of All Time by Rolling Stone and considered by countless experts as one of the best debuts in history, the record displays what can happen with four distinct talents gel and strive for the same purposes. In Van Halen's case, the latter almost always involved partying, freedom, sex, and, in the immortal words of singer David Lee Roth, living "life like there's no tomorrow." The celebration manifests from the opening notes of the strutting "Runnin' with the Devil" – announced with the blare of droning car horns, Michael Anthony's robust bass line, and Alex Van Halen's thumping drumming – and continues through the conclusion of the white-hot "On Fire," goosed by Eddie Van Halen's race-track-ready lines, Roth's flamboyant deliveries, and the rhythm section's cat-like pounce.

Picking out individual highlights on Van Halen is akin to trying to count all the stars in a clear nighttime desert sky: There are far too many to identify, once you see one you notice another dozen you didn't spot before, and the cluster is best enjoyed as a whole. What's evident over repeat listens is the sheer diversity, a fact that's often overlooked: The high harmonies and background funk of "Jamie's Cryin'"; the insistent cane-and-a-tophat shuffle and doo-wop shoo-bop vocal break on "I'm the One"; the throwback acoustic blues that spreads into fast-paced, single-entendre wildfire on the Roth-led standout interpretation of John Brim's "Ice Cream Man." Like the man says, on Van Halen, all the flavours are guaranteed to satisfy.

More About Mobile Fidelity UltraDisc One-Step and Why It Is Superior


Instead of utilizing the industry-standard three-step lacquer process, Mobile Fidelity Sound Lab's new UltraDisc One-Step (UD1S) uses only one step, bypassing two processes of generational loss. While three-step processing is designed for optimum yield and efficiency, UD1S is created for the ultimate in sound quality. Just as Mobile Fidelity pioneered the UHQR (Ultra High-Quality Record) with JVC in the 1980s, UD1S again represents another state-of-the-art advance in the record-manufacturing process. MFSL engineers begin with the original master recordings, painstakingly transfer them to DSD 256, and meticulously cut a set of lacquers. These lacquers are used to create a very fragile, pristine UD1S stamper called a "convert." Delicate "converts" are then formed into the actual record stampers, producing a final product that literally and figuratively brings you closer to the music. By skipping the additional steps of pulling another positive and an additional negative, as done in the three-step process used in standard pressings, UD1S produces a final LP with the lowest noise floor possible today. The removal of the additional two steps of generational loss in the plating process reveals tremendous amounts of extra musical detail and dynamics, which are otherwise lost due to the standard copying process. Every conceivable aspect of vinyl production is optimized to produce the most perfect record album available today.

MoFi SuperVinyl


Developed by NEOTECH and RTI, MoFi SuperVinyl is the most exacting-to-specification vinyl compound ever devised. Analogue lovers have never seen (or heard) anything like it. Extraordinarily expensive and extremely painstaking to produce, the special proprietary compound addresses two specific areas of improvement: noise floor reduction and enhanced groove definition. The vinyl composition features a new carbonless dye (hold the disc up to the light and see) and produces the world's quietest surfaces. This high-definition formula also allows for the creation of cleaner grooves that are indistinguishable from the original lacquer. MoFi SuperVinyl provides the closest approximation of what the label's engineers hear in the mastering lab.

Listen Here Limited-edition double green/ red vinyl. 12 tracks spread across three sides and a screen-printed fourth side. We are very pleased to announce a special 10th anniversary vinyl version of this classic Dean Wareham live album, recorded over two nights in London back in December 2013 and featuring a mix of songs by Galaxie 500 and Luna as well as solo material. It is pressed on double red and green vinyl, with the 12 tracks spread across three sides and a screen-printed fourth side. The recordings were mixed by Britta Phillips and have been remastered especially for this release by Mikey Young (of Eddy Current Suppression Ring, Total Control and others). The new artwork by Marc Jones includes a printed insert featuring photos from the shows, which almost didn’t happen at all after Dean and his band got stuck on a train between Manchester and London. “We left Piccadilly Station at 12:15 but stopped rolling after just 20 minutes,” he recalls. “A voice informed us that a tree had fallen on the track somewhere up ahead, and this tree was on fire. We sat there for a couple of hours and started to think about alternate ways to get down to London, someone sent out a plea on Twitter and one kind fan did offer to drive us, if only there was a way to get off the train. But at around 3 o’clock the train lurched forward at last, we made it to Euston and cabbed it straight to St Pancras Old Church. “I’m not a believer but there’s something special about playing in churches, especially one that dates to the 12th century; the cavernous spaces and wooden pews make you speak softly and play quietly too – if you play too loud the sounds will just bounce all over the place. And the engineer doesn’t need to add reverb to your vocals – it is there already. “Nat from Sonic Cathedral promoted the shows and had the presence of mind to record them to multi-tracks, and I’m so glad he did. When we got back to Los Angeles, Britta mixed the live tracks, and the result is this record

Nachdem Dan Reed Network mit ihrem letzten Studioalbum "Let's Hear It For The King" Werk aus berauschendem Rock, Funk und Soul präsentieren konnten, kommt nun die auf 500 Stk. limitierte Deluxe Reissue auf Vinyl. Mit ihrem sechsten Studioalbum inkl. 3 Akustik Bonustracks, schließt sich der Kreis zum ursprünglichen Leitbild der Band - Überzeugungen in Frage zu stellen, bestehende Protokolle zu zerschlagen und aus den Trümmern etwas Neues zu schaffen. Dieses Album ist für Visionäre, die Teil und Zeuge des nächsten Schritts in der künstlerischen Entwicklung des Dan Reed Network sein wollen.

