Suche:the rhythm

Element, co-founder of Riddim Chango imprint, introduces his latest creation, a 4 track EP, under the freshly forged subsidiary label, Parallel Line.

The EP opens with the abstract dancehall mic-man in Kingston I Jahbar, reprising his collaboration with Element from their 2021” Andromeda EP on Bokeh Versions, narrating rhythmic tales of style and ambitious hustle. The records transitions to the intense dubwise cut to the A1,“Chicken Gravy Dub”, and the B-side unfolds“Nine Mall”and“Martian Gravity,”instrumentals resonating with obscure yet atmospheric dancehall/dembow echoes.

The EP embodies a fusion of eclectic influences, resonating with reflecting the innovative and unique soundscapes of Element and his Parallel Line imprint.

Ayyuka was founded in the year 2001.They've started to make their own music which was mostly improvisation and influenced by a lot of different styles. Some time later the band had it's name naturally which Is AYYUKA that has two meanings: ''to the highest part of the sky' and 'an idiom to tell that a secret has been revealed'" . After university years they moved to Istanbul and started to perform their music at some live venues. Since their self-titled debut album release, the band have performed in various music festivals and venues in a number of cities including Istanbul, Berlin, Lyon, Sao Paulo. They also have opened up for some major artists like Jonathan Richman, R.E.M., Sonic Youth. With very direct live performance energy in their compositions, Ayyuka fuse characteristic elements from a variety of genres such as Anatolian Rock, arabesque, surf rock, punk, spaghetti western, psychedelic rock, and funk. They released their second studio album 'Kiraci Odalari' on October 2013. 'Sömestr' is Ayyuka's third studio album, the sound moves between psychedelic rock, afro rhythms and much else besides. The album was made by the improvising recording sessions that they recorded at their studio. TRACKLIST: 1. Sömestr, 2. Tek Teker, 3. Geceleri Zor Uyurum, 4. Gün 1B, 5. Gabor, 6. Guaruja, 7. Aryton Senna, 8. Bu Bi Rüya Olmali.

With its tenth record from Fortunato Durutti Marinetti, Quindi continues to celebrate songwriting and storytelling framed by curious musicality. In keeping with the label's trajectory to date, this is an album which draws on a universal human sentimentality and presents it with an uncommon flair. In the case of Toronto-based Daniel Colussi, the man behind Eight Waves In Search Of An Ocean, his melancholic poetry cuts through with a clarity which calls to mind all-time greats from Anette Peacock through to Lou Reed and Leonard Cohen.
Turin-born Colussi has drifted through various bands, guises and styles over the past 20 years, but since settling into Fortunato Durutti Marinetti as a vehicle for his songs, he's found a strong expressive impetus which transcends genre to become entirely hinged on the power of his words and melodies. The first album under this alias was a 2020 cassette album, Desire, later pressed on vinyl due to demand in tandem with the release of 2022's Memory's Fool. On each record, Colussi has found distinct arrangements of players to set the mood, ranging from gently lilting art and folk rock through to orchestrated balladry, but Eight Waves In Search Of An Ocean widens the palette of Fortunato Durutti Marinetti to create an album in which each song feels like a tale unto itself.
Colussi's renewed approach is instantly apparent as album opener 'Lightning On A Sunny Day' unfurls, informed greatly by producer Sandro Perri's input pursuing a hybrid electro-organic sound. The addition of drum machines and synths to the musical palette bring with them the strong connotations of pop while the sax and violin sounds similarly smooth and silky, and one can't help but think of John Martyn's slide into the digital sound of Sapphire or Kraftwerk's bittersweet synthetic tenderness.
Within this sound, there's still space for the energy to fluctuate according to the whims of songs. 'The Flowers' turns inward with a soft-touch composition as delicate as the petals Colussi describes falling to the floor. 'Misfit Streams' and first single 'Clerk Of Oblivion' savour the fluid, luxuriant tone of fretless bass with all the 80s connotations intact. Colussi remains the central focus whatever happens around him, in possession of the kind of unforced charisma which drives a song deep into the listener's heart. It's at once entirely his own style and yet comforting and familiar. The lyrics might sweep you into the singer's inner world, similarly to the experience listening to late 60s Tim Buckley, or you might well inhale the mellow jazziness of the harmonic movement like you would Joni Mitchell on Hejira.
The emotional direction of each track is never linear - 'Smash Your Head Against The Wall' snarls its rhythm section before the strings sow their aching beauty to cool the song's temper, winding up as a track of distinct halves jabbing at each other. "I Need You More' leaves space for spiralling flute solos and strangely stiff, militaristic drum rolls in the midst of a sweet, slightly sad synth ballad, the final wave receding back into the tidal undulations of Colussi's unique exploration of his muse.
The artist himself dubs his musical expression as "poetic jazz rock" with a sideways glance - it's not exactly poetry, far from trad jazz and it doesn't really rock, yet the tag feels uncannily like it fits, just like the curious music it's used to describe.

David Tattersall, the Wave Pictures guitarist and frontman releases a solo album of interpretations of John Fahey tunes, recorded live in the studio. "I have been a fan of John Fahey's music since I was very young; it has always been with me and I can't remember a time when I wasn't affected by it. It is weird music, and very good. Of course, Fahey is an important cult figure in the history of music: as the first man to find a language for steel string guitar that can stand proudly alongside the established tradition of nylon string classical guitar; as one of many men who rediscovered obscure old blues musicians and recorded them for a new generation in the 1960s; as one uniquely able to reconcile 20th century avant-garde music with folk tradition; as an early indie-label DIY pioneer. For me personally, Fahey went beyond technique, and to some extent beyond historical or intellectual justifications for his work. He explored his emotions through his instrument of choice, and in so doing made the case for the guitar as the ultimate conduit for emotional expression. While there are many imitators who try to play ''like Fahey'', I avoided using his fingerpicking style or sense of rhythm, and tried instead to use his music to explore my own emotions, my own dreams and memories. I was more interested in the lyrical and expressive aspects of Fahey's music than in the techniques of it. I tried to find myself within his compositions and without composing anything I feel that I have managed to make a David Tattersall record that says as much about me as any of the many albums that I have written. John Fahey's beautiful discography shows that the guitar can carry as much mystery and soul as the human voice, and simply put, I wanted in on a little of this action. This is my second all-instrumental solo acoustic album, and where this differs from my first attempt, Little Martha, is that here I improvised freely. I used Fahey's originals only as guides. I'm not sure what I was looking for, perhaps something beyond explanation, but I tried to be as free as possible, and I am delighted by the spontaneous results. Hopefully, they will make the listener feel happy and dreamy, just like the effect that Fahey's many albums have on me. One of the most important things that Fahey ever said was his advice to guitarists to try to feel the emotions that each chord they play on a guitar brings forth. He is telling guitarists to not only play the guitar, but to let the guitar play them. I did my best to follow this advice. I think Fahey was a genius of the kind that creates a whole genre single-handedly. There could be thousands, millions, of reinterpretations of his compositions. In fact, there probably already are. And long may this continue. All tracks were recorded live with no tampering

