Cerca:sim 2

Born in Los Angeles in the early 1990s via a residency of week after week jam sessions at a dive club called Raji’s—then relocating to New Orleans—the band’s trajectory lasted about a decade and ended when Hurricane Katrina demolished their homes and the band members scattered. Key members included Vicki Peterson (Bangles), Susan Cowsill (The Cowsills), Peter Holsapple (The dBs, R.E.M.), and many more—including the only member who has been with them from the beginning, Mark Walton (Giant Sand, The Dream Syndicate). However, there were also several singer/songwriters (Carlo Nuccio, Gary Eaton, Ray Ganucheau) without an impressive pedigree that shine as brightly as their slightly more famous bandmates. The best possible comparison that we can make is that the Continental Drifters had a similar vibe to the classic roots combo Delaney & Bonnie & Friends—more of a “collective’ than a band—in which there were several distinctly original lead singers, blistering sidemen instrumentalists and an inspiring blend of both original and seminal cover songs with a southern fried blue-eyed soul approach that couldn’t be beat.

Ace Buzz is one of the various projects of Tony Baron and Gery Francois (the minds behind projects like "Teknokrat's" and others that would found their output on labels like Carrere). Potentially naive for some, but surely playful and raw, an exquisite example of the sound of Belgian "New Beat". Void of the usual aggressive temper known to the genre, "Moskitos" comes in with a slight juxtaposition of Balearic accents in the form of those classic, very simple, piano chords we might have heard enough of. The samples employed invoke the image of someone in a cheap hotel room in Ibiza without AC trying to kill the airborne vermin celebrated in the title while hallucinating from an August drug infused heatwave, who knows. On the B-side, things slow down into a deeper more serious mood, "Nuevo Mondo" departs from the usual New Beat potency into something a bit more digestible to the ear in a rather unique way, followed by a Remix that sounds more like a complete facelift of a cover version by studio maestro Anatolian Weapons.

Spanish new grooves for the new era! The latest sample of some of the best tracks from the effervescent and creative new scene of funk, soul and R&B produced in Spain!

For the first time on vinyl! We present the fourth volume of the SAMPLADELIA series. After the resounding success of the previous volume, Enlace Funk magazine has selected sounds from funk, soul and R&B made in Spain 2023 and which are published for the first time on vinyl format.

The fourth installment of Sampladelia opens with an infectious tribute to Prince by Calequi, El Sr. Rojo brings then a bomb of raw hip hop and funk. Astrid Jones & The Blue Flaps delights us with their luxury soul and Chacho Brodas with the production by Griffi, surrounded by an all-star of names, offers solid R&B.

Lalo López ends the side A with his Limited Orchestra with the best electro funk hit. The B side starts with Julia Martín´s modern soul anthem with a positive message for the dance floor. The second track, the debut of Donny's Black Shoes, is a shocking declaration of principles that will give a lot to talk about.

Drunk In Palace updates the sound of the 80s in a personal way and Juli Giuliani brings the groove to the dancers. The last track, “Las paro todas” by Javier Simón offers R&B loaded with a message. This volume of Sampladelia presents the effervescent and creative new scene of proposals based on funk, soul and R&B made here in Spain and never before published in physical format.

Tracklist Side A A1. Calequi Y Las Panteras: Sandía A2. El Sr. Rojo: Dos Gatos A3. Astrid Jones & The Blue Flaps: Shine A4. Chacho Brodas: Sta. Mandanga A5. Lalo López Limited Orchestra: Contradicciones (Ft. Brigitte Emaga Y Kapi One) Side B B1. Julia Martín: Low B2. Donny´S Black Shoes: Why?! B3. Drunk In Palace: Hardfunk B4. Juli Giuliani: On My Way B5. Javier Simón: Las Paro Todas

Admittedly, I'm not a great salesperson when it comes to running our little label. I do my best not to give into hyperbole or build something up too intensely if someone has not heard a new artist yet. I prefer to simply present the music and let the listener decide how they feel about it. However, we live in an age when the "story" put together by publicists, labels, and managers are often the driving force of an artist's ascension into the zeitgeist. And for me, that's always felt rather artificial, even when the narrative is genuine. But every once in a while, a project comes along that takes on a life of its own. And I can say without a doubt that the growth of Pale Jay's reach since we first started working with him has little to do with conjured narratives or clever marketing, but more to do with how the music makes the listener feel. It's that simple. In fact, Jay is so enigmatic and without a narrative that the mere absence of a story has become the story. Who is he? Where is he from? What's next? Some questions are better left unanswered in my opinion, my friend. Including the question, "Why does this music make me feel so much?" You're better off just sitting back, disconnecting, and letting Low End Love Songs by Pale Jay wrap you up. Enjoy and spread the good word. - Terry Cole

"Low End Love Songs", more so than previous releases, is a diary in form of song. I knew I just had to wait for the songs to be ready to be picked, like ripe fruit from a tree. Each tune encapsulates a distinct moment in my life, with music serving as my means of processing complex and sometimes conflicting emotions. In this album, I depart from loop-based song structures towards more intricate and lush compositions. Latin influences permeate the music, adding new layers of rhythms and textures to my soul-music roots. - Pale Jay

Als dieser exzellente Downbeat-Instrumental-Hip-Hop-Sampler 2002 erschien, waren Zero 7 für ihr brillantes Debütalbum "Simple Things" für den Mercury Prize und den Brit Award als bester Newcomer 2002 nominiert, ihr späteres, drittes Album "The Garden" erhielt 2007 gar eine Grammy-Nominierung. Zero 7 haben unglaubliche Musik gemacht, ihre Remixe stets mit Bedacht ausgewählt (so z.B. Terry Calliers "Love Theme From Spartacus") und sich zu einer hervorragenden Tourband entwickelt.

Die ursprüngliche ALN Vinylausgabe ist so begehrt, dass sie heute für teures Geld verkauft wird. Freuen wir uns auf den Soul-Klassiker "People Make The World Go Round" der Stylistics und die rare, von Roy Ayers produzierte Groove-Bombe "You Can’t Turn Me Away" von Sylvia Striplin. Don Blackmans "Holding You, Loving You" ist ebenfalls enthalten, das von Slum Village gesampelt wurde, die hier mit "Jealousy" vertreten sind, ebenso wie Herberts Boompty-Boom-Rub von Gainsbourgs & Bardots "Bonnie & Clyde". All diese Güte wird wieder für einen anständigen Preis erhältlich. Form ist vorübergehend, Klasse ist dauerhaft. Und Zero 7 sind eine Klasse für sich.

- Gepresst auf schwarzem 180g Doppel-Vinyl samt 30 cm großem Art-Print und Download-Codes für die ausgespielten Tracks und den Original-DJ-Mix in den Formaten MP3/FLAC/WAV.

Christian Schoppik aka Läuten der Seele brings his “Water” trilogy to a close with his new album ‘Die Reise zur Monsalwäsche’ (The Journey to Monsalwäsche) following up ‘Die Mariengrotte als Trinkwasseraufbereitungsanlage’ (2022, Hands in the Dark) and ‘Ertrunken im seichtesten Gewässer’ (2023, World of Echo).

This final instalment takes the listener on a sacred odyssey searching for the fulfilment of one's (or is it his own?) spiritual destiny, from beginning (‘Entschluss, Abschied & Aufbruch’ / ‘Decision, Farewell & Departure’) to end (‘Verirrung, Ankunft & Erlösung’ / ‘Losing Way, Arrival & Salvation’).

While the compositional technique of this opus still relies primarily on samples and altered audio-collages, each chapter of the trilogy was intentionally created from very different sources. The present collection is arguably less "experimental" than some of Läuten der Seele's previous works, as classical music takes center stage this time. However the mastery in crafting such magnificent and intriguing narratives sees the simplicity and emotional depth of these sonic mariages become the beauty of it all.