Eclectic graffiti artist, DJ and producer Dj Marrrtin unveils his new album opus "Cyclothymix".
Following the success of his album "La Pie Bavarde", a duet with Tino, mc from Dayton, U.S.A., Marrrtin delivers a moody, intense, indeed psycho-musicographic psychomusicographic. He promises us a finely mixed set, at the heart of his inspirations: Hip Hop, Funk, Sound Illustration, Jazz...
Opening with "Awakening", straight out of a Dilla beat tape, followed by the Brazilian with the very Brazilian "Estrellas", an up-tempo theme sublimated by the gentle voice of Carla Vallet, who also infuses her suave voice on the track "Darjeeling", a bewitching call to let go. In his global wanderings, he takes us to New York with the track "L.O.V.E."an ode to love, featuring the Temple's guardian, A.G. of the mythical collective DITC and his protégée Hii Siddity, from the duo The Girll Codee. "Taraxacum" plunges us into a languorous atmosphere, sublimated by sublimated by the flute of Antoine Laloux from The Selenites Band. Then comes "Ben", a boom bap - melancholy jazz production, where the grain of vinyl mingles with the roughness of the Akai S950 sampler. Marrrtin's musical drifting and whirling is a tribute to breakdance culture to breakdance and hiphop culture with "Inspiration Medley", a nod to anthems such as SWAT, backed by the keyboards of his Funky Bijou teammate, Deheb. A duo whose famous classics are played for the biggest world Breakdance Battles. Sample culture, drum breaks, Abstract Hip Hop, for the tracks "True" and "Time for Love", in which a guru preaches pan-love in the time of the Apocalypse. "Indian Groove", an Indian echo of Marrrtin's many travels, which leaves us and saturates us with dopamine. "Cosmic Consciousness Without Transition", in the spirit of a mood-changing we plunge into the strange, scandalized prescription, guardian of the garden of love.
To close this essential album, "Headhunter", a dark Jazz Funk track with dusty soundtrack tinges, brings us to a close.
of dusty seventies soundtrack, with saturated clavinet responding to obsessive
melodies of Medline's flute.
Ultimately, "Cyclothymix" is conceived by Marrrtin as a mirror to our changing moodsand seasons.

2023 repress on Translucent Purple double vinyl! A Brand You Can Trust is the classic 2009 debut album from hip-hop supergroup La Coka Nostra feturing House of Pain's Everlast alongside Danny Boy & DJ Lethal with Ill Bill (Non Phixion), and Slaine (Special Teamz). Additional contributions come from such hip hop elite as Snoop Dogg, Cypress Hill, Immortal Technique, Bun B and The Alchemist. A breath of fresh air in the days of contrived airbrushed rap music, Ill Bill explained that, "This record is a no holds barred burst of hardcore hip-hop to the fullest, representing everything we love about this art form but feel is missing from the game right now." "This shit bangs," Slaine added. "We set out to make a boom bap hip-hop record and we did that, but to stop there would be selling it short, because lyrically, musically, and sonically this album doesn't fit in a box." Though similar stylistically to the group's prior 2009 online releases, the debut album features songs grounded more in reality. Subjects touched upon include politics, death, drug addiction, raising a child and terrorism. AllMusic gave four out of five stars. Andrew Kameka of HipHopDX wrote that "the album is a mostly solid effort and exactly what someone would expect from a supergroup of like-minded members known for high-energy music". Adam Kennedy of the BBC while praising some the moments of the album said "it's a tantalising parting taste of potential capabilities, yet until they improve a customer satisfaction hit rate that barely troubles one in three tunes here". Steve Juon of RapReviews gave it a seven out of ten. Thomas Quinlan of Exclaim! said "La Coka Nostra are an interesting collection of collaborators that live up to the hype".

Leon Rosselson has been at the forefront of songwriting in England for over sixty years For 'Chronicling the Times', Rosselson delved into his storied political satirist's song catalog to assemble seventeen of his favorite recordings. Featuring English folk luminaries such as Martin Carthy and Billy Bragg, this collection proves that Rosselson, now well into his 80s, has created an oeuvre comparable to other social critics such as Phil Ochs. He started performing in the early days of the folk revival as a member of the Galliards with whom he made many radio and TV broadcasts. His early songs were topical-satirical, but eventually absorbed many different influences from around the world. He has recorded many albums and published two songbooks. His song "The World Turned Upside Down" was taken into the pop charts by Billy Bragg and covered by artists including Dick Gaughan and Chumbawamba. Rosselson has also published seventeen children's books, the first of which, 'Rosa's Singing Grandfather', was shortlisted for the Carnegie Medal in 1991. Billy Bragg deftly summed up his career: "Leon Rosselson is the embodiment of the original ideals of punk rock- using fearless wit and political integrity to highlight the hypocrisies of those in power."

Satoshi Suzuki (鈴木慧) described his musical practice perfectly on the OBI strip of his 1987 privately pressed LP - Tokyo Contemporary! consisting of 40% Jazz, 30% Soul, 20% Brazil, and 10% Kayokyoku - a musical mixture not too far off from what is now referred to as City Pop.

However, this archival compilation of Satoshi Suzuki's works presents a perspective of the City Pop sound not from affluent 1980s Japanese bubble economy-era studios and highly paid studio musicians, but from a one-person band making the most of the instruments in their home studio, inspired by musical traditions from around the world.

With notes of city pop, AOR, jazz, soul, bossa, and kayōkyoku - Satoshi Suzuki's intimately recorded pop songs are charming and full of wit, with a seasonal and poetic approach to these musical forms using only a drum machine and an array of digital synthesizers. Sounding a little like Pacific Breeze played on a Casio keyboard and drum machine, Uku Kuut soundtracking a SEGA video game, or the wonderful lo-fi works of Suzuki’s lo-fi homemade pop & jazz contemporaries Ronald Langestraat, Lewis, and Joe Tossini — though most of all, SUZUKI's works show a new and singular perspective of the bubble-era city pop of the Showa period.

Distant Travel Companion (​遠​い​旅​の​同​行​者​) introduces Suzuki's musical works to a wide audience for the first time, featuring remastered songs originally released over three privately pressed LPs from the 1980s, as well as a previously unheard CD from 1993. The original works were released in an impossibly limited edition of 100 copies each - printed and assembled on printing equipment at Suzuki’s company office and scarcely distributed, recording these songs at his home studio in his free time. The compilation's design and accompanying OBI and liner notes are a direct homage to the original releases.

Satoshi SUZUKI is a Japanese keyboardist, singer, songwriter, and music arranger. He is also an author of literature and winner of the "Shin-nihon-bungaku" (New Japanese Literature) Award. He was born in 1958 in Tokyo, Japan.

FROM RAY CHARLES TO SELAH SUE, FROM NINA SIMONE TO IBEYI, FROM BARRY WHITE TO ALOE BLACC, DISCOVER THE BEST OF THE GREATEST VOICES OF SOUL MUSIC OF ALL TIME IN A 5 VINYLS BOXSET

On Side A, smile your way through two songs by The Teacher Haters — in fact, we challenge you to get through these tracks without smiling. Even the name of the band invokes a chuckle as it suggests what these guys are about — and that’s the P-A-R-T-Y. Straight out of the 60s comes a group that could have been played with Sam The Sham & The Pharaohs back in the day. These whimsical works are deceptively deep as they take us to a time when garage punk fused with R&B.

