Cerca:swift

Celebrated composer, performer, saxophonist, soloist, band leader, educator, activist, and mixed-media artist Matana Roberts returns with a new installment of their acclaimed Coin Coin series. For over a decade, Coin Coin has been the central artistic project for Roberts, a remarkable exploration of American ancestry and the nature of memory through "sound quilting": modern composition that draws on a wide range of musical sources and traditions, along with research-driven historical and genealogical narratives that yield prose and poetry both spoken and sung, field recordings, and graphic scores. The Quietus declares "when the 12-album cycle is complete, it will be regarded as a singular masterpiece of 21st century sonic and narrative art" and Pitchfork calls it "one of the most provocative ongoing bodies of work by any American musician." Coin Coin Chapter Five: In the garden... is the first new recorded audio chapter since 2019 and centers upon reproductive rights, summoning the story of a family ancestor who died in early adulthood, from a cause kept obfuscated and hushed, shrouded in disinformation and shame. Roberts reimagines diaristic and oral narratives, delivered in strident streams of spoken word that punctuate the hour-long work, with recurring musical themes frequently accompanied by the declarative refrain "my name is your name / our name is their name / we are named / we remember / they forget." As Roberts writes in the accompanying liner notes essay: I find it absolutely disgusting that the same trauma my grand ancestor, whose story we are telling in this chapter, is closely mirroring the experiences of some poor soul today as I write this... Our aforementioned grand, who perished at a young age, leaving her growing children motherless, did not have to die. The negative consequences of her death have reverberated down through generations in my family line, in the same way that a similar resounding might happen for someone else's ancestral line generations from today. While often jazz-adjacent, and with Matana's inimitable saxophone and indomitable voice at the core, Roberts situates Coin Coin outside the Jazz genre and within heterodox pathways of post-modern composition, electroacoustic music, sound collage, experimental voice, and sound art. In the garden... undeniably continues to express and expand upon the project's magnificent iconoclasm, nonetheless being the most jazz-inflected chapter since Coin Coin Chapter Two: Mississippi Moonchile(2013). Recorded in Brooklyn with a stellar acoustic ensemble that includes Stuart Bogie, Gitanjali Jain, Darius Jones, Matt Lavelle, Mike Pride, Ryan Sawyer, Corey Smythe, and Mazz Swift, abetted by some sparkling pieces featuring modular synthesis courtesy of album producer Kyp Malone (Bent Arcana, TV On The Radio), In the garden... traverses a vivid stylistic array of thematic overtures, excursions and set pieces, ranging from spacious textural invocations to gorgeously tempered horn-led compositions to driving free jazz and exhilarating through composed bursts of cacophony. With storytelling spoken-word lead vocals by Roberts channeled recurringly throughout, alongside various other deployments of layered and group voices, the album is alternately a meditation and fever dream of narrative potency. This is some of the most intense and intensive music Roberts has composed and captured to date, richly conceived and deeply felt, restless yet focused, unflinchingly substantive and unique. Coin Coin Chapter Five: In the garden... channels epigenetic trauma and tragedy with teeming complexity and fierce beauty _ a eulogy, testimony, and celebration, melding music and language in a stunning polychromatic flow of vernaculars and poetics. A powerful work of subjective commemoration and historical-cultural communion that speaks indelibly to the present moment.



2x10” in 350 gsm widespine jacket w/interior colour flood + 300 gsm printed inners + 20”x 10” fold-out insert + DL card

Darkwave artist Harsh Symmetry returns with sophomore album "Imitation" via Fabrika Records. Los Angeles-based musician Julian Sharwarko has swiftly carved out a commanding presence with his darkwave project. Sharwarko's adeptness at bridging the gap between the past and present is palpable, as he seamlessly blends influences from genre titans such as Depeche Mode, The Cure, New Order, Echo and the Bunnymen, The Teardrop Explodes, and Human League, while also incorporating elements from contemporary acts like Twin Tribes and Boy Harsher. Harsh Symmetry's second album, "Imitation," spans the chasm of darkwave and synthpop, a world-weary modern album, warmed by the solid embrace of nostalgia. Astonishingly, the entire album was entirely recorded and performed by Shawarko, in a remarkably quick turnaround from his last year's critically acclaimed debut album, 2022's "Display Model." Releasing a new album every year during the 1980s was par for the course with bands like The Cure and Siouxsie and the Banshees, as well as other highly prolific bands such as his labelmates Lebanon Hanover, but this level of artistic output is rarely matched today. "A lot of the material was informed by isolation and struggling with the paradox of wanting to be original yet feeling like your entire identity is built on mimicry," he admits. "The album was recorded as I was preparing to move out of the city I grew up in, I guess that kind of nudged me to think about what I'm doing more, and the place my work might have in the world." That mindset led to a pleasant surprise during his recent tour, which he describes as a 'really interesting and exciting experience.' This year, Harsh Symmetry graced the stages of Wave Gotik Treffen and the Grey Scale Festival in Munich, to much audience acclaim, cementing the project's status as an essential artist in the international darkwave scene. Genre: Alternative / Post-punk / Darkwave

Lost in time yet always in season, here’s a blast of that old perennial, the punk rock, representative of the swiftly changing times around Bailey’s Crossroads, just outside Washington DC, in the early 80s. Skam recorded this stuff in 1982-1983, then broke up, leaving these songs to be released… maybe never? Or more preferably, now, to race into the bloodstream of jaded, faded today with all the vigour and rigour of Skam’s eternal youth.

Though they didn’t release any records during their three years of existence, it’d be wrong to call Skam ‘never-was’ - in addition to these recordings, there’s a trail of flyers for shows with Scream, No Trend, United Mutations and Media Disease, as well as the memories of the student alumni from Bishop O’Connell High, class of ‘83 or so.

The conglomeration of scenes around the greater DC area at that time produced a variety of bands, but the prevailing recollection of the era is of the incendiary hardcore punk and subsequent straight edge values of the Dischord bands. The band that became Skam was a world apart; they were posited for the first time by 8th graders Vince Forcier and Jack Anderson at a Jackson Browne concert, and their initial rehearsals in their parents’ basement were highlighted by covers of Beatles, Stones, Who and Led Zeppelin songs. Bad covers.

It wasn’t until they’d been playing a bit that they discovered The Ramones, and it was then that the die was cast and pedal pressed to the metal for another frantic couple of years.

The Skam recordings from 1982 have an undeniably Clash-like countenance that sets them definitively apart from the ‘First Four’ of Dischord - in some ways, prefiguring the pop-punk sound of Green Day at the dawn of the 1990s instead - but subsequent recordings found them quickly evolving - or devolving - into a personal mastery of savage riffs and tempos, as well as post-punk conceptions.

But even as they were verging into this new territory, their three years together had frayed their alliance and they soon broke up. Jack joined No Trend, Vince played in Racer X and then Second Wind. And life went on. However, the rediscovered Skam tapes make for an incredible addendum to the more well-known music of that incredible time and place

Guy Pedersen's magical Maxi Music, originally released on cult Parisian library label tele Music in 1972, is psyche-rock and jazz-funk gold. It's a vital Pederson outing, oscillating between the rough and the smooth, but always with those hypnotic grooves. It's a start-to-finish winner, yet the final 13-minute-long opus will blow minds. Trust!

Stirring opener, "Prétexte Pour Indicatifs" is so mighty, it was covered by Keith Mansfield on "Hot Property" from Big Business/Wind Of Change on KPM. It's a track in 4 deliberate parts, the first a rapid tour de force, the second and third presenting organ-and-wah-wah-drenched slo-mo funk workouts and the fourth a return to the frenetic energy of the opening bars. Phew, pretty sensational. "Purgatoire Mood (Interlude)" is a beautiful segue into the stunning horn-laced, swift-paced aggressive jazzy excellence of "Purgatoire Mood 1" and the more poetic "Purgatoire Mood 2". Fast-paced funk beats and dramatic interplay!

"Christophus Colombus" is another song with multiple sections; the intro a rapid wah-wah-enhanced psych-rock statement that truly thrills before settling into a more steady yet no-less unrelenting guitar-funk showcase with wordless vocals and, later, reflective guitar and piano in gorgeous harmony. Closing out this electrifying side, the elegant "Bass In Love" is a soft'n'sultry slo-mo funk instrumental, as rough cello, jazzy piano and salacious, breathy vocals combine to create the scent of lingering heat to pretty rousing effect.