Schoppik remains consistent as ever in his creative explorations, and this release feels very much like a culmination of his past projects. “Die Reise zur Monsalwäsche” will probably come to be known as a standout entry in the German artist's music catalog, showcasing a new facet of his talent.

Rain and experimental music have had an interesting connection for decades. Under the umbrella of American film music promotion, Hanns Eisler was already looking for "Vierzehn Arten, den Regen zu beschreiben” (fourteen ways to describe the rain) in 1941. A good 20 years later, The Cascades interpreted the periodicity of rain as a rhythm of mourning. For the Beatles ("If the rain falls, they run and hide their heads"), the precipitation inspired the band to use backward running tapes. However, it seems that there has always been a lot of rainfall in popular music. In the early seventies, David Toop and Paul Burwell even had a band project with the great name Rain In The Face...

That was a long time ago and today, rain, which in the age of climate catastrophe mainly occurs as heavy rain or an enervating endless loop, has lost a great deal of its inspiring quality. Perhaps as a reminder of the musical quality of rain, but knowing full well that it can only be enjoyed in theory, Razen call their new album "Rain Without Rain". In the music of the Brussels collective led by the two multi-instrumentalists Brecht Ameel and Kim Delcour, it certainly pours down on the roofs. In fact, the album opens with the sound of pouring rain before we hear the sequence of an oscillator played through a guitar amp on the first track „Lazy, Lazy Eye“.

The album is the captivating result of an one-night mobile studio field recording in an abandoned pedestrian tunnel in the centre of Düsseldorf, and it is finding beauty with brutal(ist) means: recorder, oscillator, guitar amp and reverberation, two musicians and four microphones, early electronics versus Early Music. “Suicide meet Hildegard von Bingen”, as Stefan Schneider, who recorded the session, admits. “Ghostly occurrences”, he adds.

Brecht Ameel states: “We do put a lot of weight and care on acoustics. On some of our recordings, the room acts as another band member, or as the main ‘mixing board’. Most of the albums we have recorded so far are not mixed in the traditional sense: they are simply „captured”, and we let the room decide what is left on the tapes. The studio recordings, then, give us the possibility of bringing other elements to the fore; precision of interplay, or tiny variations in breathing.”

The group Razen exists since 2010 and has since released numerous records on labels such as KRAAK, Marionette and Hands In The Dark. "Rain Without Rain" is their debut on the Düsseldorf label TAL. If there has been an increased international interest in experimental music from Belgium in recent years, this is not least due to musician collectives such as Razen. In terms of its electro-folkloristic intensity and instrumentation, Razen's music is quite unique worldwide. What does Razen actually mean? “We took the word from a poem by Paul Van Ostaijen, not specifically because of its meaning but because of the way it looked on paper”, Ameel explains. “But the meaning goes in the direction of ‘thundering / raging / speeding’ … although we prefer playing with a strong notion of restraint, building our world from (and with) silence.”

Olaf Karnik, Köln 2024

DDS presents the debut EP from unknown entity NZO, whomever she may be, dancing in the gaps between amapiano, Afrobeats, broken beat and R&B with a rare guile and flavour.

The 4th in the DDS 12” series, NZO helps stake the label’s 15th year of operations with a typically Janus-faced approach to classic >< contemporary club ruffage. Tune to tune, she decimates and distills familiar tropes in singular, whirring syncopations designed to prompt bodies to move in fresh new ways. It’s all primed for proper animist magick, bound to snag rhythm fiends with its shape-cutting manoeuvres.

Working deep in the hardcore ’nuum’s 30 odd year tradition of concrète sampler chicanery, the four tracks find fractured vocals and echoes of club classics revitalised and reset with advanced drum ingenuity. 160BPM opener ‘Concentrate’ appears like Hessle Audio’s Joe stripped for parts, whilst ‘Mallet’ swivels like SND remodelling Afrobeats’ palette of tuned percussions, next to what could almost be a lost Various Production edit in the sublime tension of syrupy R&B and frothing drums on ‘Come Alive’.

The EP ends with its standout, ‘Body & Soul’, an undulating ama simmer punctuated by dub chords like some lost Basic Channel production re-cast for the lovers.

VDR Remixes: Beyond Music

The concept for this remix album evolved gradually through various encounters and exchanges. Despite its complexity, the project would not have come to fruition without the firm dedication of each artist involved.

Artists were given the freedom to select any track from my discography for their remix. With no directives, the LP's magic emerged from their unique styles and creative visions, resulting in a diverse palette of tones and rhythms.

The first record opens with Stephen Brown's electrifying remix of Blunt's "Later For It," originally released on Bright Sounds. Stephen's reinterpretation infuses the track with dark, captivating techno.

On the B-side, Markus Suckut presents his masterful adaptation of "Thrust It," a track marking my first release. Following this, Sawlin transforms "The Venue" from The Cruiser series, infusing it with his signature 'Made by Sawlin' style.

The second record continues with two compelling versions of "Moon, Sea and Waves" by Alek S. These reinterpretations—one dub techno and the other Detroit-oriented—offer a unique and immersive vision of the B+A+D tracks, originally released on Newmont.

On the flip side, Joe Metzenmacher delivers a daring electro remix of "1NON1" on D1, followed by Sicaa's bass music rendition of "Archensweet" on D2.

The third record is entirely dedicated to remixes of the Ashppe series, which I hold dear. Drexl provides a powerful breakbeat cut of "Flexit," a true bomb. Simon Ferdinand from Polycarp Records, with whom I had the pleasure of working, captures the punch and melancholy of "Fudge It". The LP concludes with two Dub 3.0 adaptations of "Let's do it" by Anthony Cacharron, using the aliases Alpha GPC and Redrop, ending on an exploratory high note.

A heartfelt thank you to all the remixers for their boundless creativity and commitment to this project

Iconoclastic Buddhist Línjì Yìxuán once remarked, "The miracle is not to walk on water. The miracle is to walk on earth." This profound statement serves as a reminder of the sheer beauty of our planet. We often take for granted the ground beneath our feet and the simple wonders that our ecosystem supports. Everyday activities like walking under a blue sky, feeling the breeze on our skin, or listening to a songbird's melody remind us that Earth is a precious host offering endless marvels.
"Breath," the latest album by Bordeaux-based producer Franck Zaragoza under his Ocoeur project, is a heart-felt tribute to these earthly wonders. This album, perhaps his most sincere and ambitious to date, comprises seven tracks that reflect Zaragoza's deep appreciation for the world around us. "Breath" is tranquil, peaceful, and meditative, yet its expansive, cinematic scope evokes vivid images of Earth's stunning landscapes. The album is both elegantly captivating and a poignant call for peace on our planet.
With "Breath," Zaragoza elevates his Ocoeur project to new heights, celebrating the marvels of the physical world around us.

ZeroZero return to Flexout after their smash hit single with MC GQ last year. ‘Too Much Acid’ is the duo’s debut EP on Flexout and features man of the moment Teej on remix duties for their cult classic that has since been championed by Laurent Garnier and features on a very special forthcoming VA in conjunction with Fabric. The 2 original solo tracks on the EP come in the form of ‘Confidence’ and ‘Too Much Acid’ both tracks have been supported by the biggest names in Drum & Bass including Break, QZB, Simula and Alix Perez. Last but not least the lads have enlisted Drum & Bass royalty in the form of London vocalist Riya on the unique, groovy roller that is ‘Thinking Over It’ a track that beautifully blurs the boundaries between light and dark.