Big Pig Alley is uncomplicated, and that’s what makes it great — it sounds like a bunch of college guys having a good time, writing lyrics on the spot: “If you’re lookin’ for romance, take a train, take a plane...or a raft to France.” The guys have something other than romance on their minds as they chug along on acoustic guitar and trash can drums (and possibly other things). What really makes the track, though, is the witchy background voice — the performance is loose enough, while the witch is doing his own thing entirely.

The witch returns on the second track on Side 1 in the up-tempo, dance-ready Cut Loose. No obscure artistry here — these guys tell you exactly what the song is for in the title. In fact, just in case you missed it, they state their thesis in the opening lines: “I wanna shake all night, I wanna do it right, I wanna dance, dance, dance with you…” All of their collegiate effort is put toward getting you to move your hips in this groovy, rockabilly-flavored mix.

Let's talk about Side B...

We Got A Thing is up first — a crossover soul dancer that invites you to sing along with an infectious, call-and-response chorus. It pairs nicely with The Teacher Haters as fun, simple party music from the 60s — though this time from a female perspective.

Things go deeper with Guys Today. As the name suggests, the content is about the enduring tension between the sexes and the heartbreak it can lead to. It’s a deep soul beat ballad in the vein of Betty Wright or Helene Smith. A grand opening is followed by a clear, crisp female vocal that brings the singer’s lament into focus. The band is tight, and it all comes together to portray a woman who has made up her mind and is offering a warning about guys today: I know you love your man, but I know they will hurt you in every way they can.

At first glance, these artists seem to share only a few things in common — party-themed music conceived in the 60s with an R&B flavor. But between sides A and B, it feels like these groups are talking to each other — perhaps different perspectives of the same party. Perhaps the party itself and then the fallout. The result is a balanced EP release that feels whole and satisfying. We hope you feel the same as we proudly present these found recordings as an exclusive 12” on 180 gram vinyl. Please enjoy.

Much has been written about Young Marble Giants' small, perfect catalogue, which contained roughly two-dozen songs, nearly each one a perfect gem. Less is known about his long wilderness years after the break-up of his first professional band. His next project, The Gist, chopped YMG's minimalism into a new sound. This Is Love, Public Girls and Fool For A Valentine showed his songs to be razor-sharp, but the album's fragmented pieces were a step too far for some, though even the strangest, Carnival Headache, when cast in sunlight by Alison Statton's combo Weekend, was as fine a song as any he'd written - and Love At First Sight became a million-seller when covered by Etienne Daho. Then Stuart disappeared. A rmid-90s resurgence led to fine albums done on low budgets, before more silence followed. The Gist's 2018's release Holding Pattern - unexpected and then quickly followed by YMG singer Alison Statton's first new album with her accompanist Spike in two decades, adding fuel to public interest. The Devil Laughs, recorded a few years back, is a compelling addition to the canon of the 21st century songwriting. Stuart's generally unadorned musical presentation does not hinder his appreciation for the skills of Louis Philippe, whose iconic arrangements across an array of Él label albums inspire the fierce devotion of aficionados around the world. Nor does the unvarnished solidity of Stuart's arrangements deter Louis from hearing possibilities for their presentation in styles which take inspiration from the perfection of 1960's studio technology that led to the rise of Brian Wilson, Burt Bacharach, along with less-recognised names such as Bones Howe and Roy Halee. Tidy Away is Young Marble Giants redux, though the backing vocals hint at maturity which band didn't live to see. Fighting To Lose, written with producer Ken Brake, would pass as a worthy b-side to Bridge Over Troubled Water, and although the songs are otherwise Stuart's, Louis fans will delight at several, like Love Hangover and Sky Over Water, which display his style and production genius as succinctly as anything on his own albums. The Devil Laughs is as out of its time as Colossal Youth was - its subtle but immediate beauty, devoid of "rock", is a recording best understood in the light of those obscure groundbreakers who inspired it - the faux barbershop vocals of Smile-era Beach Boys, the studio lustre of Tom Wilson's work with Simon & Garfunkel, a dash of The Swingle Sisters and French chanson - along with enough hints of Young Marble Giant's modernist folk abstraction to satisfy longtime fans. The Devil Laughs is a small masterpiece of pure expression.

Faitiche releases the album Improvisations And Edits, Tokyo 26.09.2001 on vinyl for the first time. For the original 2002 CD on Soup-Disk and Sub Rosa (Audiosphere), Jan Jelinek and the Japanese trio Computer Soup (Satoru Hori – trumpet, Osamu Okubo - toys & electronics, Kei Ikeda - toys & electronics) presented eight tracks all recorded one afternoon in the trio’s living room in Tokyo. They are excerpts from a joint group improvisation that subsequently underwent rudimentary editing, on which Jelinek and Computer Soup worked separately.

Jelinek met the three musicians at his first concert in Japan in 2001, at Tokyo’s Yellow club, where Computer Soup performed as the support act. Delighted by their free improvisation on pocket-sized electronic toys, trumpet and oscillators, he arranged to meet Hori, Okubo and Ikeda a few days later for a session at their apartment. The resulting three-hour recording, made on their living room floor, formed the basis for Improvisations and Edits. A few days later, Jelinek returned to Berlin. Over the following months, they separately chose passages from the recording that were then edited and assembled into an album.

Formed in Tokyo in 1996 as a quintet (including Shusaku Hariya and Daisuke Oishi), Computer Soup began by performing with acoustic instruments on the streets of Shibuya. Ikeda und Okubo soon switched instruments, and from then on the group’s minimalistic but densely woven sound was defined by electronic toys, oscillators and Satoru Hori’s trumpet. Their first album was released in 1997 on the Japanese label Soup Disk. Eight further releases followed.

