browse New Releases
week of
...new releases are checked in daily throughout each week
|
|
viewing 1 To 25 of 61 items
Next >>
|
|
|
|
|
|
|
|
|
|
LP
|
|
RANDB 135LP
|
The Who's 1973 US tour saw the band focusing on their just-released Quadrophenia LP. The seven Quadrophenia songs presented here have a harder edge and a raw power missing from their studio counterparts. Recording quality is excellent throughout, the record comes with full recording details and extensive sleeve notes. Recorded live at The Spectrum, Philadelphia in 1973 and broadcast on The King Biscuit Flower Hour US FM. LP comes with extensive sleeve notes.
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
RANDB 136LP
|
Across seven scintillating tracks The Who revisit their history, from early singles such as "I Can't Explain" and "My Generation" through tracks from Tommy to John Entwistle's "My Wife." The set climaxes with a rare encore of fan favorite "Naked Eye." Recorded live at The Spectrum, Philadelphia in 1973 and broadcast on The King Biscuit Flower Hour US FM radio. Sound quality is exceptional.
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
RANDB 138LP
|
The Four Seasons were really hitting a creative sweet spot when the tracks on this LP were broadcast via music TV shows such as Popendipity, Hullabaloo, and the Mike Douglas Show. The Sandy Linzer/Denny Randell songwriting/production team crafted stomping, four-to-the-floor Motown-style productions on the hits "Let's Hang On" and "Working My Way Back To You" with the legendary Buddy Salzman creating the distinctive drum sound. Later in 1966, Bob Gaudio came up with an arrangement of Cole Porter's "I've Got You Under My Skin" that made the song sound just like a Four Seasons track with its killer hook coda "Never win, never win" added at the insistence of producer Bob Crewe. Frankie Valli began his solo recording career by insisting that his composers provide material that did not require him to use falsetto and his first release was the Bob Crewe/Charlie Calello composition "(You're Gonna) Hurt Yourself." "Can't Take My Eyes Off You" was Valli's first number one, despite Philips having mothballed the finished record for almost a year because they feared it might break the group up. Here are two live versions of Frankie's Christmas 1967 single "To Give," both with full orchestral backing. For a live broadcast on NBC's Kraft Music Hall show in July 1968, the Four Seasons previewed "Saturday's Father," a track to be released on the 1969 psychedelic concept album Genuine Imitation Life Gazette. This LP also includes as a bonus track a hits medley from a 1971 transmission from BBC's Top Of The Pops.
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
ACOLOUR 046LP
|
A Colourful Storm begins presents a luxurious suite of daydreaming introspection courtesy of Unchained, the longstanding solo project of Nathaniel Davis who was last seen on vinyl in the final Blackest Ever Black release. Recorded at home between 2020 and 2023, Gabbeh is the latest expression of Davis's guitar-based instrumental musings and represents a stylistic evolution of his self-released noise tapes and CD-Rs into romantic, bossa nova-influenced melody-making. He wrote the tracks sporadically, with minimal instrumentation and intervention. Electric guitar, bass improvisations and rhythms from an old drum machine are layered and given new life, the space between them softly breathing with minutiae of the everyday: the buzz of cicadas, the passing of cars, the whistling of passersby. The psychogeography of Grenoble, Davis' home since 2018, played a conscious role in the weaving of Gabbeh's fabric: "I think certain songs reflect, in ways, Grenoble's natural surroundings. 'Drac' is named after the river that flows from the mountains down to the city; 'Dru' is the name of a well-known peak near Chamonix." Opener "Largo" sets the mood, its primitive samba rhythm concealed by a cloud of saudade. The bebop sensibility follows suit, the tension between its angular picks and percussive shuffle a wondrous balancing act, while the intoxicating sway of "Rambler" is perhaps the most poignant expression of longing and loss in recent years. Highly recommended for fans of Durutti Column, Maurice Feebank, Toninho Horta.