Ushering in Side B, "Sing Song Bass" is a slow starter but, once the drums kick in brilliantly, we're treated to a deeply melodic, propulsive, organ-flute-piano-bass gem - it's truly memorable and absolutely fantastic. The wonky, delirious psych-pop of "Petit Moujik De Nuit" is a curiously compelling number but it serves, for us at least, only as the pre-curser to the phenomenal closing track. An absolute beast that totally slays all before it!

Yes, despite Maxi Music being that rarest of library records - a record that can stand up on its own from front to back - it really does contain that *one* absolute killer track. And Peterson saved the best until last. The real highlight - can you imagine there's better?! - is the blazing psych-rock funky burner that is the infamous 13 minute thriller "Kermesse Non Héroique". Containing a wicked flute solo it genuinely sounds like something off the first Dungen album. Yes, that good. What a way to go out!

The audio for Maxi Music has been remastered by Be With regular Simon Francis, ensuring this release sounds better than ever. Cicely Balston's expert skills have made sure nothing is lost in the cut whilst the original, iconic Tele Music house sleeve has been restored here at Be With HQ as the finishing touch to this long overdue re-issue.

As a band, Taryn and Austin’s journey happened both unexpectedly and fortuitously. At the start of the COVID pandemic, Austin and his wife moved back into his parents’ house, where Taryn was also living at the time. Faced with nothing but time, he got back to songwriting, regularly asking Taryn for input — or as the two playfully put it, “Gen Z quality control.” The immediate result of their musical partnership was the pop-punk/alternative anthem “Who’s Laughing Now,” which leads with wry, tongue-in-cheek lyrics about the futility of young adulthood in 2023. After posting an unfinished version of “Who’s Laughing Now” on TikTok, it swiftly took off, galvanizing thousands of viewers who shared their coming-of-age frustrations. Clearly, the song’s sentiments - which land somewhere between a shrug and a clenched fist - resonated with millions of listeners, and today Durry have recorded a fully fleshed-out version of “Who’s Laughing Now,” which is set to appear on their riveting, perfectly sardonic debut LP, Suburban Legend. Whether Suburban Legend is tackling romantic love, late-stage capitalism, mental health woes, or teen nostalgia, the thread tying it all together is its utter relatability. Regardless of where you are in life — city or suburbs, school or work, or pursuing a creative dream of your own — Durry will meet you there with a wink and a high five.

Perth-based artist hub 823, led by the extraordinary producer / creator Ta-ku joins forces with Berlin's Jakarta Records for the release of Godblesscomputers's fourth full-length LP, "Faded Views." The LP melds bright electronic flourishes with laidback synth-driven backdrops, weaving tapestries of mellow folktronica and groovy jazz harmony with continuous sonic intrigue that will keep you grooving into a tropical disposition. Paying homage to his musical moniker, the Bologna-based producer makes timely metallic interjections amidst lush, effortlessly groovy soundscapes. Explore a world of found, recycled, and synthesized sound on "Faded Views" out everywhere September 8.

Bologna-based producer, DJ, and sound collector Godblesscomputers (122k Spotify listeners) has returned with the release of his fourth full-length record, "Faded Views." Godblesscomputers's latest LP "The Island" (2020, La Tempesta Dischi) earned him placement on Spotify playlists like "Brain Flood" and "Coffee Club." Since then, his appearance on Willie Peyote's track "La colpa al vento" landed GBC on "Best of Indie Italia 2022." On "Faded Views," it was Godblesscomputers's creative project to explore the sonic potentials of his direct environment, picking up recordings and threads of inspiration from the most commonplace occurrences. A sonic scavenger, Godblesscomputers explored the expanses of his-both digital and physical-soundscapes. "Faded Views" does the work of crafting a unified, yet complex compilation of the noises that mark the experience of being digital natives in ever-expanding dimensions.

Godblesscomputers's use of musique concrète and found-sound composition melds curiously with his undeniable electronic and techno acumen. Superimposing metallic electronica onto esoteric sound bytes creates the occasion for complex sound collage. "Faded Views" marks a decade since the genesis of the Godblesscomputers project; the entire LP testifies to how time warps perception and sound. Godblesscomputers's music seems to decorate time, both commemorating the moments passed with mind-melting sonic collages and looking forward to the infinitudes of the future with frenetic electronic experimentation.

Themes of impermanence and transience-hence "Faded Views"-pervade the record. Godblesscomputers blurs time as each track seeps into the next in what feels like a seamless transition. He makes these swift passages in genre as well-the record opens on "Colors" with a rich horn section which frictionlessly becomes a lo-fi dance groove. It is this melding of the analog and the electronic that makes sense of his found approach to beat-making: Godblesscomputers marries the found and the synthesized; the creator and the created; the past and the future. The process of sonic dissection and recomposition that drives much of Godblesscomputers's creative process yields not only assertive breakdowns and animated dance tracks, but also complex tapestries of sound that keep the listener ever-intrigued-piano, saxophone, and modular synthesis all find a natural home on tracks like "Hello." In an apt description, the producer's work has been described as "sounding like wood, metal, and microchip."

Godblesscomputers's artistic objective lies in blurring definitive lines, constantly shifting perspectives, genres, and origins of inspiration. On "Faded Views," this design cultivates a folktronica record that truly evades definition.

Feelgood lead single "Mirrors" is out June 30th and features a rich meld of warbling layers, mixing upbeat dance music with complex instrumentation. Stream second single, "Above the Lake," for a mellow summer cut on July 21. Finally, the effortlessly groovy third single "You Feel Me" captures a genre-warping foray into folktronica. Listen to "You Feel Me" on August 11.

All LP artwork and stunning single visualizers were single-handedly put together by multi-disciplinary designer Michael Norman. "Faded Views" will be available everywhere physically and digitally on September 8, 2023. Be sure to listen for focus track "Hello" that captures the vast scope of Godblesscomputers's musical prowess. Find the LP, CD, and digital release on 823's and Jakarta Records's Bandcamp and local record stores.

Shamir's art is a synthesis of the full spectrum of human emotion;
sensual, furious, yearning, joyful and yet tethered together by a very
distinct style (similarly to the greats such as Miss Nina Simone, Prince,
and Taylor Swift) - Shamir's music is based almost entirely in a hyperspecific, fully autonomous, embodied expression of personhood
On his forthcoming album, Homo Anxietatem, Shamir takes the Latin translation
of the title, "anxious man", and transmutes his anxiety to pop songs. The creation
process serves as a balm or elixir, converting internal anxieties to an 11- track
sonic playground.

Long Island Sound follow up their acclaimed debut album and accompanying remix EP with Don’t Let Me / Air a limited white label release featuring 2 brand new dancefloor-certified anthems that signal a new era for the duo in both style and effect, while certifying them as masters of their house domain.

The Dublin-based duo of Rob Roche and Tim Nolan have made impressive strides as Long Island Sound for close to a decade now, honing their swooning dance craft via beloved EPs on their Signs Of Space imprint while becoming mainstays of their island’s club and festival circuit thanks to multiple acclaimed DJ sets.

Last year, they reached an impressive feat that few Irish dance acts have before them by releasing their debut album Lost Connection.

A 7-track opus that fused dynamic electronic sounds with contemporary styles of house, techno, and breaks, it signalled an exhilarating new direction for the duo that showcased their exceptional artistry in melody and production and subsequently earned them great acclaim.

An accompanying 5 track remix EP followed this year, featuring quality club reworks of various album cuts from producers Cromby, James Shinra, Mor Elian, and Benjamin Damage.

Signing off on that notable era, the duo moves swiftly on with this limited 2 track white label of unadulterated festival-ready house epics that have been highlights of their sets over the past year.

Don’t Let Me glides along a chromatic world of lasered synths, pitched diva croons and shuffling pistons before a breathtaking swell of cinematic rave harmonics reaches a magnificent combustible peak that’ll have you gasping for Air.

The flip cracks the window open, dialling down the frenzy with a magnificent swooning melody sits on top of a growling Reese bassline and mechanized 2-step beat where a romantic ambience grows.

Limited stock. First come first served!