Admittedly, I'm not a great salesperson when it comes to running our little label. I do my best not to give into hyperbole or build something up too intensely if someone has not heard a new artist yet. I prefer to simply present the music and let the listener decide how they feel about it. However, we live in an age when the "story" put together by publicists, labels, and managers are often the driving force of an artist's ascension into the zeitgeist. And for me, that's always felt rather artificial, even when the narrative is genuine. But every once in a while, a project comes along that takes on a life of its own. And I can say without a doubt that the growth of Pale Jay's reach since we first started working with him has little to do with conjured narratives or clever marketing, but more to do with how the music makes the listener feel. It's that simple. In fact, Jay is so enigmatic and without a narrative that the mere absence of a story has become the story. Who is he? Where is he from? What's next? Some questions are better left unanswered in my opinion, my friend. Including the question, "Why does this music make me feel so much?" You're better off just sitting back, disconnecting, and letting Low End Love Songs by Pale Jay wrap you up. Enjoy and spread the good word. - Terry Cole

"Low End Love Songs", more so than previous releases, is a diary in form of song. I knew I just had to wait for the songs to be ready to be picked, like ripe fruit from a tree. Each tune encapsulates a distinct moment in my life, with music serving as my means of processing complex and sometimes conflicting emotions. In this album, I depart from loop-based song structures towards more intricate and lush compositions. Latin influences permeate the music, adding new layers of rhythms and textures to my soul-music roots. - Pale Jay

Released in 1963 on the Contemporary Records label, “The Cry!” Is a free jazz album by saxophonists Prince Lasha and Sonny Simmons. Also featured are Gary Peacock and Mark Proctor (bass), and Gene Stone (drums). This new edition, released as part of the Acoustic Sounds Series, features (AAA) lacquers cut from the original master tapes by Bernie Grundman and is pressed on 180-gram vinyl at QRP, and presented in a tip-on jacket.

ercury Rev take you on a swan dive into the mystic: a rapture of ballad-dreams and emotional memoir at the crossroads of The Dharma Bums, Pet Sounds and Side Three of Electric Ladyland. A profound, transcendant trip from the psychedelic explorers who brought you Deserter's Songs.
David Fricke In upstate New York, deep in the seam between the Catskills mountains and the Hudson Valley, a richly swelling, spellbound sound emerges, eddying and flowing like the local Esopus Creek, or in the slipstream of the grander Hudson river, carrying the flotsam and jetsam of our hopes, dreams, fears. A sound composed of organic and electronic; guitars, keys, brass, strings, woodwind, drums - and a voice of incantations, tapping streams of consciousness that similarly eddy and flow.
Spiritually, literally, psycho-geographically: where else does Mercury Rev’s ninth album Born Horses spring from? This cascade of gleaming, glistening psych-jazz-folk-baroque-ambient quest that searches its soul but can never truly know the answer? A sound and vision linked to their exalted past whilst quite unlike anything they have created before?
The answer is somewhere between the homes of founder members Jonathan Donahue (the hamlet of Mt Tremper) and Grasshopper (the town of Kingston), in their veins and brains of their now-legendary tapping of musical cosmology, and the vital presence of new permanent member Marion Genser (keys), plus long-term ally Jesse Chandler (keys) and guests Jeff Lipstein (drums), Martin Keith (double bass) and Jim Burgess (trumpet). A place that feeds off the levitating mood of their last album, 2019’s expansive tribute Bobbie Gentry's The Delta Sweete Revisited, and the instrumental psych explorations under the names of Harmony Rockets and Mercury Rev’s Clear Light Ensemble, and the spiritual guidance of avant-garde artist Tony Conrad and Beat poet Robert Creeley, to whom Born Horses is
dedicated.

On their seventh long player The Breaks - their second for Joyful Noise Recordings - SUUNS are lost in limbo. For some artists, being caught in flux may result in songs that are either naive, out of touch or both, simply as a consequence of being cut off from human civilization. But for SUUNS, a band who have grown more than comfortable in the oblique and the intermediate, it actually had the opposite effect. The Breaks marks the Montreal experimental rock outfit's most emotionally resonant and tonally rich collection of music to date. The trio of Ben Shemie, Joseph Yarmush and Liam O' Neill leans more zealously than ever into their pop instincts. Yet remarkably enough, with that same dauntless abandon, SUUNS have mined a more extreme sonic palette this time around, one that stretches far beyond their core fundamentals as a band. The Breaks finds Shemie, O'Neill and Yarmush gleefully experimenting with loops, synths, samples and MIDI-instruments like a post-millennial Tangerine Dream messing with downtempo triphop beats. O' Neill took point in the producer's chair for The Breaks, arranging, structuring and editing many of Shemie and Yarmush's ideas from sporadic rehearsal sessions into Pro Tools, reimagining the songs over and over during a two-year time frame. Forged between countless plane rides, road trips, van tours and text threads, The Breaks became a product of endurance and a lot of trial-and-error. It's a record forged in tight fissions of freedom, where spells of whispered intimacy - like on the stunning ballad "Doreen" - are allowed to branch out into the vast glacial dreamscapes of the album's majestic title track. It captures SUUNS at their most panoramic, curious and exuberant: a constant relay of being adrift and enlightened anew, geared up to eleven. And guess what: the wheels keep on spinning.

Crime In Australia follows 2022's The Real Work, the first Party Dozen record that (some) people were actually waiting for; the one that Nick Cave sang on; the one that had a track that billy woods jumped on for a rework; the one that took them to the USA, Europe (twice), Japan, China and New Zealand; the one that saw Party Dozen hook up with a cool US label (Temporary Residence Ltd.); the one that made Bandcamp, Stereogum, Brooklyn Vegan and a whole swathe of Australian radio stations declare it their Album of the Day/Week/Epoch; and the one that made KEXP invite the band in for a live session, and made Sub Pop add to their hallowed Singles Club. The Real Work was not the first Party Dozen record, but it was in many ways where Party Dozen really started to put it all together. Crime In Australia continues to build on their arc, and elevates their ascent with a slew of new songs that are simultaneously more focused and more feral than anything they've ever done. And there are no guests on this one.

Crime In Australia follows 2022's The Real Work, the first Party Dozen record that (some) people were actually waiting for; the one that Nick Cave sang on; the one that had a track that billy woods jumped on for a rework; the one that took them to the USA, Europe (twice), Japan, China and New Zealand; the one that saw Party Dozen hook up with a cool US label (Temporary Residence Ltd.); the one that made Bandcamp, Stereogum, Brooklyn Vegan and a whole swathe of Australian radio stations declare it their Album of the Day/Week/Epoch; and the one that made KEXP invite the band in for a live session, and made Sub Pop add to their hallowed Singles Club. The Real Work was not the first Party Dozen record, but it was in many ways where Party Dozen really started to put it all together. Crime In Australia continues to build on their arc, and elevates their ascent with a slew of new songs that are simultaneously more focused and more feral than anything they've ever done. And there are no guests on this one.

New one-off pressing coloured vinyl 18th anniversary edition of the long-out-of-print Studio One Soul 2, the long-awaited second volume of one of the largest selling Soul Jazz Records’ Studio One collections.

Studio One Soul 2 takes us deep into Jamaica’s long-standing fascination with American Soul and Funk music.

Featuring a host of seminal Reggae artists who all first established their careers at Studio One before finding worldwide success. Featured artists include Horace Andy, The Heptones, Cornell Campbell, Ken Boothe, Jackie Mittoo, Jacob Miller and many more A-Class Studio One legends interpreting both classic and littleknown American Soul and Funk tunes by the likes of Curtis Mayfield, Bill Withers, The Five Stairsteps, Marvin Gaye, The Stylistics, Lee Dorsey, Al Green, Syl Johnson and more.

Curtis Mayfield is without a doubt the main soul influence for many reggae groups in the 1960s and 70s. Cornell Campbell’s ‘Ten to One’ featured here is a stunning recut of the original Studio One single by The Mad Lads who first covered this Curtis-penned hit for the Impressions. Another great Curtis Mayfield production, The Five Stairsteps and Cubie’s ‘Don’t Change’, is interpreted by Studio One soul man Winston Francis. Similarly, Devon Russell’s superb ‘Make Me Believe in You’ is, if anything, superior to Curtis Mayfield’s ground-breaking original.

