Label:Pingipung
Cat-No:Pingipung65
Release-Date:17.05.2019
Genre:Alternative/Electronic
Configuration:LP
Label:Pingipung
Cat-No:Pingipung65
Release-Date:17.05.2019
Genre:Alternative/Electronic
Configuration:LP
1
Anadol - Görünmez Hava
2
Anadol - Ay Çürüdü
3
Anadol - Adieu
4
Anadol - Casio Havasi
5
Anadol - Ya Evde Korksan
6
Anadol - 78 Yilinin En Uzun Dakikasi
Anadol is a psychedelic synth folk project by Go¨zen Atila, a Turkish sound artist and photographer based in Berlin. Her third album Uzun Havalar is based on collective improvisations of middle eastern folk songs called „uzun hava“. They turn out as rich, atmospheric synth ballads. A diverse roster of improvising musicians creates their fascinating complexity. Anadol recorded them during extensive sessions in Istanbul. You can hear drummers laughing and playing guitars, composers howling, announcements in French and screams in no language, record collectors playing oscillators, and trumpets through spacious echoes. Anadol represents Go¨zen Atila’s liberation from a rather academic approach to electronic composition which she pursued during her music technology studies in Istanbul. She calls her education the „darkness of serious music“ where she first tried to belong, then to break free with the help of lo-fi synth pop. As a producer of radio plays and an expert field recording artist she has developed a distinct sense of timing, editing and sound design. Her Anadol project walks in the footsteps of lone synth experimentalists like Bruce Haack and The Space Lady with their childlike curiosity for electronic sounds, pushing the boundaries of minimal equipment. On Uzun Havalar she translates her experimental background into these floating folk ballads. The album was originally released on tape via Kinship in 2018.
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WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
More records from Anadol
Label:Pingipung
Cat-No:Pingipung74
Release-Date:18.03.2022
Genre:Alternative/Electronic
Configuration:LP
Label:Pingipung
Cat-No:Pingipung74
Release-Date:18.03.2022
Genre:Alternative/Electronic
Configuration:LP
1
Anadol - Gizli Duygular
2
Anadol - Eciflere Gel
3
Anadol - Ablamin Gözleri
4
Anadol - Istasyon Plajinda Bir Tren Batti
5
Anadol - Felicita Lale
“Whether it is traditional or contemporary, we need to be authentic,” says Go¨zen Atila who performs as Anadol. “I don't claim that I am authentic, but this is what I want to achieve.”
A sense of authentic exploration, introspection and celebration coats every inch of Anadol’s latest album. After 2019’s Uzun Havalar, the Turkish artist returns with an album that continues to explore a variety of deeply embedded musical traditions while also hurtling into new terrain.
The music and influences - as well as the history, culture and geography behind them - that make up Atila as an artist all coalesce to create something entirely new. The result is something that is simultaneously exploring history and tradition, while harnessing innovative modern sounds and techniques. “If there is any tradition I am somehow connected to, or influenced by, then it’s multi- genres,” she says. “Such as Turkish Pop and Arabesk music from this country where I grew up. There is a connection to Folk and also French pop or Flamenco, Middle Eastern melodies and orchestration, Greek adaptations, Kenny G. solos, American guitars.”
This can be heard on Felicita, not in as much as you can link up the influences directly but in the way it glides across genres, eschewing convention and predictability along the way, to result in a kaleidoscopic experience. For the album, Atila found a talented roster of Jazz musicians in Istanbul who she recorded on top of her synth productions and field recordings. Soon enough saxophone, drums and strings began to stack up against preset drum loops from vintage organs. It’s a record where woozy psychedelic excursions bleed into dreamy synth lines, immersive ambience and the occasionally disconcerting yet incredibly tactile use of field recordings.
If it’s an album that feels like it travels through a variety of feelings, then it’s because the concept is loosely rooted in such a journey. Felicita translates as “happiness” and this album is something that explores the complexities of such an emotion. “I did not name the album like this because I just wanted to call it happiness,” Atila says. “A song like ‘Felicita Lale’ is a sad and confused song about a female character who can't get out of bed. It’s a funny rumination, in her thoughts, saying to get up and lie down repeatedly. At some point the lyrics say: "hep agla, felicita", meaning: "Cry all the time, Felicita". Like she is talking to happiness itself and telling it to cry. So it is not about happiness, it is more about the concept of happiness which can be very sad.”
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
A sense of authentic exploration, introspection and celebration coats every inch of Anadol’s latest album. After 2019’s Uzun Havalar, the Turkish artist returns with an album that continues to explore a variety of deeply embedded musical traditions while also hurtling into new terrain.
The music and influences - as well as the history, culture and geography behind them - that make up Atila as an artist all coalesce to create something entirely new. The result is something that is simultaneously exploring history and tradition, while harnessing innovative modern sounds and techniques. “If there is any tradition I am somehow connected to, or influenced by, then it’s multi- genres,” she says. “Such as Turkish Pop and Arabesk music from this country where I grew up. There is a connection to Folk and also French pop or Flamenco, Middle Eastern melodies and orchestration, Greek adaptations, Kenny G. solos, American guitars.”
This can be heard on Felicita, not in as much as you can link up the influences directly but in the way it glides across genres, eschewing convention and predictability along the way, to result in a kaleidoscopic experience. For the album, Atila found a talented roster of Jazz musicians in Istanbul who she recorded on top of her synth productions and field recordings. Soon enough saxophone, drums and strings began to stack up against preset drum loops from vintage organs. It’s a record where woozy psychedelic excursions bleed into dreamy synth lines, immersive ambience and the occasionally disconcerting yet incredibly tactile use of field recordings.
If it’s an album that feels like it travels through a variety of feelings, then it’s because the concept is loosely rooted in such a journey. Felicita translates as “happiness” and this album is something that explores the complexities of such an emotion. “I did not name the album like this because I just wanted to call it happiness,” Atila says. “A song like ‘Felicita Lale’ is a sad and confused song about a female character who can't get out of bed. It’s a funny rumination, in her thoughts, saying to get up and lie down repeatedly. At some point the lyrics say: "hep agla, felicita", meaning: "Cry all the time, Felicita". Like she is talking to happiness itself and telling it to cry. So it is not about happiness, it is more about the concept of happiness which can be very sad.”
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
More records from Pingipung
1
Quasi Dub Development - Let’s Communicate feat. Lee Perry (Elijah Minnelli Version)
2
Quasi Dub Development - Let’s Communicate feat. Lee Perry
More than a decade ago, dub legend Lee “Scratch” Perry (1936–2021) walked into a Quasi Dub Development recording session in New York. His signature freestyle lyrics — dadaist and quirky as only the Upsetter could deliver — became part of their Little Twister album, released in 2014. Looking back on Pingipung's 22-year history, “Let’s Communicate” is certainly one of the highlights on the label, but it remained under the radar as part of the LP. In 2025, this standout track will receive this special 7’’ re-release, paired with a version by UK dub wizard Elijah Minnelli.
The Quasi Dub Development is an Italian-German-American collective around Luca Fadda and F.S.Blumm. The musicians are mostly renowned for their ambient, neo-classical and experimental music, and they share a passion for dub. They explore the genre using their acoustic instruments, creating a unique, playful, and atmospheric approach to dub, with only sparse use of electronics.
To coincide with the 7’’ single, a revisited version of the Little Twister album from 2014 will also be released on all digital platforms. This new edition includes the instrumentals of the vocal tracks that originally featured contributions not only from Lee Perry but also Lady Ann. Limited copies of the original LP are also still available on Pingipung’s Bandcamp.
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WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
The Quasi Dub Development is an Italian-German-American collective around Luca Fadda and F.S.Blumm. The musicians are mostly renowned for their ambient, neo-classical and experimental music, and they share a passion for dub. They explore the genre using their acoustic instruments, creating a unique, playful, and atmospheric approach to dub, with only sparse use of electronics.
To coincide with the 7’’ single, a revisited version of the Little Twister album from 2014 will also be released on all digital platforms. This new edition includes the instrumentals of the vocal tracks that originally featured contributions not only from Lee Perry but also Lady Ann. Limited copies of the original LP are also still available on Pingipung’s Bandcamp.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
Label:pingipung
Cat-No:Pingipung086
Release-Date:01.11.2024
Genre:Alternative/Electronic
Configuration:LP
Label:pingipung
Cat-No:Pingipung086
Release-Date:01.11.2024
Genre:Alternative/Electronic
Configuration:LP
1
Anadol / Marie Klock - La Grande Accumulation
2
Anadol / Marie Klock - Sirop Amer (La Goule)
3
Anadol / Marie Klock - Quand Le Grenier Aura Pris Feu
4
Anadol / Marie Klock - Sabots Triviaux
5
Anadol / Marie Klock - Sonate Au Jambon
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Anadol / Marie Klock - La Reine Des Bordels
Anadol and Marie Klock have teamed up for a joint album, La Grande Accumulation. They met two years ago at a festival in England crowded with violent seagulls and outsider musicians. Klock being prone to barking on stage and Anadol not laughing at jokes she doesn’t find funny, they straight away had the intuition that they would meet again. And so they did, a few months later, at Anadol’s studio in Istanbul.
Today, the two Pingipung artists present the fruit of this musical friendship. La Grande Accumulation was born out of the peculiar atmosphere of the studio neighbourhood in Büyükada, an island where thousands of cats run free and humans randomly destroy things during apocalyptic times when parts of Turkey had just been turned into dust by terrible earthquakes. The French lyrics are inspired by hours of conversations, the music is consequently drenched in absurdity, overflowing with a strong urge to live and enjoy. According to the LP sticker, this album has been certified “Best handshake of 2024”, and stickers never lie.
La Grande Accumulation brings together Marie Klock's mysterious metaphors and Anadol's intriguing radiophonic psych-pop. Stretching forms beyond common sense to see how long they can resist is probably their favourite game. The result are six highly imaginative tracks that challenge the sub-3-minutes standards of Spotify pop.
Gözen Atila aka Anadol is well known to the Pingipung audience, with three solo LPs on the label. Her music follows a kind of collage logic, she interweaves countless styles, combining field and studio recordings with obscure quotation marks here and there. "I hope no one will come and explain this music to me, because it's the most beautiful music there is", says Kristoffer Cornils about her solo album Felicita.
Marie Klock is a French writer and musician who produces songs oscillating between synthpop and neo-folk, full of anarchic humour and existential dread. Her recent solo LP on Pingipung was a captivating tribute to the recently deceased poet Damien Schultz entitled Damien est vivant.
Marie Klock delivers her lyrics in song or spoken word, stream-of-consciousness musings on strange human adventures, and her rich keyboard melodies culminate in a nonchalant dialogue with the bass trombone (La Reine des Bordels). In the opulent opening piece (La Grande Accumulation), a woman is cursed to take home everything she kicks in the street; a bit later, we stumble upon a ghoul hiding in the gutter (Sirop amer), Mona Lisa loses her teeth (Sonate au Jambon) and a warthog struggles to climb the stairs of a silver tower (Sabots triviaux).
La Grande Accumulation was mixed and mastered by Jonas Romann at Chaos Compressor Club in Hamburg and cut to vinyl by Kassian Troyer at D&M in Berlin. It's an audiophile LP that invites to focus on every detail in this heap of musical ideas.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
Today, the two Pingipung artists present the fruit of this musical friendship. La Grande Accumulation was born out of the peculiar atmosphere of the studio neighbourhood in Büyükada, an island where thousands of cats run free and humans randomly destroy things during apocalyptic times when parts of Turkey had just been turned into dust by terrible earthquakes. The French lyrics are inspired by hours of conversations, the music is consequently drenched in absurdity, overflowing with a strong urge to live and enjoy. According to the LP sticker, this album has been certified “Best handshake of 2024”, and stickers never lie.
La Grande Accumulation brings together Marie Klock's mysterious metaphors and Anadol's intriguing radiophonic psych-pop. Stretching forms beyond common sense to see how long they can resist is probably their favourite game. The result are six highly imaginative tracks that challenge the sub-3-minutes standards of Spotify pop.
Gözen Atila aka Anadol is well known to the Pingipung audience, with three solo LPs on the label. Her music follows a kind of collage logic, she interweaves countless styles, combining field and studio recordings with obscure quotation marks here and there. "I hope no one will come and explain this music to me, because it's the most beautiful music there is", says Kristoffer Cornils about her solo album Felicita.
Marie Klock is a French writer and musician who produces songs oscillating between synthpop and neo-folk, full of anarchic humour and existential dread. Her recent solo LP on Pingipung was a captivating tribute to the recently deceased poet Damien Schultz entitled Damien est vivant.