DJ Support:

Pete Tong Radio One Support 21.07.2023

Tim Sweeney supports 'Don't Let Me' on his Beats in Space podcast on Apple Music

John Digweed supports 'Air' on his recent Compiled and Mixed podcast for Apple Music

Jenny Greene 2FM Ireland supports 'Don't Let Me'

Long Island Sound Guest Mix on Jenny's 'The Greene Room' on 2fm Ireland

Das Blue-Note-Debüt eines außergewöhnlichen Musikers zwischen Pop und Jazz! Seit seiner Debütsingle „Cold War“ (2018) kennt man Cautious Clay. Der Titel wurde mehr als 150 Millionen Mal gestreamt und von Taylor Swift auf ihrem Album „Lover“ gesampelt. Als Songwriter hat Cautious Clay mit Billie Eilish, John Mayer, John Legend, Khalid, Kavinsky, Melanie Martinez, Remi Wolf und anderen gearbeitet. 2021 legte Cautious Clay mit “Deadpan Love” sein erstes Album vor, das im Musikexpress als “ein aufregender Tanz zwischen R’n’B und Indie Songwritertum” beschrieben wurde. Mit seinem zweiten Album „Karpeh“ setzt der in Cleveland, Ohio, geborene, in New York lebende Sänger, Songwriter, Produzent und Multiinstrumentalist zu seinem nächsten großen Karriereschritt an - die Zusammenarbeit mit dem Jazzlabel Blue Note Records! Mit einem Mix aus R&B, Hip-Hop, Leftfield-Indie-Pop und Jazz-Elementen hat sich Cautious Clay bislang einen Namen für poetische und emotional ehrliche Musik gemacht, auf Blue-Note-Records und in Zusammenarbeit mit Label-Größen wie Immanuel Wilkins und Ambrose Akinmusire fügt er seiner Musik jetzt eine weitere Dimension hinzu.

Produced alongside Aaron Dessner (The National, Sharon Van Etten, Taylor Swift), Collections From The Whiteout heralds the first time Ben has opened the door to production outside of he and his bands closer confines.

The foreboding darkness that coated Ben’s second record I Forget Where We Were and thinly veiled its follow up Noonday Dream, isn’t so evident on Collections.. These are songs written from headlines scanned, or news stories scrolled past. Ben has taken those snippets and let his curiosity take control, creating an aural scrapbook that reverberates with tape loops and guitar FXs.

There are sounds akin to Brian Eno, Durutti Column and Steve Reich in there, but also Neil Young and Townes Van Zandt. It’s a million miles away from Ben’s multi-platinum selling debut, but a path plotted from Ben’s then to his now isn’t so far removed.



The door was also left open to some new players too. Yussef Dayes, one of the UK’s most innovative young drummer/producer’ especially in the field of jazz features, as does Kate Stables from This Is The Kit, James Krivchenia from Big Thief, Kyle Keegan from Hiss Golden Messenger, and the aforementioned Aaron Dessner lent his hand too where needed. Long-term guitarist to Ben’s band, Mickey Smith, remains a reassuring presence. Rob Moose, a long-standing arranger of strings for Bon Iver and a collaborator to Laura Marling, Blake Mills, and Phoebe Bridgers is also present, peppering the mix.

Der renommierte Troubadour aus Illinois erweitert seine musikalische DNA mit Covers Vol. 2, die tiefgreifendste persönliche Musikreise, die er je unternahm. Zuhörer werden mit mitreißenden Interpretationen von Klassikern von Billy Joel (Vienna), Bruce Springsteen (Streets Of Philadelphia), James Taylor (Fire And Rain) und Peter Gabriel (In Your Eyes) sowie Indie-Perlen von Radiohead (Weird Fishes), JP Saxe (A Little Bit Yours) und Manchester Orchestra (Sleeper 1972) verwöhnt. Ebenfalls enthalten sind einige unerwartete Darbietungen wie Jeremy Zucker (Scared), Del Amitiri (Tell Her This) und Go West (King Of Wishful Thinking). William Fitzsimmons: 'Leute, die meinen Katalog kennen, wären wahrscheinlich überrascht zu erfahren, dass ich tatsächlich ein ziemlich großer Fan von Popmusik bin. Von der Brillanz der Beatles und den Beach Boys bis hin zu den moderneren Stilrichtungen von Harry Styles, Beyoncé und Taylor Swift – ich genieße eine eingängige Melodie genauso wie jeder andere.'

Hot on the heels of his successful first Rubi Records release, Ashley Tindall, AKA Skeptical, comes with another three-track EP showcasing his evolving and expanding sound. The opener, 'Rhubarb', shows clear influences of fatherhood, with sampled sounds of happy childhood leading into what is possibly Skeptical's deepest track to date. While this is no piece of bland 'intelligent' D&B by any stretch, the build up intro of warm pads that leads into a chilled head-nodder stands a good chance of having you listening with eyes closed, smiling as fond memories wash over you. Next up is the deceptive 'Capsize'. Starting with the strings of an old sea shanty, the track sounds like it will follow the more chilled route of 'Rhubarb', before the introduction of some twisted minimal sonics and trademark 'steppy Skeppy' drums quickly change that notion! The swift addition of a fizzing, rubber-band b-line completes the switch up and you're sailing on far from calm waters. The return of the shanty violins amidst this is inspired, showing that breaking from the expected norm is not just something that this producer isn't shy of doing, but something he does exceptionally well. To round off, Skeptical steps back into more typical sonic territory with a slice of intense D&B minimalism titled 'Foiled'. This deceptively simple-sounding track hides a wealth of meticulously-crafted and perfectly-balanced elements that deliver a somewhat claustrophobic atmosphere that will appeal to lovers of the outer-edges of cutting-edge D&B. Skeptical's new EP promises to be just as successful as his first release, showcasing his unique and evolving sound.

"First solo record from Bethany after a 10+ year stint fronting Best Coast. Produced by Butch Walker (Taylor Swift, Jewel, Panic! At The Disco, Weezer, Andrew McMahon). Co-writes with Ruston Kelly, Madi Diaz, Suzy Shinn, Morgan Nagler (Bleached, The Breeders, Jenny Lewis), among others. Press support from: DIY, Dork, HERO, record Collector, Guardian, Upset, Line of Best Fit, NME, Fader, Clash, Stereoboard.
“Natural Disaster was born out of a bit of an identity crisis. I was feeling really stagnant both in my life and in my creativity - the world around me was seemingly falling apart - and I felt like I had two choices; give up entirely or challenge myself to push through and see what was on the other side. This record is the story of a personal journey, one that led me to finding a new side of myself that I didn’t even know was there. It is a snapshot of what it’s like to allow yourself to soften, to take down some of your walls, and really lean into the magic of life.”"

Neuaufgelegt - das unglaubliche Debütalbum der 90er Popgruppe RSF ist endlich wieder in seiner ursprünglichen Form auf CD und LP erhältlich. Mit den Hitsingles "Deeply Dippy", "Don't Talk Just Kiss" und dem Welthit "I'm Too Sexy" (kürzlich neu interpretiert von Beyoncé, Taylor Swift und Drake). "A cultural touchstone" Rolling Stone. UP ist das erste Album der englischen Popgruppe Right Said Fred, das ursprünglich 1992 veröffentlicht wurde. Das Album (Us Billboard # 46, UK Album Charts # 1) enthält RSFs einzigen Top-40-Hit in den Vereinigten Staaten, "I'm Too Sexy", der im Februar 1992 sogar drei Wochen lang die Nummer eins der US Billboard Hot 100 war, sowie ihren einzigen Nummer-Eins-Hit im Vereinigten Königreich, "Deeply Dippy", der sich von April bis Mai 1992 drei Wochen lang in dieser Position hielt. Neben "I'm Too Sexy" gibt's auf UP noch mehr unerbittliche Hooks, viele campy Albernheiten und niveauvollen Trash, welche sich fast alle zu Ohrwürmern entwickeln, darunter die Albumtracks "No One on Earth", "Do Ya Feel" sowie natürlich die allseits beliebten "Don't Talk Just Kiss" (#2 Deutsche Single Charts) und "Deeply Dippy" (#1 UK Single Charts).1992 Album Charts G/S/A: Österreich (Ö3 Austria) #1, Deutschland (Offizielle Top 100) #8, Schweiz (Schweizer Hitparade) #22! "If Martians tried to approximate Earth music by channeling frivolous Top 40 like ABBA's, overwrought cabaret like Liza Minnelli's, and smart disco like the Pet Shop Boys', the result might sound like Up. - Arion Berger/Entertainment Weekly, 1992 Als klassisch schwarzes Vinyl mit DLC (streng limitierte rote LP mit DLC ebenfalls erhältlich) oder CD in Karton-Klappcover!

