Search:sel

Ruby Wine Vinyl. Manchester UK's Space Afrika make music of what they term "overlapping moments" - oblique mosaics of dialogue, rhythm, texture, and shadow, half-heard through a bus window on a rainy night. Honest Labour, the group's first full-length since 2020's landmark hybtwibt? (have you been through what i've been through?) mixtape, expands the project's palette with classical strings, shimmering guitar, and visionary vocal cameos, leaning further into their enigmatic fusion of ambient unrest and cosmic downtempo. It's a sound both fogged and fragmented, at the axis of song craft and sound design, born from and for the yearning solitudes of life under lockdown.The album title is tiered, alluding to a legendary patriarch from co-founder Joshua Inyang's Nigerian family tree (who was lovingly called "Honest Labour" for his loyalty and resilience) as well as the nature of self-designated work, such as Space Afrika's music - a "labor of love" in its truest sense. With fellow co-founder Joshua Reid recently relocated to Berlin, the pair began sharing files last fall, piecing together poetic vignettes of looping haze and found sound, inspired by the notion of "records that leave an impression, and help the listener deal with their life." As the isolation of Covid compounded with the worsening winter, the songs skewed increasingly introspective and emotive, reflecting a mood of dissipating futures and the infinite nocturnal unknown.The artists cite two core motivations for Honest Labour: to transcend the sum of their influences, and "to show what we're capable of." Both ambitions are entirely realized. The collection's 19 tracks flow with a synergy and sophistication as rare as they are radical, untethered to the dusty dub-techno templates of Space Afrika's early years. These are interstitial anthems, expressionistic and open-ended, delirious but deliberate, attuned to the drift and dreamstate of the present moment: "Ultimately this is an homage to U.K. energy, and an album about love and loss."

Dieses 2-CD bzw 2LP-Set mit dem Titel Early Home Recordings versammelt 27 alte Aufnahmen aus den 1960er Jahren (hauptsächlich 1966-67) der Vor-Fairport Convention Sandy Denny. Sorgfältig remastered, enthält dieses Paket ein exklusives neues Essay des Fairport Convention-Biographen Patrick Humphries - der Sandy persönlich kannte. Enthalten sind zwei verschiedene seltene Demos ihres Klassikers 'Who Knows Where the Time Goes' von 1967 (bevor sie ihn mit den Strawbs aufnahm) und ein weiteres von 1968. Sie hatte dieses unglaubliche Talent, diese unglaubliche Stimme - sie spielte 'Who Knows Where the Time Goes', und ich fiel fast vom Stuhl. - Linda Thompson. Außerdem gibt es eine Reihe von Liedern aus Sandys Feder, darunter 'Boxful Of Treasures', das später in den Song 'Fotheringay' umgeschrieben wurde (von Fairport Convention's What We Did On Our Holidays Album). Fotheringay" erscheint hier auch in Demoform. ,Sie muss neu bewertet werden. Sie hat eine Art von Song geschrieben, die heute nur noch sehr selten geschrieben wird - emotional, musikalisch interessant, wirklich gut gesungen - ernsthaftes Songwriting. Sie war dem Rest haushoch überlegen. Und das bleibt sie auch." - Ashley Hutchings (Gründer von Fairport Convention). Außerdem gibt es gefühlvolle Coverversionen von Jackson C. Frank, Fred Neil, Anne Briggs, Dylan und vielen traditionellen Folksongs. Die endgültige Sammlung von Dennys frühen Demos, die von ihrem Nachlass autorisiert wurden, mit Sandys Tochter Georgia Lucas' eigenen charmanten Zeichnungen ihrer Mutter, die zum ersten Mal auf einer offiziellen Denny-Veröffentlichung erscheinen, sowie bisher unveröffentlichten Bildern Sandys der 1960er Jahre. Linernotes von Reissue-Produzent Pat Thomas.

Nach vier Studio-Alben und einer Compilation waren die ungarischen Top-Stars Omega im Westen immer noch nur ein Geheimtipp. Eine steigende Tendenz bei den Absatzzahlen war aber zu erkennen, selbst wenn die Verkäufe längst nicht durch die Decke gingen. Darüber hinaus hatte sich die Band entwickelt, war live und in ihrem Erscheinungsbild professioneller geworden. Die Bacillus/Bellaphon-Verantwortlichen wollten Omega demnach auf jeden Fall behalten und verlängerten 1976 den Vertrag mit dem Quintett bis 1980. Und dieses zog mit Peter Hauke in die Offenbacher Europasound-Studios und spielte dort "Time Robber" ein. Die LP wurde im Westen Omegas Durchbruch. Bis heute soll sich das Album an die zwei Millionen Mal verkauft haben. Und dieser Erfolg kam nicht von ungefähr, lieferten die Ungarn doch erstmals ein komplexes, in sich geschlossenes Werk ab. Auf "Skyrover" wurden große Stücke gesetzt. Wieder zogen Omega nach Offenbach und produzierten einen exquisiten "Time Robber"-Nachfolger in Alleinregie, der seinem so immens erfolgreichen Vorgänger in Nichts nachstand. Nicht wenige Omega-Fans hallten "Skyrover" sogar für die bessere Platte, da sie die auf "Time Robber" manchmal noch etwas steif nebeneinanderstehenden Stilrichtungen elegant ineinanderfließen ließ. Zu einem Live-Klassiker avancierte "Russian Winter" - auf der ungarischen LP-Version mit "Lena" betitelt. Der Song ragte aus dem musikalischen Konzept mit seinen osteuropäischen Folklore-Verweisen heraus und wurde vermutlich gerade deshalb zu einem Fan-Favoriten.

The new dance album by Biicla called HYPER HOUSE is an imaginary club, where the main hero is the listener. The vibe in this house is Uk influenced modern take on bass / garage with a kind flow and naked emotions. The record has been in the making last 3 years and you could have heard some singles from the album already - GAS (4.21), MAKING NEW, MISS YA were all released via System 108 in 2023, the label has also become by accident a new home for the artist. Before arriving on System 108, Biicla has been releasing music for a while and getting exposure in big US Festivals, like Lollapalooza, Hard Summer, Bonaroo and many more, celebrating millions of streams worldwide. With System 108, Biicla found a new home and new dedicated audience, and it seems like a match made in heaven.

The process of production of the album took time during some challenging years - when our ordinary world started to shatter... Therefore the cover is divided in two parts - on the right, we observe chaos and destruction; on the left, people are having a quiet and happy life. Modern / hybrid club sounds in the album co-exist with sensible, soulful vibes, sorrow and hope. On top, the finishing comes in a close to perfection studio-engineered sound. HYPER HOUSE therefore is an intimate record with a personal meaning for Biicla and for us, as a label. Together as a team, we represent Biicla in all facets of his creative output, would it be his self-branded party BIICMAK, live shows or support of new names in the scene, discovered by the artist, as an example here comes the V/A Radar 108, curated by Biicla - tip!

