1
Odd Nosdam - End Is Important
2
Odd Nosdam - Here To Know
Odd Nosdam really doesn’t need an introduction, unless you’ve been living under a rock for the last 20 years then undoubtedly you’ll know what’s up, and what an absolute humbling pleasure it is to now introduce Nosdam to the Where To Now? catalogue with two new cuts that flow from ethereal, meditative contemplation through to downtown abstracted machine damage..
The record opens with ‘End is Important’, A looping, spiritual lament which forces observation, or resolution around the concept of ‘Endings.’ Passages from Tsunetomo Yamamoto’s ‘Hagakure’ seep in and out of the mix throughout, where spiraling and glistening arpeggios dance across a glorious choral mantra, intended to elevate minds towards some kind of plume of awakening. This is a heady and deep cut which finds Odd Nosdam in full introspection mode.
‘Here to Know’ recalls the work of Patrick Cowley in his best downtown ultra slow swinging funk suit, or the more obvious nods to John Carpenter’s Assault on Precinct 13 OST. However, this is far from a straight up ode to creeping machine funk - Nosdam’s injection of energetic, pulsing synth stabs move the piece into a more surreal territory, creating a masterful and experimental injection of life and colour into an otherwise smoked out landscape.
“Where I found myself when Where To Now? reached out - asking if I'd consider a vinyl release with the label - was over in Barcelona spending time with loved ones at my family's apartment in the district of Sant Gervasi.
After my initial contact with WTN?, I ventured north to Cadaqués to visit Salvador Dalí's house in Port Lligat, where Gala & Dalí spent some 50 summers. While inspired asf touring the glorious property, I captured recordings from a looping video screening in an open air theater. These recordings became the foundation of Here To Know.
Sometimes there’s a break in the road. End Is Important was realized after re-watching the Jim Jarmusch film, Ghost Dog. Stealthy and evanescent, a familiar voice carries this slow-diver with a message to the world warped cruiser in all of us.” - Odd Nosdam More
The record opens with ‘End is Important’, A looping, spiritual lament which forces observation, or resolution around the concept of ‘Endings.’ Passages from Tsunetomo Yamamoto’s ‘Hagakure’ seep in and out of the mix throughout, where spiraling and glistening arpeggios dance across a glorious choral mantra, intended to elevate minds towards some kind of plume of awakening. This is a heady and deep cut which finds Odd Nosdam in full introspection mode.
‘Here to Know’ recalls the work of Patrick Cowley in his best downtown ultra slow swinging funk suit, or the more obvious nods to John Carpenter’s Assault on Precinct 13 OST. However, this is far from a straight up ode to creeping machine funk - Nosdam’s injection of energetic, pulsing synth stabs move the piece into a more surreal territory, creating a masterful and experimental injection of life and colour into an otherwise smoked out landscape.
“Where I found myself when Where To Now? reached out - asking if I'd consider a vinyl release with the label - was over in Barcelona spending time with loved ones at my family's apartment in the district of Sant Gervasi.
After my initial contact with WTN?, I ventured north to Cadaqués to visit Salvador Dalí's house in Port Lligat, where Gala & Dalí spent some 50 summers. While inspired asf touring the glorious property, I captured recordings from a looping video screening in an open air theater. These recordings became the foundation of Here To Know.
Sometimes there’s a break in the road. End Is Important was realized after re-watching the Jim Jarmusch film, Ghost Dog. Stealthy and evanescent, a familiar voice carries this slow-diver with a message to the world warped cruiser in all of us.” - Odd Nosdam More
More records from Where To Now?
1
Orlando FitzGerald - Infinite Life
2
Orlando FitzGerald - Anticipate The Heat
3
Orlando FitzGerald - Wind
4
Orlando FitzGerald - Unfolding (Feat. Anna Domino)
5
Orlando FitzGerald - Storm Grid
6
Orlando FitzGerald - Unruly Grid
7
Orlando FitzGerald - Less Grid
8
Orlando FitzGerald - One
Where To Now? are proud to present the new album from Irish born, NY based Orlando FitzGerald. Previously recording as ‘Orlando’, FitzGerald has released music via ‘Local Action’, ‘Gobstopper’, and All City affiliated label ‘First Second’. Where Orlando’s previous works have focused on the dance floor, here we see a pivot towards a Cello led sound which embraces experimentation, space, and solitude.
FitzGerald's approach to music is born from punk, and he carries this DIY approach towards the weighty world of the Cello. With no formal training FitzGerald instead takes an intuitive approach, quietly seeking out expression and treating his sounds to create a unique basin of tension, warmth, and paced release. With percussive contributions from Matthew Byas (of Phony Ppl), restrained Sax skronk from the brilliant Kate Mohanty, synth work from Evan Shornstein (also known as Photay), and vocals from none other than NY Post-Punk legend Anna Domino, FitzGerald has created a cinematic record that moves between worlds of unnerving dread, and lush, hopeful melancholy.
‘Slow Drift’ opens with the unsettling ‘Infinite Life’, where layered Cello and Sax murmur set the scene and accompanying bass rattle evokes the feeling of mechanical motor drift. This melding of the mechanical and organic will become a central theme to the album. ‘Anticipate The Heat’ follows, with the album's most Jazzwise moment - where Byas' scattered hand drums punctuate Mohanty’s mellow flutters.
‘Wind’ is where we find Orlando at his most cinematic and melodic, presenting a serene, bubbling movement where hushed picking and restrained playing recalls the quiet ambience of Helios, or the melancholy of Bruce Langhorne at his most desert swept, staring into an endless horizon.
‘Unfolding’ opens with Anna Domino’s unmistakably fragile, sensual, and affecting vocals, for which the Cello compliments in call and response fashion, allowing Anna’s vocals to lead, creating a moment which appears to explore themes of regeneration, loss, and hope - which again, is refracted and responded to by Orlando.
Next we have a triptych of ‘Grid’ movements, which continue to explore the above themes, drifting between meditative minimalism and abstract discordance with hypnotic effect - Orlando approaches these pieces with such considered interplay, fully embracing space, silence, and cyclical repetition to create a devastatingly emotive, and desolate landscape, which continuously attempts to regain focus, yearning for stillness.