Neuaufgelegt - das unglaubliche Debütalbum der 90er Popgruppe RSF ist endlich wieder in seiner ursprünglichen Form auf CD und LP erhältlich. Mit den Hitsingles "Deeply Dippy", "Don't Talk Just Kiss" und dem Welthit "I'm Too Sexy" (kürzlich neu interpretiert von Beyoncé, Taylor Swift und Drake). "A cultural touchstone" Rolling Stone. UP ist das erste Album der englischen Popgruppe Right Said Fred, das ursprünglich 1992 veröffentlicht wurde. Das Album (Us Billboard # 46, UK Album Charts # 1) enthält RSFs einzigen Top-40-Hit in den Vereinigten Staaten, "I'm Too Sexy", der im Februar 1992 sogar drei Wochen lang die Nummer eins der US Billboard Hot 100 war, sowie ihren einzigen Nummer-Eins-Hit im Vereinigten Königreich, "Deeply Dippy", der sich von April bis Mai 1992 drei Wochen lang in dieser Position hielt. Neben "I'm Too Sexy" gibt's auf UP noch mehr unerbittliche Hooks, viele campy Albernheiten und niveauvollen Trash, welche sich fast alle zu Ohrwürmern entwickeln, darunter die Albumtracks "No One on Earth", "Do Ya Feel" sowie natürlich die allseits beliebten "Don't Talk Just Kiss" (#2 Deutsche Single Charts) und "Deeply Dippy" (#1 UK Single Charts).1992 Album Charts G/S/A: Österreich (Ö3 Austria) #1, Deutschland (Offizielle Top 100) #8, Schweiz (Schweizer Hitparade) #22! "If Martians tried to approximate Earth music by channeling frivolous Top 40 like ABBA's, overwrought cabaret like Liza Minnelli's, and smart disco like the Pet Shop Boys', the result might sound like Up. - Arion Berger/Entertainment Weekly, 1992 Als klassisch schwarzes Vinyl mit DLC (streng limitierte rote LP mit DLC ebenfalls erhältlich) oder CD in Karton-Klappcover!

Neuaufgelegt - das unglaubliche Debütalbum der 90er Popgruppe RSF ist endlich wieder in seiner ursprünglichen Form auf CD und LP erhältlich. Mit den Hitsingles "Deeply Dippy", "Don't Talk Just Kiss" und dem Welthit "I'm Too Sexy" (kürzlich neu interpretiert von Beyoncé, Taylor Swift und Drake). "A cultural touchstone" Rolling Stone. UP ist das erste Album der englischen Popgruppe Right Said Fred, das ursprünglich 1992 veröffentlicht wurde. Das Album (Us Billboard # 46, UK Album Charts # 1) enthält RSFs einzigen Top-40-Hit in den Vereinigten Staaten, "I'm Too Sexy", der im Februar 1992 sogar drei Wochen lang die Nummer eins der US Billboard Hot 100 war, sowie ihren einzigen Nummer-Eins-Hit im Vereinigten Königreich, "Deeply Dippy", der sich von April bis Mai 1992 drei Wochen lang in dieser Position hielt. Neben "I'm Too Sexy" gibt's auf UP noch mehr unerbittliche Hooks, viele campy Albernheiten und niveauvollen Trash, welche sich fast alle zu Ohrwürmern entwickeln, darunter die Albumtracks "No One on Earth", "Do Ya Feel" sowie natürlich die allseits beliebten "Don't Talk Just Kiss" (#2 Deutsche Single Charts) und "Deeply Dippy" (#1 UK Single Charts).1992 Album Charts G/S/A: Österreich (Ö3 Austria) #1, Deutschland (Offizielle Top 100) #8, Schweiz (Schweizer Hitparade) #22! "If Martians tried to approximate Earth music by channeling frivolous Top 40 like ABBA's, overwrought cabaret like Liza Minnelli's, and smart disco like the Pet Shop Boys', the result might sound like Up. - Arion Berger/Entertainment Weekly, 1992 Als klassisch schwarzes Vinyl mit DLC (streng limitierte rote LP mit DLC ebenfalls erhältlich) oder CD in Karton-Klappcover!

Tresor is proud to present the debut split 12" from Chloe Lula and Ireen Amnes. Meeting in the darker, harder-edged side of the Berlin techno scene in 2019, the pair have regularly collaborated and performed together, but Synergy marks the first time they've shared a record sleeve. Amnes describes Synergy as "the world we built while thinking about our journey as friends and the connection we share as people and artists," and while the record highlights their relationship and shared influences, it also showcases how each has grown into their respective lane.

Amnes' tracks lean into significantly more distorted territory, characterized by a dense fog of grainy pads punctured by sharp, expertly-programmed percussion. On "Our Bodies," these fragments are sculpted into driving hardware gear, replete with distant vocals and acidic squelches, where "Fragments of Desire" makes space for a more somber attitude, descending into murky, psychedelic electro.

In counterpoint to Amnes' deep atmospherics, Lula's contributions are driven by intricate sound design and a focus on dancefloor
impact. Taking cues from Regis and the Birmingham techno sound, she reins in the distortion of 2021's Errant Bodies for aufnahme + wiedergabe in favor of rolling techno and breakbeat-inspired rhythms that nod to her EBM influences. Making use of the extra space, she builds tension through heaving, textured basslines and crescendos of noise, and on EP closer "Event Horizon," she carves through the beat with her own metallic vocals.

Synergy includes a digital bonus track from each artist. Lula's sees her pushing deeper into finely-tooled techno territory, her drums at a swift, driving gallop, surrounded by ominous swaths of reverb. In contrast, Amnes crafts a gritty warehouse trip, sharpening the angles of her drums and detuning her synths until they sound bent and alien. Complete with the EP's physical cuts, these tracks are a testament to how the pair can simultaneously complement and contrast with each other, departing from their shared sonic origins and ending up in wildly dierent destinations.

The band consists of the duo of Greg Wilkinson (Guitars/ bass) & Chris Reifert (drums/ vocals), both members of legendary American masters of sickness Autopsy, with Greg (also of cult act Deathgrave) recently becoming the band's new permanent bass player for the band's 'Morbidity Triumphant' opus.'Aborted From Reality' follows swiftly on from Static Abyss' 2022 debut, 'Labyrinth Of Veins', itself a wild & contagious ride through a nightmarish soundscape.

With absolute electricity at every turn as well as the rough 'n' ready charisma of frontwoman Stacey Savage, Savage Master strutted and surged with a power and poise redolent of early '80s US metal. Uniquely, the hooded Louisville quintet put a concertedly occult spin on everything, making them stand out amongst all those trying to reignite a 'Metal Massacre'. Swift and succinct were the eight songs
across the half- hour 'Mask of the Devil'; for however much "star power" was already here early on, Savage Master knew that heavy metal ultimately lived or died on the strength of songs - and they were just beginning to realize their massive potential.

From Elvis in Memphis retains the distinction of being the most cohesive, passionate, mature, and emotionally invested record Elvis Presley ever made. Named one of the 500 Greatest Albums of All Time by Rolling Stone, the white-soul landmark features backing by "The "Memphis Boys" and teems with rhythm-heavy country, gospel, R&B, and blues. Lauded for its natural, open sonics, the 1969 set now comes across with remarkable clarity, presence, and warmth courtesy of a premium restoration befitting a king.

Mastered from the original master tapes, pressed on MoFi SuperVinyl at RTI, and strictly limited to 10,000 numbered copies, Mobile Fidelity's UltraDisc One-Step 180g 45RPM 2LP box set of From Elvis in Memphis unearths the ravishing inner detail, sticky rhythms, and brilliant arrangements of Chips Moman's inspired production. In short, this unparalleled reissue unlocks the spirit and gestalt of the recording and takes you inside American Sound Studio. It also brings you up close and personal with Presley's singing – widely considered by many to represent the finest of his career – located dead-centre amidst the instrumental hurricane. Equally impressive are the contributions of the aforementioned Boys, and how their Southern-brewed playing – a balance of leisure with swiftness, grandiosity with concision, freedom with control – dovetails with Presley's vernacular.