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
ACOLOUR 047LP
|
Head X'Change is the new album by Scythe, a long-distance collaborative project of David West and R.A. Jones. First appearing on two cloak-and-dagger cassettes distributed by Low Company in 2019 and 20, Scythe's "expertly modulated space blues and isolationist architectures" betrayed a uniquely sleep-deprived, DIY take on kosmische atmospheres, where brittle, decaying synthesizer loops found solace in endless trails of feedback and reverb. Head X'Change was recorded with modest instrumentation but grand ambition, recounting a journey, a memory -- of leaving earth, a loved one, a body. Lifting off from tense, unnerving "Tennessee," an ode is made to Genevieve, for perhaps the last time. Landing in eerily familiar valleys and amongst the lunar debris of "Dawngarden" and "Superwillow," marveling back at Earth inflicts a feeling of tininess and innocence, captured in the stargazing blues of "Embryo." The titular track then marks a sudden inward trajectory and shift in mood: cool winds and amorphous bursts of black and deep blue emanate from fissures, ominously foreshadowing tunnelling paranoia. "Mark, Ring Me" is a distant plea for human contact, but it may all be too late, for the aching psychedelia "For Iris" grieves alone into the abyss. For fans of Cluster, Craig Leon, Pete Namlook.
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
ACRSLP 1642LP
|
"Marion 'Little Walter' Jacobs was possibly one of the most important blues artists of the post-war era. He not only revolutionized harmonica playing by using amplification to compete with the growling guitars of the Chicago blues movement, he changed the way the harp was perceived and opened up a new world of instrumentation. Walter purposely pushed his amplifiers beyond their intended technical limitations to explore and develop radical new timbres and sonic effects previously unheard from a harmonica or indeed, any other instrument. This natural distortion opened musicians' ears to the possibilities of their own instruments and, in many ways, laid the foundations for the blues boom to come along in the sixties. Walter was the first, and to this point, only artist to have a No.1 hit with his self-penned, harp led instrumental Juke. He went on to have numerous R&B chart hits before succumbing to his wild, violent and hard drinking life-style. This LP features all Little Walters biggest R&B chart hits from his debut No.1 'Juke,' to his last chart entry in 1959, the ironically titled 'Everything Gonna Be Alright.'"
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
AR 163CD
|
Rich in ancestral flows, between Ghana and Europe, powered by deep, conga led rhythms and seductive warm horn riffs come Jembaa Groove, whose new album and newly rendered sound, shows that jazz, in its contemporary, soulful form is not just a London "ting." "Highlife" is Ghana's colorful national tradition and is at the heart of Berlin based Jembaa Groove's groove. And this newly crafted follow up to their debut album Susuma (AR 155CD) from 2022, goes even further in provoking new perceptions of jazz and soul music helped by young and senior blood from Ghana and its diaspora. Vocal masterclasses come via Sheffield (UK) based K.O.G and original veteran of the '70s and '80s highlife scene Gyedu Blay Ambolley with Ghanian multi-instrumentalist and producer Kwame Yeboah (Kwashibu Area Band) also providing inspiration. Yet this is not a breakout moment. For the last two years, Jembaa Groove have been entertaining discerning dancefloors worldwide. They continue to ratchet up a solid and loyal fanbase buoyed by breakout performances at SXSW (USA), ESNS and Supersonic Jazz Festival (Netherlands).