The fragility and balancing act of creativity is an immeasurable factor in the life of any artist, serving as a commanding force in the choices they make over their careers. If the connection and meaning in creativity becomes devoid, there's a transformation process that either channels an ascension or departure. An internal and external battle that can chase and haunt individuals in every part of their life if one falls into the latter position. In the case of Los Angeles based electronic producer Huxley Anne, ascension was achieved during one of these tests of creative endurance and preservation, entering a phase of her life where the process of feeling art on meaningful levels had subsided for a lengthy period and the eventual reprisal of these natural gifts returned. This led to the creation of her debut album and an expansion in creativity that marks an important beginning for her path as an artist. This work is known as Ilium, representing a moment in Huxley Anne's life that's been one of her most testing yet rewarding mountains to climb. Ilium is Huxley Anne's debut album with Los Angeles indie imprint and Alpha Pup Records affiliate, Dome of Doom. Sonically, Ilium is an orchestrated field of unique beauty, drawing together eight tracks of exotic electronic music that calls upon the darkest and most light-driven of emotions. Exploratory textures take on vortexes of shape through cinematic sound designs, fluidly traversing between amorphous undertones, intricate composition mapping and pulsing rhythms. From the submersion of euphoria to the illumination of power, Ilium draws upon as many influences in the realm of mystical antiquity as it does the landscape of experimental music leading us into the future. A sonic portrait of her ascension through creative turmoil, the struggle of sustained determination and a rebirth into timeless artistry. Huxley Anne has created a boldness in sound that was made with the most vulnerable and giving of sides and simply put, Ilium is the continuation of meaningful life

Señor Sapo is a character created based on the Mesoamerican deity Quetzalcoatl:

while capturing Sr. Sapo atop The Pyramid of the Sun at Teotihuacan
in The Valley of Mexico; dawn…

Augie Robles (the photographer) spotted an elementary school class of around 25 children with two teachers suddenly appear scaling the momentous stair case behind our subject!

They shouted;

“Sr. Sapo! Sr. Sapo!”
the name has stuck! they wanted to have their pictures taken with Sr. Sapo? however; they did not want to touch him as they thought his skin might be “viscoso” or “slimy”?

“Q’uq’umatz” (as it is known amongst the K’iche’ Maya) goes back to the Olmec culture and represents the duality of flight to reach the skies; whereas the reptilian (in most cases a snake) represents the ability to mingle amongst other creatures of the Earth;
Among the Aztecs he was related to the gods of wind; of the dawn; of merchants and arts; crafts; knowledge and the planet Venus: as well as their patron god of the priesthood…

THE FUTURE S0UND 0f YESTERDAY is as well a construct of the imagination; a fictitious “orchestra” with many imaginary characters; KENT CHESTERFiElD; LEE NAilZ; PHATTITUDE; EPiPHANY TALEUR; ThE ClARKETTES (they actually exist in the “real” world)…

The titles:
“0de to A Tree”;
is the culmination of a night out in Berlin; “…met a young man in a bar close to the “atelier”; he said he wanted to play something on a piano; we go to the place and he plays this melody over a rhythm though not in rhythm?
…basically edited none of it; then used a series of tone generators and filters to change the sound into all the soundscapes you hear in the final piece; the title was simply a tribute to the trees…” Eric D. Clark

“is it good for Ya’?”;
is a slow pumping House song with a message in the form of a question; “is it good for you?” as in “I could do it; however; should I? you know; look in a mirror and ask the question”…
the Music came about as an experiment at NADEL EiNS Studio in Berlin; Heavy bass at around 116bpm plus Erix’s cheeky vocal stylings weaving in & out of frame (as well key) deliver a unique aural experience!

the final track:
“Elsewhere playback”
is literally the playback of a track Eric did under the guise of KENT CHESTERFIELD for a party series he did in Sacramento CA with AJ Sachs…
it’s really just a tool; the good thing is you can drop -8 (or -16 assuming your tables are tuned) to bring it to a tempo one could easily rap over OR push it up to +8 and have a dry Tech number? Either way it BANGS! Dub Plates & Mastering did a swell job!!

overall a must for any Dance Music aficionado’s collection out on October 10th on SHADDOCK RECORDS !

Re-release Soul entwickelte sich gegen Ende der 1950er Jahre aus Rhythm"n"Blues, Gospel, Blues und Jazz. Im folgenden Jahrzehnt war Soul ein Synonym für schwarze Popmusik. Kennzeichnend dafür waren vor allem die Produktionen von Motown Records, zum Beispiel Diana Ross & The Supremes oder Sam Cooke. Seither sind herzergreifender Gesang und groovige Vibes die größten Stilmerkmale des Soul. Zu den weiteren Ikonen des Soul gehören Curtis Mayfield, James Brown, Aretha Franklin, Barry White, Sam Cooke, Al Green und viele mehr. Deren Erfolg ist eng mit dem Kampf der US-amerikanischen Bürgerrechtsbewegung gegen Rassentrennung und für Gleichberechtigung verbunden. 1969 benannte man die Rhythm"n"Blues- in Soul-Charts um. Der Soul-Orkan, der während der Sechziger in den Charts tobte, ebbte jedoch wieder ab, kam aber runderneuert in den 70ern als Phillysound wieder zu erneuten Hitparadenehren. 1982 änderte man die Chart-Bezeichnung von Soul in Black Music. Die vorliegende Kompilation vereint die legendären Stimmen des Soul mit ihren unvergesslichen Hits.

Luigi Madonna is back on his record label Contempo and continues to showcase the darker and more underground side of his sound with the analogue grooves on this hypnotic release.

This four-track EP blends raw sound design with industrial percussion and modulating synth lines, to create dance floor focused cuts in the style that Luigi Madonna has previously championed via Contempo.

Previous releases on Contempo have also featured tracks and remixes from the likes of JSPR, Alarico, Lobster and Marc Faenger.

"Yakamoz" opens the release with its rumbling bassline tense synths and thrashing hi-hats, before the ominous synth stabs, trippy vocals and brutal percussion of "Hydratonic" take control. "Slow Sigh" has a stripped-back style with murky atmospheric, high-speed rhythms and sinister vocal tones. "Ikigai (Jam Edit)" is an experimental track that closes out the release with its breakbeat rhythms, heavy sub-bass and glitching synth lines.

Seven Steps to Heaven arrived at a crucial junction in Miles Davis' career. Recorded at two separate locations in spring 1963, it served as Davis' first release in more than a year – a layoff that was then unprecedented for the jazz visionary who had issued at least one LP a year since debuting in the early '50s. Equally notable, Seven Steps to Heaven marks the point at which the core of Davis' Second Great Quintet started to assemble. The twice Grammy-nominated effort is also Davis' final studio record to blend standards with originals. And it happens to be one of the expressive, well-played albums in the jazz canon.