From the reviews of Improvisations and Edits, Tokyo 26.09.2001 in 2003:

"The mind-blowing first track Straight Life is perhaps the best example of what the album has to offer. Jelinek's trademark smears and washes occupy the midrange, like ghosted images of Joe Zawinul's electric piano floating quietly in the wind. DSP jazz modes are set against a walking bassline (possibly computer generated) and a gently tooted trumpet complete with Harmon mute, a dead ringer for Miles Davis' Prestige-era ballads. The effect is something like a three-dimensional film, with different realities on each layer; images of what jazz was manage to interact with a real-time demonstration of all it could be."
pitchfork, 2003

"Improvisations and Edits is a warm and mellow Ambient release with beautiful glitch fragments, static noise bursts and real trumpet intersections. However, there are times where it is the exact opposite, mainly effect-laden, overdriven and bouncy with a lack of melodies and focus, so be aware of these specific tracks."
ambientexotica, 2003

"Often deliciously dreamy and hazy, Improvisations and Edits is like listening to an exceptional instrumental jazz performance while half-conscious or under some sort of chemical influence. Computerised blips and bleeps, loops and treatments and murky sonic skips curl up around desolate horn notes and scattered instrumental noises that culminate in elegant music."
exclaim.ca, 2003

Obwohl es erst ein Jahrzehnt später offiziell veröffentlicht wurde, stellten sich TORMENTOR mit "Seventh Day of Doom" bereits 1987 vor. Angeführt vom legendären Sänger Attila Csihar klang die ungarische Bande böser und verdorbener als der primitive Heavy Metal, der in den späten 80ern und frühen 90ern aus Osteuropa kam. Sie sollten zwar noch böser klingen, aber auf dieser Aufnahme kann man bereits hören, warum diese Band von der zweiten Welle des Black Metal überschwänglich gelobt wurde.Die Riffs dröhnen, das Schlagzeug ist so schnell wie eine Lokomotive, die durch die Tore der Hölle rast, und Attila klingt, als würde er heiße Galle spucken.

New West Records is proud to present Strange Country, the new full-length album from the young and gifted cousin-duo Kacy & Clayton. The ten-song collection was recorded over seven freezing Canadian winter days at Ghetto Box Studios, a historic community hall turned studio. The product of a lifetime of deep kinship, the record showcases the purity and astounding beauty of Kacy Anderson's voice, one that has been notably compared to Fairport Convention's Sandy Denny. Only Clayton Linthicum's intricate guitar work, expert time changes and vocal harmonies could forge the foundation for Kacy's voice to soar even higher - the result being an enormously satisfying and organic album. Drawing a wide swath of inspirations ranging from the Greenwich Village folk scene to the ancestral music of Southern Appalachia and the British Isles, the cousins fashion songs steeped in those traditions, simultaneously paying homage and building on those sounds.

Kaisei’s music is played by many of the scene’s tastemakers so it was about time he got his first EP released. Beyond the Bridge is releasing a 4 tracker of experimental and genre bending sonic bombs as a nod to the free tekno days.

New one-off press limited edition transparent green double vinyl edition of Soul
Jazz Records long unavailable Studio One Roots 2, featuring classic tracks recorded
at Studio One.
Studio Roots Vol. 2 delves deep into the vaults of the legendary Jamaican Reggae
label and features rare and classic roots as well as an unprecedented seven
unreleased tracks that up till now had never seen the light of day.
Roots and rastafarian music was being recorded at Studio One by Clement "Sir
Coxsone" Dodd from the early 1960s onwards to the 1990s and this album reflects
the depth and diversity of roots music at the label.
From the slow-ska of Dudley Sibbley, to the deep instrumental jazz cuts of Cedric Im
Brooks over classic roots rhythms such as "Satta Massagana" to Winston Mathews
stunning eerie version of Bob Marley and the Wailers "Sun Is Shining". The Zion All
Stars features the Burro rastafarian drumming of Count Ossie and the Mystic
Revelation of Rastafari.
This album features many of the classic Studio One artists – Willie Williams, Tommy
McCook, Cedric Brooks, The Gladiators, Vin Gordon – as well as many less wellknown artists – all who produced classic roots music under the guidance of producer
Clement "Sir Coxsone" Dodd and recorded at the legendary Studio One Records.

New Robohands LP 'Palms' is the fifth album from the London based instrumentalist and producer Andy Baxter. Moving towards different genres and arrangements from his previous albums, 'Palms' features duelling harp parts, tape echo, double bass and draws inspiration from artists such as Dorothy Ashby, Azimuth, Alice Coltrane and Toquinho.

In parts tropical and synth drenched, and in others stripped back and acoustic, 'Palms' is a journey back to saturated analog recordings of the late 60s and 70s, with a subtle modern layer of glitch FX and pitch control experimentation in places. The album makes also reference to classic releases from jazz fusion that feature the legendary Arp Odyssey synthesiser, used by artists such as Herbie Hancock and George Duke.

The seventeen track album features performances from multiple session musicians including Jim Piela on saxophone and Marco Cremaschini on Rhodes, with Baxter taking on drums, guitar, bass, keys and also mixing duties. 'Palms' is a new direction for his project and a record that thematically journeys into modern reinterpretations of jazz, downtempo, acoustic and ambient music.

New Robohands LP 'Palms' is the fifth album from the London based instrumentalist and producer Andy Baxter. Moving towards different genres and arrangements from his previous albums, 'Palms' features duelling harp parts, tape echo, double bass and draws inspiration from artists such as Dorothy Ashby, Azimuth, Alice Coltrane and Toquinho.

In parts tropical and synth drenched, and in others stripped back and acoustic, 'Palms' is a journey back to saturated analog recordings of the late 60s and 70s, with a subtle modern layer of glitch FX and pitch control experimentation in places. The album makes also reference to classic releases from jazz fusion that feature the legendary Arp Odyssey synthesiser, used by artists such as Herbie Hancock and George Duke.

The seventeen track album features performances from multiple session musicians including Jim Piela on saxophone and Marco Cremaschini on Rhodes, with Baxter taking on drums, guitar, bass, keys and also mixing duties. 'Palms' is a new direction for his project and a record that thematically journeys into modern reinterpretations of jazz, downtempo, acoustic and ambient music.

When Kronos plays a piece, they become fellow composers, true collaborators. Without them, we wouldn’t have the kind of string quartet playing that we find around us today. There are two kinds of string quartet playing: the ‘Before Kronos’ and the ‘After Kronos’.” – Philip Glass

‘Kronos Quartet has broken the boundaries of what string quartets can do.’ – New York Times

Nonesuch releases Kronos Quartet’s acclaimed album Kronos Quartet Performs Philip Glass on vinyl for the first time to coincide with Kronos Quartet: Five Decades, a year-long celebration marking the quartet’s 50th anniversary. Originally released in 1995, the album features David Harrington (violin), John Sherba, (violin), Hank Dutt (viola) and Joan Jeanrenaud (cello) performing Quartet No. 2 (Company) (1983), No. 3 (Mishima) (1985), No. 4 (Buczak) (1990), and No. 5 (1991), the first piece Glass wrote especially for Kronos. Recorded at Skywalker Sound in California, the album was produced by Judith Sherman, Kurt Munkacsi and Philip Glass. The cover art features Francesco Clemente’s painting The Four Corners (1985). At the time of the album’s release, the New York Times said, ‘It contains some of Glass's best music since Koyaanisqatsi. His ear for sumptuous string sonorities is undeniable,’ while the Washington Post called it ‘An ideal combination of composer and performers.’ It was a top 10 hit on Billboard’s Top Classical Albums, and spent 12 weeks on Billboard’s Classical chart.