Limited pressing of 300 LPs ! 180gm VINYL LPS w/ INSERT & DOWNLOAD FILE UNDER : GARAGE ROCK / PUB ROCK "I wanted to make a very NOW album, our past was fantastic at the time but it was exactly that.the past. We've learned a lot since then and with the combination of influences and personal tastes we've concocted a combination of Raw Power guitar grunt, a touch of The Cars' pop sensibilities and Bad Seeds brood." Dave Butterworth Veteran rockers The Double Agents return with their third album New Motion a powerful new recording evoking directness and immediacy and marking their first release of new material in nearly two decades. The Double Agents' initial incarnation circa 2000 saw the fiercely independent quintet rise from humble stages to becoming one of Melbourne's most revered pub rock bands. They twice toured Europe and eventually shared the stage with iconic luminaries Dead Moon, Mudhoney, The Dirtbombs, Celibate Rifles, The White Stripes and The Black Keys before an amicable hiatus in 2008. New Motion is a modern Australian rock record and marks a departure from their garage rock roots, as best exemplified in their self released 2023 anthology compilation Best Bits. So Far spanning their first three releases. The familiar twin vocals remain, Kim and Dave summoning that deep Dead Moon energy, as does Ryan Tandy's singular lead guitar playing and the rock solid backbeat of Myles Gallagher, but the band's scope seems to have widened on this record, with the inclusion of longtime cohort Mick Stylianou (Saint Jude) adding style and harmonic punch on bass guitar and backing vocals. ..The New Motion sessions were tracked to analog tape by Finn Keane at Head Gap and Julian McKenzie at Newmarket with vocal post production by Dave Larkin (Dallas Crane), mixing by Callum Barter (Courtney Barnett, Kurt Vile), mastering by Mikey Young. Dave Butterworth also produced the album.

Global superstar Ed Sheeran will release the ‘‘+-=÷× (TOUR COLLECTION)’ on 27th September on CD and Bright Blue 2LP. Sheeran made the announcement last night (Sunday 8th September 2024) after enthralling fans on the closing leg of his 2024 Mathematics World Tour in Cyprus.

‘+-=÷× (TOUR COLLECTION)’ brings together some of Ed Sheeran’s biggest songs to date from his decade-spanning mathematical album era. It will be available on CD, 2xLP (Bright Blue vinyl), Download and streaming partners. The physical formats will include access to exclusive voice notes from Sheeran. A brand new selection of related merchandise will also be available.

Ed Sheeran is an era-defining artist who has sold nearly 200 million records across the globe. After starting his record-breaking Mathematics Tour in Dublin back in 2022, Sheeran has taken his blockbuster show all over the globe with an astonishing total of 133 performances under his belt so far. With one more show this month in Rio De Janeiro, Sheeran has announced another run of European shows for 2025 which will form part of the final leg of his Mathematics tour, all while continuing to break records and make history.

‘+-=÷× (TOUR COLLECTION)’ features 22 tracks including the tracks ‘Shape Of You’, ‘Perfect’ ‘Thinking Out Loud’, ‘Photograph’, ‘Shivers’ and ‘Bad Habits’. The song ‘Afterglow’ appears on vinyl for the very first time. The tracklisting includes 9 UK Number 1 singles with 11 tracks that have been streamed in excess of 1 Billion times on Spotify.

Warped and dragged through the murky underbelly of the Levantine underground comes 'Volume 1' the x-rated left-field debut from the pseudonymous DJ GAWAD.

Via pitched up vocals dripping with delay, DJ GAWAD takes us on a tour of the region's most urgent artists, his interjections oscillating between cocky boast and frustrated lament.

Through this new persona, DJ GAWAD pulls back the curtain to reveal himself as the protagonist of the mixtape-like album, as replete with features as it is with expletives, an enigmatic ghoul in the back of the studio with an endless supply of broken sample flips, giving the album its old school feel while still speaking to contemporary hip hop aesthetics.

A Jordanian/Palestinian Memphis gangster rap parody par excellence, the album is infused with satirical commentary on the state of the contemporary music scene, yet DJ GAWAD shows as much as he tells, expertly fashioning a sound that makes you wonder about the identity of the artist behind the braggadocious persona of the self-titled "best producer in the Middle East."

Drawing heavily from the Memphis rap mixtapes of the mid 1990s, DJ GAWAD has clearly identified the same brooding atmosphere in his own surroundings. On Mat3'anish (feat. Bleng & Fara7) DJ GAWAD makes his most explicit reference to the Memphis sound, twisting the hallmark cowbells that defined that movement to reflect the equally raw nature of his own setting.

Similarly, in Bandana (feat. Jurum), DJ GAWAD finds the perfect tension between his romantic sampling tendencies and the brutal sensibilities of his featured artist. As if liberated by DJ GAWAD's anonymity and irreverence, his menagerie of artists appear to have been emboldened, embracing the obscene free naturedness of the album, setting their lyrical prowess free to wander.

No expense was spared in the post production treatment of DJ GAWAD's debut, with Iraqi-American artist Mark Gergis incorporating the Nakamichi Dragon cassette deck in the mastering process, as is evidenced by the crisp saturation of the album's sonics.

Der aus Pittsburgh stammende Montell Fish ist ein Multiinstrumentalist, Produzent, Sänger und Komponist, der sich auf die Entwicklung von Projekten konzentriert, die Welten schaffen. Montells unvoreingenommene Herangehensweise an das Songwriting erlaubt es den Zuhörern, sich in seiner Welt willkommen
zu fühlen, in der er der Autor, Regisseur und Star ist. Charlotte ist das mit Spannung erwartete Nachfolgealbum des JAIME-Albums von 2022 und der zweite Teil seiner Jaime, Charlotte, Marshall-Album-Trilogie.
Mit jeder Veröffentlichung hat er einen mehrschichtigen Turm aus Referenzen und Metaphern aufgebaut,
der mit den Ängsten eines begabten jungen Menschen schwankt, der die Widersprüche der Welt in Einklang
bringen will: in der Liebe, in der Religion, in der Kunst und im Glauben. Es ist die Art von Musik, die
intensive Gefühle und Fangemeinde hervorruft. Auf seinem neuesten Album Charlotte, dem Nachfolger
seines Durchbruchsalbums Jamie aus dem Jahr 2022, denkt Fish gerne über die großen Fragen des Lebens
nach: Wie prägt die Kindheit einen Menschen? Was bedeutet es, eine Gabe zu haben, zu der die Welt
Zugang haben will? Fish, der in einem streng religiösen Haushalt aufgewachsen ist und nun selbst in der
Welt unterwegs ist, um seine Kunst zu machen, hat eine grenzenlose Neugier auf die Art zu leben und zu
schaffen. Charlotte ist sein bisher vollendetstes Projekt, der Klang eines Generationstalents, das in seine
Kraft tritt.