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
BEWITH 159LP
|
2024 repress. Bobby Caldwell's second album, Cat In The Hat, from 1980, is a work of soulful sophistication. Featuring the eternal "Open Your Eyes", sampled by J Dilla for Common's "The Light", it's about as essential as records get. Like its eponymous predecessor, it's been out of print for far too long. Whilst Ned Doheny is known in Japan as "Mr California", native New Yorker Bobby Caldwell has always been "Mr AOR" to his Far-Eastern friends. His distinct charm is an irresistible blend of soul, jazz, and pop influences. He possessed phenomenal songwriting prowess, smooth vocal performances, was both a great soul guitarist and dextrous keyboard player and known for genius chord progressions. It all added up to a multi-layered brilliance entering the studio, and the singular sound he landed on was laced with soulful, sweeping strings and funky horns, touching lightly on disco, while allowing his supple voice to carry the stunning tracks he'd crafted. Bobby sadly passed away on 23rd March 2023, after a long struggle with mitochondrial damage and oxidative stress, due to an adverse effect from a fluoroquinolone antibiotic. The reissue of Cat In The Hat will be available on vinyl across the globe, ensuring that fans -- and soul music enthusiasts worldwide -- can radiate in the deep beauty of this seminal album. Remastered and cut by both Simon Francis and Cicely Balston respectively, it has been pressed at Record Industry in Holland.
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
BEWITH 062LP
|
2024 repress; LP version. 140 gram vinyl; includes four-page insert with photos and liner notes. Three emotional years in the making, Be With and Efficient Space present Steve Hiett's Girls In The Grass. Pressed alongside the long-awaited reissue of his one-shot masterpiece, Down On The Road By The Beach (BEWITH 001CD/061LP), these ten Balearic soul instrumentals are of equal necessity; unrivalled beauty rescued from the fashion photographer-guitarist Paris Tapes (1986-1997). While recordings unintended for release should often be approached with caution, this is a rare case of unheard material being assembled as an indispensable and coherent piece. Girls In The Grass is something super special. The light and shadow that defines Hiett's music is arguably more compelling here. It speaks to us in a language that feels profound, yet entirely comforting and familiar. Girls In The Grass reintroduces Hiett's languid electric blues boogie, crafted on Saturday afternoons with fellow art director Simon Kentish. Kentish would cook, pour some wine, and then utilize his arsenal of technology. He'd dial up a chugging rhythm, together with some ambient pads or keyboard textures, and anchor the weightless gauze of Hiett's six-stringed touch. Hiett's guitar sings with the same clean, crisp tone as Down On The Road, animated by a carefree weekend groove. Unlike his defining album which was boiled under pressure, these subsequent sessions have all the time in the world. The naïve melodies chart a missing link between Vini Reilly's ventures into electronica and Booker T, sounding like sun-warped takes on wordless, fractured non-hits from his heroes The Beach Boys. Remastered from the previously unreleased, original masters by Simon Francis. These private moments are adorned with Hiett's singular photography and feature typically idiosyncratic liner notes from Mikey IQ Jones.
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
BJR 097LP
|
LP version. After a successful tour following the release of Alors Quoi (BJR 061LP, 2022) on Bongo Joe records, accompanied by a drummer/percussionist change, the prospect of what comes next naturally arose. Elements surfaced, including a desire for more low frequencies, a fascination with the marimba/vibraphone, and a liberating indifference to the difference between recorded and live performances. To evolve, the team collaborated with outsider Kwake Bass, known for collaborations with Kae Tempest, Tirzah, Mica Levi, and others. Despite aesthetic differences from Meril Wubslin's previous albums, this divergence was seen as key -- an enriching risk that resulted in a unique blend of influences. The acoustic core of Meril Wubslin now embraces electronic elements, revealing a more powerful and urban dimension. While maintaining a commitment to French lyrics, the themes explore the concrete yet remain grounded in the intimate and the sensitive, avoiding overly clear and univocal messages.