Finally the album ends with "One" a meditation on wholeness and unity where moody, yet serene guitars balance wailing cello. More
FitzGerald's approach to music is born from punk, and he carries this DIY approach towards the weighty world of the Cello. With no formal training FitzGerald instead takes an intuitive approach, quietly seeking out expression and treating his sounds to create a unique basin of tension, warmth, and paced release. With percussive contributions from Matthew Byas (of Phony Ppl), restrained Sax skronk from the brilliant Kate Mohanty, synth work from Evan Shornstein (also known as Photay), and vocals from none other than NY Post-Punk legend Anna Domino, FitzGerald has created a cinematic record that moves between worlds of unnerving dread, and lush, hopeful melancholy.
‘Slow Drift’ opens with the unsettling ‘Infinite Life’, where layered Cello and Sax murmur set the scene and accompanying bass rattle evokes the feeling of mechanical motor drift. This melding of the mechanical and organic will become a central theme to the album. ‘Anticipate The Heat’ follows, with the album's most Jazzwise moment - where Byas' scattered hand drums punctuate Mohanty’s mellow flutters.
‘Wind’ is where we find Orlando at his most cinematic and melodic, presenting a serene, bubbling movement where hushed picking and restrained playing recalls the quiet ambience of Helios, or the melancholy of Bruce Langhorne at his most desert swept, staring into an endless horizon.
‘Unfolding’ opens with Anna Domino’s unmistakably fragile, sensual, and affecting vocals, for which the Cello compliments in call and response fashion, allowing Anna’s vocals to lead, creating a moment which appears to explore themes of regeneration, loss, and hope - which again, is refracted and responded to by Orlando.
Next we have a triptych of ‘Grid’ movements, which continue to explore the above themes, drifting between meditative minimalism and abstract discordance with hypnotic effect - Orlando approaches these pieces with such considered interplay, fully embracing space, silence, and cyclical repetition to create a devastatingly emotive, and desolate landscape, which continuously attempts to regain focus, yearning for stillness.
Finally the album ends with "One" a meditation on wholeness and unity where moody, yet serene guitars balance wailing cello. More
1
Post Moves - Willka & Phaxsi
2
Post Moves - Always For Pleasure
3
Post Moves - See Seven Cities
4
Post Moves - Del Mero Corazón
5
Post Moves - Going Right To The Praying Mantis
6
Post Moves - That's The Boss, Not Some Human!
7
Post Moves - Burden Of Dreams
8
Post Moves - Madness Is A Fully Instrumented Score
9
Post Moves - Desert Glyph Coffee Mug
10
Post Moves - Evidence
Sam Wenc is a composer and multi-instrumentalist working with sound, text, and objects. He utilises guitar, pedal steel guitar, vibraphone, electronics, field recordings, and found objects to compose both structured and formless pieces that attempt to blur concepts of what constitutes “folk music”. He has released music on labels such as Noumenal Loom, Obsolete Staircases, Moon Villain, and his own label, Lobby Art. Below are Wenc’s own thoughts on his work and approach, which frankly do a far better job of capturing the essence of his spiritual, minimal, and transcendent pieces than we could…
“‘Heart Music’ was recorded over the course of 2019 and 2020. The initial intention was not necessarily to produce an album, but rather to explore composing from a percussive perspective and trying to avert relying heavily on the pedal steel guitar and guitar as primary modes of composing. The pedal steel guitar lends itself to such a soft sound palette so even in pieces that are highly structured (Always for Pleasure, Going Right to the Praying Mantis), I wanted to avoid the propensity to let the composition amble along, and rather create a brisk, biting percussive component. This can particularly be heard on "Del Mero Corazon", which pulses along with the droning bowing of the banjo and marimacho before drums kick in and later on the vibraphone.
Thematically, much of the music (to me) takes on a somewhat ceremonial feeling and explores the trajectory of exploring intrapersonal contradictions and what it means to navigate a disharmonious public sphere. Films was also a major inspiration for songs and their titles: Wiilka & Phaxsi (named for the characters in the film Wiñaypacha), Always for Pleasure (named for the Les Blanks film) was an attempt at writing something akin to a processional march, "Going Right to the Praying Mantis" & "That's the Boss, Not Some Human!" was a quote of Milford Graves pulled from the film "Full Mantis". On that note, the title of the album, "Heart Music", is in recognition of Milford's exploration of the internal data, knowledge, and ultimately music that is present within our bodies. More so than on previous albums, I felt myself letting rhythm, intuition, and improvisation guide the work, often resulting in longer form pieces that allows myself (and hopefully the listener) to listen deeply, observing moments of tension and harmony tangled, dependent, and resolved by one another.
One other noticeable addition is the introduction of poetry into "Madness is a Fully Instrumented Score" and "Evidence" (both spoken by Anna Jeters of the band Ancient Pools). This was touched on in my last album on the track "David's Death", but by bringing in the voice to create both parallel and perpendicular narratives, it creates another line to follow and bring the listener into a deeper state of listening. I like playing with blurred narratives, homespun ideas of conventional thoughts that are ever changing in a climate where fixed ways of relating to sound and composition can become something new and mangled in its own right.”
If you dig the following then this is most certainly one for you… Susan Alcorn, Alice Coltrane, Phil Cohran, Bobby Hutcherson, Henry Flynt, Jon Gibson, Mind Over Mirrors, Natural Information Society, Johnny Coley, Oren Ambarchi, Tortoise, Yasuaki Shimizu, Califone. More
“‘Heart Music’ was recorded over the course of 2019 and 2020. The initial intention was not necessarily to produce an album, but rather to explore composing from a percussive perspective and trying to avert relying heavily on the pedal steel guitar and guitar as primary modes of composing. The pedal steel guitar lends itself to such a soft sound palette so even in pieces that are highly structured (Always for Pleasure, Going Right to the Praying Mantis), I wanted to avoid the propensity to let the composition amble along, and rather create a brisk, biting percussive component. This can particularly be heard on "Del Mero Corazon", which pulses along with the droning bowing of the banjo and marimacho before drums kick in and later on the vibraphone.