While American Soul and Funk remain a constant source of inspiration on this album, classic DJs such as Prince Jazzbo and Little Joe also used these rhythms to ride vocal toasts over to serious effect. This selection features a mixture of classics, super-rare and unreleased tracks from Studio One all lovingly digitally re-mastered for this release. The vinyl edition also comes on super-loud double vinyl housed in gatefold sleeve and with download code. The new CD edition comes as digipack plus booklet. Another essential Studio One release.

Thandii (aka Jessica Berry, Graham Godfrey) first made waves with their debut album A Beat To Make It Better in 2023. The album gained somewhat cult critical acclaim long after it’s release, with listeners luxuriating in the unusual sound collaged from offcuts of Soul, Lo-fi Hiphop & Psych. Thandii’s world comes bolstered by collaborations with esteemed artists such as Michael Kiwanuka, Inflo, SAULT, Joy Crookes, Jordan Rakei, and Little Simz. The duo’s sophomore offering comes in the form of two companion albums Dream With You & Come As You. The two albums make up a single conceptual statement celebrating dissonance, contradiction, polarity and opposition.

The pair believe that binary thinking has a lot to answer for in today’s world and is often used to divide us as a people. ‘We wanted to explore what it felt like to hold disparate notions in both hands whilst making the music. Starting with the title tracks, we explored the idea of unashamedly being your authentic self in every moment - this is admirable for those that can live their life in an uncompromising way. In contrast to that idea, we explored those moments where we perhaps wished we were more than our reality - a dreamed up, imagined self’. It’s no surprise that duality is central to what Thandii is all about with the pair co-writing, co-recording & co-producing from their seaside studio HaloHalo in Margate, Kent.

The albums each have a distinct flavour of their own. Dream With You is built on cassette-tape-driven lofi beats, art-pop melodies and soulful piano breaks. Whilst Come As You explores more experimental song-form that wouldn’t seem out of place on Tender Buttons - Broadcast or Dots And Loops - Stereolab. Jessica’s voice is the transcendent, ethereal form that shapeshifts between the realms of the two statements; dancing playfully through falsetto harmonies, confessional spoken word, detuned alter egos and haunting choirs.

Thandii (aka Jessica Berry, Graham Godfrey) first made waves with their debut album A Beat To Make It Better in 2023. The album gained somewhat cult critical acclaim long after its release, with listeners luxuriating in the unusual sound collaged from offcuts of Soul, Lo-fi Hiphop & Psych. Thandii’s world comes bolstered by collaborations with esteemed artists such as Michael Kiwanuka, Inflo, SAULT, Joy Crookes, Jordan Rakei, and Little Simz. The duo’s sophomore offering comes in the form of two companion albums Dream With You & Come As You. The two albums make up a single conceptual statement celebrating dissonance, contradiction, polarity and opposition.

The pair believe that binary thinking has a lot to answer for in today’s world and is often used to divide us as a people. ‘We wanted to explore what it felt like to hold disparate notions in both hands whilst making the music. Starting with the title tracks, we explored the idea of unashamedly being your authentic self in every moment - this is admirable for those that can live their life in an uncompromising way. In contrast to that idea, we explored those moments where we perhaps wished we were more than our reality - a dreamed up, imagined self’. It’s no surprise that duality is central to what Thandii is all about with the pair co-writing, co-recording & co-producing from their seaside studio HaloHalo in Margate, Kent.

The albums each have a distinct flavour of their own. Dream With You is built on cassette-tape-driven lofi beats, art-pop melodies and soulful piano breaks. Whilst Come As You explores more experimental song-form that wouldn’t seem out of place on Tender Buttons - Broadcast or Dots And Loops - Stereolab. Jessica’s voice is the transcendent, ethereal form that shapeshifts between the realms of the two statements; dancing playfully through falsetto harmonies, confessional spoken word, detuned alter egos and haunting choirs. Key collaborators on the albums include bass player Jonathan Harvey and pianist Steve Pringle, both members of Margate’s burgeoning Arts scene. Thandii escaped London nearly a decade ago, their sights set on creating a means for prolific expression, without the distractions that the city can bring. The albums find them in an exploratory stage, throwing paint at the canvas with joyful abandon, gifting themselves permission for uncensored expression. The LPs muse on relationships - romantic, platonic & familial - community, self-worth, self love, healing and boundaries, at times from differing perspectives. This contrast of opinion makes for rich listening throughout a vast emotional landscape

Isik Kural returns with Moon in Gemini, a luminous scrapbook of slow-flowing narratives couched in intuitive and symbolic storytelling. Bending a playful take on environmental music to the folk song form, Isik's vocals coo atop pastoral field notes, airy chamber instrumentation and archival recordings culled from a curious musical life. A tender pastiche coalesces across the suite of Moon in Gemini's fourteen pieces, and Isik invites the listener to daydream as-deep-as-possible. "The songs on Moon in Gemini don't mind being slower or taking their time to reach the listener," says Isik, who wanted the title to speak to the album's dreamy, liminal nature. "I enjoyed how the phrase could be used to describe an object, a time or a place simultaneously," he explains. Similarly and subsequently, these songs contain a multiplicity of sonic artifacts, moments and spaces that span Isik's rich musical career to date. With the bulk of the album realized between Amasya, Turkey and Isik's current home in Glasgow, in both domestic and studio recording environments, additional tracks unearthed from his personal recording archive lend their lush patina. The record emerged as a fertile space to reimagine a handful of previously unreleased songs and unfinished ideas spanning the past fifteen years of his life and work, including streetside sounds documented while growing up in Turkey and recordings made while studying music engineering in Miami, Helsinki and Glasgow. Looking to the more recent past, Isik found himself wanting to build upon some of the methodologies and textures explored on his 2022 album in february, seeking a newly intimate, vocal-forward sound. He points to the track "film festival" from that album as a door through which to enter Moon in Gemini, where sample-based arrangements are presented in the context of asymmetrical "build ups and progressions" and ambience and vocals intertwine. Inspired in part by listening to iconic, if not sometimes misunderstood, singers such as Nina Simone, Aldous Harding and Ed Droste of Grizzly Bear, Isik aimed to carve out a new space for his voice on Moon in Gemini, experimenting with novel recording and mixing techniques. Captured at his aunt's farmhouse in Amasya during an extended three week recording session, we find Isik's vocal high in the mix, front-and-center and on newly expressive terms. As a songwriter, Isik is an intuitive and playful lyricist who allows his deep love of literature to flow through his off-kilter texts. Here, echoes of Silvina Ocampo's poem "Dialogues of the Silence" reverberate from the margins of "Most Beautiful Imaginary Dialogues". Likewise, Elliott Smith and Virgina Astley shapeshift through "Behind the Flowerpots," some lines of which were based on misheard lyrics from Smith's "Stickman" and Astley's "Some Small Hope." Attuned to the magic of happy coincidences, other unexpected "themes and connections between tracks flourished" during the recording process, resulting in some songs being more "thematically and lyrically connected to each other compared to previous records." The duos "Prelude" and "Interlude" as well as "Grown One Iota" and "After a Rain" explore connected stories, while "Almost a Ghost" and "Behind the Flowerpots" serendipitously emerged out of a conversation with Stephanie "Spefy" Roxanne Ward, whose balmy vocals heard highlighting in february return and call out to Isik's in sweet dialogue. Plumbing these new potentials of structure and songwriting, Isik also developed a taste for an expanded sonic palette, one enriched by the lulling undertones of live woodwinds and strings. The resulting collaborations with flutist Tenzin Stephen, harpist Kirstin McCarlie and clarinet player Giulia Tamborino envelop the record in an altogether "dreamier sound," swaying pastel and awash in lunar light. Moon in Gemini, brimming with natural imagery and lullaby-inflected tones, tunes into states of being where the wonder filled sound of everyday is heard and felt, perfectly imperfect in its poetry; where the invisible steps forward; where dauntless ghosts wait around every corner and play enriches the soul; where bird song fills sun-soaked afternoons and carries us on its wings into each enchanted evening. Isik Kural's Moon in Gemini will be released on vinyl, Japanese import CD, and digital editions on September 6, 2024. On behalf of Isik and RVNG, a portion of the proceeds from this release will benefit Mor Çaty Women's Shelter Foundation, whose social work at their solidarity centers and shelters supports women building lives unhindered by gender-based discrimination and male violence under free and equal conditions.