The lavish packaging and gorgeous presentation of the UD1S From Elvis in Memphis pressing befit its extremely select status. Housed in a deluxe box, it features special foil-stamped jackets and faithful-to-the-original graphics that illuminate the splendor of the recording. No expense has been spared. Aurally and visually, this UD1S reissue exists as a curatorial artifact meant to be preserved, pored over, touched, and examined. It is made for discerning listeners that prize sound quality and production, and who desire to fully immerse themselves in the art – and everything involved with the album, from the images to the finishes.

Sharing much in common with the full, rich, orchestrated Stax Records sound, From Elvis in Memphis oozes with choice nuances and distinctive flourishes that on this ultra-hi-fi edition not only arise with previously unheard transparency and sharpness, but complement and serve the whole. Take the specific tonalities and blending of violas, cellos, and horns that communicate mood and serve as counterpoints. Or lively performances of the backing quintet, and how the piano and Hammond organ trace the lines of the melodies and Presley's lead. Listen to the uplifting support provided by the cadre of backing vocalists (more than a dozen credited), unrivalled in Presley's canon and a precursor to the approach he'd soon adopt in Las Vegas.

Of course, From Elvis in Memphis precedes the icon's transition into his glitzy jumpsuit phase – and follows his merciful move away from the hoary soundtrack work that consumed nearly a decade of his creative life and prompted a rebirth that began in 1968. As the bridge between eras, the record seizes on Presley's rejuvenated attitude and commitment to quality, facets that drip from the fervency with which he delivers every word. For the same reasons, and for the fact it traces back to Presley's original roots and hip-shaking guise, the album further remains a cornerstone of American music history.

Writing about the work's 40th anniversary for Rolling Stone, James Hunter correctly observed: "From Elvis in Memphis represented the full-on immersion in the Memphis idea of Elvis Presley, the American singer second only to Frank Sinatra for the ability to conjure a particular sonic universe with his merest vocal utterance. And from the album's first song, in which a bluesy Elvis espies a woman 'Wearin' That Loved On Look,' to its last, in which a more straight-up-pop Elvis regrets the injustices of life 'In the Ghetto,' his fully engaged, newly energized voice finds its most logical album setting in years."

Incredibly, Presley and company completed more than two dozen cuts for From Elvis in Memphis. One, "Suspicious Minds," turned into the vocalist's final chart-topping single and lingers as one of his most beloved rock n' roll numbers. Even though it never formally appeared on the record, the non-album song is included here as a bonus track and attains newfound depth, energy, and swagger. Coupled with the other dozen tracks – including the sultry "Power of My Love," balladic take of Dallas Frazier's "True Love Travels on a Gravel Road," and driving cover of Hank Snow's I'm Moving On" – it makes for the finest Elvis listening experience available.

The ever-prolific and established artist Alan Abrahams aka Portable makes a swift and very welcome return to Circus Company with the impressive lead single "Guiding Me", giving us an early taste of his forthcoming album Augmented Dreams to be released in the fall.

Conceptually the direction of this new project refers to the use of technology to alter our dreams, inadvertently or not, as so much tech advancement becomes available and ingrained in our daily lives. The timely lead single here inspired by Abraham's South African ancestors the Khoi San people and the guidance they provide, appropriately exuding both futurist formed sonics and dream-like tenderness in content, led by his dulcet-toned vocals and delivered with the super solid production we've come to expect. Wonderful multi-purpose electronic music which will find itself right at home on late-night discerning dance floors, or indeed guiding the listener through their respective travels, solo meditations or get-downs in headphones.

Along with the excellent "Guiding Me" original mix, we are graced with a masterful remix by Hamburg's Lawrence of Smallville and Dial fame, who takes the track into an even more floor-focussed realm with his patented rolling sub-bass lines which will guarantee plenty of summertime sound system finessing, as well as the EP-exclusive B2 track "Vigor" in which Portable goes even deeper in tone with classic styled vocal cut-ups and repurposed shards of tasty sound design added to keep the dancers endlessly entranced when and wherever they may be.

After a year of scheming and crafting, building and destroying, Maisie Peters is ready to share what she’s been conjuring up – her brand new album ‘The Good Witch’, arriving via Gingerbread Man Records/Asylum on June 16th.

Recently heralded by vulnerable lead single, ‘Body Better’, Maisie’s second studio album ‘The Good Witch’, is the official follow-up to her No. 2 BRIT Breakthrough certified debut, ‘You Signed Up For This’, and in many ways the older, wise and scorned counterpart.

Exhibiting a newfound confidence, sharper storytelling and greater artistic ambition, Maisie created ‘The Good Witch’ across London, Suffolk, Stockholm, Bergen and LA, alongside the likes of, Oscar Görres (Taylor Swift, Troye Sivan), Two Inch Punch (Sam Smith, Jessie Ware), Matias Tellez (girl in red), Brad Ellis (Jorja Smith, Little Mix), Joe Rubel (Ed Sheeran, Tom Grennan) and Elvira Anderfjärd (Tove Lo, Katy Perry).

Bringing their story to the present, The Boo Radleys new single, "Seeker", introduces the band’s eighth album. Where last year’s album, joyful in tone yet brooding with heavyweight lyrical themes, came together as an exploration of the isolated ideas of each member, Eight is, according to vocalist and co-songwriter, Sice formed of songs recorded “purposefully to appear together on an album.” Before adding, “There is also a greater depth of integration, which means that it’s more difficult to tell which member of the band the song originated with.”

Reflecting on "Seeker", the new album’s opening track, written about leaning on those we trust to share life’s highs and lows, bassist and co-songwriter, Tim Brown says: “This song started out as a three-chord synth pop tune and mutated into a brassy bop courtesy of trumpeter, Nick Etwell. The electric guitar flourishes were added by Louis Smith before Sice added layers of backing vocals which help drive the song along and bring it to its joyful conclusion.”

Jayda G, die Grammy nominierte Produzentin, DJ, Umwelttoxikologin und -aktivistin, meldet sich mit ihrem neuen Album, „Guy“, zurück. Das Album wurde gemeinsam mit Jack Peñate produziert (der bereits mit Künstler:innen wie Sault, David Byrne und Adele zusammengearbeitet hat), mit Beiträgen von Lisa-Kaindé Diaz (von Ibeyi), Ed Thomas (Stormzy, Nia Archives, Jorja Smith) und anderen.

Das Album erscheint nach ein paar ereignisreichen Jahren, in denen sie für einen Grammy nominiert wurde (für ihre Single mit Fred Again.., „Both Of Us“), eine Reihe hochkarätiger Remixe für Taylor Swift und Dua Lipa veröffentlichte, auf den größten Festivals und Bühnen der Welt spielte, darunter Glastonbury und Coachella, eine Compilation für die renommierte „DJ Kicks“-Reihe und eine hochgelobte Zusammenarbeit mit Aluna veröffentlichte, als Gastjurorin bei der BBC-Show „Glow Up“ auftrat, ihre Jugendliebe in ihrer kanadischen Heimatstadt Grand Forks heiratete und an der immersiven Installation „Undercurrent“ (New York, Juni '21) mitwirkte, die sich neben Künstler:innen wie Khruangbin, Nosaj Thing, Mount Kimbie und Bon Iver mit der Klimakrise befasste.
Das neue Album, „Guy“, stellt Jayda Gs eigene Stimme und ihre Lyrics stärker in den Mittelpunkt als je zuvor. Die 13 Tracks basieren auf ihren House-, Disco-, R&B- und Soul-Wurzeln und betonen gleichzeitig ihr Feingefühl als Pop-Songwriterin, durchsetzt mit Archivaufnahmen ihres verstorbenen Vaters, William Richard Guy. Trotz der manchmal traurigen Natur des Ausgangsmaterials erweist sich das Album letztendlich als eine erhebende und positive Erfahrung, sowohl musikalisch als auch von der Botschaft her, die es vermittelt.

Formate:

- Standard CD in FSC-certifiziertem Gatefold. Um die Produktion der CD zu kompensieren, wird der Erlös aus dem Verkauf des Albums an verschiedene Klimainitiativen gespendet, die Jayda während der Dreharbeiten zu dem Film Blue Carbon besucht hat.
- Farbiges*, limitiertes Standardvinyl in FSC-certifiziertem Gatefold inklusive Downloadcode. Um die Produktion des Vinyl zu kompensieren, wird der Erlös aus dem Verkauf des Albums an verschiedene Klimainitiativen gespendet, die Jayda während der Dreharbeiten zu dem Film Blue Carbon besucht hat. *Haftungsausschluss: die endgültige Farbe kann vom Mockup abweichen

Ocean Abyss Colored Vinyl. Edition of 500 copies.