Thematically, much of the music (to me) takes on a somewhat ceremonial feeling and explores the trajectory of exploring intrapersonal contradictions and what it means to navigate a disharmonious public sphere. Films was also a major inspiration for songs and their titles: Wiilka & Phaxsi (named for the characters in the film Wiñaypacha), Always for Pleasure (named for the Les Blanks film) was an attempt at writing something akin to a processional march, "Going Right to the Praying Mantis" & "That's the Boss, Not Some Human!" was a quote of Milford Graves pulled from the film "Full Mantis". On that note, the title of the album, "Heart Music", is in recognition of Milford's exploration of the internal data, knowledge, and ultimately music that is present within our bodies. More so than on previous albums, I felt myself letting rhythm, intuition, and improvisation guide the work, often resulting in longer form pieces that allows myself (and hopefully the listener) to listen deeply, observing moments of tension and harmony tangled, dependent, and resolved by one another.
One other noticeable addition is the introduction of poetry into "Madness is a Fully Instrumented Score" and "Evidence" (both spoken by Anna Jeters of the band Ancient Pools). This was touched on in my last album on the track "David's Death", but by bringing in the voice to create both parallel and perpendicular narratives, it creates another line to follow and bring the listener into a deeper state of listening. I like playing with blurred narratives, homespun ideas of conventional thoughts that are ever changing in a climate where fixed ways of relating to sound and composition can become something new and mangled in its own right.”
If you dig the following then this is most certainly one for you… Susan Alcorn, Alice Coltrane, Phil Cohran, Bobby Hutcherson, Henry Flynt, Jon Gibson, Mind Over Mirrors, Natural Information Society, Johnny Coley, Oren Ambarchi, Tortoise, Yasuaki Shimizu, Califone. More
1
U - Junkies
2
U - 2 Good 4 Me
3
U - Almost Man
Repress!
For their 7” debut on Where To Now? U mines the considerable depths of his MPC hard drive to present 3 snapshots of an artist shaking off their formative influences and commencing the journey to unexplored realms of the sampler’s universe.
'Junkies' has classical string stabs (that would later become a focal point on the sound of “Vienna Orchestra” (WTNLP05)) driven forth by dark, jazzy double bass licks, all shrouded in vinyl crackle and forced forward by a 2-step feel on the drums. It would have the essence of an early 2000s instrumental hip-hop track were it not for those drums shuffling off on a different tangent.
'Too Good For Me' toys more with the sampled nature of the music, throwing abrupt rewinds and record manipulation into a melange of rumbling industrial sounds led by a pulsing high-pitched melody. This is underpinned by a Bossa-styled beat that further unsettles the murky atmosphere of the track.
Finally 'Almost Man'’s exotic plucked strings and booming bass-heavy beat roll into snares in a marching rhythm that could reflect the march into the future for this unparalleled producer taking the lonely road to the outer edges of modern composition and electronic production. More
For their 7” debut on Where To Now? U mines the considerable depths of his MPC hard drive to present 3 snapshots of an artist shaking off their formative influences and commencing the journey to unexplored realms of the sampler’s universe.
'Junkies' has classical string stabs (that would later become a focal point on the sound of “Vienna Orchestra” (WTNLP05)) driven forth by dark, jazzy double bass licks, all shrouded in vinyl crackle and forced forward by a 2-step feel on the drums. It would have the essence of an early 2000s instrumental hip-hop track were it not for those drums shuffling off on a different tangent.
'Too Good For Me' toys more with the sampled nature of the music, throwing abrupt rewinds and record manipulation into a melange of rumbling industrial sounds led by a pulsing high-pitched melody. This is underpinned by a Bossa-styled beat that further unsettles the murky atmosphere of the track.
Finally 'Almost Man'’s exotic plucked strings and booming bass-heavy beat roll into snares in a marching rhythm that could reflect the march into the future for this unparalleled producer taking the lonely road to the outer edges of modern composition and electronic production. More
1
Max Winter - Body To Soul
2
Max Winter - Type Hex
3
Max Winter - How I Got Rid Of Me
4
Max Winter - Two Fold Silence
5
Max Winter - P.O.S
6
Max Winter - Shade
7
Max Winter - A Piece To Leave With
Hand stickered & stamped sleeve with compositional score insert.
Max Winter’s music seeks to traverse a breadth of styles – a world where freewheeling jazzwise drum workouts linger behind silk bass and glooming electronics, where compositional flurries of flute, cello, keys, and violin playfully exchange with restrained melodic ambience, where driving & pummelling big drop productions resurface as introverted pop stunners, where crystalline vocal melodies float above terminator slap bass sessions… it’s literally all going on…and all at the same time. Max holds that rare ability to serve as a vector for his own sweeping ideas, to think something and ‘just do it’ – coming from a jazz & classical compositional background Max writes everything, plays everything, and masterfully grasps everything. To be frank, ‘One Thousand Lonely Places’ has ended up being one of the most mysterious and exciting things we’ve ever put out.
Max strives to bring a very human element / approach to his electronic compositions, perhaps a result of the tactile nature of his classical training, he injects a unique rawness into his sound world via vocal experiments which breathe (literally) emotional states into much of the work, building and elevating his sound with the big room pieces, and pushing the other end extreme of anxious isolation deeper into the walls.
There’s no denying the strong pop sensibility that permeates ‘One Thousand Lonely Places’, hushed vocal parts are shared between Max and recurring guest IMOGEN, and there’s a definite structure within the chaos, but this is mostly an odd, isolated, experimental take on formal song structure - walking the same restrained, understated pathways forged by bands such as Talk Talk and The Necks one moment, and then the next minute pointing towards the likes Arto Lindsey & Bill Laswell’s more playful forms of No Wave, and then from there gazing towards the future focus of musically informed, genre less freedom explored by artists such as Laurel Halo, Kaitlyn Aurelia Smith. All of these touchpoints are subtly underpinned with an understanding and appreciation of classical & quiet music forms of composition encompassed and explored by masters such as Akira Rabelais, Harold Budd, David Sylvian.
Written & Produced by Max Winter
Additional Vocals by IMOGEN
Additional players - Michael Shrimpling (Flute), Lluís Domènech Plana (Flute), Joel Waters (Drums), Natasha Kenealy (Violin), Tom Crofton-Green(Violin), Daniel Springate (Cello), Peter Fenech (Viola).