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
2LP
|
|
CORE 003LP
|
Derek Bailey: guitar. Simon H. Fell: double bass. Recorded at Sound 323, London by Tim Fletcher on 15 August 2001. Remastered by Rupert Clervaux, September 2023. "Both Bailey and Fell are master musicians who improvise together at an intense and challenging level. This set bristles with focused energy. Both instruments sound closely mic'd so that we can hear each scrape, pluck and bow. At times, it seems as if Mr. Bailey is on the verge of exploding and then things calm do a bit only to flare up again. Mr. Fell sounds as if he is using a peg or wooden object on his bass at times and coaxing brittle percussive sounds. I found this set to be quite exciting, that edge-of-your-seat dynamic! Pretty incredible throughout!" --Bruce Lee Gallanter
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
2LP
|
|
ACV 4002LP
|
2024 repress. "On May 12, 1963, Miss Simone gave her first concert in Carnegie Hall. Her impeccable piano mastery and her distinctive vocal stylings thrilled those present in the famed landmark of musical events (...) From her vast repertoire, including many numbers that have become 'her' songs, either because she introduced them or because she had recorded the definitive version, Miss Simone compiled an exceptional program for her Carnegie Hall concert. Some of the numbers in this album have been done on disks before, but none have ever sounded as well." --from the original liner notes; The COMPLETE Nina Simone at Carnegie Hall double LP in ACV (Audiophile Clear Vinyl) quality with an exceptional number of bonus tracks (side 3 and side 4).
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
ESP 5085CD
|
This group evolves in leaps and bounds. You've never heard a jazz piano trio sound like this album -- not even this band on its previous album, the much-praised World Construct. That said, there is a through line from the first Matthew Shipp Trio album, 1990's Circular Temple (ESPDISK 4082CD, 2023 reissue) to New Concepts in Piano Trio Jazz. Says Shipp, "Yes, we went there with that type of title this time. To anyone who thought the trio had reached its apotheosis on World Construct, you are in for a surprise -- this is light years ahead of World Construct. Of course each CD is its own world and valuable for that, but I am in complete and utter shock at what I am listening to. New Concepts in Piano Trio Jazz sounds completely thoroughly composed and yet completely spontaneously improvised at the same time. This is a major album in jazz history. Newman Taylor Baker is one of the most profound percussionists ever. Michael Bisio sounds like God's angel on this album. He has dedicated himself to working in my vision for years now and I think this might be the ultimate of how we can read each other and hook up. This is one of the greatest trio albums ever. While creating a whole new cosmos we manage to escape every cliché that exists in jazz and in avant jazz. This really might be the last trio CD because it really cannot get better than this."
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
FARO 242CD
|
Following Far Out's reissue of Agustin Pereyra Lucena Quartet's La Rana (FARO 227CD, 2022), the label continues its memorialization of the late, great Argentinian guitarist's music, with the first ever direct from tape, audiophile reissue of Pereyra Lucena's self-titled debut album from 1970. One of the outstanding South American guitarists, Agustin Pereyra Lucena commanded a unique position in Latin music history. He hailed from Buenos Aires, but was obsessed with the music of Brazil. A disciple of Antônio Carlos Jobim, Baden Powell, and Vinicius De Moraes, the nature of Agustin's Argentinian roots combined with the nurture of Brazil and its music to give Agustin a sound entirely his own. Agustin enlisted fellow Argentinian Brazilophiles Mario "Mojarra" Fernandez, who played bass, and drummer Enrique "Zurdo" Roizner. For vocals, Agustin brought in his old friend, a French teacher called Helena Uriburu, who at the time had (unbelievably) never sung in a studio before. The atypical bossas and spiritual swinging sambas, composed by many of Agustin's aforementioned heroes, were elevated to new heights by Agustin's dazzling arrangements and phenomenal guitar playing. The almost cosmic reaches Agustin achieved with his sound are balanced against the stylish sophistication and breezy nature of the music. Accompanied by Roizner's shuffling samba jazz drums, opener "O Astronauta" is Agustin's cover of the Brazilian guitar standard composed by Baden Powell. Another Baden Powell classic, "Consolacao" is an extended full-band set, which features Agustin's crisp guitar dancing around a hypnotic rhythm section. Upright bass is swapped out for a big, round-sounding electric one, which sits loud in the mix for almost seven minutes of deep, groovy, distinctively early-seventies magic. Agustin passed away in 2019, and it is only in recent years that he is starting to gain his plaudits as one of South America's greats.