(Whirring Marvels In) Consensus Reality is the new album by Eluvium - the renowned moniker of prolific modern composer, Matthew Robert Cooper . Taking initial inspirations from T.S. Eliot 's The Waste Land and Richard Brautigan 's All Watched Over By Machines Of Loving Grace , (Whirring Marvels) inherently deals both with humankind's need for meaning, and the emergence of algorithms reflecting the feedback loops of humankind's interactions with machines themselves.

This complicated relationship that we have with technology, automations, and algorithms - and the influence they in turn have on shaping our image of the world - is the mechanized heart and soul of an album that almost instantly establishes itself as a peak in Eluvium 's inimitable catalog.

During the writing process for (Whirring Marvels In) Consensus Reality , Cooper began experiencing shoulder and arm pain that rendered his left arm increasingly debilitated. This inspired new compositional methods that blended varying degrees of electronic automations with traditional songwriting. Lyrical themes were built using algorithms to cull content from a notebook filled with years of scribbled thoughts, poems, considerations, conspiracies, scientific notions, and notes on the spirit of existence.

Employing musicians from all around the world - including members of the American Contemporary Music Ensemble ( ACME ), Golden Retriever, and the entire Budapest Scoring Orchestra - much of the music was conducted and recorded remotely via teleconference during the global COVID lockdowns of 2020 and 2021. This approach to composing served as an unintended but serendipitous challenge for an album inspired by the complicated convenience of technology.

(Whirring Marvels In) Consensus Reality blends an ornate combination of ingredients to construct a narrative of our dynamic invention; technological advancement; loneliness and isolationism; and unchecked idealism in a world of never-ending growth. The resulting hope that somehow emerges is itself a marvel of innovation and inspiration.

Einer der legendärsten und erfolgreichsten Acts der britischen Musikgeschichte präsentiert endlich alle seine Hits auf einer umfangreichen, brandneuen Compilation auf CD und Vinyl. Natürlich inkl. 'I'm Too Sexy', 'Deeply Dippy', 'Don't Talk Just Kiss' und viele mehr.
FRED-FAKTEN:
Die Musik der Band ist durch Dancefloor-Rhythmen und anzügliche Texte gekennzeichnet. Gleich die erste Single 'I’m Too Sexy' ging 1991 durch die Decke und verkaufte sich weltweit etwa drei Millionen Mal. In Großbritannien kletterte der Song bis auf # 2 der Charts, in den USA bis auf # 1. Damit schrieben Right Said Fred Musikgeschichte, denn seit den Beatles war es keiner britischen Band gelungen, drei Wochen in Folge den ersten Platz der US-amerikanischen Billboard-Charts mit einer Debütsingle zu belegen. Außerdem belegte ihr Debütalbum # 1 der britischen Charts. Sie haben zwei Ivor Novello Awards und vier BMI Awards (Broadcast Music Industry) gewonnen. Ganz nebenbei hatten sie u.a. Co-Writing-Credits auf den folgenden Tracks:
- Drake: 'Way Too Sexy' - 300.000.000 Streams
- Taylor Swift: 'Look What You Made Me Do' - 700.000.000 Streams
- Beyoncé: 'Alien Superstar' - 100.000.000 Streams

Die Lead-Sängerin, der isländischen Multi-Platin-Band „Of Monsters and Men”, kündigt ihr Solo-DebütAlbum „How To Start A Garden“ an. Zusammen mit Aaron Dessner (Taylor Swift) und Josh Kaufmann
(Bonny Light Horseman) wurde das Album in den New Yorker Long Pond Studios aufgenommen. Insgesamt enthält das Werk 11 Tracks, darunter „Crybaby“, die zweite Veröffentlichung nach „Godzilla“, die
einen ersten Einblick in das Album bieten. Beide Songs schrieb Nanna in einer kleinen Hütte außerhalb ihrer Heimatstadt Reykjavík auf Island. Dabei beeinflusste „Crybaby“ die Platte mit am meisten.
„Viele Dinge mussten enden, damit dieses Album zu dem wurde, was es ist“, sagte Nanna und widmet das Album der Freude am Neuanfang. „How To Start A Garden“ befindet sich genau in diesem Zwischenzustand.

Mit drei beeindruckenden und weltweit erfolgreichen Alben schrieb die „Of Monsters and Men“-Sängerin ein Solo-Debüt-Album, das ihrer Meinung nach auf ihre ganz eigene Art und Weise geliefert werden musste und auf das man gespannt sein darf.

Critically acclaimed folk duo The Milk Carton Kids are back with I Only See The Moon. Produced by Kenneth Pattengale, this full-length album features a collection of timeless and traditionalist tracks with hauntingly lovely and rich vocal melodies and lyrical content spanning the themes of time, nostalgia, heartbreak, sadness, love, nature, grief, loss, freedom, solitude, and relationships. Founded in 2011, The Milk Carton Kids swiftly emerged as a major force in the American folk tradition, blending ethereal harmonies and intricate musicianship with a uniquely powerful brand of contemporary songcraft. 2013’s ANTI- debut The Ash & Clay proved their national breakthrough, earning The Milk Carton Kids their first Grammy Award nomination for Best Folk Album. A second Grammy nomination for Best American Roots Performance followed in 2015 for the track “The City of Our Lady” from band’s acclaimed third studio album, Monterey, and 2018’s All The Things That I Did And All The Things That I Didn’t Do was nominated for Best Engineered Album, Non-Classical. The band’s most recent album, 2019’s The Only Ones (out now via Far Cry Records in partnership with Thirty Tigers), was the subject of extensive praise, with Rolling Stone proclaiming that “Kenneth Pattengale and Joey Ryan get back to the beautiful basics with The Only Ones,” while NPR’s “World Café” noted that “even though Joey and Kenneth are not related, their voices together create a sibling-like harmony...the duo has a strong sense of respect and reverence for the musical traditions that they've grown from.”

1st Science (Henrik Helenius) Has Been An Online Man Of Mystery For Some Time, And You'd Better Believe He Supplies The Goods Whenever He Resurfaces!

In The Early 1990s, Out Of The Uk's Rave Scene, 2 Genres Known As Breakbeat Hardcore And Jungle Were Spawned. A Decade Later, And A Modest Online Community Began To Try And Revive The Genres In The 2000s Within A Scene Dubbed "Hardcore Breaks". Henrik Became One Of Its Most Influential And Creative Contributors, Bagging Himself Appearances On The Likes Of Right Touch Records, Bat Beat Recordings (The Precursor To Renegadegenius's Paranoid Recordings) And Hardcore Lives, As Well As Becoming One Of The First Serious Juggernauts Of Sharing Music Online.

Based In Stockholm, In The Words Of Strictly Nuskool Blog, Henrik Swiftly Earned Himself The Title Of "The Swedish King Of Hardcore" Amongst Junglists... And That's A Tough Title To Pinch!

Skip Ahead To The Year 2023, And 1st Science Is Far From Done. Hell, Didn't You Know He's Only Just Started Tuning Up The Bunsen Burner? From The Ones Who Brought You "You Time" And "First Sign Of Trouble", Yes Yes, Erupt Proudly Presents A Shiny New Ep From The Man, Featuring 5 Of His Finest Tracks On Wax For The First Time. If You're Familiar With The Earlier Digital Release Of This Ep, Don't You Worry, For Being Patient You Get The Exclusive Bonus Track "Everlasting Night" Here.

So What Are You Waiting For? 1st Science Invites You To Participate In An Experiment Which Requires Your Subwoofers. An Absolute Treasure Trove For Any Techno, Breaks, Or Uk Retro Rave Lover.