Sourced from the original master tapes, pressed at RTI, and housed in a Stoughton gatefold jacket, Mobile Fidelity's 180g SuperVinyl LP of Seven Steps to Heaven adds yet another step (or more) towards the bliss suggested by the album title. Playing with standout clarity, detail, tone, and balance, this audiophile reissue pulls back the curtain on the instrumentalists. Afforded the tremendous advantages of SuperVinyl – including a nearly inaudible noise floor, dead-quiet surfaces, and superb groove definition – this numbered-edition version presents Davis and Co. amid a wide, deep soundstage whose dimensions and solidity help bring the record's historical importance and musical merit into focus. Warm, organic, and present, the SuperVinyl LP of Seven Steps to Heaven is what great-sounding hi-fi is all about.

And there's nary a passage on this 1963 landmark that isn't great. That Davis manages to make it feel so cohesive and seamless is a testament to the inspired performances and engaging compositions. Davis didn't draw it up the way it unfolded. No matter. He held trump cards that stayed up his sleeve for the next three decades: A drive to be nothing less than superb, a refusal to settle for mediocrity, and standards to which nearly no other composer or player could match. "The toughest critic I got, and the only one I worry about, is myself," Davis wrote in the liner notes. "The music has to get past me."

Davis' demanding approach partly explains why he switched up his band between the first and second sessions – and underscores how fast his mind was racing with new ideas. Seven Steps to Heaven acts as the stable bridge between the transitional period that followed the dissolution of his First Great Quintet and formation of the Second; without it, Davis perhaps doesn't invite then-23-year-old Herbie Hancock and a still-teenage Tony Williams into the fold. The trumpeter not only got his men – he preserved in amber for the only time (well, magnetic tape anyway) the chemistry and vibe he achieved with pianist Victor Feldman, drummer Frank Butler, tenor saxophonist George Coleman, and bassist Ron Carter.

That line-up gels for half of the six songs on Seven Steps to Heaven. Captured in Los Angeles April '63, the quintet stretches out on a luxurious reading of the late '20s New Orleans staple "Basin Street Blues"; lays on the romance for a candlelit stroll through the '40s standard "I Fall in Love Too Easily"; and explores the rounded contours and melodic crevices of the early blues "Baby Won't You Please Come Home." The performances are refined, elegant, emotional; the band lets the feelings linger and gives the listener time to absorb the colours and textures.

A month later, Davis returned to New York City with Coleman and Carter, and partnered them with Hancock and Williams. Tellingly, the quintet tried its collective hand at the title track and "Joshua" – Feldman-penned songs already recorded in Los Angeles – as well as the yearning "So Near, So Far." Those are the tunes that comprise the other piece of Seven Steps to Heaven, with the revised quintet's liquid pulse, articulate dynamics, and timing shifts a harbinger of things to come.

It's also worth mentioning that the interpretations of the bounding "Seven Steps to Heaven" – a showcase for Davis' trumpet – and interlocking "Joshua" netted considerable radio airplay and attracted the attention of other contemporaries who covered the songs. Keeping Carter and Williams as the rhythmic engine, and Hancock as the anchor between solo flights and structural motifs, Davis would soon soon welcome Wayne Shorter into the family and transform jazz. Again. The aptly – and, in hindsight, perhaps prophetically titled Seven Steps to Heaven – is how he got there.

Deluxe-Box mit dem OST der farbenfrohen Gaming-Überraschung des Jahres 2023, HI-FI RUSH, die Rhythmusspiel und Charakter-Actionspielmechanik verbindet. Das Musikteam (The Glass Pyramids, Shuichi Kobori, REO, Masatoshi Yanagi, Game-Director John Johanas, u.a.) hat einen mitreißend energiegeladenen Rock mit gewaltigen Riffs und treibenden Trommeln geschaffen, der die Spannung und Aufregung des gesamten Erlebnisses aufrecht und die Spieler stets am Puls der Zeit hält. Der 4LP-Schuber wurde vom erstklassigen Tango Gameworks-Kunstteam entworfen und enthält 4 schwarze 180g Vinyle mit 42 speziell remasterten Tracks, darunter die alternativen Bosskampf-Tunes für den Streamer-Modus.

Nerve Collect goes global with its new and futuristic Machine Learning EP - a thrilling blend of worldly rhythms and twisted electronics from New York based Brazilian-American producer Doctor Jeep aka Andre Lira.

Lira is a producer who is able to weave together threads from many different genres into his own new forms. His forward-thinking sounds draw on everything from drum & bass to techno, dancehall to electro, always with an unwavering focus on the dance floor. So far they have come on the eclectic likes of Medellin's TraTraTrax, Berlin’s SPE:C, and his own label DRX (amongst others).

The 6 tracks on this EP showcase Jeep's variety, from the distorted kicks and zippy synths of 'Machine Learning' and 'Mad T', to more straight forward 4x4 techno/tech-house crossovers of 'Shake The Club' and 'Largatixa, to futuristic grime mutations in 'Phase Morph' and ravey dancehall of 'Oil Drum' featuring Montreal-based SIM.

This is another fresh and unpredictable EP from Nerve Collect, although its impact on the club is very predictable: pure carnage.

Nothing in Narciso's (known) background indicated these 10 minutes of tension and release, a soundtrack to some nameless anticipation. Soundtrack, also, to a dance piece on video by choreographer Catarina Miranda produced in 2021.

It is certainly nothing one would expect to hear in one of his regular DJ sets. A long, moody intro appears to chart a difficult journey under heavy clouds, until the drums manifest themselves first as a sort of warning, or preparation, maybe a signal, maybe just warming up for the steady kick drum that follows, a clean 4/4 beat complemented by broken off-rhythms and sparse percussion that seem to run parallel in observation of the main event.

Clouds definitely open up towards the end. Crystalline drops brighten the sonic mood. Quite a unique experiment in Narciso's body of work, undertaken during a period when the DJ and producer, feeling unmotivated, decided to relax from detailed planning and instead allowed himself to flow along with the sounds, expanding possibilities and actually breaking free from previous notions of composition.

C Powers (Cecilia Powers) promotes the power of community organizing in many facets of her life. She’s an interstellar producer and DJ as well as an active tenants’ rights activist in Portland, Oregon. Intersectionality is at the core of Cecilia’s perspective as a trans woman and is reflected in her organizing practices and her musical activities. Whether planning actions against unethical landlords with tenants & regularly hosting solidarity benefit parties in Portland, or fostering safe dancing spaces with her queer family when she lived in Savannah GA, Cecilia has found ways to expand upon the notion of a “community in motion”. She has released on Sorry Records, Sweat Equity, CGI Records, Proper Trax, and Niche N Bump to name a few.

This EP is four cuts of C Powers’ signature touch applied to a hybrid blend of electro, breaks, and bass. There’s high-octane energy as well as a power in the spaces between. These four tracks balance “maximum” and “minimum” and will slap the fascism right out of any environment they’re dropped in.

Die Finischen Metal-Legenden: Children of Bodom und ihr fesselndes Vermächtnis – das letzte Konzert erhältlich auf CD & LP!