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
FARO 243CD
|
Meaning "Hi" in Uruguayan slang, Opa are a South American jazz-funk phenomenon. Fusing Uruguay's native Candombe rhythms with North American jazz and pop music, Opa's space-age synthesizers, boisterous grooves and compositional magic expressed a distinctive Afro-Uruguayan voice within the global jazz vernacular: a voice which remains as vital and unique today as when it was recorded, almost half a century ago. Having migrated to New York from Montevideo in the early seventies, Opa were heard playing in a nightclub by renowned producer and label owner Larry Rosen. At Holly Place Studios between July and August 1975, Rosen oversaw Opa's first recordings using a four track TEAC 3340. The album would become home to some of Opa's hardest hitting funk jams, with moments of songwriting wonderment and soulful pop and rock progressions combining with the jazz-funk fusion Opa would become known for. Mysteriously (for reasons unknown to the band), Opa's debut was shelved and remained so until the mid-1990s. But the Back Home recordings were used as demos, gaining Opa a record deal with Milestone Records and the subsequent release of two cult-favorite albums: Goldenwings (1976) and Magic Time (1977). Opa would also collaborate with North American titans including bassist Ron Carter, producer Creed Taylor, and Brazilian icons Airto Moreira, Flora Purim, Hermeto Pascoal, and Milton Nascimento. In more recent years Opa's music has found new audiences after being sampled by Captain Murphy (aka Flying Lotus) and Madlib. For fans of Azymuth, Weather Report, Cortex, and The Headhunters.
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
FARO 243LP
|
LP version. Meaning "Hi" in Uruguayan slang, Opa are a South American jazz-funk phenomenon. Fusing Uruguay's native Candombe rhythms with North American jazz and pop music, Opa's space-age synthesizers, boisterous grooves and compositional magic expressed a distinctive Afro-Uruguayan voice within the global jazz vernacular: a voice which remains as vital and unique today as when it was recorded, almost half a century ago. Having migrated to New York from Montevideo in the early seventies, Opa were heard playing in a nightclub by renowned producer and label owner Larry Rosen. At Holly Place Studios between July and August 1975, Rosen oversaw Opa's first recordings using a four track TEAC 3340. The album would become home to some of Opa's hardest hitting funk jams, with moments of songwriting wonderment and soulful pop and rock progressions combining with the jazz-funk fusion Opa would become known for. Mysteriously (for reasons unknown to the band), Opa's debut was shelved and remained so until the mid-1990s. But the Back Home recordings were used as demos, gaining Opa a record deal with Milestone Records and the subsequent release of two cult-favorite albums: Goldenwings (1976) and Magic Time (1977). Opa would also collaborate with North American titans including bassist Ron Carter, producer Creed Taylor, and Brazilian icons Airto Moreira, Flora Purim, Hermeto Pascoal, and Milton Nascimento. In more recent years Opa's music has found new audiences after being sampled by Captain Murphy (aka Flying Lotus) and Madlib. For fans of Azymuth, Weather Report, Cortex, and The Headhunters.
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
GODUNK 103LP
|
Liverpool's long lost '90s indie rock noisemakers, compiling three singles and unreleased tracks. Back in the 1990s Playhouse were Liverpool's premiere "honey-souled indie rock band." They had a devoted following around the country after supporting the likes of Sleater Kinney, Unwound, Penthouse, Pavement, Sebadoh, Feeder, and Gary Numan. With three 7" singles under their belt and support from the NME and John Peel, the band were due to record their debut album until disaster struck when the drummer, Simon, broke his leg in a bizarre incident. Simon later went on to play with the rock band, Black Spiders, and now performs under the name of Blobb Ross. Singer and guitarist Pete continues to write songs. He is Liverpool's most prolific and enigmatic figure, writing some of the most beautiful songs around. Bassist Jason went on to perform with Mugstar, Sex Swing, Klamp, Domes, Twin Sister, and JAAW. Dynamo compiles the three singles they released, alongside unreleased tracks, including a cover of Sebadoh's "It's So Hard To Fall in Love."