Mixed by Joe Shrimpling
Mastered by Rupert Clervaux More
Max Winter’s music seeks to traverse a breadth of styles – a world where freewheeling jazzwise drum workouts linger behind silk bass and glooming electronics, where compositional flurries of flute, cello, keys, and violin playfully exchange with restrained melodic ambience, where driving & pummelling big drop productions resurface as introverted pop stunners, where crystalline vocal melodies float above terminator slap bass sessions… it’s literally all going on…and all at the same time. Max holds that rare ability to serve as a vector for his own sweeping ideas, to think something and ‘just do it’ – coming from a jazz & classical compositional background Max writes everything, plays everything, and masterfully grasps everything. To be frank, ‘One Thousand Lonely Places’ has ended up being one of the most mysterious and exciting things we’ve ever put out.
Max strives to bring a very human element / approach to his electronic compositions, perhaps a result of the tactile nature of his classical training, he injects a unique rawness into his sound world via vocal experiments which breathe (literally) emotional states into much of the work, building and elevating his sound with the big room pieces, and pushing the other end extreme of anxious isolation deeper into the walls.
There’s no denying the strong pop sensibility that permeates ‘One Thousand Lonely Places’, hushed vocal parts are shared between Max and recurring guest IMOGEN, and there’s a definite structure within the chaos, but this is mostly an odd, isolated, experimental take on formal song structure - walking the same restrained, understated pathways forged by bands such as Talk Talk and The Necks one moment, and then the next minute pointing towards the likes Arto Lindsey & Bill Laswell’s more playful forms of No Wave, and then from there gazing towards the future focus of musically informed, genre less freedom explored by artists such as Laurel Halo, Kaitlyn Aurelia Smith. All of these touchpoints are subtly underpinned with an understanding and appreciation of classical & quiet music forms of composition encompassed and explored by masters such as Akira Rabelais, Harold Budd, David Sylvian.
Written & Produced by Max Winter
Additional Vocals by IMOGEN
Additional players - Michael Shrimpling (Flute), Lluís Domènech Plana (Flute), Joel Waters (Drums), Natasha Kenealy (Violin), Tom Crofton-Green(Violin), Daniel Springate (Cello), Peter Fenech (Viola).
Mixed by Joe Shrimpling
Mastered by Rupert Clervaux More
1
NR/MA - Chavashila
2
NR/MA - Hahakiji
3
NR/MA - O
4
NR/MA - Il gardino dei numeri
5
NR/MA - Yomi
6
NR/MA - Quado
7
NR/MA - L'albero degli spilli
8
NR/MA - Suiso
Five years after the release of ‘Pressure Loss’ the modern master of electronic minimalism Nicola Ratti returns to Where To Now? in collaboration with Japanese MC ‘MA’, for a suite of submerged, outsider Trip-Hop.
‘Shinkai’ meets at the crossroads of the gloomy sonic snapshot world of Tricky, the South London DIY avant pop bloom of Curl/Mica Levi, the outer fringes of Hip-Hop heralded by the Anticon crew, and the deep textured minimalism of Machinfabriek.
‘Shinkai’ heralds the first time Nicola Ratti has worked with a vocalist, and MA’s unique brand of ritualistic vocal methods and experimental approaches to intonation and inflexion only enhances Ratti’s otherworldly soundscapes. The depth of meaning behind MA’s lyrics further expands this sprawling sound world, revealing a twisted beauty, a deep insight into the melancholic world MA reflects upon within his abstract wordplay – on ‘Suiso’ MA laments above Ratti’s mourning electronics….
“A ship with the wind in the sails erased a path to the skies.
Gone forever,
In sandy finality,
A scene never to be repeated,
Never to be understood.
Never to hatch,
Dreams of never continuing beyond the crossroads
A painting dissipates as the allure runs dry
Without consulting the dusk, dawn never arrives.
Agonising over the silence brought on by a stumble,
Attacked from all angles until I find my ground once more.
What comes next does not matter - just as long as it comes.
A not-so-distant-future, born from certain uncertainty.
Let me face it with wavering reservations,
Bury me in it
My sins left unanswered
Cover the snow on which it falls.
An unthawing aquarium.
An unanswering aquarium.
Hiding, evolving, recollecting, transferring,
A precarious contradiction befalls.
Timeframes cut, edited and replaced with resentment
The ritual aesthetics of a secret ceremony.
The thoughts of once again,
Fills me with dread and rage.
Painted in blood.
Alas, it was fun...”
On the surface this is an unlikely (yet inspired) collaboration – MA has been a part of the Tokyo Hip-Hop underground for many years, over which time he has stylistically leapt into noisier, more experimental territories. We have Rabih Beaini to thank for shining a light on MA’s talents, with the 2019 LP ‘AMA’ being released on Morphine records, and Beaini opening new doors for experimentation and collaboration.
‘Shinkai’ was composed and recorded between January and April 2020. The pair had met a couple of times in Japan first and then in Europe, undertaking a live collaborative experiment combining sounds and words that had not been designed to be performed together, ‘Shinkai’ reflects the fluidity of this encounter and is in essence a consequence of it.
Ratti assigns the following poetic grounding to the intentions and thematic form of the album – “Shinkai means deep sea, a place most of us will never see except on the surface. The sea depths do not belong to us, they are not places for us, we do not know them and they disturb us, they are a material that we can look at without seeing. I have always thought that height, verticality in general, was not a familiar dimension except in relation to our physicality. The horizon reassures us, the depth disturbs us. The Italian language is written and read horizontally, from left to right, the Japanese language can be written vertically and read from right to left. Does the horizon still reassure us?” More
‘Shinkai’ meets at the crossroads of the gloomy sonic snapshot world of Tricky, the South London DIY avant pop bloom of Curl/Mica Levi, the outer fringes of Hip-Hop heralded by the Anticon crew, and the deep textured minimalism of Machinfabriek.
‘Shinkai’ heralds the first time Nicola Ratti has worked with a vocalist, and MA’s unique brand of ritualistic vocal methods and experimental approaches to intonation and inflexion only enhances Ratti’s otherworldly soundscapes. The depth of meaning behind MA’s lyrics further expands this sprawling sound world, revealing a twisted beauty, a deep insight into the melancholic world MA reflects upon within his abstract wordplay – on ‘Suiso’ MA laments above Ratti’s mourning electronics….