Global superstar Ed Sheeran will release the ‘‘+-=÷× (TOUR COLLECTION)’ on 27th September on CD and Bright Blue 2LP. Sheeran made the announcement last night (Sunday 8th September 2024) after enthralling fans on the closing leg of his 2024 Mathematics World Tour in Cyprus.

‘+-=÷× (TOUR COLLECTION)’ brings together some of Ed Sheeran’s biggest songs to date from his decade-spanning mathematical album era. It will be available on CD, 2xLP (Bright Blue vinyl), Download and streaming partners. The physical formats will include access to exclusive voice notes from Sheeran. A brand new selection of related merchandise will also be available.

Ed Sheeran is an era-defining artist who has sold nearly 200 million records across the globe. After starting his record-breaking Mathematics Tour in Dublin back in 2022, Sheeran has taken his blockbuster show all over the globe with an astonishing total of 133 performances under his belt so far. With one more show this month in Rio De Janeiro, Sheeran has announced another run of European shows for 2025 which will form part of the final leg of his Mathematics tour, all while continuing to break records and make history.

‘+-=÷× (TOUR COLLECTION)’ features 22 tracks including the tracks ‘Shape Of You’, ‘Perfect’ ‘Thinking Out Loud’, ‘Photograph’, ‘Shivers’ and ‘Bad Habits’. The song ‘Afterglow’ appears on vinyl for the very first time. The tracklisting includes 9 UK Number 1 singles with 11 tracks that have been streamed in excess of 1 Billion times on Spotify.

Wann genau die Langhalslaute Bouzouki nach Griechenland kam, ist unklar. Ihre Wurzeln gehen bis ins vierte Jahrhundert vor Christus zurück. Die heutige Form des Instruments, benannt nach "Βυζί", dem griechischen Wort für die weibliche Brust, ist relativ jung und seit etwa 1920 in Athen und auf dem Peloponnes verbreitet. Ursprünglich in Bars und auf privaten Festen gespielt fand es durch das Revival des „Rebetiko“, dem „griechischen Blues“ ab den 1960er Jahren weitere Verbreitung. „Ursprünglich wurde auf der Bouzouki viel improvisiert“, meint Georgios Propkopiou, „viel mehr als später. Denn ab den Fünfzigerjahren wurde ihr Spiel professionell unterrichtet. Da wurde vieles festgelegter“. Seitdem ist der metallische Klang des Instruments fast zum Synonym für die griechische Folklore als Begleitung von Liedern und Tänzen geworden... vor allem bei dem Komponisten Mikis Theodorakis, der mehr als nur ein paar Ohrwürmer hervorgebracht hat.

Die Jazzkarriere der Bouzouki hingegen stand bislang noch aus. Es brauchte einen Umweg über Stockholm, damit etwas in Bewegung kam. „Die Kombination Bouzouki und Jazz liegt erst einmal nicht so nahe“, meint der Pianist Joel Lyssarides. „Für mich persönlich hängt sie mit meinem Großvater zusammen, einem griechischen Zyprioten. Er kam in den 1940ern nach Schweden. Griechische Musik mochte ich immer, ich war aber damit nicht wirklich vertraut. Jedenfalls fand ich die Bouzouki faszinierend. Während der Pandemie habe ich mir ein Instrument gekauft, um es ein wenig zu lernen. Beim Stöbern im Internet entdeckte ich dann Georgios durch ein TV-Konzert, ein Tribute an Theodorakis. Ich war total begeistert und habe in Stockholm herumgefragt, ob ihn jemand kennt. Tatsächlich spielte er zufällig ein paar Tage später in der Nähe in einer Hotelbar ein Konzert“.

Das war im Herbst 2022. Joel Lyssarides hörte Georgios Prokopiou zu, sprach ihn an und sie verabredeten sich zu einer Session. Sie jammten und improvisierten, fanden musikalisch schnell zusammen und im Sommer 2023 spielten sie ihr erstes gemeinsames Konzert. „Es ist sehr unüblich, dass jemand mit der Bouzouki über Changes improvisiert,“ erzählt Joel Lyssarides weiter. „Sie ist ja ein traditionelles Instrument mit klar definierter Rolle, meistens Begleitung mit gedoppelten Terzen und Sexten. Georgios aber macht viel mehr. Ich hatte zunächst keine Ahnung, wie unglaublich virtuos und stilistisch variabel er ist. Seine Vielseitigkeit öffnet viele Türen. Wir hatten von Anfang an sehr viel Spaß an den neuen Möglichkeiten. Und ich hatte vorher noch niemanden gehört, der so spielt. Dafür musste ich unbedingt Musik schreiben“.

Lyssarides erzählte ACT-Chef und Produzent Andreas Brandis von der Idee für das Duo und auch dieser war sofort begeistert: „In der Lesart von ACT steht der Begriff Jazz vor allem für ein Vokabular mithilfe dessen Musiker:innen ihre eigene Geschichte vor ihrem persönlichen kulturellen Hintergrund erzählen. Es ist faszinierend, dass hier immer wieder Konstellationen entstehen, die es vorher nicht gegeben hat. Und die Musik, die Joel Lyssarides und Georgios Prokopiou gemeinsam kreieren ist einerseits absolut überraschend und neu, klingt jedoch gleichzeitig so organisch und natürlich, als hätte es diese Konstellation schon immer gegeben.“

Es sind aber nicht nur die Instrumente Klavier und Bouzouki, die sich getroffen haben, sondern auch die speziellen Charaktere und Geschichten der beiden Duopartner. Der Stockholmer Joel Lyssarides verbindet in seinem Spiel größte Virtuosität mit beeindruckender Leichtigkeit und einem starken Gespür für Stimmung und Dynamik. Er arbeitet mit so unterschiedlichen Künstler:innen wie Anne Sofie von Otter, Benny Anderson, Nils Landgren, Viktoria Tolstoy und ist Teil des Esbjörn Svensson Tributes „e.s.t. 30“. Das ACT-Debüt „Stay Now“ von Lyssarides‘ eigenem Trio wurde seit seinem Erscheinen 2022 allein auf Spotify eindrucksvolle 25 Millionen Mal gehört. Der Athener und Wahl-Stockholmer Georgios Prokopiou spielte zum ersten Mal mit sechseinhalb Jahren Bouzouki, gab mit acht seinen Konzerteinstand und hatte als Zehnjähriger bereits feste Musikengagements in Bars und Bordellen. Seitdem arbeitet er im klassischen Kontext ebenso wie in der Folklore und dem Experimentellen, spielt neben der Bouzouki außerdem Saz und andere Saiteninstrumente.