Forest Moss Colored Vinyl. Edition of 500 copies. (Whirring Marvels In) Consensus Reality is the new album by Eluvium - the renowned moniker of prolific modern composer, Matthew Robert Cooper . Taking initial inspirations from T.S. Eliot 's The Waste Land and Richard Brautigan 's All Watched Over By Machines Of Loving Grace , (Whirring Marvels) inherently deals both with humankind's need for meaning, and the emergence of algorithms reflecting the feedback loops of humankind's interactions with machines themselves. This complicated relationship that we have with technology, automations, and algorithms - and the influence they in turn have on shaping our image of the world - is the mechanized heart and soul of an album that almost instantly establishes itself as a peak in Eluvium 's inimitable catalog. During the writing process for (Whirring Marvels In) Consensus Reality , Cooper began experiencing shoulder and arm pain that rendered his left arm increasingly debilitated. This inspired new compositional methods that blended varying degrees of electronic automations with traditional songwriting. Lyrical themes were built using algorithms to cull content from a notebook filled with years of scribbled thoughts, poems, considerations, conspiracies, scientific notions, and notes on the spirit of existence. Employing musicians from all around the world - including members of the American Contemporary Music Ensemble ( ACME ), Golden Retriever , and the entire Budapest Scoring Orchestra - much of the music was conducted and recorded remotely via teleconference during the global COVID lockdowns of 2020 and 2021. This approach to composing served as an unintended but serendipitous challenge for an album inspired by the complicated convenience of technology. (Whirring Marvels In) Consensus Reality blends an ornate combination of ingredients to construct a narrative of our dynamic invention; technological advancement; loneliness and isolationism; and unchecked idealism in a world of never-ending growth. The resulting hope that somehow emerges is itself a marvel of innovation and inspiration.

Ed Sheeran is set to release his new album ‘-‘ (Subtract) - the last in his decade-spanning mathematical album era - on 5 May 2023 through Asylum/Atlantic on vinyl, cassette and CD. An album that revisits Ed’s singer/songwriter roots, and one that was written against a backdrop of personal grief and hope, ‘-’ (Subtract) presents one of the biggest stars on the planet at his most vulnerable and honest.
In Ed’s own words - “I had been working on Subtract for a decade, trying to sculpt the perfect acoustic album, writing and recording hundreds of songs with a clear vision of what I thought it should be. Then at the start of 2022, a series of events changed my life, my mental health, and ultimately the way I viewed music and art.
Writing songs is my therapy. It helps me make sense of my feelings. I wrote without thought of what the songs would be, I just wrote whatever tumbled out. And in just over a week, I replaced a decade’s worth of work with my deepest darkest thoughts.

Within the space of a month, my pregnant wife got told she had a tumour, with no route to treatment until after the birth. My best friend Jamal, a brother to me, died suddenly and I found myself standing in court defending my integrity and career as a songwriter. I was spiralling through fear, depression and anxiety.
I felt like I was drowning, head below the surface, looking up but not being able to break through for air.

As an artist I didn’t feel like I could credibly put a body of work into the world that didn’t accurately represent where I am and how I need to express myself at this point in my life. This album is purely that. It’s opening the trapdoor into my soul. For the first time I’m not trying to craft an album people will like, I’m merely putting something out that’s honest and true to where I am in my adult life.

This is last February’s diary entry and my way of making sense of it. This is Subtract.”
Since he first learnt ‘Layla’ by Eric Clapton on guitar at the age of 12-years-old, Sheeran’s love of the singer/songwriter began. Growing up with the likes of Damian Rice, Bruce Springsteen and Bob Dylan playing on repeat in his parents’ house – artists that his dad, John, introduced him to – ‘-‘was always on Ed’s horizon. Yet as the songs and writing process took on a whole new meaning and direction after a series of hard-hitting events impacted Ed’s world in 2022, one thing that remained untouched was his strong desire to make a record anchored in his love of singer/songwriter compositions. And now, as he gears-up for the release of his most soul-baring work to date, ‘-‘ serves as a timely reminder for why Sheeran remains one of the most gifted lyricists of his generation; an artist who breaks down his own experiences for fans to seek comfort and belonging.
‘-‘ is the result of Sheeran pushing the boundaries of his songcraft, as he delivers the most profound songwriting of his career. Teaming-up with Aaron Dessner (The National) on writing and production after the pair joined forces following an introduction from mutual friend Taylor Swift, Ed and Aaron began crafting the album in February last year. Writing over 30 songs during their month-long studio stint, the album’s fourteen tracks are seamlessly tied together by exquisite production from paired back, folk-leaning textures to bolder, full-band/orchestral arrangements.
Ed Sheeran burst onto the UK music scene in 2011 with his debut album ‘+’. Rapidly establishing himself as a history-making artist, he followed with ‘x’, ‘÷’, ‘No.6 Collaborations Project’ and ‘=’ - a catalogue that has seen Sheeran become one of the world’s biggest musical success stories of the 21st century.

Ed Sheeran is set to release his new album ‘-‘ (Subtract) - the last in his decade-spanning mathematical album era - on 5 May 2023 through Asylum/Atlantic on vinyl, cassette and CD. An album that revisits Ed’s singer/songwriter roots, and one that was written against a backdrop of personal grief and hope, ‘-’ (Subtract) presents one of the biggest stars on the planet at his most vulnerable and honest.
In Ed’s own words - “I had been working on Subtract for a decade, trying to sculpt the perfect acoustic album, writing and recording hundreds of songs with a clear vision of what I thought it should be. Then at the start of 2022, a series of events changed my life, my mental health, and ultimately the way I viewed music and art.
Writing songs is my therapy. It helps me make sense of my feelings. I wrote without thought of what the songs would be, I just wrote whatever tumbled out. And in just over a week, I replaced a decade’s worth of work with my deepest darkest thoughts.

Within the space of a month, my pregnant wife got told she had a tumour, with no route to treatment until after the birth. My best friend Jamal, a brother to me, died suddenly and I found myself standing in court defending my integrity and career as a songwriter. I was spiralling through fear, depression and anxiety.
I felt like I was drowning, head below the surface, looking up but not being able to break through for air.

As an artist I didn’t feel like I could credibly put a body of work into the world that didn’t accurately represent where I am and how I need to express myself at this point in my life. This album is purely that. It’s opening the trapdoor into my soul. For the first time I’m not trying to craft an album people will like, I’m merely putting something out that’s honest and true to where I am in my adult life.

This is last February’s diary entry and my way of making sense of it. This is Subtract.”
Since he first learnt ‘Layla’ by Eric Clapton on guitar at the age of 12-years-old, Sheeran’s love of the singer/songwriter began. Growing up with the likes of Damian Rice, Bruce Springsteen and Bob Dylan playing on repeat in his parents’ house – artists that his dad, John, introduced him to – ‘-‘was always on Ed’s horizon. Yet as the songs and writing process took on a whole new meaning and direction after a series of hard-hitting events impacted Ed’s world in 2022, one thing that remained untouched was his strong desire to make a record anchored in his love of singer/songwriter compositions. And now, as he gears-up for the release of his most soul-baring work to date, ‘-‘ serves as a timely reminder for why Sheeran remains one of the most gifted lyricists of his generation; an artist who breaks down his own experiences for fans to seek comfort and belonging.
‘-‘ is the result of Sheeran pushing the boundaries of his songcraft, as he delivers the most profound songwriting of his career. Teaming-up with Aaron Dessner (The National) on writing and production after the pair joined forces following an introduction from mutual friend Taylor Swift, Ed and Aaron began crafting the album in February last year. Writing over 30 songs during their month-long studio stint, the album’s fourteen tracks are seamlessly tied together by exquisite production from paired back, folk-leaning textures to bolder, full-band/orchestral arrangements.
Ed Sheeran burst onto the UK music scene in 2011 with his debut album ‘+’. Rapidly establishing himself as a history-making artist, he followed with ‘x’, ‘÷’, ‘No.6 Collaborations Project’ and ‘=’ - a catalogue that has seen Sheeran become one of the world’s biggest musical success stories of the 21st century.

One of the most notorious hatemongers in movie history is Captain Ahab from John Huston’s 1956 classic Moby Dick. His manic monologues cast a spell on generations of viewers. Berlin based musician and sound artist Jan Jelinek has now turned the voice of Ahab into a musical instrument.

Faitiche presents Jan Jelinek's soundtrack for SEASCAPE – polyptych, an audio-visual software developed in collaboration with Canadian new media artist Clive Holden in 2022.

SEASCAPE – polyptych is based on image and acoustic source material from Moby Dick. While Holden works on manipulating film sequences, the voice of Ahab plays a central role in Jan Jelinek’s soundtrack. The dynamic volume and tone of the captain's speech control a synthesizer system that turns Ahabs voice into ten abstract soundscapes.