Marie Klock delivers her lyrics in song or spoken word, stream-of-consciousness musings on strange human adventures, and her rich keyboard melodies culminate in a nonchalant dialogue with the bass trombone (La Reine des Bordels). In the opulent opening piece (La Grande Accumulation), a woman is cursed to take home everything she kicks in the street; a bit later, we stumble upon a ghoul hiding in the gutter (Sirop amer), Mona Lisa loses her teeth (Sonate au Jambon) and a warthog struggles to climb the stairs of a silver tower (Sabots triviaux).
La Grande Accumulation was mixed and mastered by Jonas Romann at Chaos Compressor Club in Hamburg and cut to vinyl by Kassian Troyer at D&M in Berlin. It's an audiophile LP that invites to focus on every detail in this heap of musical ideas.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
1
Odd Okoddo (Olith Ratego/Sven Kacirek) - Aora Odinona Yo
2
Odd Okoddo (Olith Ratego/Sven Kacirek) - Joka Awuor
3
Odd Okoddo (Olith Ratego/Sven Kacirek) - Auma
4
Odd Okoddo (Olith Ratego/Sven Kacirek) - Okitwoye
5
Odd Okoddo (Olith Ratego/Sven Kacirek) - Ngoma Ni Mzito
6
Odd Okoddo (Olith Ratego/Sven Kacirek) - Hera Kende
7
Odd Okoddo (Olith Ratego/Sven Kacirek) - Muziki
8
Odd Okoddo (Olith Ratego/Sven Kacirek) - Mama Yo
9
Odd Okoddo (Olith Ratego/Sven Kacirek) - Adhiambo
2024 Rpress!
ODD OKODDO is a Kenyan/German duo consisting of Olith Ratego and Sven Kacirek.
The two artists met in Kenya, about a decade ago, when Sven Kacirek was recording his "Kenya Sessions", an album that put Kacirek on the map of outernational producers. It was reviewed as a "World Music 2.0" (de:bug magazine), whose "fascination endures" (The Wire). Olith Ratego also made an appearance on the "Kenya Sessions”, on the track "Too Good To Be True".
The duo formed the project ODD OKODDO in 2018, with the two musicians joining their various talents which dovetail in perfection. Ratego writes the lyrics and vocal melodies while Kacirek composes, records and produces the arrangements of all nine songs on AUMA. They create a colourful, dynamic sound which is defined by both Ratego’s enormous vocal compass and range of timbres as well as Kacirek’s outstanding skills as a sensitive percussionist.
Olith Ratego sings in a musical style called "dodo", which originates from the shores of Lake Victoria in Kenya, high in pitch and soulfully expressive. He refers to his music as "dodo blues". His lyrics touch upon the topics of politics, family and of course: love. As a skilled luthier, Ratego builds his instruments himself, like the five-stringed Okodo which lends its name to the project.
Sven Kacirek is a multi-instrumentalist who has been commuting between Germany and Kenya for many years now. In the past he has closely collaborated with various international musicians, among them Nils Frahm and Shabaka Hutchings. Kacirek’s sound builds upon a powerful bass marimba which is present throughout the album. It sometimes invokes the sound of a tuned 808 kick-drum. He works with Kenyan an arsenal of percussion instruments as well as household objects and found materials. Kacirek has now settled into a signature sound which has been described as "thrilling and dizzyingly inventive" by the Australian Cyclic Defrost magazine.
The LP comes with a printed inner sleeve with liner notes by Tabu Osusa from the Nairobi based label Ketebul as well as explanations about the song lyrics.
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WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
ODD OKODDO is a Kenyan/German duo consisting of Olith Ratego and Sven Kacirek.
The two artists met in Kenya, about a decade ago, when Sven Kacirek was recording his "Kenya Sessions", an album that put Kacirek on the map of outernational producers. It was reviewed as a "World Music 2.0" (de:bug magazine), whose "fascination endures" (The Wire). Olith Ratego also made an appearance on the "Kenya Sessions”, on the track "Too Good To Be True".
The duo formed the project ODD OKODDO in 2018, with the two musicians joining their various talents which dovetail in perfection. Ratego writes the lyrics and vocal melodies while Kacirek composes, records and produces the arrangements of all nine songs on AUMA. They create a colourful, dynamic sound which is defined by both Ratego’s enormous vocal compass and range of timbres as well as Kacirek’s outstanding skills as a sensitive percussionist.
Olith Ratego sings in a musical style called "dodo", which originates from the shores of Lake Victoria in Kenya, high in pitch and soulfully expressive. He refers to his music as "dodo blues". His lyrics touch upon the topics of politics, family and of course: love. As a skilled luthier, Ratego builds his instruments himself, like the five-stringed Okodo which lends its name to the project.
Sven Kacirek is a multi-instrumentalist who has been commuting between Germany and Kenya for many years now. In the past he has closely collaborated with various international musicians, among them Nils Frahm and Shabaka Hutchings. Kacirek’s sound builds upon a powerful bass marimba which is present throughout the album. It sometimes invokes the sound of a tuned 808 kick-drum. He works with Kenyan an arsenal of percussion instruments as well as household objects and found materials. Kacirek has now settled into a signature sound which has been described as "thrilling and dizzyingly inventive" by the Australian Cyclic Defrost magazine.
The LP comes with a printed inner sleeve with liner notes by Tabu Osusa from the Nairobi based label Ketebul as well as explanations about the song lyrics.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
1
Ukouk. Round Singing Voices of the Ainu - Honkaya - Boat Rowing Song
2
Ukouk. Round Singing Voices of the Ainu - Etukuma Kara - Dance Practice on Ice
3
Ukouk. Round Singing Voices of the Ainu - Uekap - Greeting Song
4
Ukouk. Round Singing Voices of the Ainu - Cikap - Dance for the Crane
5
Ukouk. Round Singing Voices of the Ainu - Sonkayno - Game Song
6
Ukouk. Round Singing Voices of the Ainu - Haw Sa - King of Round Singing
7
Ukouk. Round Singing Voices of the Ainu - Hetono He Karakara - Sake Ritual
8
Ukouk. Round Singing Voices of the Ainu - Yaykatekara - Wedding Song
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Ukouk. Round Singing Voices of the Ainu - Tacuro - Birds
10
Ukouk. Round Singing Voices of the Ainu - Sikata Kuykuy - Snow Falling from a Tree
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Ukouk. Round Singing Voices of the Ainu - Horippa - Dance Song
12
Ukouk. Round Singing Voices of the Ainu - Hunpe Yan Na - A Whale Ashore
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Ukouk. Round Singing Voices of the Ainu - Hunpe Pa Wa - From The Whale Head
14
Ukouk. Round Singing Voices of the Ainu - Pon Repun Kamuy - Little Orca Sea God
15
Ukouk. Round Singing Voices of the Ainu - Orouru Roahun - Lullaby
16
Ukouk. Round Singing Voices of the Ainu - Kanerenren - Bear Ceremony Song
Marewrew (pronounced: Ma-leoo-leoo / m?le?ul? e?u)? is a female vocal group that sings traditional Ainu songs. The music of the long-suppressed people from northern Japan has been a particular focus of Pingipung's output in recent years, together with Oki Kano who recorded and produced many Ainu artists. Following various re-releases by Umeko Ando, the late grande dame of traditional Ainu music, the spotlight is now on the a cappella music of Marewrew, which by the way means ‘butterfly’ in Ainu. Attentive listeners will recognise the voices, as some of the band have already performed as backing singers on recordings by Umeko Ando. Their a cappella versions of traditional Ainu music shed a whole new light on the fascinating songs that have been passed down through generations exclusively through song. 'Ukouk' means 'round singing', which refers to the form in which Marewrew perform and record. Many of the songs are set as tightly interwoven canons: one starts, the others join in, but slightly out of phase: Almost like dub echoes, except that they are sung and not created in post-production. The short songs sometimes unfold into a wondrous trance ('Sikata Kuykuy', 'Honkaya') that seems to spin round and round - if singing can actually dance, then this is how. Nature sounds and woodpeckers can be heard ('Hawsa’), and there is a funny miniature in which the ladies imitate birdsong ('Takuro'). Things get hypnotic with an evocative song about stranded whales ('Hunpe Yan Na’) or an ode to the Orca as ‘Little Sea God’ (‘Pon Repun Kamuy’). The album culminates in unexpected pop ('Yaykatekara') or cumbia moments ('Kanerenren') with a band line-up including percussions and Oki Kano on the famous Tonkori harp. Marewrew are Rekpo, Hisae and Mayunkiki. Rim-Rim was a member of the group until 2022. Mayunkiki reflects on the ambivalence of performing traditional music as a contemporary band: "When we first started performing, we all thought we had to perform in an Ainu way. But over time we have become more and more open to new ways of singing. I think if our way of singing is seen as the only, correct way of our tradition, then it won't spread, it's not alive. We like it when it's traditional, but it changes, just like our voices have changed over time.” * 'Ukouk' is a selection of Marewrew's work from the last 13 years, compiled from CD releases by Pingipung's Andi Otto. Oki Kano has contributed unreleased material and added new versions of the songs which had only been released in Japan. The album has been remastered by Kassian Troyer and is now available on LP for the first time.
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WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
Label:Pingipung
Cat-No:Pingipung84
Release-Date:29.03.2024
Genre:Alternative/Electronic
Configuration:LP
Label:Pingipung
Cat-No:Pingipung84
Release-Date:29.03.2024
Genre:Alternative/Electronic
Configuration:LP
1
Marie Klock - Pourquoi tu veux que je parle si tu t’en fous?
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Marie Klock - Se goinfrer de rage
3
Marie Klock - Boule et Bill
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Marie Klock - La plus grosse angoisse
5
Marie Klock - C’est qui ton papa?
6
Marie Klock - Les cerisiers, mon cœur
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Marie Klock - Drôle d’odeur
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Marie Klock - Tes nouilles trop cuites
9
Marie Klock - Si j’avais un enfant handicapé mental
10
Marie Klock - Schultz & Damien
In the wake of a profound loss, Marie Klock, a neo-chanson singer and multi-instrumentalist from Paris, presents a poignant tribute with her debut on Pingipung. On “Damien est vivant” Marie Klock pays homage to the poet Damien Schultz, who has recently passed. They were intertwined both in artistic collaboration and deep friendship.
Marie Klock creates a powerful ode to Damien Schultz's surreal, anarchic, witty and at times provocatively obscene French (English translations are included in the vinyl release). The poet's own voice resounds alongside Klock's, oscillating between spoken word and neo-folk vocals. Recorded in an intimate lo-fi setting with co- producer Julien Louvet, the 10 songs are far from a mournful requiem. They showcase idiosyncratic pop music brimming with humour and absurdity. “Damien est vivant” is a celebration of the unique bond they shared, in past and present. The melancholy sometimes takes on an almost whimsical quality, an allusion to the world as perceived through the lens of two kindred spirits.
Marie Klock has appeared as keyboardist on international stages with Sofia Portanet and collaborated with artists such as Jean-Louis Costes, Chilly Gonzales, Charlotte Brandi and Adrienne Pauly. Her self-titled solo LP (2020, Les Disques De La Face Cachée) was a cheeky outing of her synth-chanson act. She is currently working on a duo album with Anadol, to be released on Pingipung in autumn 2024.
“Damien est vivant” will be released on Good Friday 2024. Marie Klock will present the album in live ceremonies.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
Marie Klock creates a powerful ode to Damien Schultz's surreal, anarchic, witty and at times provocatively obscene French (English translations are included in the vinyl release). The poet's own voice resounds alongside Klock's, oscillating between spoken word and neo-folk vocals. Recorded in an intimate lo-fi setting with co- producer Julien Louvet, the 10 songs are far from a mournful requiem. They showcase idiosyncratic pop music brimming with humour and absurdity. “Damien est vivant” is a celebration of the unique bond they shared, in past and present. The melancholy sometimes takes on an almost whimsical quality, an allusion to the world as perceived through the lens of two kindred spirits.
Marie Klock has appeared as keyboardist on international stages with Sofia Portanet and collaborated with artists such as Jean-Louis Costes, Chilly Gonzales, Charlotte Brandi and Adrienne Pauly. Her self-titled solo LP (2020, Les Disques De La Face Cachée) was a cheeky outing of her synth-chanson act. She is currently working on a duo album with Anadol, to be released on Pingipung in autumn 2024.
“Damien est vivant” will be released on Good Friday 2024. Marie Klock will present the album in live ceremonies.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
1
Marie Klock - Pourquoi tu veux que je parle si tu t’en fous?
2
Marie Klock - Se goinfrer de rage
3
Marie Klock - Boule et Bill
4
Marie Klock - La plus grosse angoisse
5
Marie Klock - C’est qui ton papa?