Die Voraussetzungen für das Album „Arcs & Rivers“ waren daher so vielfältig und offen, wie nur möglich. Nach einem Probekonzert in der Berliner ACT Art Collection, von dem das Live-Stück „Zafeirious Solo“ auf das Album übernommen wurde, trafen sich die beiden noch einmal am selben Ort, um mit Studio-Equipment auch andere Facetten aufnehmen zu können. „Wir wollten zum Beispiel leise Stellen dabeihaben, nah mikrofoniert. Außerdem den großartigen Klang des Flügels, der früher einmal Alfred Brendel gehört hat. Insgesamt aber war vieles sehr spontan. Das ganze Album wurde in einem Rutsch aufgenommen, innerhalb von vier Stunden, meistens mit den ersten Takes. Ich bin sonst oft Perfektionist und verbringe Tage mit der Nachbearbeitung von Musik im Studio. Diesmal hingegen sollte es so direkt und spontan wie möglich sein“. Und es funktionierte: „Arc & Rivers“ ist ein Dialogskizzenbuch mit normsetzender Wirkung. Egal ob neue Kompositionen oder Verarbeitungen traditioneller Rhythmen und Muster wie in „Kamilieriko Road“ – diese Musik hat eine schillernde, klangmagische Kraft. Und das Duo selbst strahlt eine Selbstverständlichkeit der Kulturverknüpfung aus, die die Enge der Stile hinter sich lässt. Und es macht klar: Es ist tatsächlich Zeit für etwas mehr Bouzouki im Jazz, in der Improvisation und auf den Bühnen der internationalen Musikwelt.

MICHELLE’s first project of buoyant R&B tracks was an ode to New York City, the city where all 6 members of the band grew up. But amid the success of that project, 2018’s HEATWAVE, and 2022’s AFTER DINNER WE TALK DREAMS, they left home and broadened their perspective. The band travelled across the U.S. and Europe opening for Gus Dapperton, Arlo Parks, and Mitski, headlining their own shows, and playing festivals.

While writing their new album, Songs About You Specifically, MICHELLE decided to rent out a house in Ojai, California. Surrounded by lizards, the smell of ripe cactus fruit, and endless expanses of sand, they experienced a sense of solitude and closeness they hadn’t before. It shifted the tone of their work. While their earlier music channelled the churning restlessness of the city, these news songs meander and expand into starry shoegaze reveries, slick funk riffs, and lilting 80s synth pop.

Their newfound closeness also helped them write more vulnerable music. On Songs About You Specifically, the band members express their complicated desires, voice their regrets, and own up to their moments of selfishness. By slowing down, cutting out any distractions, and fostering a sense of communal closeness that necessitated honesty, MICHELLE ended up with a collection of songs that feel like the truth.

It took four years for The Lumineers to follow up their platinum-plus, multi-Grammy-nominated, self-titled debut. Cleopatra proves Schultz and Fraites - along with cellist/vocalist Neyla Pekarek- are neither taking their good fortune for granted, nor sitting back on their laurels. With the help of producer Simone Felice (The Felice Brothers, The Avett Brothers), the man Wesley calls "our shaman," the band ensconced themselves in Clubhouse, a recording studio high atop a hill in rural Rhinebeck, N.Y., not far from Woodstock. The Lumineers then set about trying to make musical sense of their three-year-plus roller coaster ride. Their skill at setting a visual story to music comes through amidst the delicate, deceptively simple acoustic soundscapes. This time, though, bassist Byron Isaac provides a firm, low-end on the apocalyptic opener "Sleep on the Floor," a ghostly tune about getting out of town before the "subways flood and the bridges break." It's a densely packed, cinematic song that echoes Bruce Springsteen's "Atlantic City" and John Steinbeck's East of Eden. Cleopatra also deals with what Wesley terms "the elephant in the room," the band's success and the way it can sometimes put a target on your back. The syncopated piano rolls in "Ophelia" , the organic sound of fingers squeaking on guitar strings in "Angela" and the Faustian bargain described in "My Eyes" consider the perils of getting what you wish for, with everyone knowing your name, and your songs. The band had total artistic freedom in writing and recording the album, so Wesley and Jer pushed the envelope. "We continue to make the kind of records we want to," says Wesley. "We believe in this music. It's a true labor of love. We just want to keep reaching more people with our songs." Given the evidence on The Lumineers' sophomore album Cleopatra, that shouldn't be a problem.

It took four years for The Lumineers to follow up their platinum-plus, multi-Grammy-nominated, self-titled debut. Cleopatra proves Schultz and Fraites - along with cellist/vocalist Neyla Pekarek- are neither taking their good fortune for granted, nor sitting back on their laurels. With the help of producer Simone Felice (The Felice Brothers, The Avett Brothers), the man Wesley calls "our shaman," the band ensconced themselves in Clubhouse, a recording studio high atop a hill in rural Rhinebeck, N.Y., not far from Woodstock. The Lumineers then set about trying to make musical sense of their three-year-plus roller coaster ride. Their skill at setting a visual story to music comes through amidst the delicate, deceptively simple acoustic soundscapes. This time, though, bassist Byron Isaac provides a firm, low-end on the apocalyptic opener "Sleep on the Floor," a ghostly tune about getting out of town before the "subways flood and the bridges break." It's a densely packed, cinematic song that echoes Bruce Springsteen's "Atlantic City" and John Steinbeck's East of Eden. Cleopatra also deals with what Wesley terms "the elephant in the room," the band's success and the way it can sometimes put a target on your back. The syncopated piano rolls in "Ophelia" , the organic sound of fingers squeaking on guitar strings in "Angela" and the Faustian bargain described in "My Eyes" consider the perils of getting what you wish for, with everyone knowing your name, and your songs. The band had total artistic freedom in writing and recording the album, so Wesley and Jer pushed the envelope. "We continue to make the kind of records we want to," says Wesley. "We believe in this music. It's a true labor of love. We just want to keep reaching more people with our songs." Given the evidence on The Lumineers' sophomore album Cleopatra, that shouldn't be a problem.

In 2011, an eponymous, self-recorded EP led to touring, and before long The Lumineers started attracting devout fans. They're drawn by songs like "Ho Hey" and "Stubborn Love," Americana-inflected barn burners in the vein of the Avett Brothers and Mumford & Sons. The roots revival of the last few yeas has primed listeners for a new generation of rustic, heart-on-the-sleeve music. The Lumineers walk that line with an unerring gift for timeless melodies and soul-stirring lyrics.