In his original liner note, critic Mark Swed wrote, ‘Glass’ string quartets may contain his most intimate music. They are works through which a very public composer, perhaps the most important opera reformer of our age and a longstanding collaborator in large-scale music theater, holds up a mirror to himself and his way of composing. “In an odd way,” Glass explains, “string quartets have always functioned like that for composers. I don’t really know why, but it’s almost impossible to get away from it. It’s the way composers of the past have thought and that’s no less true for me. It’s almost as if we say we’re going to write a string quartet, we take a deep breath, and we wade in to try to write the most serious, significant piece that we can.” Glass says that as he sat down to write String Quartet No. 5, he had discovered that perhaps not taking a serious tone might be the most serious way to deal with it. “I was thinking that I had really gone beyond the need to write a serious string quartet and that I could write a quartet that is about musicality, which in a certain way is the most serious subject.”’



Glass’ first numbered quartet was written in 1966; however, he did not return to the string quartet medium until 1983, when he provided incidental music for a dramatization of Samuel Beckett’s prose poem, Company. During those 17 years, Glass had formed an ensemble and developed his style in a series of increasingly elaborate pieces for it. String Quartet No. 3 is also adapted to dramatic music, this time from his score to the 1985 Paul Schrader film, Mishima. It was with the music of Mishima that Kronos became associated with Glass, recording the string quartet sections of the soundtrack and subsequently working extensively with the composer on all five of his numbered quartets. Kronos also gave the first concert performances of Company and Mishima. String Quartet No. 4 was composed in remembrance of the artist Brian Buczak, who died of AIDS in 1988.



As Kronos’ anniversary season continues with further concerts around the world, Nonesuch will reissue Black Angels on vinyl on February 16. First released in 1990, the award-winning album includes George Crumb’s title piece, which inspired David Harrington to found the quartet. Called ‘an unusually elevated and searing Vietnam War protest’ by the New York Times, it sets a dark, powerful tone for this collection, which addresses the political/physical/spiritual consequences of war. Also featured are works by Charles Ives, István Márta, Thomas Tallis, and Dmitri Shostakovich. ‘Stylishly packaged, intelligently programmed, superbly recorded and brilliantly performed,’ proclaimed Gramophone. ‘In short, very much the sort of disc we’ve come to expect from the talented and imaginative Kronos Quartet.’ The Evening Standard included it among its ‘100 Definitive Classical Albums of the 20th Century’.



Born in Baltimore, Maryland, in 1937, Philip Glass is a graduate of the University of Chicago and the Juilliard School. By 1974, he had created a large collection of music for The Philip Glass Ensemble. The period culminated in the landmark opera, Einstein on the Beach. Since Einstein, Glass’s repertoire has grown to include music for opera, dance, theatre, orchestra, and film. His scores have received Academy Award nominations (including Kundun and The Hours, as well as Notes on a Scandal) and a Golden Globe (The Truman Show). Recent works include his memoir, Words Without Music, his first Piano Sonata, opera Circus Days and Nights, and Symphony No. 14. Glass received the Praemium Imperiale in 2012, the US National Medal of the Arts from President Barack Obama in 2016, and 41st Kennedy Center Honors in 2018.



Nonesuch’s relationship with Glass began in 1985, with the release of the score for Paul Schrader’s Mishima featuring Kronos Quartet. Over the years other Glass works on Nonesuch have included Einstein on the Beach (1993), Kronos Quartet Performs Philip Glass (1995), Music in Twelve Parts (1996), Glass Box (2008), as well as the soundtracks for Powaqqatsi (1988), Kundun (1997), Koyaanisqatsi (1998), and The Hours (2002), amongst others.



For 50 years, San Francisco’s Kronos Quartet – David Harrington (violin), John Sherba (violin), Hank Dutt (viola), and Paul Wiancko (cello) – has challenged and reimagined what a string quartet can be. Founded at a time when the form was largely centred on long-established, Western European traditions, Kronos has been at the forefront of revolutionizing the string quartet into a living art form that responds to the people and issues of our time. In the process, Kronos has become one of the most celebrated and influential groups of our era, performing thousands of concerts worldwide, releasing more than 70 recordings of extraordinary breadth and creativity, and collaborating with many of the world’s most accomplished composers and performers. Through its nonprofit organization, Kronos Performing Arts Association, Kronos has commissioned more than 1,000 works and arrangements for string quartet – including the Kronos Fifty for the Future library of free, educational repertoire. Kronos has received more than 40 awards, including three Grammy Awards and the Polar Music, Avery Fisher, and Edison Klassiek Oeuvre Prizes.



Kronos is prolific and wide-ranging on recordings. The ensemble’s expansive discography on Nonesuch includes three Grammy-winning albums: Terry Riley’s Sun Rings (2019), Landfall with Laurie Anderson (2018), and Alban Berg’s Lyric Suite featuring soprano Dawn Upshaw (2003); the 40th-anniversary boxed set Kronos Explorer Series; Nuevo (2002), a Grammy- and Latin Grammy–nominated celebration of Mexican culture; Pieces of Africa (1992), a showcase of African-born composers that simultaneously topped Billboard’s Classical and World Music charts; and Folk Songs (2017), Nonesuch’s 50th album with Kronos, which featured Sam Amidon, Olivia Chaney, Rhiannon Giddens, and Natalie Merchant singing traditional folk songs.

Take the 101 north out of Los Angeles, and you'll pass by Agoura Hills, where the core duo of the band Dub Thompson grew up. Whatever you see in that town won't readily prepare you for the music they wrote while there, but you're free to look."Most everyone who's in a group who's our age lives on the Internet," says guitarist Matt Pulos. "The kinds of things that have shaped our band aren't anchored to any one time or place."Pulos and his bandmate, drummer Evan Laffer, are currently both 19 years old, and are putting that line of thought to the test; their musical influences travel from the Midwestern malaise of Big Black and Pere Ubu, to Kraut pioneers Can and Kraftwerk, while bowing to the British belligerence of The Fall and This Heat.Recording the album while living with Foxygen's Jonathan Rado at his rented house in Bloomington, the band had its first taste of a heavy Indiana summer, and all the humidity and insect life that buzzes along with it. "We woke up every day, ate hard-boiled eggs and stood on a porch," says Pulos of the experience.Their first collection of songs slyly unties the shoes of genre and convention, shapeshifts mischievously, and tramples on the promises delivered on the name itself.There are only eight songs on this rangy debut.Intense blasts of hook-filled noise rock ("Hayward!"), rocksteady marionette stomp ("No Time"), hypnotic bouts of doomy poetics ("Epicondyles"), outlandishly sexy groove rock ("Dograces"), and a number of other bite-sized forays into parts unknown are made manifest across 9 Songs. The vibes are strong here. Pulos sings and plays like he's working out long-standing grudges, pulling the most sinewy tones from an acoustic guitar and ripping huge chunks of demon flesh out of his electric. Laffer matches him step for step on the drums, an exacting presence behind the kit who pushes even the band's more placid moments into bouts of tension. Together they succeed in animating their musical ideas to startling, almost unnatural life. Reverb units, keyboards, samples and processing gluing everything together, saturated in the August heat and worn in until they sound second nature, it's like somehow you've been listening to these songs forever.