Geschrieben wurden die Hauptteile der Songs auf 'Fever Dreams' im Laufe von zwei Jahren, aufgenommen wurden sie in einer Reihe von Full-Band-Studio-Sessions Ende 2019 und Anfang 2020. Während der langen, entschleunigten Pandemie-Tage verfeinerte O'Brien sie in seinem winzigen Heimstudio in Dublin. Gemischt wurde das Album von David Wrench (Frank Ocean, The XX, FKA Twigs). Ursprünglich erschien das Album im August 2021.

Format: Orangene Vinyl inkl. Downloadkarte

Onimikìg Algonquin: (n. an.)- thunder Timothy Archambault's unaccompanied flute pieces for this album have been inspired by Indigenous brontomancy (divination by thunder). Each piece highlights a different extended flute technique metaphorically related to types of thunder sounds: claps, peals, rolls, rumbles, inversions, and CG (cloud-to-ground). An important document of new music meets contemporary musicological research via Stephen O'Malley of SUNN O)))'s Ideologic Organ. The Indigenous flute used in this recording is made of cedar respective to the traditional woods used by the Kichesipirini and other tribes who live along the Ottawa & Saint Lawrence Rivers. To the Algonquin the flute (Pibigwan) is the wind maker or essence of the wind. Unlike other tribal nations whom the majority used the flute as a courting instrument, the Algonquin generally utilized the flute for more contemplative singular usage to mimic the sounds of nature or as a signaling device during times of conflict. When love songs were required, they were usually more plaintive in character expressing sadness, loneliness, or concerning the departure of a lover. The album intro begins with the shaking of a necklace of otter penis bone, fish spine, bear claw, elk teeth and deer hide, gifted from Algonquin Elder Ajawajawesi. It is meant to focus the listener's attention before the flute pieces begin. The warble or multi-phonic oscillation prevalent in all the pieces traditionally represented the "throat rattling" vocalization of the tonic note, sometimes known as the horizon of which the melody floats from. Due to the repetition of multi-phonic oscillation the performer will breathe erratically creating an altered state correlating with similar traditional ceremonial practices.

Lukas de Clerck brings us the ancient greek instrument, the aulos, of which his new interpretation of long form expression is coaxed forth on this tremendous recording. Lukas de Clerck explores a niche of archaeological research in music; the aulos is a historical Greek instrument that Lukas analyzed and reinterpreted by a luthier in modern times_navigating this impression as an artwork or living sculptural object, as there is an absence of historical partitions or written information about how to recreate technique on the instrument. Lukas de Clerck has interpreted information from the rare archaeological resources and visual art of the classical Greek period to recreate both playing technique and possible sound timbres with the instrument. With his contemporary approach to drone, post-minimalist music, and contemporary folk, we find a deeply satisfying and compelling, even playful set of songs, timbral exercises and compositions. An important document of new music meets contemporary archaemusicological research via Stephen O'Malley of SUNN O)))'s label Ideologic Organ. _ The telescopic aulos is speculative: might it have existed? It takes on features from the historical aulos, a double-reed instrument of which we know how it looked but little about what music was played on it or how it would have really sounded. It's an instrument without the limitations of canon or manual, providing creative freedom and awakening curiosity. The new instrument featured on this album is ancient and futuristic at once. The aulos has no tone holes; instead, each of the two tubes consists of three parts that can slide into each other. In this sense, the metal pipes bear a certain resemblance to the principle of a trombone. However, since both hands are already in use to hold both tubes, the sliding has to be done by way of gravity and the help of a «phorbeia», a leather mask which helps keep the reeds in place. The aulos's material is metal (instead of wood), which gives it a certain electronic allure and intensity, as well as a variety of sonic possibilities and textures. It produces overtones efficiently and allows them to play with their microtonality. The aulos Lukas plays on this recording was developed at Brasserie Atlas, a temporary occupation of a former brewery in the heart of Brussels where Lukas lives. It is quite a poetic coincidence that the birthplace of the instrument is named after the Greek titan condemned to carry the sky, while this instrument needs to be turned skywards to lower its pitch with the help of gravity. At Brasserie Atlas, Lukas has found collaborators who have shared in the process of building this new instrument: the collective Noir Métal has constructed the tubes, in this way becoming instrument builders; the phorbeia has been manufactured by Jot Fau; a former water reservoir in the vast cellar of the building carried the instruments' resonance for its first sounds. The place has left an imprint on this new instrument. With all of the telescopic aulos' layers, its sonic, musical and extra-musical components are still unfolding their potential as a medium for discovery and research, next to being an instrument of great musical potential. The music on The Telescopic Aulos of Atlas reflects this spirit. In several miniature pieces, it presents an encyclopaedia of musical possibilities that the instrument offers while keeping an intense and corporeal sonic specificity. The short pieces are studies that reflect on the sonic possibilities of this instrument that are yet to be explored. It meanders, searches and interacts with itself and the space. It needs to answer common expectations of old instruments being harmonious or pleasing. It transports a kind of experimental archaeology that, by formulating hypotheses in the present, allows us to reflect on what might have been in the past and simultaneously questions concepts of beauty, harmony or virtuosity. However, in the end, this instrument might have never existed before. -Julia Eckhardt

Kato Hideki's Statement: "The Walk is the first collaboration between me and my brother from another mother, Kramer. We started working together in the late summer in 2023, discussing the thematics and the sonic palette of the album. We shared strong connections with the writings by Robert Walser and Basho - both of them walked, dreamed, lived and died on the road. Ambient music was our natural plane for us to transduce the power of their literature into our music as signifiers. Neither of us imagined just to make 'another ambient record', nor a direct translation of their writings. My instinct was to use various modal colors with modulation - slow yet structured music that sounds deceivingly similar to ambient music. Kramer's genius was apparent to me: his ability to elaborate the music as a composer / musician with his keen ears; to frame the album conceptually, sonically and musically as a producer. What you hear in this album is a true collaboration between two artists who trusted each other to let the music transcend. Here you have it, enjoy YOUR walk - dream, live and die well!" Kato Hideki - Brooklyn, NY on April 3rd, 2024 Kramer's Statement: "Sometime in the latter 20th Century, I became aware of the art of The Brothers Quay, two American animators living in London and making the most beautiful works of art I'd ever experienced in cinema. I noted that some of their work was inspired by_ 'the writings of Robert Walser'. Fast forward to 2024 and I have now read every word there was to read (translated into English) by this unique Swiss-German writer. I'd waited decades to find the right 'environment' in which to create music in dedication to this great prose writer and poet, and in 2023, I found that it was not 'the right environment' that I'd been waiting for, but rather, the right collaborator. Kato Hideki and his extraordinary work as composer for film, dance and just about every other creative discipline you can imagine, was equally as inspiring to me for this project as the words and worlds of Walser and Basho. Our journey in collaborative composition began all over the global map, but arrived at the same physical endpoint, and at the very same point in time. I'm not sure that I would even be interested in music at all, unless there were other artists to partner with as I worked. Working alone means Nothing to me. This months-long act of co-creation i have shared with Kato for "THE WALK" has made me as happy to be alive as Walser and Basho were so happy to be alive while on their walks, as evidenced by their extraordinary descriptive powers, knowing that the world around them - so simple yet so very complex - made life so wondrous, and so well worth the sometimes seemingly insurmountable struggles of finding a way to survive Today, so that we might try again Tomorrow." - Kramer, April 9, 2024 (Asheville, NC)

If there's one musician in the last decade that you may hear in wildly diverse musical contexts it is Belgian electric bassist and sound sculptor Farida Amadou. Not only can you enjoy the unerringly skillful command she has over her instrument but also the transformative power to reinterpret and expand her material in spontaneous and unconventional ways.