6
Marie Klock - Les cerisiers, mon cœur
7
Marie Klock - Drôle d’odeur
8
Marie Klock - Tes nouilles trop cuites
9
Marie Klock - Si j’avais un enfant handicapé mental
10
Marie Klock - Schultz & Damien
In the wake of a profound loss, Marie Klock, a neo-chanson singer and multi-instrumentalist from Paris, presents a poignant tribute with her debut on Pingipung. On “Damien est vivant” Marie Klock pays homage to the poet Damien Schultz, who has recently passed. They were intertwined both in artistic collaboration and deep friendship. Marie Klock creates a powerful ode to Damien Schultz's surreal, anarchic, witty and at times provocatively obscene French (English translations are included in the vinyl release). The poet's own voice resounds alongside Klock's, oscillating between spoken word and neo-folk vocals. Recorded in an intimate lo-fi setting with co- producer Julien Louvet, the 10 songs are far from a mournful requiem. They showcase idiosyncratic pop music brimming with humour and absurdity. “Damien est vivant” is a celebration of the unique bond they shared, in past and present. The melancholy sometimes takes on an almost whimsical quality, an allusion to the world as perceived through the lens of two kindred spirits. Marie Klock has appeared as keyboardist on international stages with Sofia Portanet and collaborated with artists such as Jean-Louis Costes, Chilly Gonzales, Charlotte Brandi and Adrienne Pauly. Her self-titled solo LP (2020, Les Disques De La Face Cachée) was a cheeky outing of her synth-chanson act. She is currently working on a duo album with Anadol, to be released on Pingipung in autumn 2024. “Damien est vivant” will be released on Good Friday 2024. Marie Klock will present the album in live ceremonies.
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“Upopo Sanke“ means “Let's sing a song" in the Ainu language. Umeko Ando (1932-2004) was one of the best-known artists of the Ainu, an indigenous, long-suppressed community in northern Japan. She sings their traditional songs together with Oki Kano on the Tonkori harp, who also recorded the album. The two are supported by members of the female vocal group Marewrew as well as Ainu percussionists, a string player and a male singer who provides rhythmic shouts and also throat singing. The call-and-response structure of many of the songs is performed with a mantric quality in a vocal style that is perhaps best described as elastic and breathing. There seems to be a gentle smile in every note and syllable. This music softly hits the heart.
Upopo Sanke was recorded on a farm in Tokachi in the summer of 2003. We hear dogs barking, a distant thunderstorm and voices imitating animals. The liner notes that accompany the 2LP release gather the anecdotal memories of Umeko Ando and Oki Kano about the stories of the 14 songs. Oki Kano is a musical ambassador of the Ainu culture who tours worldwide with his Oki Dub Ainu Band and also gives solo concerts, always playing the Tonkori, the five-stringed Ainu harp.
The Ainu have suffered from the oppression of their culture and language by Japan, especially since the 18th and 19th centuries. Only recently, in 2008, were the Ainu officially recognized again as an indigenous people culturally independent of Japan. As a result of the marginalization, there are now only a few hundred native speakers of the Ainu language left, making it a particularly worthy object of preservation.
"Upopo Sanke" was mixed again in part by Oki Kano, before being mastered and cut to vinyl by Kassian Troyer. The 2LP plays on 45rpm and it sounds fantastic. This album was the second album by Umeko Ando, the follow-up to „Ihunke" and also re-released in 2018 by Pingipung together with Oki Kano.
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Upopo Sanke was recorded on a farm in Tokachi in the summer of 2003. We hear dogs barking, a distant thunderstorm and voices imitating animals. The liner notes that accompany the 2LP release gather the anecdotal memories of Umeko Ando and Oki Kano about the stories of the 14 songs. Oki Kano is a musical ambassador of the Ainu culture who tours worldwide with his Oki Dub Ainu Band and also gives solo concerts, always playing the Tonkori, the five-stringed Ainu harp.
The Ainu have suffered from the oppression of their culture and language by Japan, especially since the 18th and 19th centuries. Only recently, in 2008, were the Ainu officially recognized again as an indigenous people culturally independent of Japan. As a result of the marginalization, there are now only a few hundred native speakers of the Ainu language left, making it a particularly worthy object of preservation.
"Upopo Sanke" was mixed again in part by Oki Kano, before being mastered and cut to vinyl by Kassian Troyer. The 2LP plays on 45rpm and it sounds fantastic. This album was the second album by Umeko Ando, the follow-up to „Ihunke" and also re-released in 2018 by Pingipung together with Oki Kano.
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1
Y Bülbül / Yumurta - What Is Behind That Curtain
2
Y Bülbül / Yumurta - Jah Oto
3
Y Bülbül / Yumurta - Maurin Quina
4
Y Bülbül / Yumurta - A Large Room Full Of People
5
Y Bülbül / Yumurta - Küfürbaz Tevfik
6
Y Bülbül / Yumurta - I'm This
7
Y Bülbül / Yumurta - I'm That
8
Y Bülbül / Yumurta - Thee Aviary Ov Breyers
9
Y Bülbül / Yumurta - Pay No Attention To That Man
10
Y Bülbül / Yumurta - Big K
Y Bu¨lbu¨l is back on the controls accompanied by Yumurta, a percussionist from Istanbul. Pingipung introduced the London based artist in 2020 with his psychedelic, synth-laden debut “Fever”.
“Not One, Not Two” is based on a one-way transmission of improvised drum recordings from an industrial estate in Maslak, Istanbul to another one in Tottenham, London, where Y Bu¨lbu¨l laid down fragmented layers of bass, synths, guitars and field recordings over Yumurta’s singular drum takes. The result is a free-form deep listening album for fans of dub, ambient and kosmische music, where the groove and harmonies are mystically interwoven, yet somehow manage to stay on the brink of collapse. Although the sessions were non concurrent and scattered over two continents, the collaboration evokes scenes of a telepathic communion where individual perspectives, circumstances and stories are exchanged between the two.
Resembling Moondog, Holy Tongue or Luis Paniagua in the sense that they favor the raw over the polished, holistic presence over conceptual perfection and questions over answers, the duo’s focus on bare sounds and repetition guides the listener throughout the album. The ride cymbal opening the minimalistic “I’m This”, for instance, briskly disarms the listener who might have been looking for more traditional songwriting or production clues. There are plenty of immediately rewarding moments too in “Not One, Not Two,” like the organic acid bassline in “Maurin Quina”, the euphoric drum fills of “Big K” and the intoxicating groove of the hypnotic vibe-setter “Jah Oto”.
Bu¨lbu¨l is Turkish for a singing bird while Yumurta simply means egg. Which one is first? Who is to follow? It’s this enigmatic entanglement between the two artists which creates the lurking tension, emphasized by the Zen Ko¯an-like title. The beauty in this album is a peculiar one, and it certainly is a rabbit hole too. Dissonance is fluid as everything moves, and whenever two sounds collide, a third one emerges.
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“Not One, Not Two” is based on a one-way transmission of improvised drum recordings from an industrial estate in Maslak, Istanbul to another one in Tottenham, London, where Y Bu¨lbu¨l laid down fragmented layers of bass, synths, guitars and field recordings over Yumurta’s singular drum takes. The result is a free-form deep listening album for fans of dub, ambient and kosmische music, where the groove and harmonies are mystically interwoven, yet somehow manage to stay on the brink of collapse. Although the sessions were non concurrent and scattered over two continents, the collaboration evokes scenes of a telepathic communion where individual perspectives, circumstances and stories are exchanged between the two.
Resembling Moondog, Holy Tongue or Luis Paniagua in the sense that they favor the raw over the polished, holistic presence over conceptual perfection and questions over answers, the duo’s focus on bare sounds and repetition guides the listener throughout the album. The ride cymbal opening the minimalistic “I’m This”, for instance, briskly disarms the listener who might have been looking for more traditional songwriting or production clues. There are plenty of immediately rewarding moments too in “Not One, Not Two,” like the organic acid bassline in “Maurin Quina”, the euphoric drum fills of “Big K” and the intoxicating groove of the hypnotic vibe-setter “Jah Oto”.
Bu¨lbu¨l is Turkish for a singing bird while Yumurta simply means egg. Which one is first? Who is to follow? It’s this enigmatic entanglement between the two artists which creates the lurking tension, emphasized by the Zen Ko¯an-like title. The beauty in this album is a peculiar one, and it certainly is a rabbit hole too. Dissonance is fluid as everything moves, and whenever two sounds collide, a third one emerges.
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Label:Pingipung
Cat-No:Pingipung052.2
Release-Date:30.09.2022
Genre:Alternative/Electronic
Configuration:7"
Label:Pingipung
Cat-No:Pingipung052.2
Release-Date:30.09.2022
Genre:Alternative/Electronic
Configuration:7"
1
Andi Otto - Bangalore Whispers (Ft. MD Pallavi)
2
Andi Otto - Bangalore Whispers (Peter Power Remix)
Andi Otto’s Bangalore Whispers gets finally repressed. The psychedelic track which he recorded together with the Indian singer MD Pallavi in 2016 has become a hit in the downtempo scene around the globe (“Saaaa - resa nisa”). Pingipung press a new edition of the much sought after single on the occasion of their 20th label anniversary. In this 2022 edition the original track is paired with the Peter Power remix which has not seen the light of day on vinyl before.The Brazil-based producer slows the track down a notch and adds even more space. A perfect tune both for the dancefloor or meditation.
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1
Anadol - Öksürük
2
RVDS - Wüstensphären
3
M.RUX - Richie
4
Umeko Ando - Hutare Chui (Tolouse Lowtrax Remix)
5
Andi Otto & MD Pallavi - Down The Charukeshi Road
6
Peter Presto - Ayashi Filtz
7
Museum Of No Art - I miei cani giocano quando piove
8
Peter Power - The Pyreneeal Waltz
9
The Notwist - Oh Sweet Fire (Pocket Band Version)
10
Sven Kacirek - Firmin
11
F.S.BLUMM - Step Up Opp
12
Schlammpeitziger - Der Spargelträger An Der Muschelbank
13
Y Bülbül - Cuddles' Catnip Dream
2002-2022, that’s 20 years of Pingipung! The German record label celebrates its anniversary with exclusive tracks by a fine selection of artists from the label roster as well as new names. Instead of looking back at the classics, Pingipung chose to compile a kaleidoscopic preview of possible future directions for the label. The line-up features playfully melancholic songs by Museum Of No Art, Peter Power or The Notwist, an excursion to the desert by RVDS or a psychedelic take on Dub in Tolouse Low Trax’ remix for the Ainu singer Umeko Ando. Artists such as Anadol, Y Bülbül, MD Pallavi & Andi Otto, M.RUX, Sven Kacirek, Schlammpeitziger, Peter Presto and F.S.Blumm are already well known to the Pingipung audience. They contribute exclusive new tracks, adding to their existing output on the label.
It’s impossible to file this compilation under a genre, which is exactly the case with Pingipung in general - bull’s eye. The collection of tracks is pressed in the perfect format to match the Pingipung jubilee: A 2x10’’ vinyl in a gatefold sleeve.
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It’s impossible to file this compilation under a genre, which is exactly the case with Pingipung in general - bull’s eye. The collection of tracks is pressed in the perfect format to match the Pingipung jubilee: A 2x10’’ vinyl in a gatefold sleeve.
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Label:Pingipung
Cat-No:Pingipung74
Release-Date:18.03.2022
Genre:Alternative/Electronic
Configuration:LP
Label:Pingipung
Cat-No:Pingipung74
Release-Date:18.03.2022
Genre:Alternative/Electronic
Configuration:LP
1
Anadol - Gizli Duygular
2
Anadol - Eciflere Gel
3
Anadol - Ablamin Gözleri
4
Anadol - Istasyon Plajinda Bir Tren Batti
5
Anadol - Felicita Lale
“Whether it is traditional or contemporary, we need to be authentic,” says Go¨zen Atila who performs as Anadol. “I don't claim that I am authentic, but this is what I want to achieve.”
A sense of authentic exploration, introspection and celebration coats every inch of Anadol’s latest album. After 2019’s Uzun Havalar, the Turkish artist returns with an album that continues to explore a variety of deeply embedded musical traditions while also hurtling into new terrain.
The music and influences - as well as the history, culture and geography behind them - that make up Atila as an artist all coalesce to create something entirely new. The result is something that is simultaneously exploring history and tradition, while harnessing innovative modern sounds and techniques. “If there is any tradition I am somehow connected to, or influenced by, then it’s multi- genres,” she says. “Such as Turkish Pop and Arabesk music from this country where I grew up. There is a connection to Folk and also French pop or Flamenco, Middle Eastern melodies and orchestration, Greek adaptations, Kenny G. solos, American guitars.”
This can be heard on Felicita, not in as much as you can link up the influences directly but in the way it glides across genres, eschewing convention and predictability along the way, to result in a kaleidoscopic experience. For the album, Atila found a talented roster of Jazz musicians in Istanbul who she recorded on top of her synth productions and field recordings. Soon enough saxophone, drums and strings began to stack up against preset drum loops from vintage organs. It’s a record where woozy psychedelic excursions bleed into dreamy synth lines, immersive ambience and the occasionally disconcerting yet incredibly tactile use of field recordings.