Im Jahr 2019 spielten Children of Bodom ihr letztes Konzert in Helsinki mit dem Namen "A Chapter Called Children of Bodom", bevor sich die Band auflöste. Alexi Laiho (Leadgitarre, Leadgesang) und Daniel Freyberg (Rhythmusgitarre) setzten ihre Zusammenarbeit als Bodom After Midnight im Jahr 2020 fort. Laiho, der eines der Gründungsmitglieder von Children of Bodom war, verstarb am 29. Dezember 2020.

Gegründet im Jahr 1993 als Inearthed, bestand die endgültige Besetzung der Gruppe bei ihrer Trennung im Jahr 2019. Über zehn Studioalben, zwei Livealben, zwei EPs, zwei Kompilationsalben und eine DVD hinweg wurden sie zu einer der legendärsten finnischen Death-Metal-Bands. Das dritte Studioalbum, "Follow the Reaper", war ihr erstes Album, das in Finnland eine Goldene Schallplatte erhielt, und auch die nachfolgenden Studioalben erreichten diesen Status. Die nächsten vier Alben stiegen auf Platz eins der finnischen Albumcharts ein und konnten auch Chartplatzierungen in den US-amerikanischen Billboard 200 und Platz 9 der deutschen Charts verzeichnen. Sie gehören zu den meistverkauften Bands in Finnland aller Zeiten, mit mehr als 250.000 verkauften Platten allein dort.

Die Aufnahmen des letzten Konzertes der legendären Band vor dem Tod des Sängers, erhältlich auf CD und Vinyl!

Die Finischen Metal-Legenden: Children of Bodom und ihr fesselndes Vermächtnis – das letzte Konzert erhältlich auf CD & LP!

Im Jahr 2019 spielten Children of Bodom ihr letztes Konzert in Helsinki mit dem Namen "A Chapter Called Children of Bodom", bevor sich die Band auflöste. Alexi Laiho (Leadgitarre, Leadgesang) und Daniel Freyberg (Rhythmusgitarre) setzten ihre Zusammenarbeit als Bodom After Midnight im Jahr 2020 fort. Laiho, der eines der Gründungsmitglieder von Children of Bodom war, verstarb am 29. Dezember 2020.

Gegründet im Jahr 1993 als Inearthed, bestand die endgültige Besetzung der Gruppe bei ihrer Trennung im Jahr 2019. Über zehn Studioalben, zwei Livealben, zwei EPs, zwei Kompilationsalben und eine DVD hinweg wurden sie zu einer der legendärsten finnischen Death-Metal-Bands. Das dritte Studioalbum, "Follow the Reaper", war ihr erstes Album, das in Finnland eine Goldene Schallplatte erhielt, und auch die nachfolgenden Studioalben erreichten diesen Status. Die nächsten vier Alben stiegen auf Platz eins der finnischen Albumcharts ein und konnten auch Chartplatzierungen in den US-amerikanischen Billboard 200 und Platz 9 der deutschen Charts verzeichnen. Sie gehören zu den meistverkauften Bands in Finnland aller Zeiten, mit mehr als 250.000 verkauften Platten allein dort.

Die Aufnahmen des letzten Konzertes der legendären Band vor dem Tod des Sängers, erhältlich auf CD und Vinyl!

Die Finischen Metal-Legenden: Children of Bodom und ihr fesselndes Vermächtnis – das letzte Konzert erhältlich auf CD & LP!

Im Jahr 2019 spielten Children of Bodom ihr letztes Konzert in Helsinki mit dem Namen "A Chapter Called Children of Bodom", bevor sich die Band auflöste. Alexi Laiho (Leadgitarre, Leadgesang) und Daniel Freyberg (Rhythmusgitarre) setzten ihre Zusammenarbeit als Bodom After Midnight im Jahr 2020 fort. Laiho, der eines der Gründungsmitglieder von Children of Bodom war, verstarb am 29. Dezember 2020.

Gegründet im Jahr 1993 als Inearthed, bestand die endgültige Besetzung der Gruppe bei ihrer Trennung im Jahr 2019. Über zehn Studioalben, zwei Livealben, zwei EPs, zwei Kompilationsalben und eine DVD hinweg wurden sie zu einer der legendärsten finnischen Death-Metal-Bands. Das dritte Studioalbum, "Follow the Reaper", war ihr erstes Album, das in Finnland eine Goldene Schallplatte erhielt, und auch die nachfolgenden Studioalben erreichten diesen Status. Die nächsten vier Alben stiegen auf Platz eins der finnischen Albumcharts ein und konnten auch Chartplatzierungen in den US-amerikanischen Billboard 200 und Platz 9 der deutschen Charts verzeichnen. Sie gehören zu den meistverkauften Bands in Finnland aller Zeiten, mit mehr als 250.000 verkauften Platten allein dort.

Die Aufnahmen des letzten Konzertes der legendären Band vor dem Tod des Sängers, erhältlich auf CD und Vinyl!

Beehive sisters The Contessas only experienced a fraction of what could have been. "Broken Heart" b/w "Gimme Gimme" simply describe their short lived experiences through ghostly string, soulful vocals, and funky rhythms.

FIVE CLASSIC ARETHA ALBUMS PRESENTING AN EARLY-’70S PORTRAIT OF THE QUEEN!

Also Includes A SIXTH BONUS LP of Session Alternates, Outtakes & Demos!

Original Albums Remastered From the Analog Master Tapes by Grammy® Award-Winning Engineer, Chris Bellman at Bernie Grundman Mastering Produced by Grammy® Award-Winner Cheryl Pawelski with Liner Notes from Billboard’s Gail Mitchell & British Ambassador of Soul, David Nathan Includes the hit Young, Gifted, & Black, released in 1972, which hit #2 on Billboard’s R&B albums survey and #11 on the Billboard Top 200 as well as being certified GOLD.

Aretha won the 1972 Grammy Award for Best Female R&B Vocal Performance the album ranked at number 388 on Rolling Stone’s 500 Greatest Albums of All Time.

Also includes This Girl’s In Love With You which features the first commercial release of “Let It Be,” and came out 2 months ahead of The Beatles. Both this album and Spirit In The Dark feature the Muscle Shoals Rhythm section and an appearance by Duane Allman. Along with production on both from Jerry Wexler, Tom Dowd & Arif Mardin.

This music unites our common love for the essence of music, which contains harmonic structures and emotionality without borders." — Musique Infinie

Musique Infinie, the new duo consisting of Noémi Büchi and Feldermelder, is rooted in a shared desire to intertwine two composing veins, and to merge them into a new, massive core. While Büchi combined her background in classical and electro-acoustic music with a bold approach to composition on her highly acclaimed debut album 'Matter' (-OUS, 2022), multi-disciplinary musician and artist Feldermelder has been expanding his artistic practice into unexplored realms for over 20 years. Mutually, they've challenged themselves to fully engage on an artistic exploration aimed at making use of the elementary forces that unfold between them.