“A ship with the wind in the sails erased a path to the skies.
Gone forever,
In sandy finality,
A scene never to be repeated,
Never to be understood.
Never to hatch,
Dreams of never continuing beyond the crossroads
A painting dissipates as the allure runs dry
Without consulting the dusk, dawn never arrives.
Agonising over the silence brought on by a stumble,
Attacked from all angles until I find my ground once more.
What comes next does not matter - just as long as it comes.
A not-so-distant-future, born from certain uncertainty.
Let me face it with wavering reservations,
Bury me in it
My sins left unanswered
Cover the snow on which it falls.
An unthawing aquarium.
An unanswering aquarium.
Hiding, evolving, recollecting, transferring,
A precarious contradiction befalls.
Timeframes cut, edited and replaced with resentment
The ritual aesthetics of a secret ceremony.
The thoughts of once again,
Fills me with dread and rage.
Painted in blood.
Alas, it was fun...”
On the surface this is an unlikely (yet inspired) collaboration – MA has been a part of the Tokyo Hip-Hop underground for many years, over which time he has stylistically leapt into noisier, more experimental territories. We have Rabih Beaini to thank for shining a light on MA’s talents, with the 2019 LP ‘AMA’ being released on Morphine records, and Beaini opening new doors for experimentation and collaboration.
‘Shinkai’ was composed and recorded between January and April 2020. The pair had met a couple of times in Japan first and then in Europe, undertaking a live collaborative experiment combining sounds and words that had not been designed to be performed together, ‘Shinkai’ reflects the fluidity of this encounter and is in essence a consequence of it.
Ratti assigns the following poetic grounding to the intentions and thematic form of the album – “Shinkai means deep sea, a place most of us will never see except on the surface. The sea depths do not belong to us, they are not places for us, we do not know them and they disturb us, they are a material that we can look at without seeing. I have always thought that height, verticality in general, was not a familiar dimension except in relation to our physicality. The horizon reassures us, the depth disturbs us. The Italian language is written and read horizontally, from left to right, the Japanese language can be written vertically and read from right to left. Does the horizon still reassure us?” More
1
melly - Skip Fire
2
melly - Flying Ducks
3
melly - Skip fire (Lumigraph Remix)
4
melly - Windproof
Where To Now? Records are proud to present the debut 12” from Dublin based Melly. On ‘Flying Ducks’ Melly gives us four varied cuts that showcase his unique and unrestricted style of body music beautifully, including a killer remix from Dublin's Lumigraph (Opal Tapes, Mister Saturday Night, Major Problems)
More
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José González - 3. Lovestain
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José González - 5. Crosses
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José González - 6. Deadweight On Velveteen
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José González - 7. All You Deliver
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José González - 8. Stay In The Shade
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José González - 9. Hints
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José González - 10. Save Your Day
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José González - 11. Broken Arrows
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José González - 1. Deadweight On Velveteen (Live In Gothenburg 2003)
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José González - 2. Save Your Day (Live In Gothenburg 2003)
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José González - 3. Storm (Live In Gothenburg 2003)
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José González - 4. Crosses (Live In Gothenburg 2003)
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José González - 5. Hints (Live In Gothenburg 2003)
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José González - 6. Suggestions (Live In Gothenburg 2003)
18
José González - 7. Heartbeats (Live In Gothenburg 2003)
19
José González - 8. Love Will Tear Us Apart (Live In Gothenburg 2003)
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José González - 9. All You Deliver (Live In Gothenburg 2003)
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José González - 10. Stay In The Shade (Live In Gothenburg 2003)
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José González - 11. Remain (Live In Gothenburg 2003)
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José González - 12. Hand On Your Heart (Live In Gothenburg 2003)
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José González - 13. Cello Song (Live In Gothenburg 2003)
Limited Hand Numbered 2LP Blue Vinyl with 24 page book
Territory: Sales Only to: Germany, Austria, Switzerland, France
”Twenty years ago, something magical happened. In the space between technology and ideology, two terms that have been
fighting each other to define the days that have come since, an album appeared. A collection of songs that seemed defiantly out
of place. Yet somehow these songs knew themselves. Which, thinking back on it now, better explains why their creator, a young
Swedish musician called José González, felt so familiar to us so quickly.” Zane Lowe on José González’ Veneer.
Today visionary singer-songwriter and guitarist José González has announced the release of a 20th Anniversary Deluxe version of his
uncompromising, candid, game-changing debut album (2003) Veneer. It features newly remastered audio of the seminal album as well as a
bonus disc, comprising 13 intimate recordings from his historic 2003 performance at Gothenburg Concert Hall.
The 20th Anniversary Deluxe Version of Veneer will see release on limited edition double blue vinyl and digitally on October 27th, 2023 via
Peacefrog Records. It features a hand-numbered gatefold and a 24-page booklet filled with archival photos, essays, a song-by-song guide
from José and more.
Veneer made an indelible mark in its understated, expressive brilliance and cemented José González as a meticulous sonic craftsman and
songwriter of singular talent. It’s hard to believe an album recorded with the most basic equipment in a cramped Gothenburg flat could end up
going platinum, not only in Sweden but also the UK, selling well over 1 million copies worldwide. It’s harder still when one acknowledges that,
aside from one brief trumpet solo and the slightest hint of percussion, the record features just one hushed voice and the dexterous picking of an
acoustic guitar’s nylon strings. But 2003’s Veneer was such an album, charting in several countries in the world, and eventually making Top 10
in the UK, thanks in part to its delicate, evocative cover of The Knife’s “Heartbeats”.