Amadou is self-taught and radically aware of her idiosyncratic relationship with the bass guitar. She neither emulates the virtuosos of the electric bass, nor does she use the instrument as a pure sound generator that merely emits humming and feedback. She takes a completely independent and unique approach. This freedom enables her to create an overwhelming wall of sound, as well as simple, clear structures that are rhythmically concise yielding a wide associative space that lands somewhere between free jazz and noise.

Her work is often concentrated and circular where motifs are established and developed outward. It is an organic sound in the literal sense of the word, constantly in motion, yet resting in itself. The three solo pieces she has recorded for Week-End Records emphasize her impressive ability to ignite ecstasy from tranquility, to fan out a whole range of moods from a few potent ideas.

These attributes make her a musician who enriches every group she plays in, because she is present with her assured and crystallized sound but refrains from being domineering. However, her strengths are even more apparent when she plays solo: the contrasts between the dark, heavy clouds of sound and the rhythmic passages, and the transitions between movements which always sound "logical" yet surprising.

Her new solo album, "When It Rains It Pours" presents Amadou as an inspired improviser who follows her musical intuition and acumen to create a truly unique soundworld. Rarely has improvised music sounded so succinct and compelling.

Wenn es in den letzten zehn Jahren eine Musikerin gegeben hat, die man in den unterschiedlichsten musikalischen Kontexten immer wieder hören will: nicht weil sie eine passable Mitspielerin wäre, sondern weil sie diese Kontexte jedes Mal bereichert und auf spontane, unkonventionelle Weise erweitert, umdeutet, in neue transformiert, dann ist es die belgische E-Bassistin und Klangskulpteurin Farida Amadou.

Sie ist Autodidaktin - und sie versteht diese Selbstaneignung des Instruments radikal. Weder eifert sie den Virtuosen des E-Basses nach, noch verwendet sie das Instrument als reinen Klangerzeuger, der bloß Brummen und Feedbacks von sich gibt. Sie geht von einem völlig eigenständigen Ansatz aus. Der ermöglicht es ihr, eine überwältigende Wall of Sound zu kreieren genauso wie einfache, klare Strukturen, die rhythmisch prägnant sind und einen weiten Assoziationsraum zwischen Free Jazz und Noise eröffnen. 

Ihre Musik ist konzentriert, hat einen langen Atem, kreist um Motive, entwickelt daraus neue Linien, die Amadou im Spiel weiterverfolgt. Es ist ein im Wortsinne organischer Sound, ständig in Bewegung, dabei in sich ruhend. Die Stücke, die sie für Week-End Records aufgenommen hat, unterstreichen ihre beeindruckende Fähigkeit, aus der Ruhe die Ekstase zu entfachen, aus wenigen Ideen eine ganze Palette an Stimmungen aufzufächern.

Das macht sie zu einer Musikerin, die jede Gruppe, in der sie spielt, bereichert, weil sie präsent ist, ohne zu dominieren, weil ihr Sound so prägnant ist, ohne die anderen zu übertönen. Im Solo treten die Stärken ihres Spiels aber noch stärker hervor: die Kontraste zwischen zwischen dunklen, schweren Klangwolken und den rhythmischen Passagen, vor allem die Übergänge, die immer „logisch“ klingen, aber zunächst unerwartet kommen und ihren eigenen Weg einschlagen. Ihr neues Solo-Album, “When It Rains It Pours” zeigt sie als inspirierte Improvisatorin, die sich nie bloß ihren Einfällen hingibt, sondern die Ideen zu Ende denkt, oder besser: spielt. Selten klang improvisierte Musik so kompakt und zwingend.

Straight off the back of his first live headline tour, 1-800 GIRLS continues his journey of binding genres through emotion with his debut EP ‘That’s Just How I Feel’ on Seb Wildblood’s label all my thoughts.

Mirroring his previous works, this four-track collection is a tapestry woven around themes of transformation and progression. Evolving with each production, this release is a strong statement of intent for how he means to go on.

The EP itself is made up of 4 scantily clad, lovestruck dance tracks that feel purpose built for the summer festival run. Proudly bearing all the hallmarks of a UK production, pitch vocals are inked onto the body of each track with detail and care. He demonstrates his ability to stir emotion with simplicity, and seasons each production with tastefully chosen found sound recordings.

[c] Change (In the House of Flies) [Acoustic]










[n] Be Quiet and Drive (Far Away) [Acoustic]

Following last year’s Cyber Sunshine single and Vantage Point EP, plus the former’s expansion into a Deluxe Remix Pack EP just this Spring, trusty Dutch trance traders Match Box are miraculously back with their fourth consecutive glistening Goddezz release. This time, it’s a double offering whose boundless celestial charm again centres around the star we owe it all to: think of High En3rgy as the sunset daydream and Clint’s remix the sunrise epiphany.

Spanning 8 minutes and 7 seconds that slip by all too soon, High En3rgy is a lucent, dreamlike journey not easily forgotten. Layering a faintly melancholic and hauntingly simple melody over a nonetheless pulsating bassline, it accomplishes something rare: an emotive marrying of the wistful and the rousing. The effect is a plucky, heartening sound that walks a tightrope between nostalgic reflection and enduring anticipation. It’s delicate yet driving - the gorgeous sonic expression of a sunset daydream that could leave you leaning either way.

Whether you emerge from that musing trance with a lump in your throat or a fire in your belly, Clint’s remix is the impossibly ideal next step. Faithfully refracting its originator’s sound whilst instantly supercharging the mood from spirited to high-spirited, its giddy rhythm and buoyant-turned-bouncy beat inject pure, immediate, perhaps emergency enlivenment. It’s more than fun, playful or invigorating: it’s irresistibly, heroically stirring - and once its sunrise synths come scorching over the horizon, you’re passing through gleeful exhilaration into sublime elation, with no hope of holding back any tears.

Die britische Singer-Songwriterin und Musikerin Martina Topley-Bird wurde durch ihre Zusammenarbeit mit
den Trip-Hop-Pionieren Tricky und Massive Attack in der Musikbranche bekannt. Besonders hervorzuheben
ist ihr gefühlvoller Gesang auf dem Track ”Teardrop” von Massive Attack aus deren Album ”Mezzanine”,
der zu seiner atmosphärischen Wirkung beiträgt. Auch auf Trickys Debütalbum ”Maxinquaye” (1995)
hat ihre eindringliche Stimme den unverwechselbaren Sound geprägt. Als sie 2003 zu einer Solokarriere
überging, erntete sie mit ihrem für den Mercury Award nominierten Debütalbum ”Quixotic”, das bei Independiente Records erschien, großen Beifall der Kritiker. 2004 erweiterte Topley-Bird ihre Zusammenarbeit
und lieh ihre Stimme den Gorillaz-Tracks ”All Alone” und ”Kids with Guns” von deren Debütalbum ”Demon
Days”. Seitdem hat sie weitere Alben veröffentlicht, darunter ”Anything” (2004), ”The Blue God” (2008)
und ”Some Place Simple” (2010).
Martina Topley-Birds von der Kritik hochgelobtes und für den Mercury Award nominiertes Debütalbum
”Quixotic” wird zum ersten Mal auf Vinyl veröffentlicht. Diese erweiterte Ausgabe enthält das Originalalbum sowie drei B-Seiten und einen unveröffentlichten alternativen Mix der ersten Single ”Sandpaper
Kisses”. Sie wird auf Doppel-Vinyl gepresst und in einem Gatefold-Sleeve verpackt sein.