Their debut album, simply titled 'I', is a musical hybridization. The compositions make use of simple motives that are radically transformed by expanding them into intricate structures and fantastic layerings. The overcoming of genres with eclectic elements from classical music, jazz, film music and traditional music, combined with the vocabulary of experimental electronic music, complete the vertical plunge into this thickness. The emerging pieces lead into a paradoxical world, both disturbing and euphoric. Pieces that don't give in to calculations and expectations, but progress through ruptures and repetitions. The richness of the compositions and their analog, acoustic and orchestral character reflect the density of the world with its violence, its decadence, its fragility, but also its power, its ingenuity and its beauty.

Composer and sound artist Noémi Büchi creates electronic, symphonic maximalism. Her music is defined by a delicate synthesis of textural rhythms and electroacoustic-orchestral abstraction. She explores the potential of consonance and dissonance, contrasts rhythmic physicality with disruption and playfully emphasizes irregularities, creating an expansive listening experience marked by detail and elevation.

Feldermelder is a polymathic creative whose artistry spans composition, sound design, installation and code. He is co-founder of -OUS Records and an active member of Encor.studio, a collective specialising in creating immersive audio-visual installations. Through his work, he explores the idea of secrecy and its impact on our lives, using music and sound to create a thought-provoking and immersive experience for his audience.

Sound Metaphors Records continues to explore the Italian early 90's techno scene with another re-issue of D.A.T.A.'s precious catalogue. Already 3 decades ago, 4 Italians got together in northern Italy to elaborate this sound, and it's only fair to say it's still timelessly effective, possibly a mixture of pure naivety and/or premeditated distilled club essence, bold and minimal in its use of rhythmic patterns generated by drum machines and samplers of the time. To imagine this music was being made in a time where only petrol company CEO's had cell phones, emails weren't even a thing, let alone social media, a time capsule into a special epoch where "progressive" or "trance" weren't quite established keywords yet. Re-issued with a new remastered face and 2 new remixes from studio guru Anatolian Weapons beautifully adding to this powerful exploration of club oriented electronics.

Tammo Hesselink debuts on Berlin’s Midgar with “Work Work Work”, showcasing 5 techno cuts in his distinct stripped-down style. He expertly links the dots within mesmerizing drum grooves, tied together by subtle imperfections. Wonky rhythms layered with loads of sub and razor sharp twitches could be seen as a blueprint for Hesselink’s productions. Excellent percussive club tools for playful DJ sets, where tools as we know them could be flat and loopy, in these jams there’s a whole lot more to explore.

Tape

Vestigios, Aeondelit’s second full length record after recently releasing an EP of shifting club music influenced by postmodern philosopher Leotard on Tel Aviv’s Sadan records, tells a lucid, captivating story of heritage, transformation, vulnerability and healing. It will be released via Berlin-based art platform and record label Unguarded as a digital and tape release with an artwork created by Petra Hermanova, and will be accompanied by limited textile pieces by Diane Esnault. Aeondelit’s music is strongly influenced by the rocky surrounding of his hometown Manizales and fuses electronic sensibilities, ambient streams and avant-percussive rhythms that build his sound identity. Aeondelit's evocative music has previously been released via the Insurgentes imprint, Vienna-based Ashida Park and was recently featured on the 'Unguarded 2 – Entangled' compilation. Cortés describes the meaning of Vestigios as such: “The memories of past generations: the lives that burn within me, are the pillars of who I am. They constitute longings and traps, sin and strength, the temple that breaks down and rebuilds. The different dimensions of consciousness converge in the mind, which constantly tells us who we are, synthesizing and projecting our contradictions. The pain that comes with getting in touch with our vulnerabilities opens the doors to healing through confrontation. This lays the foundation for a more honest relationship with our past, present and future. 'Vestigios' is the bridge between the temporal and the eternal, the crystallized remnant of pain caused by transformation and recognition of the convulsive underworld of our psyche.” Aeondelit, birth name Sergio Cortés, is a Colombian music producer who explores themes related to technology and human condition in sound. He focuses on the creative use of sample manipulation techniques and digital sound synthesis to deepen the idea of a dialogue between computer and human, and how both influence each other. Deep in Colombia's Andes, surrounded by big mountains and the sacred Nevado del Ruiz, Aeondelit has been forging his own sound identity, exploring the intersection points between sparkly experimental club music and melodic ambient electronic. His first release Editing Destiny on the Colombian label Insurgentes was well received by the public and DJs, named one of the best albums of 2020 on Mixmag. His last release on Sadan Records, Anima Minima, was reviewed and premiered on platforms like DJ Mag, THE BRVTALIST and Orb Mag. He is also the co-founder of the independent record label Nvrclose, where his debut album as Æon Series: Dualidad, was released. About Unguarded: Unguarded is a Berlin based experimental electronic music label and art platform. In 2020 long-term collaborators Tim Roth aka Sin Maldita aka 1k Flowers and Phillipp Hülsenbeck founded Unguarded to foster forward thinking artists with a focus on exploring cross-disciplinary collaboration and embarking on sonic adventures. Unguarded was founded in a time of turmoil and uncertainty for artists and music, trying to keep personal connections alive through shared personal and collective experiences between doom and destruction and glistening hope. Amongst their own contributions, Hülsenbeck and Roth gather a collection of genre-defying works by longtime collaborators as well as artists they bonded with in recent years. Their releases constantly escape from definition but through entangling their unique artistic marks, this diversity remains absorbing and compelling throughout their sprawling sonic miasmas. Combining earth-shattering club cuts, equally elegant and bouncy, Unguarded contributes to and connects the experimental music scene in and outside of Berlin. We invite the curious to a deep, tense but rewarding experience.

Following an inspiring moment during a back-to-back live appearance at Fool’s Gold Presents: A-Trak & Friends in Oasis Wynwood during this year's Miami Music Week, The Magician and long-time friend A-Trak have collaborated on the captivating new single 'Love On You' (ft. Griff Clawson).

The Magician - known for his seminal Magic Tapes compilation series - heads up Potion Records and is a veteran of high-profile collaborations with Kolombo and Samaran, amongst many more. He has a mystic touch and spellbinding sound full of emotion and has taken it to places like Ushuaia Ibiza, Tomorrowland, and CRSSD festival in San Diego while also holding down his influential residency at Elsewhere Brooklyn. Here, he works with A-Trak, a.k.a. Alain Macklovitch, a legendary talent on the decks, president of Fool's Gold Records and a quintessential cultural connector. His 25-year career has seen him take turns as an internationally renowned DJ and World Champion turntablist, as well as being one half of the Grammy-nominated duo Duck Sauce and The Brothers Macklovitch, all of which have meant he continues to reshape the very role of the DJ as tastemaker and storyteller.

Their sublime 'Love On You' (ft. Griff Clawson) is an uplifting dance track that radiates positive vibrations. The rhythm section is married to tender piano chords and plenty of subtle synth details that bring it to life. The standout feature is the well-treated vocal that sounds fresh and futuristic but comes laden with a bittersweet sense of emotion that hooks you in and is sure to be sung back by vast crowds worldwide.