Praise for Veneer:
Magical... a supreme talent, reminiscent of the late Arthur Russell The Guardian
Veneer draws you in, it’s easy to believe that the young Swede could begin his own cult The Times
Spine-tingling The Sunday Times
Jose Gonzalez really is a rare find The Times (live review)
Gorgeous, in a word Observer Music Monthly
A fresh and intriguing talent The Independent
Affecting soulful poignancy, a quietly impressive debut The Daily Telegraph
Enormous talent The Sunday Telegraph
An intense talent Time Out
In a world of musical clones, the Argentinian Swede is a thrillingly original new talent The Sun
It's an exquisite, almost solemn privilege to be invited into Gonzalez's world Metro
Extraordinary Uncut
The most intimate music you’ll hear all year Q
Dark, still, yet oddly powerful Mojo
Wonderfully accomplished... a serious talent to watch out for, this year
and beyond Clash
Jawdroppingly special, a rare talent Fact
Tracklisting:
DISC 1: Veneer Remastered:
1. Slow Moves
2. Remain
3. Lovestain
4. Heartbeats
5. Crosses
6. Deadweight On Velveteen
7. All You Deliver
8. Stay In The Shade
9. Hints
10. Save Your Day
11. Broken Arrows
DISC 2: Live In Gothenburg 2003
1. Deadweight On Velveteen
2. Save Your Day
3. Storm
4. Crosses
5. Hints
6. Suggestions
7. Heartbeats
8. Love Will Tear Us Apart
9. All You Deliver
10. Stay In The Shade
11. Remain
12. Hand On Your Heart
13. Cello Song More
Territory: Sales Only to: Germany, Austria, Switzerland, France
”Twenty years ago, something magical happened. In the space between technology and ideology, two terms that have been
fighting each other to define the days that have come since, an album appeared. A collection of songs that seemed defiantly out
of place. Yet somehow these songs knew themselves. Which, thinking back on it now, better explains why their creator, a young
Swedish musician called José González, felt so familiar to us so quickly.” Zane Lowe on José González’ Veneer.
Today visionary singer-songwriter and guitarist José González has announced the release of a 20th Anniversary Deluxe version of his
uncompromising, candid, game-changing debut album (2003) Veneer. It features newly remastered audio of the seminal album as well as a
bonus disc, comprising 13 intimate recordings from his historic 2003 performance at Gothenburg Concert Hall.
The 20th Anniversary Deluxe Version of Veneer will see release on limited edition double blue vinyl and digitally on October 27th, 2023 via
Peacefrog Records. It features a hand-numbered gatefold and a 24-page booklet filled with archival photos, essays, a song-by-song guide
from José and more.
Veneer made an indelible mark in its understated, expressive brilliance and cemented José González as a meticulous sonic craftsman and
songwriter of singular talent. It’s hard to believe an album recorded with the most basic equipment in a cramped Gothenburg flat could end up
going platinum, not only in Sweden but also the UK, selling well over 1 million copies worldwide. It’s harder still when one acknowledges that,
aside from one brief trumpet solo and the slightest hint of percussion, the record features just one hushed voice and the dexterous picking of an
acoustic guitar’s nylon strings. But 2003’s Veneer was such an album, charting in several countries in the world, and eventually making Top 10
in the UK, thanks in part to its delicate, evocative cover of The Knife’s “Heartbeats”.
Praise for Veneer:
Magical... a supreme talent, reminiscent of the late Arthur Russell The Guardian
Veneer draws you in, it’s easy to believe that the young Swede could begin his own cult The Times
Spine-tingling The Sunday Times
Jose Gonzalez really is a rare find The Times (live review)
Gorgeous, in a word Observer Music Monthly
A fresh and intriguing talent The Independent
Affecting soulful poignancy, a quietly impressive debut The Daily Telegraph
Enormous talent The Sunday Telegraph
An intense talent Time Out
In a world of musical clones, the Argentinian Swede is a thrillingly original new talent The Sun
It's an exquisite, almost solemn privilege to be invited into Gonzalez's world Metro
Extraordinary Uncut
The most intimate music you’ll hear all year Q
Dark, still, yet oddly powerful Mojo
Wonderfully accomplished... a serious talent to watch out for, this year
and beyond Clash
Jawdroppingly special, a rare talent Fact
Tracklisting:
DISC 1: Veneer Remastered:
1. Slow Moves
2. Remain
3. Lovestain
4. Heartbeats
5. Crosses
6. Deadweight On Velveteen
7. All You Deliver
8. Stay In The Shade
9. Hints
10. Save Your Day
11. Broken Arrows
DISC 2: Live In Gothenburg 2003
1. Deadweight On Velveteen
2. Save Your Day
3. Storm
4. Crosses
5. Hints
6. Suggestions
7. Heartbeats
8. Love Will Tear Us Apart
9. All You Deliver
10. Stay In The Shade
11. Remain
12. Hand On Your Heart
13. Cello Song More
1
Nucleus - Rat’s Bag (5:49)
2
Nucleus - Alive & Kicking (9:24)
3
Nucleus - Rachel’s Tune (6:58)
4
Nucleus - Snakehips Etcetera (10:23)
5
Nucleus - Pussyfoot (3:59)
6
Nucleus - Heyday (7:43)
Format Notes: 2023 reissue, 140g vinyl, remastered from the original Vertigo Master Tapes for this edition by Simon Francis, original sleeve replicated in fine detail
Territories: Worldwide no restrictions
Track List:
A1 : Rat’s Bag (5:49)
A2 : Alive & Kicking (9:24)
A3 : Rachel’s Tune (6:58)
--
B1 : Snakehips Etcetera (10:23)
B2 : Pussyfoot (3:59)
B3 : Heyday (7:43)
Release Notes:
The distinctive rolling grooves, growling basslines and blasting horns of Snakehips Etcetera combined to present Nucleus's most energetic record. First released on Vertigo in 1975, original copies of Snakehips Etcetera are now very tricky to score. Like all the Nucleus records, it’s aged ridiculously well 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. And the music has kept relevant. To steal a line from a review of our re-issue of Roots, when it comes to anything Nucleus “it’s basically already hip-hop”
With all restraint out the window, 1975's pimped-up Snakehips Etcetera is the outrageous - in both cover art and sound - follow-up to the brooding Under The Sun. It's perhaps not one for the jazz purists! It finds Nucleus pared down to a core group of six, with Carr, Bob Bertles (sax), Ken Shaw (guitar), Geoff Castle (keys), Roger Sutton (bass) and Roger Sellers (drums) comprising the collective. Snakehips Etcetera reflects a period where the compositions start to become a little more direct and less-cerebral in comparison to some of Nucleus' previous releases. And why would we begrudge them some fun? This one rocks, swings and funks with no little soul. And more than a little jazzy sleaze. Clearly, they were having a good time.