If it’s an album that feels like it travels through a variety of feelings, then it’s because the concept is loosely rooted in such a journey. Felicita translates as “happiness” and this album is something that explores the complexities of such an emotion. “I did not name the album like this because I just wanted to call it happiness,” Atila says. “A song like ‘Felicita Lale’ is a sad and confused song about a female character who can't get out of bed. It’s a funny rumination, in her thoughts, saying to get up and lie down repeatedly. At some point the lyrics say: "hep agla, felicita", meaning: "Cry all the time, Felicita". Like she is talking to happiness itself and telling it to cry. So it is not about happiness, it is more about the concept of happiness which can be very sad.”
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A sense of authentic exploration, introspection and celebration coats every inch of Anadol’s latest album. After 2019’s Uzun Havalar, the Turkish artist returns with an album that continues to explore a variety of deeply embedded musical traditions while also hurtling into new terrain.
The music and influences - as well as the history, culture and geography behind them - that make up Atila as an artist all coalesce to create something entirely new. The result is something that is simultaneously exploring history and tradition, while harnessing innovative modern sounds and techniques. “If there is any tradition I am somehow connected to, or influenced by, then it’s multi- genres,” she says. “Such as Turkish Pop and Arabesk music from this country where I grew up. There is a connection to Folk and also French pop or Flamenco, Middle Eastern melodies and orchestration, Greek adaptations, Kenny G. solos, American guitars.”
This can be heard on Felicita, not in as much as you can link up the influences directly but in the way it glides across genres, eschewing convention and predictability along the way, to result in a kaleidoscopic experience. For the album, Atila found a talented roster of Jazz musicians in Istanbul who she recorded on top of her synth productions and field recordings. Soon enough saxophone, drums and strings began to stack up against preset drum loops from vintage organs. It’s a record where woozy psychedelic excursions bleed into dreamy synth lines, immersive ambience and the occasionally disconcerting yet incredibly tactile use of field recordings.
If it’s an album that feels like it travels through a variety of feelings, then it’s because the concept is loosely rooted in such a journey. Felicita translates as “happiness” and this album is something that explores the complexities of such an emotion. “I did not name the album like this because I just wanted to call it happiness,” Atila says. “A song like ‘Felicita Lale’ is a sad and confused song about a female character who can't get out of bed. It’s a funny rumination, in her thoughts, saying to get up and lie down repeatedly. At some point the lyrics say: "hep agla, felicita", meaning: "Cry all the time, Felicita". Like she is talking to happiness itself and telling it to cry. So it is not about happiness, it is more about the concept of happiness which can be very sad.”
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1
Andi Otto & F.S. BlummEntangleland - Entangleland
2
Andi Otto & F.S. BlummEntangleland - Kilani
3
Andi Otto & F.S. BlummEntangleland - Yukiyama
4
Andi Otto & F.S. BlummEntangleland - Succulent Green
5
Andi Otto & F.S. BlummEntangleland - Yukiyama Lost Beat
6
Andi Otto & F.S. BlummEntangleland - Inner State Highway
7
Andi Otto & F.S. BlummEntangleland - Slide Walk
8
Andi Otto & F.S. BlummEntangleland - Active Fault Map
9
Andi Otto & F.S. BlummEntangleland - Long Way Home
10
Andi Otto & F.S. BlummEntangleland - Inter Twine
11
Andi Otto & F.S. BlummEntangleland - Caldera Bay
F.S.Blumm enters Andi Otto's studio with a whole palette of strings and a mission to create quirky, peaceful soundscapes. The artists intertwine acoustic and electric guitars, harps, electric bass, psaltery and cello in eleven electronica compositions ranging from neo-classical gravity ("Entangleland") to spaced-out dub jams ("Active Fault Map"). "Yukiyama" evolves in multilayered patterns braided over warm tape-noise. "Kilani" reminds of Rabih Abou Khalil's ECM recordings, with its oriental scale and a beat that counts to seven. The tunes shine most when silence takes over, when the sounds find space to unfold and decay. Far from being trivial ambient lullabies, these compositions burst with detail: Bells rattle, a kalimba resonates, and vintage synths induce their voltage into the acoustic framework. Andi Otto and F.S.Blumm have been musical collaborators in the studio as well as on stages between Berlin and Tokyo for more than a decade now, the heyday being their previous duo album "The Bird And White Noise" in 2014. On "Entangleland", Andi Otto contributes the cello, harp and synth recordings and takes care of the mixing. Compared to his recent releases on Multi Culti or Shika Shika, these tracks are less dancefloor oriented. The calm of this album is a flourishing environment for Otto to pluck the acoustic cello which we usually hear in a more processed way in his solo works. F.S.Blumm contributes guitar and bass recordings as well as saturated percussion echoes from his self-made spiral box. Blumm is famous for his acoustic solo productions since his early outings on Morr Music or Tomlab. He has also appeared on Pingipung a few times, for example with his album "Up Up And Astray" or as a Lee 'Scratch' Perry collaborator with the "Quasi Dub Development" project. He recorded three duo albums together with Nils Frahm and is a member of the mighty "Jeff O¨zdemir & Friends" collective in Berlin. "Entangleland" sees the two artists weave together a mass of acoustic motifs, synthetic melodies, riddims and improv jams where the magic emerges from the sum of the parts. "It's not about accompanying a cello theme with the guitar or vice versa," Andi Otto says. "Entangling sound means letting go of hierarchies, that no one is first. Our studio is not a control room, it's a place of imagination where we take things apart and make things whole."
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Originally, all they wanted was record one mutual track for the Japan tour in spring 2014. On this tour, Springintgut and F.S. Blumm would present their recent solo records*) in nine cities in Japan, and one duo track couldn't hurt for an encore. These duo compositions came off surprisingly easy, and in a breath there were seventeen tracks instead of one. Keeping in mind that both solo albums have been six years in the making, the recording of "The Bird And White Noise" within two months is extraordinary. It's a proof of the compatibility of Springintgut's cello and F.S. Blumm's acoustic guitar, both played through their individual elec- tronic systems. They create dense structures filled with their particu- lar sounds of acoustic instrument processing. The melodic sessions are woven with numerous field recordings from the artists' concert tours to India, Japan, and Italy. The record's fundament are slow, powerful beats which hold everything together Springintgut has been responsible for the studio production at most times while F.S. Blumm, experienced for years in making radio plays, has handled the mixing and collaging of the parts. "The Bird And White Noise" invites to join the travels, and in its long arches and bridges it can easily be listened to as a whole. While the opener or "Eskimono" feature the rather lyrical side of the duo, tracks like "Land Ab Neu" or "Chitin" set more punchy priorities to a heavy bass and 808 drums. "Chitin" is a late climax of the al- bum, building up for minutes to a massive groove in an insect-like, abstract sound world, leaving just enough space for romantic cello lines to break through in the middle. The record has been released exclusively in Japan for the duo's tour in April 2014 via Pingipung's partner label "nightcruising" in
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Frank Schültge aka F.S. BLUMM has released his melodic experiments around the acoustic guitar for over 15 years. In their contemplative reduction they miraculously always hit right in the heart. "The man makes some damn charming music", Pitchfork said about his last album. With Up Up And Astray F.S. BLUMM proves that he doesn't opt for routine with his eighth full-length solo release: his unfailing arsenal of acoustic instruments and choice circuits frame the most energetic BLUMM sound we have lived to see so far. The album title perfectly describes its energy. F.S. BLUMM returns from a six years hiatus as solo artist in which he has "rehearsed and learned, multiplied and lost track on purpose". F.S. BLUMM is many now, and he is absolutely present to us. It all goes on, and always up, and from there into unknown dimensions. He goes astray in the word's finest meaning. And he goes up up, not as a sweaty HarderBetterFasterStronger, but with BLUMM's steady, heart-felt pling of the acoustic guitar. With his tin cookie box, through which he in fact plays back his sounds in order to re-record them, with his double bass, his keys and kalimba. F.S. BLUMM is back from the musical travels of his collaborations. He took the roles of a bass player with the Quasi Dub Development, a classical guitarist with Old Splendifolia, a songwriter with Bobby And Blumm, a sonic researcher with Nils Frahm and a manic, extrovert Dub mash-up DJ as King Hobby. What he has experienced on these musical field trips he now returns to his solo rpoject. Here's the best bit: F.S. BLUMM sings! Through that very cookie box, which sounds in fact like an exquisite vintage amp.Together with his various guest musicians (most notably Ella Blixt "Bobby Baby" on vocals), F.S. BLUMM achieves to further define his subtle and unique sonic identity between classical guitar and electronic production. "I wouldn't call my decisions in the studio canny or strategic, they are entirely led by the music. Thereby my sound remains fresh, maybe slightly naïve too, because it unfolds its own life - ignorant of trends or markets."
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Promises is an extraordinary, collaborative album by the electronic giant Floating Points and saxophone titan Pharoah Sanders. The album features the London Symphony Orchestra and cover art by the acclaimed American artist, Julie Mehretu. Five years in the making, it will be released on Luaka Bop,
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Label:Test Pressing Recordings
Cat-No:TPR003
Release-Date:06.12.2024
Genre:House / Techno
Configuration:12"
Label:Test Pressing Recordings
Cat-No:TPR003
Release-Date:06.12.2024
Genre:House / Techno
Configuration:12"
1
Opal Sunn - Phase I
2
Opal Sunn - Phase II
3
Opal Sunn - Phase III
DJ Support: Alex Kassian, DJ Cosmo, Lovefingers, Sean Johnston, Laurent Garnier, Massimiliano Pagliara, Moxie, Colleen 'Cosmo' Murphy
Following Alex Kassian’s massive ‘E2–E4’, he reunites with Hiroaki Oba as Opal Sunn. Opal Sunn have played live at some of the worlds finest clubs and festivals and are tipped by many as the ones to watch. This EP is the first in a trilogy of releases. ‘Elastic’ runs from deep electronic trance inspired dancefloor driven House on the A side, to reggae-tinged dub groover and a beautiful ambient version on the B side; both with more than a nod to Kassian’s Sound and Garden of Eden tracks. Yet again, you need this in your life. Buy or cry.
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Following Alex Kassian’s massive ‘E2–E4’, he reunites with Hiroaki Oba as Opal Sunn. Opal Sunn have played live at some of the worlds finest clubs and festivals and are tipped by many as the ones to watch. This EP is the first in a trilogy of releases. ‘Elastic’ runs from deep electronic trance inspired dancefloor driven House on the A side, to reggae-tinged dub groover and a beautiful ambient version on the B side; both with more than a nod to Kassian’s Sound and Garden of Eden tracks. Yet again, you need this in your life. Buy or cry.
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WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
1
Jay Richford and Gary Stevan - A1 : Flying High (3:35)
2
Jay Richford and Gary Stevan - A2 : Going Home (2:46)
3
Jay Richford and Gary Stevan - A3 : Walking In The Dark (4:42)
4
Jay Richford and Gary Stevan - A4 : Fighting For Life (3:37)
5
Jay Richford and Gary Stevan - A5 : Feeling Tense (4:05)
6
Jay Richford and Gary Stevan - B1 : Running Fast (4:42)
7
Jay Richford and Gary Stevan - B2 : Loving Tenderly (3:27)
8
Jay Richford and Gary Stevan - B3 : Fearing Much (3:35)
9
Jay Richford and Gary Stevan - B4 : Being Friendly (2:54)
10
Jay Richford and Gary Stevan - B5 : Having Fun (4:00)
2023 repress
Format Notes: 140g vinyl, remastered from the original tapes
Territories:
Worldwide no restrictions
Track List:
A1 : Flying High (3:35)
A2 : Going Home (2:46)
A3 : Walking In The Dark (4:42)
A4 : Fighting For Life (3:37)
A5 : Feeling Tense (4:05)
B1 : Running Fast (4:42)
B2 : Loving Tenderly (3:27)
B3 : Fearing Much (3:35)
B4 : Being Friendly (2:54)
B5 : Having Fun (4:00)
Release Notes:
More than once Jay Richford and Gary Stevan’s Feelings has been described as the greatest library record ever released. Of course Be With can’t be seen to be playing favourites, but we have to admit, it’s pretty good. Insanely rare and immensely sought-after, it’s a tough funk, street jazz masterpiece coveted for many years by collectors of all musical genres.
Since its original release on Italian label Carosello in 1974, Feelings has appeared on several labels with different sleeves and even under a different artist. Indeed cult library label Conroy put it out in one of their iconic red sleeves in 1976 and yes, Feelings has indeed had more than one modern re-issue since these “original” releases. But a record this special deserves to be kept in press and we think it deserves the Be With treatment.