In 2011, an eponymous, self-recorded EP led to touring, and before long The Lumineers started attracting devout fans. They're drawn by songs like "Ho Hey" and "Stubborn Love," Americana-inflected barn burners in the vein of the Avett Brothers and Mumford & Sons. The roots revival of the last few yeas has primed listeners for a new generation of rustic, heart-on-the-sleeve music. The Lumineers walk that line with an unerring gift for timeless melodies and soul-stirring lyrics.

In response to the high demand, Traumer’s “Don’t Stahp” and Mihai Popoviciu’s “Waitin” are finally getting a vinyl release. The various artists also includes two new singles by Kolter & Moor taken from their upcoming solo EPs on BERG AUDIO — artwork by Juli Jah (LIMITED EDITION)

Holly Macve's third album, Wonderland, is a stunning testament to her evolving artistry and a bold declaration of independence. Released under her own Loving Memory Records, this album is her most luxurious and cinematic work to date. Co-produced with Dan Rothman of London Grammar, it features string arrangements by David Saunders and a notable collaboration with Lana Del Rey, who has lauded Macve's voice as one of the world's most beautiful. Reflecting a period of profound personal transformation, Wonderland captures Macve's journey through moments of intense highs and lows. The album's first single, 'San Fran Honey,' explores the theme of unattainable love, blending nostalgia with self-awareness. Macve's evocative, dreamy style resonates with the cinematic quality of Lana Del Rey's work, drawing comparisons between their approaches to music. Wonderland is an exciting exploration of Macve's growth and a showcase of her unique, atmospheric sound.

The Savage Goddess, Trap Girl’s debut LP, is about resilience and perseverance. It explores the duality of life - the beautiful light and the dark pain, love and struggle. With a “pretty but deadly” energy, the title itself reflects this theme, representing life in all its complexity. Bursting with raw energy and unapologetic fervor, the album explores the complexities of life through a lens of punk and hardcore grit. Each track on The Savage Goddess delves deep into themes of empowerment, societal defiance, and personal struggle. From the anthemic power of “Baddest Bitch,” which celebrates strength and self-assertion, to the defiant stance of “Death Dress,” confronting societal rejection and the fight for authenticity, every song on the album resonates with passion and purpose.

Nach dem Auftakt zu Blackmore’s Nights 25-jährigem Jubiläum mit der Re-Mixed Edition ihres Debütalbums "Shadow Of The Moon" im Jahr 2023, setzen Candice Night und Ritchie Blackmore die Feierlichkeiten mit der weltweiten Neuauflage ihres TOP 10 Albums "Fires At Midnight" fort. Die 25th Anniversary Edition wurde von den Original-Mehrspur-Bändern in 2024 vollständig neu abgemischt und erstmals sind alle bisherigen Bonus-Tracks auf einer Ausgabe vereint. Das ikonische Artwork wurde überarbeitet und um seltene Fotografien und persönliche Erinnerungen von Candice und Ritchie erweitert. "Fires At Midnight" erscheint zudem jetzt erstmals auch auf Vinyl.

LTD BLOOD-SPLATTER VINYL W/ LYRIC BOOKLET & CUT OUT MASK JEWEL CASE CD W/ LYRIC BOOKLET Just in time for Halloween. Zombina and the Skeletones are returning from the dead to bring you their first full-length album in ten years ‘The Call of Zombina’. The Band Under Your BedTM returned to the studio (or in this case a creepy old church in Liverpool) to make their first album in ten years, with Stephen Cole from the avant garde “post-music” act a.P.At.T producing. ‘The Call Of Zombina’ is Hammer Horror melodrama as art-therapy, the pank roots of goth-rock meets the strings and harpsichords of baroque. ‘The Call Of Zombina’ seeks to mirror the clamic portmantean horror of ‘The House That Dripped Blood’ or ‘Asylum’, with each track telling its own self-contained story. Musically it’s death rock/ baroque, Joe Meek and James Bernard meets The Damned uptown. Lyrically, the schlocky Americanistas of old have been eschewed in favour of the no less pulpy vernacu lar of Pan Classics paperbacks... and of course the whole thing was recorded in an old spooky church, to captare some of that creaky atmosphere and gigantic reverb.

Limited Neon Yellow Vinyl. Rahiem Supreme links up with WiFiGawd on new album YUNG $AKS 5TH - a record that moves freely through old school hip hop to esoteric new school rap. Rahiem paints vivid imagery with his lyricism, reminiscent of Slick Rick's storytelling where fact meets fiction, wit and charisma. Both artists hail from Washington D.C. and it was inevitable they'd cross paths after bumping into each at mutual studio sessions. WiFi played Raheim some of his beats, they connected instantly and the collaboration was born. The album is produced entirely by WiFiGawd, who also features on 'Run Shh Up', alongside a guest feature from Al Divino on 'Vintage Fendi'. Rahiem has previously collaborated with the likes of Fly Anakin, YUNGMORPHEUS, Ankhlejohn, Obijuan, Sadhugold, Ohbliv & Lean Low. WiFiGawd has previously worked with Soudiere, Tony Seltzer, Wiki and Trippjones.

A collection of 18 rare disco tracks from Yugoslavia. Compiled by Leri Ahel & Zeljko Luketic from original master tapes. Fox & His Friends label owners Ahel & Luketic selected obscure 7'' singles, b-sides, out-of-print releases and digged deep into the vaults of Jugoton to tell the story of how disco infiltrated clubs and pop music. This compilation is vinyl counterpart to their pioneering research and work in two major exhibitions tracing roots, influences and social significance of disco in music, fashion and design held in 2015 in Klovicevi Dvori Museum and HDD Gallery in Zagreb. "Socialist Disco - Dancing Behind Yugoslavia's Velvet Curtain 1977-1987" double gatefold LP with extensive liner notes contains tunes from KIM Band, Gabi Novak, Arian, Ljupka Dimitrovska, Ana Sasso, Moni Kovacic, Milka Lenac, Rok Hotel, Ivica Surjak, Grupa ST, Nano Prsa and many more in various sub-genres including classical orchestrated disco, dance reworkings of international chart hits and synth-filled italo-disco stompers performed by Yugoslavian music stars, fashion models and even sports and football heroes. Disco, a vital Trojan horse (in local notion: a pop music you can dance to), stayed quite a long time In Yugoslavia, refusing to be silenced and refusing to jump into the bandwagon of expected. It was influenced by American and European disco sound, for example, by the Boney M, Amanda Lear or Love Machine, who all visited Yugoslavia and had live concerts. The producers and the big record companies like Jugoton, PGP RTB, Diskoton or ZKP RTVL, noted the hype in music and they constantly probed the market with limited run of seven inchers or special performances. Some artists were quite successful, but the rest were in the 7'' single empire which was free enough to experiment with all things disco had to offer - genre hybrids, use of electronics, sexual innuendo, bizarre lyrics and most importantly, great musicians and major composers having fun. The no-restrictions policy of disco was there to evade the rules and surely it did.