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
HG 2401LP
|
Musique Infinie is the collaborative project of Manuel Oberholzer a.k.a. Feldermelder and Noémi Büchi. Their album Earth, released through the Hallow Ground label, is based on a spontaneously composed live score for Alexander Dovzhenko's groundbreaking 1930 silent movie Zemlya ("Earth") created for the 24th edition of the VIDEOEX festival for experimental film. Frequently cited as a masterpiece of early 20th century filmmaking, the movie deals with the collectivization of Ukraine's agriculture. The Swiss duo complemented it with atmospherically rich electronic soundscapes that are both deeply immersive and highly evocative. As a stand-alone music release, the two-piece Earth album captures the essence of Büchi and Oberholzer's collaboration that is marked by mutual trust and musical versatility that puts them in a state of "togetherness trance," as they call it. Oberholzer has been highly productive as a composer, musician, sound designer, and installation artist in recent years, releasing a slew of solo albums as well as a variety of collaboration records with artists such as Sara Oswald and Julian Sartorius. Büchi has recently debuted as a solo composer and sound artist working with electroacoustic techniques to create a »symphonic maximalism for "the end of the world," as she dubs it. Both are prolific and versatile artists with a penchant for working conceptually, however their collaboration as Musique Infinie is an improvisational and thus by design an intuitive one. Their sessions start with an exchange on emotions and thoughts rather than theoretical questions or aesthetic debates. When they get to work, they rarely talk. They approached Earth the same way, improvising freely together and using only a few select samples from the film's original score in the process. Their open-ended approach is marked by an aesthetic ambivalence that perfectly corresponds with the movie's own inherent contradictions. Dovzhenko approached his socio-political subject with poetic imagery and philosophical rigour, juxtaposing notions of traditionality with the depiction of modernity. Büchi and Oberholzer accordingly work with motives that at once seem anthemic and elegiac, working with sounds and musical motives that evoke a sense of familiarity in one moment before transforming into something futuristic and uncanny in the next. Their score for Zemlya is not to be understood as a mere interpretation of the movie, but rather a re-narration or even re-negotiation of its aesthetic and emotional qualities under their very own terms.
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
HG 2402LP
|
Sound of Matter is the debut album by Romanian sound artist and composer Simina Oprescu. The two pieces draw on research conducted with 15 historical church bells at the Märkisches Museum and the Stadtmuseum Berlin. After the artist had presented the results of her studies of the connection between matter and harmony in the form of a multi-channel installation, she has translated the underlying approach of this site-specific work into an album that unfolds slowly, consistently setting in motion subtle tonal changes that continuously change the mood of the two pieces. Sound of Matter is both minimalist and maximalist, creating an infinitely rich and multi-layered dronescape that modestly invites its audience to get lost in the sonic experience. Oprescu has been fascinated by church bells since her childhood spent in Transylvania since the instruments were shrouded in mystery, as she explains in an in-depth essay that accompanies the album. She started working with the archive of the Märkisches Museum, which included 15 historical church bells that were built between the 15th and the early 19th century. Since every bell sounds different according to its shape, material, and density, Oprescu abstracted these qualities in a mathematical formula. This enabled her to recreate the harmonic tone of the individual bells with Max/MSP. She then composed a piece with semi-overlayed tones, i.e. overlapping frequencies. Naturally, this resulted in a beating effect that provided the music with a sense of urgency, though the five-second-long natural reverb of the Märkisches Museum's Große Halle turned it into a "warm blanket of sound," as the artist herself puts it. This is perfectly recreated on Sound of Matter due to the music being presented in mono, bringing out the intrinsic movement of the beatings with more nuance than a stereo version would. Sound of Matter feels warm and welcoming even when different frequencies seem to create friction between each other or when the subtle beating effects turn into throbbing rhythms like at the end of the record. It manages to explore both Oprescu's personal fascination with church bells and psychological and psychoacoustic questions relating to them as well as philosophical issues connected with them. This music is profoundly physical, but also intellectually stimulating -- perfectly at home in the catalogue of the Swiss Hallow Ground label between records by Kali Malone, Lawrence English, or Siavash Amini.