No, Jay Richford and Gary Stevan aren’t two of the most Italian sounding names. As the story goes these were the pseudonyms adopted by Stefano Torossi and Giancarlo Gazzani who wrote the album but couldn’t use their real names on the original release for legal reasons. But Stefano Torossi himself later both clarified and confused the tale further by explaining that Feelings was the work of four people not just Gazzani and himself. Fellow composers and musicians Sandro Brugnolini and Puccio Roelens also worked on the album and as Torossi himself explained “we all worked together”, with all four gents “dividing the royalties in equal parts… that’s the story.” Right, so, with that all sorted out let’s get back to talking about the music. And what music it is.
Long hailed as a holy grail of library music, Feelings is the epitome of the sort of cinematic orchestral jazzy funk that is “that 70s library music sound”. Infectiously funky, deliciously melodic and with impeccible, elegant production, this record is the showcase for a stunning set of compositions and arrangements and with performances that are nothing short of virtuoso.
The record’s first side lifts off with “Flying High”, soaring brilliant and shimmering. Funk licks, menacing strings and swaggering horns combine for an ice-cold intro groove that Isaac Hayes would surely have envied, before the steady-paced drums deliver the slo-mo TKO. The string-drenched cop-funk of “Going Home” raises the tempo. All funky quick-fire bass lines and killer electric guitar soloing. A real thriller.
“Walking In The Dark” positively drips in blaxploitation-funk drama strings and horn struts, all laced with delicate drums, velvet piano and more filthy wah-wah. “Fighting For Life” is another funk-fuelled workout built around an effortlessly relentless drum track that refuses to give up until even the stiffest-necked head is nodding.
The loping, open drum break that guides the much-loved “Feeling Tense” through its early stages would be good enough on its own. The heavy bass gloss, swirling strings and ominous horns that follow take things to the next level.
The second side opens with another favourite “Running Fast”, and the track does precisely that. This is one fine rollicking chase theme underpinned by frenetic (yet funky) Fender Rhodes and skipping bass and drums. Those sweeping strings are a gorgeous extra. It’s a deliciously feel-good groove that sets the heart racing.
“Loving Tenderly” envelops us in warm, velvety night-time vibes with easy listening horns and slinky strings dialing up the seduction. Definitely one for the lithe lovers out there. The pace picks up on the electrifying “Fearing Much” where strings dart around deep bass, buzzing guitars and another funky drum break. The lush, melancholic “Being Friendly” is another easy beauty, all warm Rhodes and strings. Majestic stuff that puts an aural arm around you. The climactic “Having Fun” rides a pulsating, bass-heavy drum break with snatches of a funky guitar refrain, some luxurious keys, sweeping strings and triumphant horns. Sensational.
“Feelings” is a profoundly appropriate title for such an emotionally funky and genuinely affecting record. Groove-laden bass, irrepressible horns, sweet flute lines, warm Rhodes, lush string arrangements, blaxploitation-styled wah-wah guitars and so, so much more make this one of the finest instrumental soul LPs of the 70s, if not of all time.
The audio for this re-issue of Feelings comes from the original analogue tapes and has been remastered for vinyl by Be With regular Simon Francis and cut by Pete Norman. The same care has been taken by the Be With team to restore that glorious original Carosello sleeve. Feelings is almost too good to be true. Feels good all over.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
Format Notes: 140g vinyl, remastered from the original tapes
Territories:
Worldwide no restrictions
Track List:
A1 : Flying High (3:35)
A2 : Going Home (2:46)
A3 : Walking In The Dark (4:42)
A4 : Fighting For Life (3:37)
A5 : Feeling Tense (4:05)
B1 : Running Fast (4:42)
B2 : Loving Tenderly (3:27)
B3 : Fearing Much (3:35)
B4 : Being Friendly (2:54)
B5 : Having Fun (4:00)
Release Notes:
More than once Jay Richford and Gary Stevan’s Feelings has been described as the greatest library record ever released. Of course Be With can’t be seen to be playing favourites, but we have to admit, it’s pretty good. Insanely rare and immensely sought-after, it’s a tough funk, street jazz masterpiece coveted for many years by collectors of all musical genres.
Since its original release on Italian label Carosello in 1974, Feelings has appeared on several labels with different sleeves and even under a different artist. Indeed cult library label Conroy put it out in one of their iconic red sleeves in 1976 and yes, Feelings has indeed had more than one modern re-issue since these “original” releases. But a record this special deserves to be kept in press and we think it deserves the Be With treatment.
No, Jay Richford and Gary Stevan aren’t two of the most Italian sounding names. As the story goes these were the pseudonyms adopted by Stefano Torossi and Giancarlo Gazzani who wrote the album but couldn’t use their real names on the original release for legal reasons. But Stefano Torossi himself later both clarified and confused the tale further by explaining that Feelings was the work of four people not just Gazzani and himself. Fellow composers and musicians Sandro Brugnolini and Puccio Roelens also worked on the album and as Torossi himself explained “we all worked together”, with all four gents “dividing the royalties in equal parts… that’s the story.” Right, so, with that all sorted out let’s get back to talking about the music. And what music it is.
Long hailed as a holy grail of library music, Feelings is the epitome of the sort of cinematic orchestral jazzy funk that is “that 70s library music sound”. Infectiously funky, deliciously melodic and with impeccible, elegant production, this record is the showcase for a stunning set of compositions and arrangements and with performances that are nothing short of virtuoso.
The record’s first side lifts off with “Flying High”, soaring brilliant and shimmering. Funk licks, menacing strings and swaggering horns combine for an ice-cold intro groove that Isaac Hayes would surely have envied, before the steady-paced drums deliver the slo-mo TKO. The string-drenched cop-funk of “Going Home” raises the tempo. All funky quick-fire bass lines and killer electric guitar soloing. A real thriller.
“Walking In The Dark” positively drips in blaxploitation-funk drama strings and horn struts, all laced with delicate drums, velvet piano and more filthy wah-wah. “Fighting For Life” is another funk-fuelled workout built around an effortlessly relentless drum track that refuses to give up until even the stiffest-necked head is nodding.
The loping, open drum break that guides the much-loved “Feeling Tense” through its early stages would be good enough on its own. The heavy bass gloss, swirling strings and ominous horns that follow take things to the next level.
The second side opens with another favourite “Running Fast”, and the track does precisely that. This is one fine rollicking chase theme underpinned by frenetic (yet funky) Fender Rhodes and skipping bass and drums. Those sweeping strings are a gorgeous extra. It’s a deliciously feel-good groove that sets the heart racing.
“Loving Tenderly” envelops us in warm, velvety night-time vibes with easy listening horns and slinky strings dialing up the seduction. Definitely one for the lithe lovers out there. The pace picks up on the electrifying “Fearing Much” where strings dart around deep bass, buzzing guitars and another funky drum break. The lush, melancholic “Being Friendly” is another easy beauty, all warm Rhodes and strings. Majestic stuff that puts an aural arm around you. The climactic “Having Fun” rides a pulsating, bass-heavy drum break with snatches of a funky guitar refrain, some luxurious keys, sweeping strings and triumphant horns. Sensational.
“Feelings” is a profoundly appropriate title for such an emotionally funky and genuinely affecting record. Groove-laden bass, irrepressible horns, sweet flute lines, warm Rhodes, lush string arrangements, blaxploitation-styled wah-wah guitars and so, so much more make this one of the finest instrumental soul LPs of the 70s, if not of all time.
The audio for this re-issue of Feelings comes from the original analogue tapes and has been remastered for vinyl by Be With regular Simon Francis and cut by Pete Norman. The same care has been taken by the Be With team to restore that glorious original Carosello sleeve. Feelings is almost too good to be true. Feels good all over.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
1
Plastikman - A1 Konception
2
Plastikman - A2 Plastique
3
Plastikman - B1 Kriket
4
Plastikman - B2 FUK
5
Plastikman - B3 Outbak
6
Plastikman - C1 Ethnik
7
Plastikman - C2 Plasmatik
8
Plastikman - C3 Goo
9
Plastikman - D1 Marbles
10
Plastikman - D2 Lasttrak
Territory: WW-UK/EIRE & USA,Canada
Limited Edition Double Vinyl
Pressed on bio-viny and packaged in environmental wrapping
ABOUT
In celebration of its 30th anniversary, Plastikman, aka Richie Hawtin, has remastered his groundbreaking second album, Musik, from the original tapes for a new limited bio-vinyl edition.
The record was first released in November 1994 through NovaMute and Plus 8, following the debut Plastikman album, Sheet One (1993). A masterclass in minimal techno, Musik quickly propelled Hawtin to new levels of success. The release followed Plastikman's first-ever live performance in a black vinyl-encased room at a semi-derelict Packard Plant in Detroit, where Hawtin was central to the burgeoning underground scene.
Before the full album hit the shelves, the track 'Plastique' (which was later described by Q as "...the flipside to Hawtin's early singles, all ticking percussion, feline acid tweaks, and cushioned sub-bass") set the stage for a more dance floor-friendly album, albeit one with an unsettling and sinister side.
The album, described by The Guardian as "music as you've never heard it before" and by The Wire, who made it one of their Albums of the Year, as "... a masterpiece", defined a moment in techno that still echoes today.
Now, 30 years later, the album has been remastered from the original tapes, reminding us why Plastikman is a name that still resonates and that the album's intensity - on and off the dance floor - has lost none of its potency in the intervening years.
Available on limited edition double bio-vinyl from Mute and NovaMute.
TRACKLIST
A1 Konception
A2 Plastique
B1 Kriket
B2 FUK
B3 Outbak
C1 Ethnik
C2 Plasmatik
C3 Goo
D1 Marbles
D2 Lasttrak
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
Limited Edition Double Vinyl
Pressed on bio-viny and packaged in environmental wrapping
ABOUT
In celebration of its 30th anniversary, Plastikman, aka Richie Hawtin, has remastered his groundbreaking second album, Musik, from the original tapes for a new limited bio-vinyl edition.
The record was first released in November 1994 through NovaMute and Plus 8, following the debut Plastikman album, Sheet One (1993). A masterclass in minimal techno, Musik quickly propelled Hawtin to new levels of success. The release followed Plastikman's first-ever live performance in a black vinyl-encased room at a semi-derelict Packard Plant in Detroit, where Hawtin was central to the burgeoning underground scene.
Before the full album hit the shelves, the track 'Plastique' (which was later described by Q as "...the flipside to Hawtin's early singles, all ticking percussion, feline acid tweaks, and cushioned sub-bass") set the stage for a more dance floor-friendly album, albeit one with an unsettling and sinister side.
The album, described by The Guardian as "music as you've never heard it before" and by The Wire, who made it one of their Albums of the Year, as "... a masterpiece", defined a moment in techno that still echoes today.
Now, 30 years later, the album has been remastered from the original tapes, reminding us why Plastikman is a name that still resonates and that the album's intensity - on and off the dance floor - has lost none of its potency in the intervening years.
Available on limited edition double bio-vinyl from Mute and NovaMute.
TRACKLIST
A1 Konception
A2 Plastique
B1 Kriket
B2 FUK
B3 Outbak
C1 Ethnik
C2 Plasmatik
C3 Goo
D1 Marbles
D2 Lasttrak
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
Label:Because Music
Cat-No:BEC5614668
Release-Date:21.02.2025
Genre:Indie Rock/Alternative
Configuration:2LP Excl
Label:Because Music
Cat-No:BEC5614668
Release-Date:21.02.2025
Genre:Indie Rock/Alternative
Configuration:2LP Excl
Rights: World excluding France, UK & US
Packaging: 2 x 140 grs Black Vinyl, Gatefold with spot UV gloss, 2 x Black Dust inner sleeve, front sticker
DOUBLE VINYL
A1 - Spirale - The Limiñanas
A2 - Prisoner of Beauty - The Limiñanas & Bobby Gillespie
A3 - J'adore le monde - The Limiñanas & Bertrand Belin
B1 - Shout - The Limiñanas & Rover
B2 - Faded-The Limiñanas & Penny
B3 - Catherine - The Limiñanas & Anna Jean
B4 - The Dancer - The Limiñanas
C1 - Space Baby - The Limiñanas, Jon Spencer & Pascal Comelade
C2 - Tu viens Marie - The Limiñanas
C3 - Louie Louie - The Limiñanas
D1 - Autour de chez moi - The Limiñanas
D2 - Degenerate Star - The Limiñanas, Jon Spencer & Pascal Comelade
D3 - Où va la chance (Françoise Hardy Cover) - The Limiñanas
SHORT BIOG FOR ONLINE PREORDER
Following "Shadow People" (2018) and "De Pelicula" (2021) done with Laurent Garnier , The Limiñanas are making their big comeback with their new album entitled "Faded" , whose first single is "Prisoner of Beauty" featuring Bobby Gillespie (Primal Scream), supporter of the band for years. The French psychedelic - garage duo has also gathered on " Faded" for duets artists such as Jon Spencer, Bertrand Belin, Rover, Penny, Anna Jean & Pascal Comelade.