Unreleased themes from Kornelije Kovac for commissioned documentary short 'Raport iz Sarajeva', directed by Miodrag Zdravkovic in 1982. This music themes precede the official songs, idents and audio logos for the XIV Winter Olympic Games Sarajevo 1984 opening ceremony made by Kornelije Kovac in his Belgrade based studio from 1982 to 1984. Sourced from the original master tapes with full color artwork by Eric Adrian Lee. Includes insert with photographs from Kornelije Kovac private collection and liner notes by Zeljko Luketic. XIV Winter Olympic Games in Sarajevo 1984 had immeasurable status in the history of Yugoslavia and is widely recognized by organizing committee to be the best in recent history of the Games. However, they were also the pop-culture melting pot of the times, with posters by Andy Warhol and famed local designers and the music by Kornelije Kovac, leading the selected best-of-the-best composers of the times. The recordings on this release share the same musical approach to melody and structure Kornelije Kovac (1942 - 2022) was using at the beginning and the mid of 1980s: while exploring the possibilities of synthesizer, fresh from his collaborations in London with famed composer Hans Zimmer, and almost a decade since he shared Eurovision Song Contest stage with ABBA in Brighton with his Korni Grupa, He also collaborated with Bernie Marsden (Whitesnake), Paul Jones (Manfred Mann) and Andy Pask (Landscape) among others. Kornelije Kovac always insisted on the freshness of the harmony layers combined with DJ friendly rhythm backing track. With the warm analogue feel that resonates in today's digital world this was chosen for a purpose to be an old-school 12'' maxi-single, as it was intended to be, cut loudly for the sakes of all lost and existing discotheques in Sarajevo and all over the world.

Das 10. Studio-Album der beliebten Band - bestehend aus Conor Oberst, Mike Mogis und Nate Walcott - enthält Gastauftritte von langjährigen Freund*innen wie Cat Power, Matt Berninger von The National und Alex Orange Drink von The So So Glos. "Five Dice, All Threes" wurde in Eigenregie produziert und in Mikes und Conors Studio ARC in Omaha, Nebraska, aufgenommen. Es ist ein Album von ungewöhnlicher Intensität und Zärtlichkeit, von gemeinschaftlichem Exorzismus und persönlicher Ausgrabungen. Das sind natürlich Qualitäten, die die Fans von Bright Eyes auch nach fast drei Jahrzehnten ihrer Karriere erwarten. Aber selbst mit ihrer reichen Geschichte im Rücken verströmen diese neuen Songs eine emotionale Spannung wie nichts, was sie zuvor versucht haben. Conor hat schon immer mit einer Stimme gesungen, die ein Gefühl von Leben und Tod vermittelt. Auf "Five Dice, All Threes" macht man sich manchmal Sorgen um ihn, manchmal scheint er der Einzige zu sein, der den Durchblick hat, um uns aus dem Schlamassel zu helfen. Wie bei Bright Eyes üblich, ist die Musik voller Subtexte, die zum tieferen Hinhören einladen - das Markenzeichen einer Band, die das Album immer als ihr eigenes, erhabenes Kunstwerk betrachtet hat. Mit den neuen Songs umarmt das Trio die schwer fassbare Qualität, die sie über Generationen und Genres hinweg so beständig und einflussreich gemacht hat, und bringt ihren hausgemachten Sound aus einem Schlafzimmer in Omaha zu einem begeisterten Publikum in aller Welt. In Conors Songwriting liegt das Versprechen, dass unsere einsamsten Gedanken und Gefühle großartige Formen annehmen können, wenn sie zwischen Freund*innen ausgetauscht, aus Lautsprechern geschmettert oder von Menschenmengen geschrien werden. "Five Dice, All Threes" ist so bekenntnisreich und ungeschützt, wie Conor es seit Jahren nicht mehr war. Mit diesen zeitlos konstruierten und doch unverschämt modernen Songs verdient er sich seinen Platz in der seltenen Klasse von Songwritern, die mit dem Alter furchtloser und grenzenloser geworden sind. Im Spiel der Dreier würde der titelgebende Zug einen perfekten Wurf bedeuten. In der Welt von Bright Eyes bedeutet Perfektion jedoch etwas anderes, denn hier sind es unsere Fehler, die uns Autorität verleihen, und die Suche nach Bedeutung ist nur möglich, wenn wir den dunklen, kurvenreichen Weg dorthin mitmachen. Auf "Five Dice, All Threes" umarmen Bright Eyes diese Überzeugungen mit Musik, die sich aufregend lebendig anfühlt, als wären wir alle mit ihnen im Raum, schreien mit und gewinnen die Kraft, gemeinsam vorwärts zu gehen. Das klingt nicht nur nach den klassischen Bright Eyes. Es klingt auch wie ihre Zukunft.

Stan Rogers beliebtestes Lied ist zweifellos „Northwest Passage“ –
eine zeitlose Komposition, die historische Erkundungen nahtlos mit
persönlicher Selbstbetrachtung verbindet. Die Liebe zum Land, der
Kummer einer schlechten Ernte, der ständige Geldmangel … Stan
schafft es, dies auf eine Weise einzufangen, die das Herz berührt. Als
Peter Gzowski von CBCs nationalem Radioprogramm Morningside
1995 die Kanadier aufforderte, eine alternative Nationalhymne
auszuwählen, war „Northwest Passage“ die überwältigende Wahl
seiner Zuhörer. Das gleichnamige Album ist eine poetische Odyssee,
die die Zuhörer durch die weiten Landschaften Kanadas führt, mit
Zwischenstopps in jeder Provinz. Das Album enthält die Fanfavoriten
„The Field Behind The Plow“, „The Idiot“, „Workin‘ Joe“ und „Free In
The Harbour“. Remastered und neu aufgelegt von Borealis Records.
Es ist ein Beweis für Stan Rogers’ Einfluss als Songwriter, dass 40
Jahre nach seinem plötzlichen tragischen Tod im Jahr 1983 im Alter
von nur 33 Jahren immer noch Menschen – jung und alt – seine
Lieder singen und seinen Einfluss feiern.