2023 Repress

Reiko Kudo first debuted on the Tokyo underground music scene in 1980 with NOISE, a duo which apart from herself under her then maiden name Reiko Omura on voice, guitar and trumpet featured Tori Kudo on organ. Their only album TENNO (1980 on Engel) is probably one of the most outstanding and uncompromising records of all time.

Like other pioneering female producers from Japan such as NON (of NON BAND), PHEW and HACO, who had all begun their startling careers in the early days of the japanese Punk era, Reiko Kudo can surely be regarded as one of the most unique, uncategorisable and daring voices in the entire field of electronic and experimental music ever.

RICE FIELD SLOWLY RIPING IN THE NIGHT was REIKO KUDO's second album under her own name. It features TORI KUDO (MAHER SHALAL HASH BAZ) and SAYA and TAKASHI UENO (TENNISCOATS) on various instruments. The recordings took place in 2000 at Reiko' s and Tori's house in the rural surroundings of Shikoku island.

All recorded music on this album sounds like it originates in a parallel dimension where time and key signatures simply don't exist, Some might describe this as outsider music, but this doesn't really begin to do justice to the quality of the tracks, there is nothing accidental or forced here, this is simply music created in a very different way. Yet again REIKO KUDO had conceived of something utterly beautiful.

"After producing the album "Souvenir de mauve" with Maher Shalal Hash Baz which we released on our label Majikick, the idea came to us, to release Reiko Kudo's work. For Reiko's work, we brought our recording equipment from Tokyo to Shikoku and recorded the entire album at her house.

The piano was positioned in a room with a high ceiling. We would set up our small recording equipment in the room and started to record. The basic tracks were recorded without any rehearsal and just a few overdubs were added on top of it. To have a distant sound on the recording, Tori played trumpet in the next room. The choir was standing outside the house, singing "Enya-totto, enya-totto" through the open window. It was early spring, I remember that it was still a bit cold and the members of the choir were freezing outside.

Reiko plays only at certain times of the day, so that we were able to complete only two or three recordings a day. Therefore we had plenty of free time. We went to a hot spring, to a cafe, or we tried pottery on a spinning wheel at Tori's workshop. It was a very rewarding time.

When this album was finished, we brought it to her to listen to. She said happily "I think this is the best work I have ever done." We felt that all our efforts were richly rewarded. Secretly, we thought the same, so we are delighted that this album will be re-issued." - Saya and Ueno (Tenniscoats), Tokyo 2018

Originally released on Majikick Records, Japan, 2000 Restauration and mastering by Detlef Funder at Paraschall Mastering, Düsseldorf. Vinylcut at Calyx, Berlin Translation by Miki Yui and Claus Laufenburg. Many thanks to Reiko Kudo, Tori Kudo, Saya and Takashi Ueno, Satoru Higashiseto.

All the great Reggae Classics by the Reggae Masters in a nice 3LP vinylbox With Bob Marley, Yellowman, Max Romeo, Greogry Isaacs, Horace AndyâÇÝ

2023 will see Billy Bragg and Cooking Vinyl celebrating forty years of music from the singer, songwriter, activist and author, with a selection of releases to appeal to casual admirers and die hard fans alike. Each format has been compiled by Billy beginning with a 1LP 13-song "primer" on LTD Edition orange coloured vinyl, a 40-song LTD Edition Deluxe 3 LP collection on three shades of green vinyl, and a 40-song 2CD in card digisleeve with 16 page booklet. The vinyl formats contain a download card.

In March of 2020, after learning that a dear friend’s life was coming to an end, Johansing sat down and in one sitting wrote the song “Daffodils”. An elegiac tribute to someone facing death with grace and curiosity, the lyrics confront Johansing’s own mortality by observing the brief lifespan of a Hlower. Only a week later when the world came to an abrupt standstill, she soon found herself processing this recent loss while trying to make sense of a new global reality. Across the ensuing months, Johansing found herself increasingly untethered by a world of isolation and political upheaval.

Having been a frequent touring member of bands like Hand Habits and Fruit Bats, and often being called into the studio to lend her harmonies and multi-instrumental talents to records, Johansing’s phone no longer rang. Living in Los Angeles she feared her musical community was vanishing, as friends and collaborators continually announced they were leaving the city. It was in returning to her piano nightly that she found the greatest solace, feverishly writing the songs that would be collected on her next album. Resulting from this new sense of time and focus was a deepening of her songwriting. As Johansing recalls, “I felt like a metamorphosis happened during that time. There was a lot of personal growth and healing.”

Throughout Year Away Johansing traverses uncharted emotional landscapes brought upon by the changes occurring all around her. The forced self-reflection of the moment is aptly captured by “Old Friend”, featuring an aching melody and swooning production that recalls the best of Harry Nilsson. The epic piano and saxophone-driven “Smile with My Eyes” addresses the loss of community as friends became distant and political divides between family grew. On “Smile” Johansing pushes her vocals further than ever, expanding her range and using her peerless voice as the singular instrument it is. Facing the loss of a family home due to environmental destruction, “Shifting Sands” is marked by soaring Hlutes, Hield recordings and glassy synthesizers that nod to Japanese New Age.

“Daffodils”, the stunning album centerpiece, is built from a pastiche of looping samples, swirling Mellotron and dazzling vibraphone. “Keep your heart open wide, you never know your time / Keep your heart wild, true Hlower child”, Johansing sings as she says goodbye to an elder, while the band reaches a grief-stricken crescendo of woodwinds and chiming bells. On the title track, Johansing takes listeners on an eerily meditative journey of collective experiences. “I wanted to keep the progression simple and repetitive so that musically we could add new elements little by little, while the emotional tone of the lyrics becomes increasingly more strained and expressive”. The song grows to a fever pitch as Johansing sings higher than she thought possible; the tension of the repeating chords Hinally resolving into a hopeful coda as multiple soloists weave around each other.