FIRST TOUR DATES
March 29th / BARCELONA – Razzmatazz
April 10th/ PARIS – Olympia
April 12th/ LONDON – Electric Ballroom
April 15th / BERLIN – Columbia Theater
April 16th / AMSTERDAM – Tolhuistin – Paradisio
April 17th / BRUSSELS – AB Ballroom
May 22th / LAUSANNE – Les Docks
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
Packaging: 2 x 140 grs Black Vinyl, Gatefold with spot UV gloss, 2 x Black Dust inner sleeve, front sticker
DOUBLE VINYL
A1 - Spirale - The Limiñanas
A2 - Prisoner of Beauty - The Limiñanas & Bobby Gillespie
A3 - J'adore le monde - The Limiñanas & Bertrand Belin
B1 - Shout - The Limiñanas & Rover
B2 - Faded-The Limiñanas & Penny
B3 - Catherine - The Limiñanas & Anna Jean
B4 - The Dancer - The Limiñanas
C1 - Space Baby - The Limiñanas, Jon Spencer & Pascal Comelade
C2 - Tu viens Marie - The Limiñanas
C3 - Louie Louie - The Limiñanas
D1 - Autour de chez moi - The Limiñanas
D2 - Degenerate Star - The Limiñanas, Jon Spencer & Pascal Comelade
D3 - Où va la chance (Françoise Hardy Cover) - The Limiñanas
SHORT BIOG FOR ONLINE PREORDER
Following "Shadow People" (2018) and "De Pelicula" (2021) done with Laurent Garnier , The Limiñanas are making their big comeback with their new album entitled "Faded" , whose first single is "Prisoner of Beauty" featuring Bobby Gillespie (Primal Scream), supporter of the band for years. The French psychedelic - garage duo has also gathered on " Faded" for duets artists such as Jon Spencer, Bertrand Belin, Rover, Penny, Anna Jean & Pascal Comelade.
FIRST TOUR DATES
March 29th / BARCELONA – Razzmatazz
April 10th/ PARIS – Olympia
April 12th/ LONDON – Electric Ballroom
April 15th / BERLIN – Columbia Theater
April 16th / AMSTERDAM – Tolhuistin – Paradisio
April 17th / BRUSSELS – AB Ballroom
May 22th / LAUSANNE – Les Docks
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
1
trentemoller - Take Me Into Your Skin
2
trentemoller - Vamp
3
trentemoller - Evil Dub
4
trentemoller - Always Something Better
5
trentemoller - While the Cold Winter Waiting
6
trentemoller - Nightwalker
7
trentemoller - Like Two Strangers
8
trentemoller - The Very Last Resort
9
trentemoller - Snowflake
10
trentemoller - Chameleon
11
trentemoller - Into The Trees (Serenetti Part 3)
12
trentemoller - Moan
13
trentemoller - Miss You
2018 Reissue, 3LP , Gatefold, Complete Tracklisting 1st Time on Vinyl!
Special vinyl re-issue of Trentemøller's groundbreaking debut album. Includes all of the 13 songs on vinyl for the first time. Triple-vinyl in gatefold sleeve.
Tracklist:
A1. Take Me Into Your Skin
A2. Vamp
B1. Evil Dub
B2. Always Something Better
C1. While the Cold Winter Waiting
C2. Nightwalker
D1. Like Two Strangers
D2. The Very Last Resort
E1. Snowflake
E2. Chameleon
F1. Into The Trees (Serenetti Part 3)
F2. Moan
F3. Miss You
Special vinyl re-issue of Trentemøller's groundbreaking debut album. Includes all of the 13 songs on vinyl for the first time. Triple-vinyl in gatefold sleeve.
Trentemøller's debut album remains one of the few genre-defining and groundbreaking
albums in many regards. It's still being praised for its composition and sounddesign alike and sounds as fresh and breathtaking today as it did when it was originally released in 2006.
The Last Resort - a beautifully crafted, astonishing masterpiece, that will leave you breathless. The 13
instrumental tracks together form a wordless musical story, almost like the soundtrack of a movie. It
manages to capture a whole range of emotions in subtle melodic miniatures, dreamy ambiences, dusty beats, deep dub-tracks and driving groove-excursions. An ever-changing kaleidoscope of colours and moods. Although it's an electronic album, it also incorporates live-drums, guitars, bass and other acoustic instruments like celesta, glockenspiel, melodica and even DJ scratching to create a more organic feel. The album received fantastic acclaim from both music fans and journalists around the world and made it into the top-lists of the month, the year, the decade - alongside an array of awards for best production or best album.
Back in 2006, the original pressing only included a selection of songs from the original 13-track album release. It missed out on songs which had been released on singles or didn't "fit" on the so called "vinyl edition". Due to 'public demand' and simply because this album deserves a proper vinyl
release we are happy to finally present, for the first time, the full album on vinyl. It spans of three vinyl discs and is packed in a beautiful gatefold sleeve which also holds a download-code. The recut has been carefully crafted from first generation, orignal masters by Calyx in Berlin. Since the album has been praised for its fantastic sound the primary directive was to cut the lacquers for the re-issue so that they would sound exactly the same as the original release, which has been the CD version of the album. No 'digital remastering' or any other alterations have been applied.
All 13 songs of the classic album on one vinyl release for the first time. Triple-Vinyl edition. Gatefold sleeve. download code. original sound-quality. NO digital remastering.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
Special vinyl re-issue of Trentemøller's groundbreaking debut album. Includes all of the 13 songs on vinyl for the first time. Triple-vinyl in gatefold sleeve.
Tracklist:
A1. Take Me Into Your Skin
A2. Vamp
B1. Evil Dub
B2. Always Something Better
C1. While the Cold Winter Waiting
C2. Nightwalker
D1. Like Two Strangers
D2. The Very Last Resort
E1. Snowflake
E2. Chameleon
F1. Into The Trees (Serenetti Part 3)
F2. Moan
F3. Miss You
Special vinyl re-issue of Trentemøller's groundbreaking debut album. Includes all of the 13 songs on vinyl for the first time. Triple-vinyl in gatefold sleeve.
Trentemøller's debut album remains one of the few genre-defining and groundbreaking
albums in many regards. It's still being praised for its composition and sounddesign alike and sounds as fresh and breathtaking today as it did when it was originally released in 2006.
The Last Resort - a beautifully crafted, astonishing masterpiece, that will leave you breathless. The 13
instrumental tracks together form a wordless musical story, almost like the soundtrack of a movie. It
manages to capture a whole range of emotions in subtle melodic miniatures, dreamy ambiences, dusty beats, deep dub-tracks and driving groove-excursions. An ever-changing kaleidoscope of colours and moods. Although it's an electronic album, it also incorporates live-drums, guitars, bass and other acoustic instruments like celesta, glockenspiel, melodica and even DJ scratching to create a more organic feel. The album received fantastic acclaim from both music fans and journalists around the world and made it into the top-lists of the month, the year, the decade - alongside an array of awards for best production or best album.
Back in 2006, the original pressing only included a selection of songs from the original 13-track album release. It missed out on songs which had been released on singles or didn't "fit" on the so called "vinyl edition". Due to 'public demand' and simply because this album deserves a proper vinyl
release we are happy to finally present, for the first time, the full album on vinyl. It spans of three vinyl discs and is packed in a beautiful gatefold sleeve which also holds a download-code. The recut has been carefully crafted from first generation, orignal masters by Calyx in Berlin. Since the album has been praised for its fantastic sound the primary directive was to cut the lacquers for the re-issue so that they would sound exactly the same as the original release, which has been the CD version of the album. No 'digital remastering' or any other alterations have been applied.
All 13 songs of the classic album on one vinyl release for the first time. Triple-Vinyl edition. Gatefold sleeve. download code. original sound-quality. NO digital remastering.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
Taking a turn to some of its roots, Emotional Rescue offers a reissue of Ramjac Corporation's UK house/breaks anthem Cameroon Massif!. First released on the increasingly cult-status Irdial Discs in 1990, this was very much the sound of the big bang explosion of Acid House morphing and splintering, as subsequent multi-genres developed, formed, imploded and reformed in new ways that still subsists today. Within the melting pot of anything goes, chemically-enhanced optimism that spread across the UK during that return to the summers of love from 1987 onwards, the nascent sounds coming from Chicago and Detroit were mixed with a hybrid of 80s British influences, taking in European synth pop, US electro, new beat, hip hop and reggae. Out of this appeared a new sound, mixing that love of techno and house with dub bass and break beats into a proto-jungle swirl. Like many growing up through the ever-evolving 60, 70s & 80s British music scene, Paul Chivers' early years of learning piano and guitar, moved from Beatles era pop to take in punk, jazz and anything an eager musical mind could explore. Developing a long-term interest and study of Cuban and Afro-drumming, his acquisition of an Atari and sampler soon moved to programming of both drum machines and TB303 and with that, Ramjac Corporation was born. Playing live at some of the earliest raves in 1988, as often through luck and "right time, right place", including the infamous Back To The Future and Energy parties, Ramjac went from playing from 50 to 10,000 ravers in a matter of months, as the nation was gripped, depending on your cultural standing, by either a mixture of drug apocalypse paranoia or ecstatic celebration. It was a meeting with Akin Fernandez, founder of Irdial Discs, that led some of the first studio experiments and creation of Cameroon Massif!. Utlising Akin's in-house studio and production skills, alongside Chivers' jazz influenced outlook of improvisation over arrangement, the track took shape, mixing the live programmed percussion, heavy doses of phase, delay and reverb and Sun Ra inspired keys that resulted in a number of mixes of Massif!. Collected here are the original 12" "Massive" and "Massing" mixes, plus a special live version taken from the "Live At The Brain" reunion gig of 2009. The sought after 1990 versions and original Live mix are taken a step further with this 13 mins + mix, in essence a resampling and remixing reversion with didgeridoo and live on mic MCing, that gives a real glimpse of those early live sets. With more Ramjac Corporation material upcoming and a live reel-to-reel show appearing soon, the return of Cameroon Massif! is now.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
1
Ian Carr’s Nucleus - A1 : Roots (9:24)
2
Ian Carr’s Nucleus - A2 : Images (4:55)
3
Ian Carr’s Nucleus - A3 : Caliban (4:35)
4
Ian Carr’s Nucleus - B1 : Whapatiti (3:22)
5
Ian Carr’s Nucleus - B2 : Capricorn (4:00)
6
Ian Carr’s Nucleus - B3 : Odokamona (3:24)
7
Ian Carr’s Nucleus - B4 : Southern Roots And Celebration (7:45)
Format Notes: 2024 repress, 140g vinyl, remastered from the original analogue tapes
Track List:
1 A1 : Roots (9:24)
2 A2 : Images (4:55)
3 A3 : Caliban (4:35)
4 B1 : Whapatiti (3:22)
5 B2 : Capricorn (4:00)
6 B3 : Odokamona (3:24)
7 B4 : Southern Roots And Celebration (7:45)
Release Notes:
What an unbelievable record. From the wild cover to the iconic breakbeats, Roots from Ian Carr’s Nucleus is one of the dopest albums we know. This is seriously thick, funky-prog jazz-rock heaven. Originally released on Vertigo in 1973, other than a couple of versions at the time for other territories, Roots was never re-pressed since so it’s gone on to become another one of those impossible to find records.
Maybe it was a little too out there for the time, but it’s aged very, very well indeed and this Be With re-issue, re-mastered from the original analogue tapes, shows off just why this deserves to be back in press.
Genius trumpeter and visionary composer Ian Carr was one of the most respected British musicians of his era. He was a true pioneer and saw the potential in fusing the worlds of jazz with rock, just as Miles Davis and The Tony Williams Lifetime did in the US. In late 1969, following the demise of the Rendell-Carr quintet, and tiring of British jazz, Carr assembled the legendary Nucleus. Regarding music as a continuous process, Nucleus refused to “recognise rigid boundaries” and worked on delivering what they saw as a “total musical experience”. We can get behind that.
Under bandleader Carr, Nucleus existed as a fluid line-up of inventive, skilled musicians. This constant evolution and revolution was all part of the continuous musical exploration and discovery that took jazz to new levels.
Working together with producer Fritz Fryer and engineer Roger Wake, the seven compositions by Carr, Brian Smith and Dave MacRae that make up Roots flirt with perfection, and Nucleus at that time made up of the cream of 1970s UK jazz with Brian Smith on tenor saxophones and flutes, Dave MacRae on piano and electric piano, Jocelyn Pitchen on guitar, Roger Sutton on bass, both Clive Thacker and Aureo De Souza on drums and percussion, Joy Yates delivering the vocals and of course Carr on trumpet.
The spellbinding title track immediately renders the album indispensable. Riding the illest of loping breakbeats, “Roots” is low-slung, doped-out heist-funk. An absolute monster. If it sounds familiar then that’s likely down to it being sampled by Madlib for Lootpack and Quasimoto’s “Loop Digga”, as well as by a whole host of beat manipulators. “Roots” conjures prime instrumental hip-hop / beat music, only 20 years ahead of its time. Truly, these are the roots. Through sinuous bass, twinkling keys and a hypnotic guitar riff, a smoky brass motif weaves its way into a gloriously deep haze around Carr’s solos. “Roots” is over 9 minutes long, but there’s not a single wasted second, not surprising given that this is a condensed version of an originally 40 minute long commissioned composition.