The album has a real live, jamming feel to it, no surprise given the extent to which they were touring at the time. The band is tight and grooving throughout, none more so than on Bob Bertles's effervescent opener, "Rat’s Bag". So darn funky it stings, it's an infectious gem full of punchy clean lines over a killer bassline from Sutton. The thick, driving jazz-rock of "Alive And Kicking" is exactly that. It has a very improvisational feel, but an inspired one at that and features a wailing guitar solo from Ken Shaw that simply slays. The funky "Rachel’s Tune" is amazing, bringing you back to Canterbury days with its fuzzed-out organ solos to close out Side A.
Opening up Side B, the cool psychedelic title track unfolds slowly and sensually over its ten-plus minutes. A stoned soul stew of sorts, each member of the crew gets their chance to shine over Sellers's steady drums. The melodic funk fusion of "Pussyfoot" pairs Carr with Bertles on ace solo flute for a bright, springy melody. This one really gleams over shuffling drums. Changing the pace to close out this memorable set, the particularly cool "Heyday" is a reflective, sober tune which reinforces the sumptuous Nucleus palette, the acoustic guitar and bass high in the mix to make the neck snap, the horns elegantly blasting to help you swoon.
This Be With edition of Snakehips Etcetera has been re-mastered from the original Vertigo master tapes, Simon Francis’ mastering working together with Cicely Balston's cut at AIR Studios to weave their usual magic with these wonderful recordings. The striking, lascivious sleeve has been restored in all its seductive/ridiculous beauty. More
Territories: Worldwide no restrictions
Track List:
A1 : Rat’s Bag (5:49)
A2 : Alive & Kicking (9:24)
A3 : Rachel’s Tune (6:58)
--
B1 : Snakehips Etcetera (10:23)
B2 : Pussyfoot (3:59)
B3 : Heyday (7:43)
Release Notes:
The distinctive rolling grooves, growling basslines and blasting horns of Snakehips Etcetera combined to present Nucleus's most energetic record. First released on Vertigo in 1975, original copies of Snakehips Etcetera are now very tricky to score. Like all the Nucleus records, it’s aged ridiculously well 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. And the music has kept relevant. To steal a line from a review of our re-issue of Roots, when it comes to anything Nucleus “it’s basically already hip-hop”
With all restraint out the window, 1975's pimped-up Snakehips Etcetera is the outrageous - in both cover art and sound - follow-up to the brooding Under The Sun. It's perhaps not one for the jazz purists! It finds Nucleus pared down to a core group of six, with Carr, Bob Bertles (sax), Ken Shaw (guitar), Geoff Castle (keys), Roger Sutton (bass) and Roger Sellers (drums) comprising the collective. Snakehips Etcetera reflects a period where the compositions start to become a little more direct and less-cerebral in comparison to some of Nucleus' previous releases. And why would we begrudge them some fun? This one rocks, swings and funks with no little soul. And more than a little jazzy sleaze. Clearly, they were having a good time.
The album has a real live, jamming feel to it, no surprise given the extent to which they were touring at the time. The band is tight and grooving throughout, none more so than on Bob Bertles's effervescent opener, "Rat’s Bag". So darn funky it stings, it's an infectious gem full of punchy clean lines over a killer bassline from Sutton. The thick, driving jazz-rock of "Alive And Kicking" is exactly that. It has a very improvisational feel, but an inspired one at that and features a wailing guitar solo from Ken Shaw that simply slays. The funky "Rachel’s Tune" is amazing, bringing you back to Canterbury days with its fuzzed-out organ solos to close out Side A.
Opening up Side B, the cool psychedelic title track unfolds slowly and sensually over its ten-plus minutes. A stoned soul stew of sorts, each member of the crew gets their chance to shine over Sellers's steady drums. The melodic funk fusion of "Pussyfoot" pairs Carr with Bertles on ace solo flute for a bright, springy melody. This one really gleams over shuffling drums. Changing the pace to close out this memorable set, the particularly cool "Heyday" is a reflective, sober tune which reinforces the sumptuous Nucleus palette, the acoustic guitar and bass high in the mix to make the neck snap, the horns elegantly blasting to help you swoon.
This Be With edition of Snakehips Etcetera has been re-mastered from the original Vertigo master tapes, Simon Francis’ mastering working together with Cicely Balston's cut at AIR Studios to weave their usual magic with these wonderful recordings. The striking, lascivious sleeve has been restored in all its seductive/ridiculous beauty. More
1
DJ Koze - Amygdala (Roman Flügel remix)
2
DJ Koze - B. Nices Wölkchen (Robag´s Bronky Frumu Rehand)
UPC: 827170138728 Release date : March 24th 2014
Tracklist: A. Amygdala (Roman Flügel remix) B. Nices Wölkchen (Robag´s Bronky Frumu Rehand)
Despite all the collaborations on last year's Amygdala by Pampa cult leader DJ Koze, there was still one recurring comment from the public: The album still had DJ Koze's trademark stamp all over it. That is why have been taking the proper steps to rectify this problem, offering a remix series, to further disassociate DJ Koze from this otherwise respectable assortment of songs. Here is the second installment. First up is Roman Flügel, co-founder of the legendary label powerhouse Ongaku/Klang/Playhouse, not to mention his more recent releases on Clone and Live At Robert Johnson. We have no idea what kind of app he used, but somehow he transformed the title track "Amygdala" from a laid-back, wind-chiming electro-pop number into a clock-working tech-house fairy tale. Roman wisely and tastefully retains the original guest spot from Milosh (of the duo Rhye), offering a grittier backdrop for his lulling vocal delivery. Next comes Robag Whrume, who is no stranger to any Pampa fan, having released an album and a mix CD with us, aside from his countless other works. Here he has taken the pleasant puffiness of DJ Koze's "Nices Wölkchen" and incubated it in a deep house cocoon. The witch-shifted voice of guest singer Apparat is given a new life, hovering amidst a mesmerizing mechanical groove. As always, there's nothing formulaic about Robag's formula as he serves up little moments of magic.