Es ist ein Beweis für Stan Rogers’ Wirkung als Songwriter,
dass 40 Jahre nach seinem plötzlichen, tragischen Tod bei
einem Flugzeugbrand im Jahr 1983, als er gerade einmal 33
Jahre alt war, immer noch Menschen – ob jung oder alt –
seine Lieder singen und seinen Einfluss feiern. Seine Lieder
„Northwest Passage“, „Barrett’s Privateers“ und „The Mary
Ellen Carter“ sind tief in der nordamerikanischen
Seefahrtskultur verwoben. Jetzt erhältlich: Neupressungen
seltener Stan Rogers-Aufnahmen auf Vinyl. „For The Family
“ erschien erstmals nur Monate nach seinem Tod und enthält
Interpretationen traditioneller kanadischer Volkslieder,
darunter auch solche von Rogers’ Onkel Lee Bushell und
Großvater Sidney Bushell. „Coffee House to Concert Hall“ ist
ein Kompilationsalbum mit Live-Auftritten, und der letzte Titel,
„Down the Road“, wurde fünf Tage vor Stan Rogers’ Tod live
in McCabe’s Guitar Shop aufgenommen. „Home in Halifax“ ist
ein Live-Album, das im März 1982 im Rebecca Cohn
Auditorium in Halifax, Nova Scotia, aufgenommen wurde.

Es ist ein Beweis für Stan Rogers’ Wirkung als Songwriter,
dass 40 Jahre nach seinem plötzlichen, tragischen Tod bei
einem Flugzeugbrand im Jahr 1983, als er gerade einmal 33
Jahre alt war, immer noch Menschen – ob jung oder alt –
seine Lieder singen und seinen Einfluss feiern. Seine Lieder
„Northwest Passage“, „Barrett’s Privateers“ und „The Mary
Ellen Carter“ sind tief in der nordamerikanischen
Seefahrtskultur verwoben. Jetzt erhältlich: Neupressungen
seltener Stan Rogers-Aufnahmen auf Vinyl. „For The Family
“ erschien erstmals nur Monate nach seinem Tod und enthält
Interpretationen traditioneller kanadischer Volkslieder,
darunter auch solche von Rogers’ Onkel Lee Bushell und
Großvater Sidney Bushell. „Coffee House to Concert Hall“ ist
ein Kompilationsalbum mit Live-Auftritten, und der letzte Titel,
„Down the Road“, wurde fünf Tage vor Stan Rogers’ Tod live
in McCabe’s Guitar Shop aufgenommen. „Home in Halifax“ ist
ein Live-Album, das im März 1982 im Rebecca Cohn
Auditorium in Halifax, Nova Scotia, aufgenommen wurde.

Es ist ein Beweis für Stan Rogers’ Wirkung als Songwriter,
dass 40 Jahre nach seinem plötzlichen, tragischen Tod bei
einem Flugzeugbrand im Jahr 1983, als er gerade einmal 33
Jahre alt war, immer noch Menschen – ob jung oder alt –
seine Lieder singen und seinen Einfluss feiern. Seine Lieder
„Northwest Passage“, „Barrett’s Privateers“ und „The Mary
Ellen Carter“ sind tief in der nordamerikanischen
Seefahrtskultur verwoben. Jetzt erhältlich: Neupressungen
seltener Stan Rogers-Aufnahmen auf Vinyl. „For The Family
“ erschien erstmals nur Monate nach seinem Tod und enthält
Interpretationen traditioneller kanadischer Volkslieder,
darunter auch solche von Rogers’ Onkel Lee Bushell und
Großvater Sidney Bushell. „Coffee House to Concert Hall“ ist
ein Kompilationsalbum mit Live-Auftritten, und der letzte Titel,
„Down the Road“, wurde fünf Tage vor Stan Rogers’ Tod live
in McCabe’s Guitar Shop aufgenommen. „Home in Halifax“ ist
ein Live-Album, das im März 1982 im Rebecca Cohn
Auditorium in Halifax, Nova Scotia, aufgenommen wurde.

This fantastic EP is part of the hugely successful Move-E series from Kniteforce. The series covers all the Kniteforce sub labels, and this new one from Hannibal Selector on KFW ramps up the darkness tenfold. Huge menacing basslines, ruff amen breaks, and sinister samples are the order of the day, and this EP has been absolutely destroying dancefloors everywhere!

Thugwidow is the Ambient jungle Project of Alex Lowther-Harris a former resident of Hereford, Bristol, London and Manchester now settled on the Isle Of Anglesey. Embracing the negative aspects of Happy Hardcore and the positive aspects of Darkside Jungle a new sound has formed, one that despite it's bleak appearance creates it's own unique vibe!

Prepare to experience a true soul gem reimagined for the modern age with this special 7-inch reissue of Matt Covington’s classic, I'm So In Love With You. Originally released in 1983, this rare groove masterpiece captures the essence of early '80s R&B with its smooth, heartfelt vocals and lush instrumentation. Covington’s romantic delivery and the track's elegant arrangement have made it a coveted piece for collectors and soul aficionados alike, with the original pressing becoming increasingly hard to find over the years. For the first time ever, I’m So In Love With You is being reissued, allowing a new generation of listeners to discover its timeless charm. On the flip side, we’ve included Muhammad Ali, a standout cut from Covington’s self-titled album that resonates with soul, funk, and infectious energy. A favorite of acclaimed DJ Floating Points, Muhammad Ali pays tribute to the legendary boxer with a groove that’s as fierce as its namesake. Whether this has been sat in your wantlist for years or new to Matt Covington’s music, this 7-inch offers an essential addition to your collection. With its impeccable blend of silky soul and rhythmic punch, this reissue promises to become as cherished as the original release.

3 years in the making and dynamic young ELECTRO SWING producer, New Zealand's ODD CHAP, finally presents his COLLABORATIONS album, available for the first time on Limited Edition green vinyl!

A 10 track album featuring an incredible selection of special guest vocalists including Little Violet, Elle & The Pocket Belles and Loredana Grimaudo (as well as one bonus track with Glenn Miller). What could have become an omni-shambles in less skilled hands has instead become a showcase for the distinctive and immediately recognisable production style of ODD CHAP.

Selector Series has really hit its stride with a rich vein of audio gold and following hot on the heels of Gene Harris’s ‘Losalamitoslatinfunklovesong’, they have unearthed yet another in demand gem with The Vibrations ‘Shake It Up’. It is remarkable to think that this re-issue marks the 50th anniversary of its original release in 1974. It then resurfaced as one of the biggest records soundtracking the mid ‘80’s London warehouse parties and rare groove scene. The epitome of modern soul, this 2-step masterclass sounds as fresh on today’s dancefloor as it did when tearing the roof of those all-nighters.

Co written by Bunny Sigler and arranged by Vince Montana, the swirling strings and distinctive percussive intro is guaranteed to uplift any dance and subsequently, Shake It Up found its way onto many a diggers wants list. Flipped with the mellower Thom Bell and Linda Creed penned ‘Make It Last’, here is your chance to own a pristine vinyl copy. As with everything on this label, buy on sight and spread the love.