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
HPS 299LP
|
LP version. Acid Mammoth presents this brand-new full-length album, Supersonic Megafauna Collision. Get ready to be overtaken by a storm of pachyderm guitar riffs, wooly bass, explosive drumming, and witchy vocals! Supersonic Megafauna Collision is an unholy celebration of all things heavy, and as the album progresses it just keeps getting doomier! It is an evil and explosive album, with 666% fuzz! Recorded, mixed and mastered at Descent Studio. Drums recorded at Ritual Studios. Artwork by Branca Studio.
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
HPS 299LTD-LP
|
LP version. Red color vinyl. Acid Mammoth presents this brand-new full-length album, Supersonic Megafauna Collision. Get ready to be overtaken by a storm of pachyderm guitar riffs, wooly bass, explosive drumming, and witchy vocals! Supersonic Megafauna Collision is an unholy celebration of all things heavy, and as the album progresses it just keeps getting doomier! It is an evil and explosive album, with 666% fuzz! Recorded, mixed and mastered at Descent Studio. Drums recorded at Ritual Studios. Artwork by Branca Studio.
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
HFN 166LP
|
Just when you thought you had Kasper Bjørke figured out he comes back with another great musical surprise. His new album, Puzzles, which will be released on hfn music, follows two recent collaborative EPs on Live at Robert Johnson and Mule Musiq as well as his second Kasper Bjørke Quartet neoclassical/ambient album Mother on Kompakt (KOM 456LP, 2022). Puzzles is Kasper's love letter to the sound of early 2000s New York -- merged with his Scandinavian sense of producing songs that goes beyond conventional club music; combining disco-tinged instrumentations mixed with elements of '80s funk, jazz and contemporary pop songwriting, creating something familiar yet, something very fresh and innovative at the same time. The album includes collaborations with a wide range of musicians and vocalists. From California-based, indie-disco troubadour Woolfy (DFA, Rong, Permanent Vacation, etc.) to the Icelandic dream-folk trio Systur aka Sísý Ey (who also featured on Kasper's 2014 single Apart, where the Michael Mayer remix became a timeless club anthem), as well as other longtime collaborators and artist friends: Toby Ernest, Jacob Bellens, WhoMadeWho's Tomas Høffding on bass, Posh Isolation affiliate Frederik Valentin on guitar and the young, rising jazz star Oilly Wallace on saxophone and flute. Essentially, the majority of Puzzles is played and recorded live, including the drums by Rasmus Littauer (School of X, MØ). Many of the songs emerged from chord progressions written during studio sessions between Kasper and Toby -- which Kasper then produced into a colorful and effective album, rooted in an expressive live feeling far from programmed patterns. Puzzles is a new step for Kasper as a producer and artist, showcasing his ability to move and flow freely between genres and expressions, however still deeply rooted in his love and affection for the classic disco groove -- which is only natural after more than two decades as an active DJ. Another piece has been added to the musical puzzle of Kasper Bjørke. Also features Woolfy.
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
HONEY 092LP
|
Double bassist and composer Cachao Lopez was one of the greatest personalities in the history of Cuban music. A true innovator who already in the '40s pioneered a new exciting form of dance music subsequently worldwide known as mambo. Cuban Music in Jam Session stands as one of his classic albums from the late '50s. A great example of Cachao's innovative jam sessions called "descargas" where various legendary musicians such as tenor sax player Emilio Penalver and trumpeters Armando "Chocolate" Armenteros and Alejandro "Negro" Vivar, improvise over highly infectious grooves and rhythms laid down by Cachao himself on bass and a bunch of super tight percussionists. A great statement from the Latin music golden era!