1999's 'Tilt' was the fifth album from The Lightning Seeds. The album features co-writes with Terry Hall, Stephen Jones and Mike Pickering and was produced by Simon Rogers with 'Get It Right' produced by Tim Simenon. The album saw the band incorporate a more electronic sound and is home to the singles 'Life's Too Short' and 'Sweetest Soul Sensations'. Avalable as x12 trk, Standard Black & Orange LP Vinyl formats.

Pour Un Homme Seul, the debut EP from Pete Beardsworth, is a cathartic exploration of the spiritual world of jazz and the healing force within. Originally just simple melodies jotted down in the back of a small leatherbound notebook, the songs were written during a long period of solitude in the year following a traumatic accident that left Pete without the bottom parts of his legs. Charting a journey of hope and rediscovery, the tracks are aural fragments of a voyage through a harsh, personal wilderness, and back again to civilization and consciousness. This voyage is painted with woodwind, electronics, vocals, found sounds, and synthesizers provided by Pete.

Accompaniments by renowned Erhu player Ling Peng, Yazmin Lacey's drummer Tom Towle, guitarist Roshan Gunga, bassist George Butt, and vocalist Daisy Godfrey. It follows long-standing collaborations with Yazmin Lacey, for whom Pete produced EPs Black Moon and When The Sun Dips 90 Degrees, the genre-crossing Invisible Orchestra, Brooklyn's own Chris Rock, and work as part of free-jazz inspired electronic outfit Three Body Trio.

Returning from time apart to a world forever changed, dread-fuelled duo A SWARM OF THE SUN bring with them their fourth studio album, `An Empire'; its brooding, yet beautiful, melancholic narrative arc allows the band to dig ever deeper into desolation whilst a newfound lyrical focus adds a tenderness that is both harrowing and heartwarming at once. With the early bones of forthcoming `An Empire' tabled by events beyond their control in 2019, Erik and Jakob came together years later and scrapped them in favour of creating something entirely new; something distinctly different to break the cycle, defy categorisation and reflect the uncomfortable uncertainties of the times we now live in. The result is astounding; continuing the thread of narrative composition seen on `The Woods', `An Empire' is a six-track tale told in four distinct movements that are nothing short of devastating, from plaintive piano ballads to raw, full-band fury. For instance, taken from the album's third side, lead single `The Burning Wall' embodies this sprawling compositional feat perfectly, with the painfully frank opening couplet of "I know I fail you / I know that I run" establishing a gripping narrative trajectory backed by a simmering, impatient pulse that slowly and inevitably rises to an inescapable crescendo of cymbal chaos and wall-of-sound guitar drone. Elsewhere, 18-minute epic `The Pyre' represents Side B of `An Empire' with the confessional intimacy of a waltz-time ballad; the raw, wavering emotion of Jakob's words accompanied only by a haunting, lilting piano refrain before it too is consumed by the bittersweet might of post-rock euphoria to leave only embers of the apocalyptic lyrics in its wake_ `An Empire' marks a significant evolution of A Swarm of the Sun's already indelible post-metal sound. With increasingly bleak times forcing the band to reassess their relationship with creativity and suffering, this new body of work captures all the anthemic, intimate highs and crushing, debilitating lows of modern life on a knife edge.

Returning from time apart to a world forever changed, dread-fuelled duo A SWARM OF THE SUN bring with them their fourth studio album, `An Empire'; its brooding, yet beautiful, melancholic narrative arc allows the band to dig ever deeper into desolation whilst a newfound lyrical focus adds a tenderness that is both harrowing and heartwarming at once. With the early bones of forthcoming `An Empire' tabled by events beyond their control in 2019, Erik and Jakob came together years later and scrapped them in favour of creating something entirely new; something distinctly different to break the cycle, defy categorisation and reflect the uncomfortable uncertainties of the times we now live in. The result is astounding; continuing the thread of narrative composition seen on `The Woods', `An Empire' is a six-track tale told in four distinct movements that are nothing short of devastating, from plaintive piano ballads to raw, full-band fury. For instance, taken from the album's third side, lead single `The Burning Wall' embodies this sprawling compositional feat perfectly, with the painfully frank opening couplet of "I know I fail you / I know that I run" establishing a gripping narrative trajectory backed by a simmering, impatient pulse that slowly and inevitably rises to an inescapable crescendo of cymbal chaos and wall-of-sound guitar drone. Elsewhere, 18-minute epic `The Pyre' represents Side B of `An Empire' with the confessional intimacy of a waltz-time ballad; the raw, wavering emotion of Jakob's words accompanied only by a haunting, lilting piano refrain before it too is consumed by the bittersweet might of post-rock euphoria to leave only embers of the apocalyptic lyrics in its wake_ `An Empire' marks a significant evolution of A Swarm of the Sun's already indelible post-metal sound. With increasingly bleak times forcing the band to reassess their relationship with creativity and suffering, this new body of work captures all the anthemic, intimate highs and crushing, debilitating lows of modern life on a knife edge.

Carving an unlikely and elaborate niche in the stoney academic landscape
which she once shared with the likes of Phill Niblock, John Cage and Sorel
Hayes, the excitable proto-punk poèmes sonores of the linguistic loose
cannon known as Beth Anderson first rolled through New York in the mid-
1970s (from Kentucky via San Francisco) like a jumbled tumbleweed of lost
Letterism, face paint and threadbare drummy funk to astonish gallery floors,
lecture theatres and loft apartment stages.
One thousand leagues under the radar of the commercial music industry,
with a sense of humour that elevated way above her highbrow peer group,
the music of Beth Anderson has successfully evaded the pressing plant for
most of her creative career, and not unlike fellow New York gallery actionist
Suzanne Ciani, it has taken decades to successfully collect and contextualise
these early recordings - expanding her elusive discography beyond the rare
and mysterious solo single entry in the process.
When uttered amongst the type of vinyl vampires that haplessly gravitate
between both art school vintage vanity pressings and family funded plunder
funk, there’s an outside chance that the name Beth Anderson might muster
some vague recognition on account of her one and only solo wax sojourn
into the expansive DIY market. In 1980 the 45rpm single, ‘I Can’t Stand It’,
combusted into the consciousness of adventurous participants with its deep
rhythmic backbeat (courtesy of future Sonic Youth / Dinosaur Jr producer
Wharton Tiers, member of the new wave band Theoretical Girls), climaxing
with two colourful and commanding linguistic tantrums before disappearing in
a puff of smoke leaving would-be fans dumbstruck without so much as a
label name or distribution contact to explain what they had just heard.
For those who have spent the subsequent years on the edge of that same
seat, it might come as some comfort knowing that somewhere out there,
there is also a contrasting world of gallery patrons and experimental sound
poetry enthusiasts that similarly didn’t know that their regular performance
poet Beth Anderson even made the ambitious pop record. For the uninitiated,
the enigmatic Beth Anderson has straddled both sides of the art / rock fence
placed between two equally niche pastures.
Hopefully this first ever vinyl compendium will succeed in joining the dots,
loops, yelps, squeaks, beats and repeats. Let us follow Beth’s lineage, along
her magnetic tape highways crossing multiple boundaries in a hope to bridge
unlikely anti-genres like ‘yoga punk’, ‘ramble rap’, ‘combustion pop’ and
‘formroom funk’… all of which were officially neatly bracketed under the
curious Text-Sound movement where Beth garnered utmost respect as a key
practitioner.

Paraphilia is an American death metal band hailing from the pacific northwest (Portland, Oregon). This cellar dwelling duo debuted their nasty brand of guttural destruction in the form of 2021's EP Primordium of Sinister Butchery. A frenzied titanic sized sixteen minute beatdown.

So here we are now 2023, brings us their 'super' debut full length "The Memory of Death Given Form". This record is already creating some major ruckus in death metals underground circle.