The soothing vocal fusion delight of “Images” follows. Meticulously constructed, with gorgeous flute work from Brian Smith, with Joy Yates’ silky vocals and Dave MacRae’s Rhodes never sounding better. The cool, driving “Caliban” closes out the first side. Originally the third movement in a four part commission to celebrate Shakespeare’s birthday it stands up on its own, all robust rhythms and blended brass. Keyboard colour and Carr’s trumpet are splashed across the funk drums and basslines (and there’s even some bamboo flute). This really is fusion: the elements of jazz and rock coming together in beautifully synthesis.
Side two opens in riotous fashion with the short, thrilling samba of “Wapatiti”. Next up, “Capricorn” forms a smoothed-out, jazzy constellation. Mellow and dreamy, its twinkling percussion and languid horns slowly build the vibe before head-nod drums and a killer bassline enter the fray. With a distinct heaviness that Black Sabbath would’ve envied, “Odokamona” is a venomous slice of riff-soaked jazz metal (yes, you read that right), elevated by Carr’s wah-wah horns.
The album closes with MacRae’s exceptionally cosmic “Southern Roots and Celebration”. Very much in conversation with Weather Report, it opens as a languorous, spiritual jazz of chiming keys and serene guitar that turns slowly, gorgeously into a mid-paced, brass-laced banger. It’s another sure-fire party starter and the sound of the band having a righteous blast, building an ecstatic chaos that ends with Yates screaming.
And of course we need to talk about Keith Davis’ cover for Roots. Perhaps the coolest record cover of all time? Certainly one of the most bonkers. Just your run-of-the-mill high-gloss, acid-tinged airbrush dystopian/utopian living-room party scene. Consider this your chemical flashback trigger warning.
Front-and-centre the hip-to-death green robot holds court with their giant ball of yellow barbwire wool, hooked up to… something(?) being teased out from under the stairs (probably best not to ask). A thoroughly zoned-out, long-legged Pop Art party-goer lounges half-plugged in to the painting behind her as a pair of legs flail into shot from the the top of the stairs opposite. We won’t even begin to guess what the chap’s up to in the middle, but the view out of the windows is rather nice, and someone’s already got the hoover out ready to tidy up. All of the Nucleus sleeves are something special, but this particular one? Crikey.
This Be With edition of Roots has been re-mastered from the original Vertigo master tapes, Simon Francis’ mastering working together with Pete Norman’s cut to weave their usual magic with these wonderful recordings. The crazy cover has been restored at Be With HQ as the finishing touch to this long overdue re-issue.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
Track List:
1 A1 : Roots (9:24)
2 A2 : Images (4:55)
3 A3 : Caliban (4:35)
4 B1 : Whapatiti (3:22)
5 B2 : Capricorn (4:00)
6 B3 : Odokamona (3:24)
7 B4 : Southern Roots And Celebration (7:45)
Release Notes:
What an unbelievable record. From the wild cover to the iconic breakbeats, Roots from Ian Carr’s Nucleus is one of the dopest albums we know. This is seriously thick, funky-prog jazz-rock heaven. Originally released on Vertigo in 1973, other than a couple of versions at the time for other territories, Roots was never re-pressed since so it’s gone on to become another one of those impossible to find records.
Maybe it was a little too out there for the time, but it’s aged very, very well indeed and this Be With re-issue, re-mastered from the original analogue tapes, shows off just why this deserves to be back in press.
Genius trumpeter and visionary composer Ian Carr was one of the most respected British musicians of his era. He was a true pioneer and saw the potential in fusing the worlds of jazz with rock, just as Miles Davis and The Tony Williams Lifetime did in the US. In late 1969, following the demise of the Rendell-Carr quintet, and tiring of British jazz, Carr assembled the legendary Nucleus. Regarding music as a continuous process, Nucleus refused to “recognise rigid boundaries” and worked on delivering what they saw as a “total musical experience”. We can get behind that.
Under bandleader Carr, Nucleus existed as a fluid line-up of inventive, skilled musicians. This constant evolution and revolution was all part of the continuous musical exploration and discovery that took jazz to new levels.
Working together with producer Fritz Fryer and engineer Roger Wake, the seven compositions by Carr, Brian Smith and Dave MacRae that make up Roots flirt with perfection, and Nucleus at that time made up of the cream of 1970s UK jazz with Brian Smith on tenor saxophones and flutes, Dave MacRae on piano and electric piano, Jocelyn Pitchen on guitar, Roger Sutton on bass, both Clive Thacker and Aureo De Souza on drums and percussion, Joy Yates delivering the vocals and of course Carr on trumpet.
The spellbinding title track immediately renders the album indispensable. Riding the illest of loping breakbeats, “Roots” is low-slung, doped-out heist-funk. An absolute monster. If it sounds familiar then that’s likely down to it being sampled by Madlib for Lootpack and Quasimoto’s “Loop Digga”, as well as by a whole host of beat manipulators. “Roots” conjures prime instrumental hip-hop / beat music, only 20 years ahead of its time. Truly, these are the roots. Through sinuous bass, twinkling keys and a hypnotic guitar riff, a smoky brass motif weaves its way into a gloriously deep haze around Carr’s solos. “Roots” is over 9 minutes long, but there’s not a single wasted second, not surprising given that this is a condensed version of an originally 40 minute long commissioned composition.
The soothing vocal fusion delight of “Images” follows. Meticulously constructed, with gorgeous flute work from Brian Smith, with Joy Yates’ silky vocals and Dave MacRae’s Rhodes never sounding better. The cool, driving “Caliban” closes out the first side. Originally the third movement in a four part commission to celebrate Shakespeare’s birthday it stands up on its own, all robust rhythms and blended brass. Keyboard colour and Carr’s trumpet are splashed across the funk drums and basslines (and there’s even some bamboo flute). This really is fusion: the elements of jazz and rock coming together in beautifully synthesis.
Side two opens in riotous fashion with the short, thrilling samba of “Wapatiti”. Next up, “Capricorn” forms a smoothed-out, jazzy constellation. Mellow and dreamy, its twinkling percussion and languid horns slowly build the vibe before head-nod drums and a killer bassline enter the fray. With a distinct heaviness that Black Sabbath would’ve envied, “Odokamona” is a venomous slice of riff-soaked jazz metal (yes, you read that right), elevated by Carr’s wah-wah horns.
The album closes with MacRae’s exceptionally cosmic “Southern Roots and Celebration”. Very much in conversation with Weather Report, it opens as a languorous, spiritual jazz of chiming keys and serene guitar that turns slowly, gorgeously into a mid-paced, brass-laced banger. It’s another sure-fire party starter and the sound of the band having a righteous blast, building an ecstatic chaos that ends with Yates screaming.
And of course we need to talk about Keith Davis’ cover for Roots. Perhaps the coolest record cover of all time? Certainly one of the most bonkers. Just your run-of-the-mill high-gloss, acid-tinged airbrush dystopian/utopian living-room party scene. Consider this your chemical flashback trigger warning.
Front-and-centre the hip-to-death green robot holds court with their giant ball of yellow barbwire wool, hooked up to… something(?) being teased out from under the stairs (probably best not to ask). A thoroughly zoned-out, long-legged Pop Art party-goer lounges half-plugged in to the painting behind her as a pair of legs flail into shot from the the top of the stairs opposite. We won’t even begin to guess what the chap’s up to in the middle, but the view out of the windows is rather nice, and someone’s already got the hoover out ready to tidy up. All of the Nucleus sleeves are something special, but this particular one? Crikey.
This Be With edition of Roots has been re-mastered from the original Vertigo master tapes, Simon Francis’ mastering working together with Pete Norman’s cut to weave their usual magic with these wonderful recordings. The crazy cover has been restored at Be With HQ as the finishing touch to this long overdue re-issue.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
Label:Because Music
Cat-No:BEC5614669
Release-Date:21.02.2025
Genre:Indie Rock/Alternative
Configuration:2LP Excl
Label:Because Music
Cat-No:BEC5614669
Release-Date:21.02.2025
Genre:Indie Rock/Alternative
Configuration:2LP Excl
Rights: World excluding France, UK & US
Packaging: 2 x Clear Red Vinyl, Gatefold with spot UV gloss, 2 x Black Dust inner sleeve, front sticker
TRACKLISTING DOUBLE VINYL:
A1 - Spirale - The Limiñanas
A2 - Prisoner of Beauty - The Limiñanas & Bobby Gillespie
A3 - J'adore le monde - The Limiñanas & Bertrand Belin
B1 - Shout - The Limiñanas & Rover
B2 - Faded-The Limiñanas & Penny
B3 - Catherine - The Limiñanas & Anna Jean
B4 - The Dancer - The Limiñanas
C1 - Space Baby - The Limiñanas, Jon Spencer & Pascal Comelade
C2 - Tu viens Marie - The Limiñanas
C3 - Louie Louie - The Limiñanas
D1 - Autour de chez moi - The Limiñanas
D2 - Degenerate Star - The Limiñanas, Jon Spencer & Pascal Comelade
D3 - Où va la chance (Françoise Hardy Cover) - The Limiñanas
FIRST TOUR DATES
March 29th / BARCELONA – Razzmatazz
April 10th/ PARIS – Olympia
April 12th/ LONDON – Electric Ballroom
April 15th / BERLIN – Columbia Theater
April 16th / AMSTERDAM – Tolhuistin – Paradisio
April 17th / BRUSSELS – AB Ballroom
May 22th / LAUSANNE – Les Docks
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
Packaging: 2 x Clear Red Vinyl, Gatefold with spot UV gloss, 2 x Black Dust inner sleeve, front sticker
TRACKLISTING DOUBLE VINYL:
A1 - Spirale - The Limiñanas
A2 - Prisoner of Beauty - The Limiñanas & Bobby Gillespie
A3 - J'adore le monde - The Limiñanas & Bertrand Belin
B1 - Shout - The Limiñanas & Rover
B2 - Faded-The Limiñanas & Penny
B3 - Catherine - The Limiñanas & Anna Jean
B4 - The Dancer - The Limiñanas
C1 - Space Baby - The Limiñanas, Jon Spencer & Pascal Comelade
C2 - Tu viens Marie - The Limiñanas
C3 - Louie Louie - The Limiñanas
D1 - Autour de chez moi - The Limiñanas
D2 - Degenerate Star - The Limiñanas, Jon Spencer & Pascal Comelade
D3 - Où va la chance (Françoise Hardy Cover) - The Limiñanas
FIRST TOUR DATES
March 29th / BARCELONA – Razzmatazz
April 10th/ PARIS – Olympia
April 12th/ LONDON – Electric Ballroom
April 15th / BERLIN – Columbia Theater
April 16th / AMSTERDAM – Tolhuistin – Paradisio
April 17th / BRUSSELS – AB Ballroom
May 22th / LAUSANNE – Les Docks
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
xploring late-night, after-hours meditations on sound; ‘Everything Above The Sky (Astral Travelling with Luke Una)’ is a new compilation by the titular DJ, promoter and enigmatic cultural curator. Off the back of the E Soul Cultura phenomena, this compilation comes at a timely point in Luke’s rich career as he soars the heights of playing all over the world. Avoiding any chance of his sound being pigeonholed, Luke has put together a tracklist of songs and music that have a transcendental feel, after coming off the grid, going back to source, outside the city walls .
Music has long been believed to aid out of body experiences and many of us have searched long and hard for a combination of those elusive ingredients that might alleviate some of the monotony of everyday life, our daily routines and obligations, and those things that seem to block us from the spirit of the universe. In this collection, Luke selects music with all the right ingredients in just the right quantities, allowing the listener to engage in an esoteric journey of enlightenment through sound. Being a prolific collector of music, Luke initially delivered enough tracks to compile several compilations, making the licensing process the biggest effort to date for the label. The music moves softly and slowly, never becoming too intrusive, exemplifying the wonderful elevating properties of simple songs played from the heart.
Luke’s Everything Above The Sky manifesto reads, “Astral Travelling in the meadowlands with acid folk, spiritual jazz, around midnight hocus pocus, cosmic psychedelic soul, magical spellbound whirling swirling love songs, Brazilian ballads of light into machine soul gospel utopia dreaming, Balearic bossa, Outer Space ancient African drum, the breath of trees, escaping the big bad modern world, gathering round winter fires, walking amongst the bracken in Padley Gorge in late summer twilight, overlooking the Hope Valley, escaping ego, detaching and finally letting go amongst the stars with the slowly floating people. It’s beautiful beyond. Everything above the Sky”.