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
ITR 384CD
|
"Meatbodies' latest undertaking and borderline lost album, Flora Ocean Tiger Bloom, is their most varied and realized work to date. It's a melodic, hook-filled rock epic in which frontman and lead guitarist Chad Ubovich faces the trials of sobriety, redemption, reinvention while literally learning to walk and play again. Resurrection not only accompanies the record, but its production as well, Flora Ocean Tiger Bloom examines themes surrounding love and loss, escapism, defeatism, hedonism, psychedelics and much more. By 2017, Ubovich had reached a crossroads. After years of increasingly insane shows playing to heaving crowds with an ever-evolving and rotating door of personnel, fatigue had taken its toll and he realized another change was on the horizon. Retreating to the seedy Los Angeles underbelly -- in search of meaning and a reset -- he escaped into that world, ignoring his own well-being, trying to forget his successes. It was at this point that Flora Ocean Tiger Bloom began to take shape -- a project built by a man searching for new beginnings and his own sense of self. After sobering up, sessions began with longtime collaborator Dylan Fujioka. However, due to discrepancies with the studio, tensions were high and the plug was pulled. And as the world took a back seat, so did the idea of Flora Ocean Tiger Bloom. Not wanting to sit still at home, Ubovich began to comb through his previous demos, and, with that, 333 was born, the now de facto third Meatbodies album. Yet Flora was never far from Ubovich's mind. When restrictions started to lift, Ubovich headed to Gold Diggers Sound in Los Angeles, backed by engineer Ed McEntee and a team of colleagues and friends, and completed the final act to the album. It recalls the searing Blue Cheer-meets-Iggy Pop-with-psychedelia that permeated previous releases, but adds new elements of shoegaze, classic alternative, Britpop, drone, and hints of country. Simultaneously an ode to '80s LA punk and the rise of indie/alternative music in the U.K., it plays like a radio station broadcasting from the void."
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
2LP
|
|
ITR 384LP
|
Double LP version. "Meatbodies' latest undertaking and borderline lost album, Flora Ocean Tiger Bloom, is their most varied and realized work to date. It's a melodic, hook-filled rock epic in which frontman and lead guitarist Chad Ubovich faces the trials of sobriety, redemption, reinvention while literally learning to walk and play again. Resurrection not only accompanies the record, but its production as well, Flora Ocean Tiger Bloom examines themes surrounding love and loss, escapism, defeatism, hedonism, psychedelics and much more. By 2017, Ubovich had reached a crossroads. After years of increasingly insane shows playing to heaving crowds with an ever-evolving and rotating door of personnel, fatigue had taken its toll and he realized another change was on the horizon. Retreating to the seedy Los Angeles underbelly -- in search of meaning and a reset -- he escaped into that world, ignoring his own well-being, trying to forget his successes. It was at this point that Flora Ocean Tiger Bloom began to take shape -- a project built by a man searching for new beginnings and his own sense of self. After sobering up, sessions began with longtime collaborator Dylan Fujioka. However, due to discrepancies with the studio, tensions were high and the plug was pulled. And as the world took a back seat, so did the idea of Flora Ocean Tiger Bloom. Not wanting to sit still at home, Ubovich began to comb through his previous demos, and, with that, 333 was born, the now de facto third Meatbodies album. Yet Flora was never far from Ubovich's mind. When restrictions started to lift, Ubovich headed to Gold Diggers Sound in Los Angeles, backed by engineer Ed McEntee and a team of colleagues and friends, and completed the final act to the album. It recalls the searing Blue Cheer-meets-Iggy Pop-with-psychedelia that permeated previous releases, but adds new elements of shoegaze, classic alternative, Britpop, drone, and hints of country. Simultaneously an ode to '80s LA punk and the rise of indie/alternative music in the U.K., it plays like a radio station broadcasting from the void."
|
viewing 1 To 25 of 61 items
Next >>
|
|