Comprised solely of SP (vocals/guitars/bass/programming) and KRP (vocals/lyrics), Paraphilia's brand of brutal & technical death metal is of the thick and chunky variety. Foot stomping groove mixed with gut punching brutality. This unmerciful bastard child snorts, snarls, growls, and lurks about waiting to hammer your bones into dust. The song structures are complex enough to impress, but also memorable and downright unforgiving in the headbanging department.

With a touch of the old school, some intricate guitar dissonance, masterfully written songs, and teeth loosening heaviness, "The Memory of Death Given Form" will delight and destroy even the hardened of death metal elites.

It contains 7 massive tracks (with a Bloodbath cover) chock-full of sophisticated dense riffs and relentless drum pummelling that's nothing short of being an aural sledgehammer, the album kicks off with a crushing track that takes no prisoners.

Technically proficient but insanely groovy "Memory of Death Given Form" is a thick beast of jarring tempos and vomit inducing guitar savagery. Harsh, drawn out gutturals over rhythmic guitar mayhem is enough to make anyone feel like they could run straight through a brick wall. Unadulterated death metal ferocity.

To put it bluntly, this is DAMN fucking GOOD, and you would be hard-pressed to find any better death metal this year.

Sure for fans of: Bloodbath, Hate Eternal, Suffocation, Devourment & similar.

Available on a delicious black and yellow super marble 180gr. vinyl, and solid yellow vinyl, and both are limited at 100 copies each.

Paraphilia is an American death metal band hailing from the pacific northwest (Portland, Oregon). This cellar dwelling duo debuted their nasty brand of guttural destruction in the form of 2021's EP Primordium of Sinister Butchery. A frenzied titanic sized sixteen minute beatdown.

So here we are now 2023, brings us their 'super' debut full length "The Memory of Death Given Form". This record is already creating some major ruckus in death metals underground circle.

Comprised solely of SP (vocals/guitars/bass/programming) and KRP (vocals/lyrics), Paraphilia's brand of brutal & technical death metal is of the thick and chunky variety. Foot stomping groove mixed with gut punching brutality. This unmerciful bastard child snorts, snarls, growls, and lurks about waiting to hammer your bones into dust. The song structures are complex enough to impress, but also memorable and downright unforgiving in the headbanging department.

With a touch of the old school, some intricate guitar dissonance, masterfully written songs, and teeth loosening heaviness, "The Memory of Death Given Form" will delight and destroy even the hardened of death metal elites.

It contains 7 massive tracks (with a Bloodbath cover) chock-full of sophisticated dense riffs and relentless drum pummelling that's nothing short of being an aural sledgehammer, the album kicks off with a crushing track that takes no prisoners.

Technically proficient but insanely groovy "Memory of Death Given Form" is a thick beast of jarring tempos and vomit inducing guitar savagery. Harsh, drawn out gutturals over rhythmic guitar mayhem is enough to make anyone feel like they could run straight through a brick wall. Unadulterated death metal ferocity.

To put it bluntly, this is DAMN fucking GOOD, and you would be hard-pressed to find any better death metal this year.

Sure for fans of: Bloodbath, Hate Eternal, Suffocation, Devourment & similar.

Available on a delicious black and yellow super marble 180gr. vinyl, and solid yellow vinyl, and both are limited at 100 copies each.

Original Score for A24's CIVIL WAR by Ben Salisbury and Geoff Barrow. Featuring selected needle drops from the film, including original songs by Suicide, Silver Apples and Sturgill Simpson. Pressed on neon green vinyl.

„Infinite Health“ ist das fesselnde sechste Album von Tycho, dem zweifach GRAMMY-nominierten Projekt des gefeierten Songwriters, Musikers und Produzenten Scott Hansen aus San Francisco.

In ‚Infinite Health‘ geht es darum, einen Raum für Heilung und Reflexion zu schaffen, ein Mantra für geistige, emotionale und körperliche Heilung. Klanglich kehrt er mit dem Album zu seinem eher elektronisch geprägten Produktionsstil zurück und konzentriert sich auf Breaks, Drums und rhythmische Elemente. Seit den Anfängen des Projekts im Jahr 2001 hat Scott Hansen den Tycho-Sound kontinuierlich weiterentwickelt und sich als Vorreiter in der elektronischen Szene etabliert. Auf dem Weg dorthin haben Tycho zwei GRAMMY-Nominierungen erhalten, Remixe produziert und mit unzähligen namhaften Künstler:innen wie ODESZA, Maggie Rogers, Little Dragon, Leon Bridges und Death Cab For Cutie zusammengearbeitet.
Jetzt haben Tycho nach „Simulcast“ (2020) - einem Schwesteralbum zu „Weather“ (2019) - dieses fesselnde neue Werk vorgelegt. Obwohl es das Personal der letzten Werke beibehält - wie üblich mit Zac Brown an der Gitarre und Rory O'Connor hinter dem Schlagzeug - sieht Hansen „Infinite Health“ als eine vierte Ära für Tycho an: er stürzte sich in den Aufnahmeprozess mit dem Ziel, den Sound unverwechselbar und prägnant zu gestalten.

Get ready for a musical revolution! The Antwerp Gipsy Ska Orkestra is back, and this time, they're turning the music world upside down with their electrifying new album, "Revolution (Never Has Been Simple)." This groundbreaking project, produced by the modern genius Lunaman, features an infusion of new energy and talent with the remarkable addition of 18-year-old sensation Ramadan Sali, who has been a fan of the band since the tender age of three. But before we dive into the future, let's take a moment to appreciate the rich history of the Antwerp Gipsy Ska Orkestra.

A Journey Through Time and Sound: The Antwerp Gipsy Ska Orkestra Story
The Antwerp Gipsy Ska Orkestra's journey is a testament to the transformative power of music. Rooted in the vibrant city of Antwerp, Belgium, this innovative collective began its musical voyage decades ago. Their story is one of passion, diversity, and an unshakable commitment to crafting unforgettable sounds.

The band's unique blend of Gypsy and Ska, along with an eclectic mix of world influences, has earned them a dedicated global following. With each album, they pushed the boundaries of musical fusion, forging a path where genres intertwined, creating something entirely unique. Their evolution has been an ongoing exploration of culture, rhythms, and the unifying language of music.

"Revolution (Never Has Been Simple)": A New Era of Sound
And now, they're back with "Revolution (Never Has Been Simple)" – a title that perfectly encapsulates their journey. Produced by Lunaman, known for his innovative approach to modern soundscapes, this album is a breath of fresh air for the music world. It's a bold step forward, a revolution of their own creation, and a testament to their constant willingness to reinvent themselves.

Meet the Prodigy: Ramadan Sali
But that's not all that makes this album special. The Antwerp Gipsy Ska Orkestra has also welcomed a young prodigy into their ranks: Ramadan Sali. At just 18 years old, he's not only an extraordinary talent but a lifelong fan of the band, having followed their music since he was three years old. His fresh energy and creative spirit have injected new life into the band, making "Revolution" a truly remarkable chapter in their history.

"Revolution (Never Has Been Simple)" Unveiled
This album is more than just a collection of songs; it's a testament to the band's enduring spirit, their journey of growth, and their unyielding commitment to the craft of music. The tracks on "Revolution" are a thrilling mix of genres, emotions, and messages. From the high-energy dance anthems to soul-searching ballads, this album encapsulates the complexities of life and the raw power of music to connect with our hearts.

Get Ready for the Revolution!
As we eagerly await the release of "Revolution (Never Has Been Simple)," mark your calendars and prepare to join the musical revolution. This album is a testament to the Antwerp Gipsy Ska Orkestra's ongoing legacy, a fusion of the past and the future, and a celebration of the unifying power of music. Stay tuned for release dates, sneak peeks, and all the excitement surrounding this revolutionary musical masterpiece. The Antwerp Gipsy Ska Orkestra is back, and the world is about to witness a "Revolution" like never before!