Beginning his career as an original Sheffield house young blood in the mid 1980s, Luke’s move to Manchester and partnership with Justin Crawford saw the birth of Electric Chair, a cornerstone cult night in the UK underground club scene. Then came Electric Elephant, a Croatian festival paying homage to their wild eclecticism from Balearic to Brazilian to É Soul, house, disco and techno. Luke’s much loved, long-running Homoelectric night and more recently Homobloc sell out festival for 10,000 souls has been at the forefront of Manchester’s LGBTQ+ cultural landscape. Luke’s Friday evening show on Worldwide FM captured imaginations and became a cult four-hour must-listen monthly journey for fans all over the world. Today, Luke remains, as ever, at the forefront of a changing milieu, pairing the momentous legacy of Manchester’s 80s and 90s scene with the delivery of what today’s club communities need to get down.
TRACKLISTING
1. John Martyn - Small Hours
2. Stephen Whynott – A Better Way
3. April Fulladosa - Sunlit Horizon
4. Sylvain Kassap - Plancoët
5. Manu Dibango - Night In Zeralda
6. Henri Texier - Hocoka Time
7. Nivaldo Orneleas - O Que Ha
8. 808 State – Pacific State (Massey’s Conga Mix)
9. Magma - Eliphas Levi
10. Homelife - Stranger
11. Michael Gregory Jackson - Unspoken Magic
12. Dora Morelenbaum - Avermelhar
13. Simone - Tudo Que Você Podia Ser
14. Experience Unlimited – People
15. Otis G. Johnson - I Got It
16. Mel & Tim - Keep The Faith
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
Music has long been believed to aid out of body experiences and many of us have searched long and hard for a combination of those elusive ingredients that might alleviate some of the monotony of everyday life, our daily routines and obligations, and those things that seem to block us from the spirit of the universe. In this collection, Luke selects music with all the right ingredients in just the right quantities, allowing the listener to engage in an esoteric journey of enlightenment through sound. Being a prolific collector of music, Luke initially delivered enough tracks to compile several compilations, making the licensing process the biggest effort to date for the label. The music moves softly and slowly, never becoming too intrusive, exemplifying the wonderful elevating properties of simple songs played from the heart.
Luke’s Everything Above The Sky manifesto reads, “Astral Travelling in the meadowlands with acid folk, spiritual jazz, around midnight hocus pocus, cosmic psychedelic soul, magical spellbound whirling swirling love songs, Brazilian ballads of light into machine soul gospel utopia dreaming, Balearic bossa, Outer Space ancient African drum, the breath of trees, escaping the big bad modern world, gathering round winter fires, walking amongst the bracken in Padley Gorge in late summer twilight, overlooking the Hope Valley, escaping ego, detaching and finally letting go amongst the stars with the slowly floating people. It’s beautiful beyond. Everything above the Sky”.
Beginning his career as an original Sheffield house young blood in the mid 1980s, Luke’s move to Manchester and partnership with Justin Crawford saw the birth of Electric Chair, a cornerstone cult night in the UK underground club scene. Then came Electric Elephant, a Croatian festival paying homage to their wild eclecticism from Balearic to Brazilian to É Soul, house, disco and techno. Luke’s much loved, long-running Homoelectric night and more recently Homobloc sell out festival for 10,000 souls has been at the forefront of Manchester’s LGBTQ+ cultural landscape. Luke’s Friday evening show on Worldwide FM captured imaginations and became a cult four-hour must-listen monthly journey for fans all over the world. Today, Luke remains, as ever, at the forefront of a changing milieu, pairing the momentous legacy of Manchester’s 80s and 90s scene with the delivery of what today’s club communities need to get down.
TRACKLISTING
1. John Martyn - Small Hours
2. Stephen Whynott – A Better Way
3. April Fulladosa - Sunlit Horizon
4. Sylvain Kassap - Plancoët
5. Manu Dibango - Night In Zeralda
6. Henri Texier - Hocoka Time
7. Nivaldo Orneleas - O Que Ha
8. 808 State – Pacific State (Massey’s Conga Mix)
9. Magma - Eliphas Levi
10. Homelife - Stranger
11. Michael Gregory Jackson - Unspoken Magic
12. Dora Morelenbaum - Avermelhar
13. Simone - Tudo Que Você Podia Ser
14. Experience Unlimited – People
15. Otis G. Johnson - I Got It
16. Mel & Tim - Keep The Faith
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
1
dj koze - La Duquesa
2
dj koze - Burn with me
2025 repress
UPC: 827170489462 Release : 18.03.2013
Tracklist: A. La Duquesa // ISRC: DEMM11300036 B. Burn with me // ISRC: DEMM11300049
"La Duquesa", the most tender and most refined piece of the album Amygdala, perfectly casual and serious, deep and euphoric, all at the same time, is dedicated to the Spanish Duquesa de Alba, who, as holder of 46 titles of nobility, is even more highly decorated than Queen Elisabeth. Koze is fascinated by this lady: With her peculiarly creepy appearance she seems like a relic from the past era of the Spanish nobility. She is the most pictured woman in Spain and a pop phenomenon. When, in 2011, she married a man 24 years younger than herself, the entire country badmouthed her. Sometimes Koze would love to be that younger man, who the Spaniards dismiss as a legacy hunter! Encore the needle is cookin'. Dj Koze did it again. His homage to Audrey Horne. "Burn with me" - a fucked up, deep and schizophrenic brainfoodbouncer with legato bass and hi hats way out of time. The beat burst like shagging, the dirty off hi-hat lashes remorseless in the twat-herd - everyone just wants to get laid straight away.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
UPC: 827170489462 Release : 18.03.2013
Tracklist: A. La Duquesa // ISRC: DEMM11300036 B. Burn with me // ISRC: DEMM11300049
"La Duquesa", the most tender and most refined piece of the album Amygdala, perfectly casual and serious, deep and euphoric, all at the same time, is dedicated to the Spanish Duquesa de Alba, who, as holder of 46 titles of nobility, is even more highly decorated than Queen Elisabeth. Koze is fascinated by this lady: With her peculiarly creepy appearance she seems like a relic from the past era of the Spanish nobility. She is the most pictured woman in Spain and a pop phenomenon. When, in 2011, she married a man 24 years younger than herself, the entire country badmouthed her. Sometimes Koze would love to be that younger man, who the Spaniards dismiss as a legacy hunter! Encore the needle is cookin'. Dj Koze did it again. His homage to Audrey Horne. "Burn with me" - a fucked up, deep and schizophrenic brainfoodbouncer with legato bass and hi hats way out of time. The beat burst like shagging, the dirty off hi-hat lashes remorseless in the twat-herd - everyone just wants to get laid straight away.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
Label:Other People
Cat-No:OP073
Release-Date:17.11.2023
Genre:Alternative/Electronic
Configuration:LP Excl
Label:Other People
Cat-No:OP073
Release-Date:17.11.2023
Genre:Alternative/Electronic
Configuration:LP Excl
1
Ali Sethi & Nicolas Jaar - A1. Intiha - 3:50
2
Ali Sethi & Nicolas Jaar - A2. Nazar Se - 4:14
3
Ali Sethi & Nicolas Jaar - A3. Muddat - 6:30
4
Ali Sethi & Nicolas Jaar - A4. Raat Bhar - 2:58
5
Ali Sethi & Nicolas Jaar - B5. Dard - 7:30
6
Ali Sethi & Nicolas Jaar - B6. Chiragh - 5:46
7
Ali Sethi & Nicolas Jaar - B7. Lagta Nahi - 2:10
8
Ali Sethi & Nicolas Jaar - B8. Dono Jahan - 3:32
LP, Artwork with Obi Tag, Vinyl made of BioVinyl
2. GENRE/S: Alternative / Electronic
3. TRACKLISTS:
A
1. Intiha - 3:50
2. Nazar Se - 4:14
3. Muddat - 6:30
4. Raat Bhar - 2:58
B
5. Dard - 7:30
6. Chiragh - 5:46
7. Lagta Nahi - 2:10
8. Dono Jahan - 3:32
4. SHORT INFO:
Singer, songwriter and author Ali Sethi had been entranced by Jaar's music long before they began collaborating. He'd absorbed the sounds over a number of years, listening casually and taking in their subtleties in bars and rooftop parties across Lahore and London. "It felt familiar to me, that sense of adventure you have when you hear his music, like a tale that teases you and plays with your expectations as it unfolds," says Sethi. "In that sense it resembled the leisurely improvised ghazals and qawwalis I grew up hearing in Pakistan." So when the two were finally introduced by Indian visual artist Somnath Bhatt, a regular Jaar collaborator who also handled the album's artwork, Sethi was well prepared. He began to sketch out voice notes using loops snipped from Jaar's acclaimed 2020 album 'Telas', improvising vocalizations and seductive Urdu poems over Jaar's weightless, time-bending productions. Jaar was astonished by the result; "It was what 'Telas' had been missing," he explains.
Improvisation has been important to the Chilean artist for many years. Before he had even started making electronic music, Jaar jammed on accordion with friends on the street in New York City. It's at the core of his practice, "a moment in time," in his own words. 'Intiha', the opening track on the album, is the first they finished together, and positions Sethi's evocative phrases over Jaar's faded, metallic percussion. It's a perfect proof of concept, re- imagining the world of 'Telas' and augmenting it with a sense of ancestral melancholy and giddy euphoria that's truly transformational.
Sethi is best known globally for his attempts to revive the ghazal, an ancient poetic form that was taken by Sufi mystics from the Arab world to Persia and throughout the Indian subcontinent, where it captivated the royal court. It's been unfashionable in the last few decades, a mannered style associated with decadence, and Sethi offers it a new lease of life through his playfully revisionist covers and renditions. (His most popular single 'Pasoori' is a global phenomenon, one of the most Googled songs of 2022, with hundreds of millions of listeners tuning into its timeless message of forbidden love.) Sethi updates the ghazal form by using his years of training in raga music, lifting metaphors that reflect his journey as an out-of- place queer kid in Pakistan who became a US citizen and now lives in New York City.
5. VITAL SALES POINTS:
Critically acclaimed musician Nicolas Jaar collaborates with Pakistani artist Ali Sethi for a reworking of his original album Telas
Ali Sethi song "Pasoori" was the most googled song in 2022. It has over a billion streams across his profiles
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
2. GENRE/S: Alternative / Electronic
3. TRACKLISTS:
A
1. Intiha - 3:50
2. Nazar Se - 4:14
3. Muddat - 6:30
4. Raat Bhar - 2:58
B
5. Dard - 7:30
6. Chiragh - 5:46
7. Lagta Nahi - 2:10
8. Dono Jahan - 3:32
4. SHORT INFO:
Singer, songwriter and author Ali Sethi had been entranced by Jaar's music long before they began collaborating. He'd absorbed the sounds over a number of years, listening casually and taking in their subtleties in bars and rooftop parties across Lahore and London. "It felt familiar to me, that sense of adventure you have when you hear his music, like a tale that teases you and plays with your expectations as it unfolds," says Sethi. "In that sense it resembled the leisurely improvised ghazals and qawwalis I grew up hearing in Pakistan." So when the two were finally introduced by Indian visual artist Somnath Bhatt, a regular Jaar collaborator who also handled the album's artwork, Sethi was well prepared. He began to sketch out voice notes using loops snipped from Jaar's acclaimed 2020 album 'Telas', improvising vocalizations and seductive Urdu poems over Jaar's weightless, time-bending productions. Jaar was astonished by the result; "It was what 'Telas' had been missing," he explains.
Improvisation has been important to the Chilean artist for many years. Before he had even started making electronic music, Jaar jammed on accordion with friends on the street in New York City. It's at the core of his practice, "a moment in time," in his own words. 'Intiha', the opening track on the album, is the first they finished together, and positions Sethi's evocative phrases over Jaar's faded, metallic percussion. It's a perfect proof of concept, re- imagining the world of 'Telas' and augmenting it with a sense of ancestral melancholy and giddy euphoria that's truly transformational.
Sethi is best known globally for his attempts to revive the ghazal, an ancient poetic form that was taken by Sufi mystics from the Arab world to Persia and throughout the Indian subcontinent, where it captivated the royal court. It's been unfashionable in the last few decades, a mannered style associated with decadence, and Sethi offers it a new lease of life through his playfully revisionist covers and renditions. (His most popular single 'Pasoori' is a global phenomenon, one of the most Googled songs of 2022, with hundreds of millions of listeners tuning into its timeless message of forbidden love.) Sethi updates the ghazal form by using his years of training in raga music, lifting metaphors that reflect his journey as an out-of- place queer kid in Pakistan who became a US citizen and now lives in New York City.
5. VITAL SALES POINTS:
Critically acclaimed musician Nicolas Jaar collaborates with Pakistani artist Ali Sethi for a reworking of his original album Telas
Ali Sethi song "Pasoori" was the most googled song in 2022. It has over a billion streams across his profiles
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