Support from: Purple Disco Machine, Junior Sanchez, Feenixpawl, Swanky Tunes, Olugbenga, ROOG (Hardsoul), Mr. Belt & Wezol, Judge Jules, Sugarstarr, Keanu Silva, Dots Per Inch, DJ Phantasy, Micha Moor, Patric La Funk, Borgore, Don Diablo, Claptone.

Berlin-based artist Avilynn fuses electro, breaks, rave and IDM on modular driven '6' EP for her own Taisha Records this October.

Avilynn has been slowly unveiling releases via her fledgling Taisha imprint, showcasing her unique sound which encapsulates a variety of influences, always laced with a dynamic feel, sonic hypnotism and gritty drive. Following on from 2021's acclaimed 'Five Million Sunsets', Avilynn returns to Taisha Records with her new '6' EP. Blending sonic experiences from the Berlin cityscape and coupling them with provocative and sophisticated instrumentation.

'Air and Bubbles' leads the release and lays down cinematic strings, tension building atmospherics, a vacillating rhythmic groove and murky bass grooves. '66 33'48.8' follows next, coordinates possibly, a hidden destination, a journey complete. This one sees Avilynn shift focus towards textural soundscapes layered with ethereal, billowing voices atop intricate off-kilter drums and swirling synth flutters.

Title-cut '6' then opens the flip-side, embracing a brighter aesthetic with cosseting pads and resonant bubbling synths delicately intertwined with a winding low-end groove and a combination of electronic and acoustic drums to create the composition's bumpy
breaks. 'Fobias' then rounds out the EP, edging back into darker realms bringing crunchy saturated bass stabs and shuffled percussion into the forefront while sweeping strings, intricate melodies and voice-like textures unfurl as the composition progresses.

Over the top and pummelling return from QUARANTINE. No change in intensity or drive offering another tastefully brief and intense blast that bores holes into the earth's crust with steel drillbits sharpened on the FUs, YDI, OUTO, GBH, and a healthy dose of the jester's grin. Absolute powerhouse of musical talent featuring an unequivocally ferocious rhythm section driving seriously gnarly guitars and twisted vocals at speeds that would make most people pass out. This is pure hc

Ross Mc Millan Aka Carlos Nilmmns Started His Career Over 10 Years Ago With Skylax Records. From His 1st Ep "Red" It Is a Statement. a Subtle Mix of House, Techno All Embellished With Striking Cinematographic Landscapes. There Followed a Multitude of Releases on Skylax (Blue Ep) but Also Ornaments, 4lux or Even Circus Company. He Has Just Recently Released 2 Fabulous Remixes for the Soul of the Makossa Man Project (Warehouse Classic 5 & 6). and It Is Logically in View of the Incredible Level He Has Reached in the Development of His Remixes That We Offered Him to Make a New Ep. There Is in This New 12 Inch His Very Personal Touch to the Deep and Sensual but Also Latin House Influences That Surely Would Not Have Denied the Maw but Also the Great David Mancuso (The Loft) Who if He Were Still Alive, We Think Would Have Loved This Ep (Rip). Indeed, Ross Also Manages to Integrate Into His Songs Cinematic Landscapes Worthy of Lalo Schifrin of the 1970s While Maintaining a Club Aspect. Latin Tapes Is One of the Most Beautiful House Bangers We've Heard in a Long Time, a Real Ode to Party and Life. No Love Lost Is Eyeing Moodymann, Mcde and the Brilliant and Forgotten Trus'me. Hootenanny Looks Nothing More or Less Than Isaac Hayes From His Blaxploitation Period. Everything Else Is on the Same Level: City of Love, Sunset Over Antoni De Portmany (Balearic Nights) & Life in the Loire. the Real Question Would Be to Know How He Manages to Obtain This Sound So Classy, ​​the Impression That He Is Accompanied Throughout the Ep by the Philadelphia International Rhythm Section (Gamble & Huff) an Orchestra of Seasoned Musicians. Probably One of the Finest House Records (Or Even Just Music) to Be Released This Year by a Talent as Singular as It Is Elusive. This 12 Inch Is a Masterpiece of Elegance and Refinement....

A note from Lawrence English:

Occasionally ideas present themselves in ways that no one can expect. This recording from Australia’s Eugene Carchesio and the UK’s Adam Betts is one such unexpected presentation.

A couple of years ago, Eugene passed me a collection of recordings that he explained were in the orbit of his now legendary Circle Music series. The recordings, in Eugene’s particular manner, maintained an intensely rhythmic quality rooted in a deep and unwavering sense of minimalism. Eugene has a way of making a tiny cosmos from just the barest of materials. He wondered though, about mixing it up and adding something unexpected to the pieces, and asked about some drums being added.

At almost exactly the same moment, I had been reminded of the amazing work of Adam Betts, who I have been fortunate to be in the orbit of for more than a decade now. We’d first met at Bad Bonne, sharing a bill, and then crossed paths most recently in Tbilisi where he was performing with Squarepusher.

The reason Adam was on my radar though was entirely unrelated to music and it was down to the fact that he had just participated in a welsh toss competition and done quite brilliantly. Somehow, watching Adam lug those weights made me think he’d be the perfect candidate to work with Eugene on this project. To my delight, he agreed.

What results here is a melding of two incredible musical spirits, each of whom have an unerring sense of restrained energy and rhythmic ferocity. It is a parallel reading of how minimal motion can create giant affective waves of energy. It’s also a record of careful listening and generous exploration.

It’s not everyday music can emerge from such curious orbits of thought, but when it does it is a cause for celebration. With that in heart I am so pleased to share this incredible edition with you.

2023 Repress

It's the quiet ones we should watch, they always say. Which is particularly astute advice right now, when loud, constant self-declaration and saturated 'brand' visibility have become the norm. But above the babble and brightness, some voices will always speak quiet volumes ­- with calm eloquence and the kind of certitude that comes from valuing the playing out, not just the prize.

Sweden's José González is just such a voice. He first charmed his way into the UK's earshot via the murmurous and elegant, classically finger-picked folk pop of his 2005 album, Veneer, which has since sold over a staggering 430, 000 copies in UK alone. Two years later came In Our Nature, a further exploration of José's influences (Argentinian Folklore, the '60s US folk tradition and the British pastoral folk-pop style of the same era), on which he resisted the temptation to beef up his alluringly introvert aesthetic. The albums made the UK Top 10 and Top 20 respectively.

Conceived as the natural third part in an acoustic trilogy, Vestiges & Claws is a(nother) hushed and delicate solo set that forefronts the artist and guitarist's compellingly intimate vocal style and intricate playing technique, but it's often strikingly rhythmic in nature and cohere's perfectly, with hand claps and taps on the body of his instrument underlining the songs' mantric rise-and-fall pattern, while elsewhere, over-dubbed guitar parts and multi-tracked vocal harmonies entwine to sweetly immersive effect.

The title refers to both cultural practices and biological features that survive despite having lost their original function, and to currently useful tools, ie the 'claws' of modern life.