Amidst heavier themes, Johansing still leaves room for her love of irresistible pop melodies and lush production. The driving “Last Drop” and mid-tempo “Valley Green” are two of her catchiest songs to date. On the former Johansing sings the anthemic chorus, “As if it were the last drop, and nothing ever lasts forever / As if it were the last stop, too far out to come back ever”, longing for a love that she’ll never take for granted, while also admitting that she doesn’t always know how good she has it. “Valley Green” features shimmering layers of 12- string guitars, stacked horns and an impeccable solo by co-producer and multi- instrumentalist Tim Ramsey (Vetiver, Fruit Bats), hinting at a love for bands like NRBQ.

Having been eager to capture the initial spark of songwriting, Johansing booked time at Highland Park’s 64 Sound Studio the week that it reopened. Over the course of three days, she and her band gathered basic tracks for 10 songs, before returning home to Hinish the record with Ramsey. Setting forth to make an album that paid homage to the music that kept them company during the months spent alone together, the duo pulled inspiration from a wide net including Burt Bacharach, John Carroll Kirby & Haruomi Hosono. Ramsey’s newfound love of early digital synthesizers dovetailed effortlessly with Johansing’s fondness for classic 70’s horn and string arrangements, creating a sound that is distinctly modern yet warm and familiar.

Once again Johansing called upon some of the Hinest players of Northeast Los Angeles’ vibrant music community to lend a hand with the record. The 70s R&B-folk of “Watch It Like a Show” features an electric guitar solo from Hand Habits’ Meg Duffy, while album closer “Endless Sound” boasts backing vocals from electronic musician Kaitlyn Aurelia Smith and swooping Indian-inspired violins from Amir Yaghmai (HAIM, The Voidz). The record shines brightly thanks to an ace mix from veteran producer Rob Schnapf (Beck, Elliott Smith, Cat Power), woodwinds from Logan Hone (John Carroll Kirby, Eddie Chacon), and a featured rhythm section of drummer Josh Adams (Jenny Lewis, Bedouine) and bassist Todd Dahlhoff (Feist, Devendra Banhart). Recorded across multiple studios including LA’s famed Sunset Sound, the album remains steadfastly buoyed by the adept engineering of Tyler Karmen (MGMT, Alvvays).

Though born of turbulent times, Year Away is ultimately interested in moving forward. The album ends with “Endless Sound,” where Johansing laments seismic global changes, (“The water is hotter, the mighty thaw / The current’s reversing, the last are lost”) but vows to keep going (“No storm can take me down / Endless light, endless sound”). It’s Year Away’s resilience that shines through despite the darkness. It’s a sound all her own and Johansing’s most cohesive set of songs yet.

Shotmaker was formed in 1993 by three friends from the small towns of Tweed and Belleville in Ontario, Canada: Matt Deline (drums, vocals), Tim McKeough (guitar, vocals), and Nick Pye (bass, vocals). The band relocated to Ottawa in 1994 before ending its run in 1996. They are widely recognized for influencing the direction of emo and post-hardcore music. During their relatively short time together Shotmaker harnessed the collective creativity of the Canadian DIY community to make something special happen. They wrote and recorded two 7”s, two LPs, a split LP (with Washington, D.C., based Maximillian Colby) and numerous songs for compilations and other split records.

The band thrived on playing live shows and completed three coast-to-coast North American tours in addition to many smaller tours. They regularly shared the stage with bands like Policy of 3, Los
Crudos, Unwound, Rorschach, Cap’n Jazz, Indian Summer, Rye Coalition, Modest Mouse, Propagandhi, Hoover, Clikatat Ikatowi, Blonde Redhead and Fugazi. "A Moment in Time: 1993-1996"
is a band-curated, 3xLP box set on colored vinyl. Also included is a 12 page booklet with never before seen images from Canadian photographer Shawn Scallen who chronicled much of the band's history.

All the music has been mastered for vinyl by Brad Boatright at Audiosiege in Portland, OR.

Sampha kündigt mit "LAHAI" sein mit Spannung erwartetes zweites Album an, das am 20. Oktober auf Young erscheint. Nach dem Namen seines Großvaters väterlicherseits benannt, der gleichzeitig auch Samphas zweiter Vorname ist, fließt die Musik auf "LAHAI" zwischen der Ehrfurcht vor dem Leben und der Magie der weltlichen Existenz und beschreibt das Chaos, das man erlebt, wenn man sich dem Kreislauf des Lebens und dem Jenseits stellt. Auf den 14 Tracks hat Sampha enge Freunde und Kollegen zusammengerufen - darunter fantastische Künstler wie Yaeji, Léa Sen, Sheila Maurice Grey (Kokoroko), Ibeyi, Morgan Simpson (Black Midi), Yussef Dayes, Laura Groves und Kwake Bass. Im Gegensatz zum Vorgänger "Process" ist "LAHAI" ein eher kollaboratives Album. Die neueste Single "Only", die von einem Musikvideo von Dexter Navy in Zusammenarbeit mit Sampha begleitet wird und auf dem Vorab Track "Spirit 2.0" folgt, zeigt einen extrem lebendigen Sampha, der melodisch über einen fragmentierten Hip-Hop-Beat mit Co-Produktion von spanischen Musiker El Guincho singt. Im Juni kehrte Sampha zum ersten Mal seit fünf Jahren für seine Satellite Business Residencies in London und New York auf die Bühne zurück. Das einzigartige Setup, bei dem Sampha und seine Band in der Mitte des Raums auftraten, ermöglichte den Fans einen intimen Zugang zu der improvisierten Performance neuer, unveröffentlichter Musik und alternativer Arrangements von Samphas Katalog, die das Publikum "wie gebannt" (Pitchfork) zurückließ. In diesem Herbst wird Sampha eine größere Version der Satellite Business Live-Show auf Tournee mitnehmen. Den Anfang machen mehrere Abende in London in der St. Johns at Hackney Church im Oktober, bevor er nach Nordamerika zurückkehrt, um in großen Städten aufzutreten: Los Angeles, Toronto, New York City, Chicago, San Francisco, Washington D.C., Philadelphia und Atlanta. Anfang Dezember kehrt er nach Europa zurück und spielt in Berlin, Amsterdam und Paris. Wie sein Schöpfer lässt sich auch "LAHAI" nicht in eine Schublade stecken. Das neue Album ist eine Mischung aus Jazz, Soul, Rap, Dance, Jungle und westafrikanischer Musik, mit der Sampha seine produktionstechnischen und stimmlichen Ambitionen auf ein neues Niveau hebt. Als begnadeter Sänger , Songwriter und Produzent ist es kein Wunder, dass Künstler wie Kendrick Lamar, Stormzy, Travis Scott und früher auch Drake, Solange, Frank Ocean, Beyoncé, Lil Wayne und Alicia Keys ihn für seine unnachahmliche Stimme sowie seine Beiträge zum Songwriting und zur Produktion ihrer Musik um Unterstützung baten. Zu seinen früheren kreativen Partnerschaften gehören die Modedesignerin Grace Wales Bonner, das Shy Light Zine mit Durimel (der auch das LAHAI-Artwork gedreht hat), sein Process-Film mit dem Regisseur Kahlil Joseph und kürzlich die Zusammenarbeit mit Jonny Lu, mit dem Sampha das Artwork für sein LAHAI-Album und sein neues Logo entwickelt hat. Wenn "Process", Samphas 2017 mit dem Mercury-Preis ausgezeichnetes Debütalbum, einen Künstler zeigte, der seinen eigenen Platz in der Welt suchte und schließlich auch fand, ist "LAHAI" eine Übung in der radikalen Akzeptanz und Freude am Leben und der Schönheit der Reise bis hierhin. Willkommen zu Samphas nächstem musikalischen Kapitel: LAHAI.