In this production the voice gives the impulse and controls things but is not the sound of spoken word itself that we hear. Only occasionally can snippets of speech be heard so that syllables or sounds are recognisable. Instead we hear compositions made of hissing, soundscapes and eruptive sounds. The atmosphere is dark and sinister. Still every piece has a clear sonic structure and follows an understandable dramatic composition. This music is abstract but not overwhelming. Quite the opposite, SEASCAPE – polyptych is an invitation to listeners to let themselves be carried by the stream of sonic events. Although part of a media art work, the soundtrack can be enjoyed without any of this connecting superstructure. It works with no previous knowledge. But what happens when one does know that it’s the sonic waves of a human voice that is controlling a network of synthesizers?

If you want to hear Ahab, you will hear a choir of Ahabs in every piece of sound. The subliminal threatening as well as the conjuring Ahab. Finally the Ahab who whips up his crew and tears them with him into their downfall. The majestic „on the quay now, waiting and watching“, the oppressive “drawn towards the whirlpools center” - they are all music as well as sonic discourse.

First Two Pages of Frankenstein" ist ein spannendes neues Kapitel in der belebten Diskografie der Band. Die 11 Songs wurden von The National in den Long Pond Studios in Upstate New York produziert und beinhalten Gastauftritte von Taylor Swift, Phoebe Bridgers und Sufjan Stevens. Der Nachfolger des 2019 erschienenen "I Am Easy To Find" geriet zunächst ins Stocken als Leadsänger Matt Berninger "eine sehr dunkle Phase durchlebte, in der mir überhaupt keine Texte oder Melodien einfielen, und diese Phase dauerte über ein Jahr. Obwohl wir schon immer ängstlich waren und uns oft stritten, wenn wir an einer Platte arbeiteten, war dies das erste Mal, dass es sich so anfühlte, als ob die Dinge wirklich zu einem Ende gekommen wären". Stattdessen haben es The National "geschafft, wieder zusammenzukommen und alles aus einem anderen Blickwinkel anzugehen, und dadurch sind wir in einer gefühlten neuen Ära für die Band angekommen", so Gitarrist/Pianist Bryce Dessner, zu dessen Bandkollegen auch sein Bruder Aaron (Gitarre/Piano/Bass) sowie die Brüder Scott Devendorf (Bass, Gitarre) und Bryan Devendorf (Schlagzeug) gehören. "First Two Pages of Frankenstein" synthetisiert die neue Chemie in der Band. Entstanden ist ein Album, das eine wunderbare Balance zwischen dem eleganten Sound und den eigenwilligen Impulsen von The National hält. Tracks wie "Grease in Your Hair" und "Ice Machines" wurden 2022 auf Tour gespielt bevor sie aufgenommen wurden, so dass die Band das Material in Echtzeit auf der Bühne während der Konzerte verfeinern konnte. "Für mich hat die Kraft dieser Platte mit der Absicht und der Struktur der Musik zu tun, die auf eine Menge zufälliger Magie trifft", sagt Aaron Dessner.

Strictly Limited Red Coloured Vinyl Edition

First Two Pages of Frankenstein" ist ein spannendes neues Kapitel in der belebten Diskografie der Band. Die 11 Songs wurden von The National in den Long Pond Studios in Upstate New York produziert und beinhalten Gastauftritte von Taylor Swift, Phoebe Bridgers und Sufjan Stevens. Der Nachfolger des 2019 erschienenen "I Am Easy To Find" geriet zunächst ins Stocken als Leadsänger Matt Berninger "eine sehr dunkle Phase durchlebte, in der mir überhaupt keine Texte oder Melodien einfielen, und diese Phase dauerte über ein Jahr. Obwohl wir schon immer ängstlich waren und uns oft stritten, wenn wir an einer Platte arbeiteten, war dies das erste Mal, dass es sich so anfühlte, als ob die Dinge wirklich zu einem Ende gekommen wären". Stattdessen haben es The National "geschafft, wieder zusammenzukommen und alles aus einem anderen Blickwinkel anzugehen, und dadurch sind wir in einer gefühlten neuen Ära für die Band angekommen", so Gitarrist/Pianist Bryce Dessner, zu dessen Bandkollegen auch sein Bruder Aaron (Gitarre/Piano/Bass) sowie die Brüder Scott Devendorf (Bass, Gitarre) und Bryan Devendorf (Schlagzeug) gehören. "First Two Pages of Frankenstein" synthetisiert die neue Chemie in der Band. Entstanden ist ein Album, das eine wunderbare Balance zwischen dem eleganten Sound und den eigenwilligen Impulsen von The National hält. Tracks wie "Grease in Your Hair" und "Ice Machines" wurden 2022 auf Tour gespielt bevor sie aufgenommen wurden, so dass die Band das Material in Echtzeit auf der Bühne während der Konzerte verfeinern konnte. "Für mich hat die Kraft dieser Platte mit der Absicht und der Struktur der Musik zu tun, die auf eine Menge zufälliger Magie trifft", sagt Aaron Dessner.

Deluxe Eco Vinyl LP with 16 page lyric booklet! London slowcore band deathcrash have announced their new album Less, due March 31st via untitled (recs). Recorded at the UK's most remote studio in the Outer Hebrides, Less follows their critically acclaimed 2022 album, Return with a statement in reduction that turns out to be as powerful and potent as it is tender and introspective. "The mission statement was to be super minimal," says deathcrash singer Tiernan Banks. "Just simple and beautiful guitar parts and to be really bare. To be...less." Swiftly following Return, the band initially had no plans to make a full length. "The last thing we felt like doing was making another album," says bassist Patrick Fitzgerald. "It was like, 'let's do this little EP that's aesthetically quite different and pared down'." Less was always planned to be a statement in reduction but it soon became apparent that the songs the band were writing were significant, personal and, despite the intentions to strip things back, bigger. "As time went on, we started putting much more emotional weight into it and it became more important to us," says Banks. The result is a record that is as powerful and potent as it is tender and introspective, with arrangements that manage to feel refined yet detailed and with a deep emotional resonance at the core of the record. Banks' voice shifts from hushed whispers to guttural screams, one minute tapping into the kind of fragile beauty that artists like Elliott Smith managed so well, on tracks such as 'Duffy's' before unleashing a doom metal growl in thundering unison with the band on 'Empty Heavy'. The record has confirmed early press support from a number of UK publications, including a 4-page print feature in Loud & Quiet, a feature in Line of Best Fit, and early indications of support from Stereogum and a number of other U.S. publications too. A radio campaign will also be run for the second single 'Duffy's' and we expect support from BBC 6 Music, Apple Music and other tastemaker stations

Its been some years since HARD TIMES dropped new music in our laps, but having kick started a new wave with March’s release of Steve ’Silk’ Hurley’s stunning ‘All I Need’, featuring Sara Garvey on vocal duty, the label follows up swiftly with more precision groovemanship.. this time from Hudd Traxx label boss and core HARD TIMES family member, Eddie Leader.

As a DJ, producer, promoter and label boss Eddie has, over a twenty five year career, become a standard bearer for UK House Music. His own productions have graced seminal labels including Classic, Robsoul, Plastic City, Morris Audio and Balance Alliance, while his own Hudd Traxx imprint has become a go-to for many a discerning disc jockey. Its roster boasts releases that feature Matthew Herbert, Rolando, Jovonn, Rick Wade, Agnés and More.

Fresh from remixing Hurley’s ‘All I Need’, Leader now looks to ’Slow Everything Down’ with four fresh jams of his own that all stay true to the Hard Times ethos of quality, deep underground sounds.

Preaching from the front is ’Stand Up’, with its warm groove, piercing piano chords and soulful sermon. So come on… Stand up, to get down. On ‘Gratitude Power’ a seismic kick drum and bass combo pave the way, garnished with keys, synth stabs, bongos and a sprinkling of vocal as the track winds things on smoothly.

‘Slow Everything Down’ is where its at. A calmer, warmer groove, built from raw beats, spoken word and glistening piano. Coolness personified. This is where we're at. Leader slows and closes with final cut ’To Me To You’, icing the EP to perfection with its drowsy and hypnotising keys.

HARD TIMES continue to deliver the good times.

Like a phoenix rising from the molten vinyl ashes of European pressing plants that are being overrun by Taylor Swift represses, DABJ are back with their first release in what seems like an eternity.

For this one they welcome Modman to the family, who some of you may have heard before on Jerome Hill's Don't Recordings. Four cold as ice Techno and Electro modular jams aimed squarely at the more discerning dancefloors, on which they have already been causing quite a stir over the past few months.

Strictly limited numbers on this one so don't hang around.