Vestiges & Claws was recorded almost entirely by José and self-produced, mostly in his Gothenburg home, using computer plug-ins to achieve a warm, analogue sound. He prefers working alone, mainly for artistic reasons. 'There were a couple of things that enabled me to complete this record: one was curiosity, to be able to play percussion and do a lot of harmonies and also to produce and mix the album; the other was aesthetics. I love to listen to Arthur Russell and Shuggie Otis, to music that has been done mostly by one person in their solitary state.'

As José sees it, the record is his personal, 'zoomed-out eye on humanity on a small, pale blue dot in a cold, sparse and unfriendly space. The amazing fact that we are all here, an attempt at encouraging us to understand ourselves and to make the best of the one life we know we have - after birth and before death.

Indie pop quartet Melenas hail from Pamplona, Spain, a picturesque region nestled just south of the Pyrenees. Such beauty can't help but inform the band's songwriting, but Melenas aren't content to just sit placidly & take in the scenery. Since they burst onto the scene in 2016, the band has hit the ground running, playing incessantly both locally & on the stages at national festivals like Primavera Sound & Eurosonic as well as releasing a debut full length (2018's "s/t" album) and a 7-inch single both triple-released on local labels Elsa, Nebula & Snap! Clap! Club. Trouble In Mind is honored to be releasing their new album Dias Raros and is the first label outside of Spain to release Melenas music to the world.Dias Raros hums right from the get-go, peppering their garage-pop punch with elements of lysergic dream pop, melancholic indie rock and strident guitar jangle. The album title translates to "Strange Days" an acknowledgement - according to the band - of "...those days where you spend more time inside than outside. Inside your own self, inside your bedroom and your own universe thinking about your wishes, dreams, memories, obsessions or fears." The lyrics - sung entirely in their native Spanish - reference "those interior dialogues where sometimes you fight to escape from a situation, you wonder what another person will be thinking about or feeling, you gotta say goodbye, or you just enjoy the time by yourself. Days that, for different reasons, you're feeling different, they are strange". Opener "Primer tiempo" buzzes with an urgent organ drone, unfolding into a yearning ballad of modern guitar-pop bolstered by the group's lush harmonies & sets the tone for the rest of Dias Raros. Songs like "No puedo pensar" "3 Segundos" and "Despertar" follow suit, with the rhythm section galloping headlong into an insistent guitar strum, while ballads like the tender "El Tiempo ha Padsado" rely on the band's melodious voices bolstered by a lilting guitar riff and gentle organ swells. Elsewhere mid tempo rockers like the stomping "Los alemanes", the simmering "Ciencia Ficción" and "Ya no es Verano"s insistent jangle recall underground greats like The Pastels, R.E.M. and Shop Assistants. "Vals" ("Waltz") closes the album in 3/4 time, named for the ballroom dance as well as the last name of a close friend - a dedication to her. Its dreamy sway alluding to classic Brill Building songwriting; dusted with melancholy, but lifted by cascading voices, and organ and guitar waves and guitars that twinkle and shimmer over a cracking backbeat. Dias Raros is the perfect introduction to a band bursting with promise, confidently inhabiting their own space built upon the foundation of their influences both geographically and culturally, as well as musically.

Black Truffle is pleased to announce the first LP documenting master khene player Sombat Simla, the label’s first collaboration with Japanese sound artist, field recordist, and researcher Yasuhiro Morinaga. Simla is known in Thailand as one of the greatest living players of the khene, the ancient bamboo mouth organ particularly associated with Laos but found throughout East and Southeast Asia. His virtuosic and endlessly inventive renditions of traditional and popular songs have earned him the title ‘the god of khene’, and he is known for his innovative techniques and ability to mimic other instruments and non-musical sound, including, as a writer for the Bangkok Post describes, ‘the sound of a train journey, complete with traffic crossings and the call of barbecue chicken vendors’. Aided by a group of Thai friends, in 2018 Morinaga travelled to the Maha Sarakham province in the Isan region, arranging to meet Simla in a remote spot surrounded by rice fields. Then and there, Morinaga recorded the solo performances heard on the LP’s first side. At Morinaga’s request, Simla began with a rendition of the train song ‘Lot Fay Tay Lang’. Beginning with long tones that seem to mimic a train horn, the performance soon moves into a rapid chugging rhythm, interrupted at points by vocal exclamations and the remarkable timbre Simla produces by singing through the khene. To listeners unfamiliar with Thai music, the pentatonic scales and rhythmic chug of many of the pieces can have surprising echoes of the rawest American blues. The range of Simla’s performance is astonishing, moving from compulsive rhythmic workouts on single chords and rapid-fire runs of single notes to gentle sing-song melodies, and using a fascinating array of techniques, including a rapid tremolo that sometimes sounds almost electronic. Later the same day, Morinaga followed Simla to a cattle shed where he met percussionist Mali Moodsansee to play some molam (folk songs found in Isan and neighbouring Laos), with Pattardon Ekchatree joining in on cymbal. At times, these molam songs have a wistful, romantic character quite different from the solo pieces. Backed up by the propulsive hand drums, Simla again dazzles with his melodic fluidity, rhythmic drive, and wild displays of unorthodox technique. As Morinaga writes, ‘It felt like they had been playing together so long that their breathing was perfectly in sync, and it was like listening to the precision of James Brown’s funk’. Accompanied by extensive liner notes by Morinaga detailing the day of recording, this is a stunning document of a master musician, seamlessly integrating tradition and innovation.

Some of the earliest works by American composer Phill Niblock, including three never before released pieces: "Index" (1969), "Tenor," and "Boston III" (both from 1972). Until now, it's been impossible to encounter Niblock's compositions from earlier than the 1960s, a reality thankfully rectified by the long overdue publication of this Boston/Tenor/Index LP on Alga Marghen.

"Tenor" (1972) represents the first evolution of Niblock's musical thought towards the aesthetics of microtones, overtones, and drones which the composer would develop in following decades. The piece was recorded by the photographer Martin Bough on tenor saxophone and gradually dubbed back and forth by the composer in his New York studio. "Boston III" (1972) was recorded at the Intermedia Sound studio in Boston with Rhys Chatham (flute, voice), Martin Bough (tenor saxophone), and Gregory Reeve (viola, voice); the composer himself also contributed with his voice. The LP also includes "Index" (1969), an improvised sound performance by the composer himself. Guitar (both its body and strings), fingers and fingering fuse in a vehement action around which barely listenable sounds and resonances vibrate. Considering the extended pulsation as an organic blend of impulse, rhythm, drive, strength, vitality and passion, the end of this sole solo in Niblock's complete oeuvre is not defined by the fixed duration of the piece but as the consequence of the tiredness of the performer. The music changes according to the loudness of playback. The interaction of the upper harmonics changes especially, with much richer overtone patterns being produced at louder levels.