"On clear vinyl a collection of disco classics, that features the iconic disco anthems ""Le Freak,"" and Chaka Khan’s ""I'm Every Woman” and many more that celebrate love, empowerment, and self-expression.
"

Celebrating the 10th Anniversary of “Unorthodox Jukebox”, a limited Dark Red Vinyl edition will be released on the 17th June, with the pre-order going live on the 19th May. “Unorthodox Jukebox” is the second studio album by American singer and songwriter Bruno Mars. It debuted at #2 on the US Billboard 200, The record also reached #1 in Australia, Canada, Switzerland, and the U.K.. It became Mars's fastest-selling album in the latter country in 2012, the third best-selling album in Australia in 2013, and the fifth best-selling in the United States in 2013. The International Federation of the Phonographic Industry (IFPI) reported that Unorthodox Jukebox was globally the fourth best-selling album in 2013. “Unorthodox Jukebox” also won the Grammy Award for Best Pop Vocal Album at the 56th Grammy Awards.
Bruno Mars is a 21-time GRAMMY Award nominee and multi-GRAMMY winner. The celebrated singer, songwriter, producer, musician has sold over 171 million singles worldwide, making him one of the best-selling artists of all time. His most recent critically acclaimed and RIAA certified platinum album, “24K Magic,” made an impressive debut atop the Top Digital Albums and R&B/Hip-Hop Albums charts. Additionally, the album and its lead single, “24K Magic,” simultaneously hit No. 1 on the iTunes Overall Albums and Overall Songs charts week of release. The single has since climbed to No. 4 on the Billboard Hot 100 and has also officially been certified Platinum by the RIAA.

"Bitteschön, Philophon!" presents a "best of" selection taken from the so far fifteen 7" releases by the Berlin-based label Philophon. Greats as Jimi Tenor, Alemayehu Eshete and Hailu Mergia as well as new discoveries such as Guy One, Alogte Oho and Y-Bayani echo on "Bitteschön" the wide spectrum of the Philophon catalogue.

Philophon puts its emphasis on authentic local styles - from heavy grooving Ethio-Jazz coming out of Addis Abeba to cheerful Frafra-Gospel, as it is celebrated in Bolgatanga/Northern Ghana. Most recordings took place where the music is located - and that's the recipe for Philophon's productions: go to the source and dive into the real.

Kraftwerk is the self-titled debut album by the Düsseldorf band Kraftwerk . It was produced by Conny Plank and released in 1970.

Lalomie Washburn is an US soul vocalist (25th August 1941 - 18th September 2004) from the Soul/Funk 70's band „High Voltage“ who released her solo album, „My Music Is Hot“, in 1977 and collaborated with many artists including Stevie Wonder, Quincy Jones, Chaka Khan and Ray Charles over decades.

In 1992, she released several 12" singles including the independant hit „Try My Love“. This hit single leaded her 1997 second (self-titled) solo album and became a huge Acid Jazz classic to be found on various compilations in the mid to the late 90ts.

In 2005 she was inducted into the Omaha Black Music Hall of Fame.
Now, 20 years later this song still got all the energy and musicality to be back big in the clubs and with the 2024 Boogie Back Remix in the Boogie Funk style on the flipside, DJs will have even more reasons to spin it and prove their love for it…

29 Speedway is a record label and performance series based in Brooklyn, NY featuring forward-thinking improvisational music and live multimedia. Founded in 2020 by Ben Shirken a.k.a. Ex Wiish (‘Shards Of Axel’, Incienso 2023), 29S serves as a platform for artists exploring the fringes of interdisciplinary art and music. Hosting D.I.Y-guerrilla style sound and performance art concerts at Pioneer Works (NYC), Public Records, and in Europe in partnership with Index Records, they have worked with artists such as James Hoff, J. Albert, Yolabmi, Robert Aiki Aubrey Lowe, AceMo, Flora Yin Wong, Nexcyia, Young Boy Dancing Group, UMFANG, Color Plus, Poncili Creación, Special Guest DJ, Arushi Jain, Drumloop, Isabella Koen, Ben Bondy, Kamran Sadeghi, Yawning Portal, James K., Syndey Spann, Debit, Pent and many others.

Resident Advisor called their most recent compilation record ‘Channel Plus’ “one of the most stunning documents of the ‘modern ambient-techno movement pioneered by labels such as Motion Ward and West Mineral’, with a focus on New York as well as a global outreach that encompasses chilled-out trap, electro, downtempo and even early '00s electroacoustic music”. Their debut solo artist release from J. Albert and Will August Park, entitled “Flat Earth” (2023), was based on free improvisation and ambient jazz, receiving praise from Philip Sherburne, Shawn Reynaldo, and was included in RYMs top EPs of the year. 29S has been written about on ID, Bandcamp Daily: Best Ambient, Boomkat, Paper Mag, Artnet, Dazed, Clot Mag, Nina Protocol, and Document Journal.

The newest release from 29 Speedway, UltraBody, is a compilation record featuring the music of Jake Muir, Pent & Dylan Kerr, Nexcyia & Mu Tate, James K, Flora Yin-Wong, Ex Wiish & Dorothy Carlos, Kamran Sadeghi, Tati au Miel, James Hoff, Eric Frye, Muein and Maxwell Sterling. The record is emblematic of the artists who have performed at 29 Speedway shows in New York and Europe during the past two years, and is the third in a series released by the label.

The record was born out of a desire to investiage how the self, spirituality, and language are intertwined with the intervention of subjectivity by new technologies. With increasingly sophisticated tech, and the supposed ability to remake the world and ourselves, what differentiates our individual discretion from the will imposed upon us by software? Quoting Walter Chaw from his piece on David Cronenberg’s Videodrome, “Decades of rampant, unregulated and ill-considered technological leaps have begun to evolve, to mutate, humans at a biological level”. This haphazard acceleration towards a techno-utopic transformation of humanity has faulted, and as William Gibson put it, is leading us to live in a “half assed singularity”. In this reality, artistic processes are influenced by excessive access to computational tools and assistance, but not utterly controlled.

This in-between state of dominion is explored in 29 Speedway: UltraBody. “Incoherences” samples the utterances of Dylan Kerr’s voice processed between Pent’s percolated glazes, muddying the gulf between vaporous ambient and reflexive sound design. The voice on James Hoff’s “A... ...Cha.... A... I feel l” was created by trying to get voice cloning technology to sing a gps data stream, the music an extrapolation from an earworm he got stuck in his head while shopping in Kyoto. On “Plogue Chain”, Eric Frye’s most speculative sci-fi observations spiral into a glazed pool of digital cacophony, while Kamran Sadeghi’s “Formula Fiction” is an experiment in (un)controlled generativity. Incorporating minimal pings from a 3D simulation scene based on gravitational interaction, cello bits evolve on “Assimilation”, a collaboration between Ex Wiish & Dorothy Carlos.

On UltraBody, sound has no separate existence from space.