Sampha kündigt mit "LAHAI" sein mit Spannung erwartetes zweites Album an, das am 20. Oktober auf Young erscheint. Nach dem Namen seines Großvaters väterlicherseits benannt, der gleichzeitig auch Samphas zweiter Vorname ist, fließt die Musik auf "LAHAI" zwischen der Ehrfurcht vor dem Leben und der Magie der weltlichen Existenz und beschreibt das Chaos, das man erlebt, wenn man sich dem Kreislauf des Lebens und dem Jenseits stellt. Auf den 14 Tracks hat Sampha enge Freunde und Kollegen zusammengerufen - darunter fantastische Künstler wie Yaeji, Léa Sen, Sheila Maurice Grey (Kokoroko), Ibeyi, Morgan Simpson (Black Midi), Yussef Dayes, Laura Groves und Kwake Bass. Im Gegensatz zum Vorgänger "Process" ist "LAHAI" ein eher kollaboratives Album. Die neueste Single "Only", die von einem Musikvideo von Dexter Navy in Zusammenarbeit mit Sampha begleitet wird und auf dem Vorab Track "Spirit 2.0" folgt, zeigt einen extrem lebendigen Sampha, der melodisch über einen fragmentierten Hip-Hop-Beat mit Co-Produktion von spanischen Musiker El Guincho singt. Im Juni kehrte Sampha zum ersten Mal seit fünf Jahren für seine Satellite Business Residencies in London und New York auf die Bühne zurück. Das einzigartige Setup, bei dem Sampha und seine Band in der Mitte des Raums auftraten, ermöglichte den Fans einen intimen Zugang zu der improvisierten Performance neuer, unveröffentlichter Musik und alternativer Arrangements von Samphas Katalog, die das Publikum "wie gebannt" (Pitchfork) zurückließ. In diesem Herbst wird Sampha eine größere Version der Satellite Business Live-Show auf Tournee mitnehmen. Den Anfang machen mehrere Abende in London in der St. Johns at Hackney Church im Oktober, bevor er nach Nordamerika zurückkehrt, um in großen Städten aufzutreten: Los Angeles, Toronto, New York City, Chicago, San Francisco, Washington D.C., Philadelphia und Atlanta. Anfang Dezember kehrt er nach Europa zurück und spielt in Berlin, Amsterdam und Paris. Wie sein Schöpfer lässt sich auch "LAHAI" nicht in eine Schublade stecken. Das neue Album ist eine Mischung aus Jazz, Soul, Rap, Dance, Jungle und westafrikanischer Musik, mit der Sampha seine produktionstechnischen und stimmlichen Ambitionen auf ein neues Niveau hebt. Als begnadeter Sänger , Songwriter und Produzent ist es kein Wunder, dass Künstler wie Kendrick Lamar, Stormzy, Travis Scott und früher auch Drake, Solange, Frank Ocean, Beyoncé, Lil Wayne und Alicia Keys ihn für seine unnachahmliche Stimme sowie seine Beiträge zum Songwriting und zur Produktion ihrer Musik um Unterstützung baten. Zu seinen früheren kreativen Partnerschaften gehören die Modedesignerin Grace Wales Bonner, das Shy Light Zine mit Durimel (der auch das LAHAI-Artwork gedreht hat), sein Process-Film mit dem Regisseur Kahlil Joseph und kürzlich die Zusammenarbeit mit Jonny Lu, mit dem Sampha das Artwork für sein LAHAI-Album und sein neues Logo entwickelt hat. Wenn "Process", Samphas 2017 mit dem Mercury-Preis ausgezeichnetes Debütalbum, einen Künstler zeigte, der seinen eigenen Platz in der Welt suchte und schließlich auch fand, ist "LAHAI" eine Übung in der radikalen Akzeptanz und Freude am Leben und der Schönheit der Reise bis hierhin. Willkommen zu Samphas nächstem musikalischen Kapitel: LAHAI.

BLUE-BLACK COLOURED VINYL! LIMITED TO 100 UNITS
Irakli’s new album is due to come out October 2023 on Live at Robert Johnson. Mechanical Moon is a retrofuturistic adventure of beautiful compositions and pulsating rhythms which are weaved together over the span of eight tracks.

We are immersed into evocative atmospheres, full of intricate textures. This is techno where you close your eyes and board an ocean liner that slowly rises and floats towards the moon.

Happy human with sad eyes roamed the neon-lit streets of the artificial island. This section of the metropolis had been designed as a necessity more than any other amenities. It had been allocated a budget surpassing the one for waste management in a city housing over a billion inhabitants.

Society had managed to eradicate love, yet it still grappled with untamed primal instincts such as dancing, sex, or violence. The island provided a discreet haven, away from the prying eyes of telescreens that silently stared into all souls. Similar to Las Vegas centuries ago, it was a safe space where anything was fair game.

Once there, night time lasted all day. Everything retained an analog essence. Music emanated from vintage record players. Amidst the laughter and tears, the artificial glow of the mechanical moon had become the last reminder of life outside.

A life so repetitive that he had been consumed by the desire to transform into a machine or a human satellite. Yet, breaking the cycle in such a manner remained impossible. And so, he wandered for hours on the island, among the weary faces.

Happy as one could be.