Coltrane, Shorter, Hubbard, Davis & Perkins from a Latin perspective! The Mantecas represent one of the finest concentrations of experience and talent in Latin and Jazz music ever to be based in the UK. A pure uplifting Latin Jazz music celebration. NOT-TO-BE-MISSED!! Recorded at different locations in London during 2022/23. Mixed at Abbey Road Studios in March 2023. The Mantecas (formerly known as "Manteca") is an eight piece, London-based, Latin Jazz, Soul and Boogaloo band well known for creating a party mood at festivals and gigs everywhere they go, from Glastonbury, Ealing Festival and Tropical Pressure Festival to The 606 Club and The Jazz Café in London. They have a particular ability for bridging the culture gap with any audience getting all crowds up hitting the dance floor in a jive. The Mantecas will blow your mind with a mesmerising mix of salsa, Cumbia, Funk, Latin jazz and Boogaloo. For this new release album, the band is exploring the legacy of some of the Jazz giants through a Latin lens, reworking timeless pieces by Coltrane, Shorter, Davis, Hubbard and Perkins, giving them the infusion of Latin rhythms while remaining true to the Jazz language. The band is made up of some of the best musicians in the Latin, Jazz and Pop scenes in London: TRYPL HORNS: Paul Booth (Incognito/Brand New Heavies), Trevor Mires (Jamiroquai/Incognito), Ryan Quigley (Gregory Porter/Beverly Knight) Dave Oliver: Keys (Lisa Stansfield/Snowboy) Satin Singh: Percussion (Jazz Jamaica/Roberto Pla/Pucho and the Latin Brothers) Javier Fioramonti: Bass and arrangements, MD (Alex Wilson/Jack Costanzo/Joe Bataan/Salsa Celtica) Flavio Correa: Vocals (Omar Puente/New Regency Orchestra) Will Fry: Percussion (Tom Misch, Tony Allen) Rob Luft: Guitar (Dave O'Higgins, Byron Wallen) "Expect loads of hard-hitting salsa, exploding drums and outrageously funky boogaloo". Time Out * "Ripping new Latin Jazz band from the finest musicians of London". Fact Magazine * "One of the best Latin Jazz-funk bands working the scene today". The Jazz Café, London Ltd Ed.

‘Rituals’ is the new album of spiralling drone & ambient formations by Italian artist Danilo Betti aka April Clocks (Union Editions / Mixed Up); a new work of sublime disorientation by the Rimini-based outlier, arising from a period of reinvigorated artistic practice.

Emerging just over a year after the project’s second album ‘It Takes Time’, ‘Rituals’ heads deeper into spheres of consuming, hypnagogic haze, coursing through nine coalescent compositions of amorphous yet absorbing electronics.

Where ‘It Takes Time’ represented an autodidactic interpretation of Betti’s formative influences – namely shoegaze & proto-ambient - ‘Rituals’ is an enigmatic proposition, the product of subconscious resonances, a mysterious sound world that finds traces of evanescent beauty and uncanny captivation in sustained tones, cavernous oscillations, and aesthetic imperfections, like the notes of subtle surface noise embedded within many of these productions.

Attesting to the value of Betti’s background as an industrious solo artist, making music away from prevailing sites of activity, ‘Rituals’ consolidates the inspirations and hallmarks of the April Clocks project into an acute reflection of Betti’s vision, one that feels completely his own.

In the buried somnolent splendour of the opener ‘Hypersleep’, through the sound art rustle and time-stretched cycles of ‘A Cure’, into the stroboscopic magnitude of ‘Ceremony’ and the haunting string loops of ‘Coward’, Betti captures compelling impressions drawn from a submerged perspective; a deluge of smokescreens and crosscurrents from the other side.

Bearing the influence of subliminal states, ‘Rituals’ is nevertheless lucid and arresting. There are sumptuous holding patterns of ambient evaporation that stream into vast maelstroms of sound (‘Displaced Euphoria’), enervated organ themes that distil sensations of stasis and dissociation (‘Wound’), as well as psychedelic movements in wide tracts of negative space (‘No Time, No Land’). From here, the acoustic glitch of ‘Disappearer’ and the stratospheric slipstreams of ‘Mirror Being’ bring the album to an astonishingly dramatic conclusion.

Throughout such moments of reverie and tension, ‘Rituals’ makes for a hypnotic listening experience. It’s an album that signals a pronounced sense of development for the April Clocks project, from past vestiges of physicality to present degrees of heightened abstraction and ethereality, from the Warp-influenced rhythms and frameworks of ‘It Takes Time’ to the wide- ranging, experimental sounds that unfold here.

Encompassing forms of decomposition and otherworldly futurism, decay and sublimation, distortion and lustre, this is unique, cerebral music that reaches inward and ascends outward, drifting elsewhere, according to its own coordinates.

Recorded and Mixed at Tower of Disintegration, 2022.
Mastered by Miles Whittaker.

If you made music the way you cook, what would it sound like? For this tape compilation, we invited artists to consider the connection between food and sound, music and cooking. We envisioned an assorted mixtape—an auditory cookbook, of sorts—of songs, poems, field recordings, and aural experiments, inspired by recipes, food preparation processes, dishes, and the experience of eating. We asked: How does attention to sound—the sputtering of the oil, the popping of the kernels, the hum of a rolling boil, the repetitive thump of a mixer—help you to be a better cook? Consider how these rhythmic, arhythmic, polyrhythmic, and droning sounds might inspire your recording. What would an audio recipe sound like? Can you set a rhyming recipe to music? How is a recipe like a musical score? Where do you find space for improvisation between the notes and instructions? What is “jazz baking”? Could the multivocality of a community cookbook be translated by a choir? What food or dish or process is deserving of an ode? What do you like to listen to when you’re in the kitchen? Write a benediction song that can be sung by a group before a meal. After over a year in which dining together en masse was not possible, what is it about the experience of collective eating that you want to express gratitude for? What is your food hymn? Together the compiled tracks–or ingredients, if you will–deepened and expanded our original vision, mixing, cooking, and baking together in a hearty, warm, and inventive aural menu for the most nourishing of communal meals.

One of the very first compositions by Bruno Sanchioni (Age of Love, BBE), released in 88 just at the beginning of the New Beat phenomenon that marked the history of Belgian music.



Along with Confetti's and Amnesia, it was one of the most popular tracks of its time and marked the start of a long and promising career for Bruno Sanchioni. Just 2 years later, he composed the original bassline for the legendary track "Age of Love", which, thanks to Jam & Spoon's remix, was to stamp the electronic music scene for several generations. Based on video clash created by the visionary Lil'Louis, the original slow tempo was enhanced by the highly recognisable vocal "The Story" and a simple but highly effective melody. It was already remixed 10 years later by Viper, with a rhythmic pattern once again inspired by the Chicago pioneers.



25 years on, this track still evokes emotion and still inspires a good number of artists to want to touch it up, and for the track's 35th anniversary it seemed appropriate to pay it a vibrant tribute by offering several remixes split into two different vinyl projects. In a faster, more acid-influenced style, the first project features a remix by DJHS, Manu Kenton and Furax, emblematic artists from the north of France, and is completed by Viper's excellent 98 remix for those who haven't heard it yet. DJHS is behind the legendary acid track 'Spokesman', Manu Kenton is one of the flagship artists of the 'Ghoststyle' label and Furax is behind 'Big Orgus'.