More
Tracklist: A. Amygdala (Roman Flügel remix) B. Nices Wölkchen (Robag´s Bronky Frumu Rehand)
Despite all the collaborations on last year's Amygdala by Pampa cult leader DJ Koze, there was still one recurring comment from the public: The album still had DJ Koze's trademark stamp all over it. That is why have been taking the proper steps to rectify this problem, offering a remix series, to further disassociate DJ Koze from this otherwise respectable assortment of songs. Here is the second installment. First up is Roman Flügel, co-founder of the legendary label powerhouse Ongaku/Klang/Playhouse, not to mention his more recent releases on Clone and Live At Robert Johnson. We have no idea what kind of app he used, but somehow he transformed the title track "Amygdala" from a laid-back, wind-chiming electro-pop number into a clock-working tech-house fairy tale. Roman wisely and tastefully retains the original guest spot from Milosh (of the duo Rhye), offering a grittier backdrop for his lulling vocal delivery. Next comes Robag Whrume, who is no stranger to any Pampa fan, having released an album and a mix CD with us, aside from his countless other works. Here he has taken the pleasant puffiness of DJ Koze's "Nices Wölkchen" and incubated it in a deep house cocoon. The witch-shifted voice of guest singer Apparat is given a new life, hovering amidst a mesmerizing mechanical groove. As always, there's nothing formulaic about Robag's formula as he serves up little moments of magic.
More
BLACK: 1xLP, Standard Jacket,
12x12 Insert, Download Card,
Marketing Sticker, Black Vinyl
About:
Freddie is the fourth studio album from acclaimed rapper, Freddie Gibbs. One of the most consistent and polished artists from the blog era, Freddie Gibbs has yet to release an album that does not achieve widespread acclaim, proving that he's able to compete in any era. At 10 tracks, the album comes at a blistering yet concise pace, showcasing his raw and energetic flow over thundering trap-influenced beats. Aside from a tasteful appearance from 03 Greedo, Freddie Gibbs mainly relies on himself to carry the album, and features production from hip-hop heavyweights such as Kenny Beats, Dupri, RichGains and more. Marking the 5 year anniversary since release, Freddie is back in print for the very first time.
Key Selling/Marketing:
- Freddie Gibbs is one of the most notable figures in modern rap
- Freddie's last 3 albums have all been serious contenders for album of the year
- Freddie, the album, gained massive notoriety online and achieved cult status for it's art direction and album cover
- The album was rated 7.8 by Pitchfork
- Multiple videos released in support of the album
- Freddie Gibbs consistently tours and releases music
- This is the first ever repress, and first time the vinyl has been available in black or as a retailer exclusive
- The album has over 50M cumulative streams on Spotify alone
- Freddie Gibbs has over 3.3M monthly listeners on Spotify alone
- Video for "Automatic" has over 2M views
- Freddie Gibbs has not released a studio album that has missed
- The album features production from Kenny Beats, Dupri, RichGains & more, as well as production from Freddie Gibbs himself, credited as Freddie Kane
- The release was covered by Pitchfork, XXL, Hotnewhiphop, HipHopDX and more
Tracklist:
A1/1. Weight
A2/2. Automatic
A3/3. Death Row (feat. 03 Greedo)
A4/4. Triple Threat
A5/5. 2 Legit
B1/6. FLFM (Interlude)
B2/7. Set Set
B3/8. Toe Tag
B4/9. FBC
B5/10. Diamonds 2
More
12x12 Insert, Download Card,
Marketing Sticker, Black Vinyl
About:
Freddie is the fourth studio album from acclaimed rapper, Freddie Gibbs. One of the most consistent and polished artists from the blog era, Freddie Gibbs has yet to release an album that does not achieve widespread acclaim, proving that he's able to compete in any era. At 10 tracks, the album comes at a blistering yet concise pace, showcasing his raw and energetic flow over thundering trap-influenced beats. Aside from a tasteful appearance from 03 Greedo, Freddie Gibbs mainly relies on himself to carry the album, and features production from hip-hop heavyweights such as Kenny Beats, Dupri, RichGains and more. Marking the 5 year anniversary since release, Freddie is back in print for the very first time.
Key Selling/Marketing:
- Freddie Gibbs is one of the most notable figures in modern rap
- Freddie's last 3 albums have all been serious contenders for album of the year
- Freddie, the album, gained massive notoriety online and achieved cult status for it's art direction and album cover
- The album was rated 7.8 by Pitchfork
- Multiple videos released in support of the album
- Freddie Gibbs consistently tours and releases music
- This is the first ever repress, and first time the vinyl has been available in black or as a retailer exclusive
- The album has over 50M cumulative streams on Spotify alone
- Freddie Gibbs has over 3.3M monthly listeners on Spotify alone
- Video for "Automatic" has over 2M views
- Freddie Gibbs has not released a studio album that has missed
- The album features production from Kenny Beats, Dupri, RichGains & more, as well as production from Freddie Gibbs himself, credited as Freddie Kane
- The release was covered by Pitchfork, XXL, Hotnewhiphop, HipHopDX and more
Tracklist:
A1/1. Weight
A2/2. Automatic
A3/3. Death Row (feat. 03 Greedo)
A4/4. Triple Threat
A5/5. 2 Legit
B1/6. FLFM (Interlude)
B2/7. Set Set
B3/8. Toe Tag
B4/9. FBC
B5/10. Diamonds 2
More
1
Mário Castro Neves & Samba S. A. - Candomblé
2
Mário Castro Neves & Samba S. A. - Yearning Lovers
3
Mário Castro Neves & Samba S. A. - Nanã
4
Mário Castro Neves & Samba S. A. - De Brincadeira
5
Mário Castro Neves & Samba S. A. - Bye Bye Blackbird
6
Mário Castro Neves & Samba S. A. - E Nada Mais
7
Mário Castro Neves & Samba S. A. - Keep Talking
8
Mário Castro Neves & Samba S. A. - Vem Balançar
9
Mário Castro Neves & Samba S. A. - Once More
10
Mário Castro Neves & Samba S. A. - Morte De Um Deus De Sal
11
Mário Castro Neves & Samba S. A. - Tá Por Fora
12
Mário Castro Neves & Samba S. A. - Corcovado
The Brazilian composer, pianist and producer, Mário Castro Neves and his group, Samba S. A.'s self-titled album from 1967 is oozing with class. It possesses that archetypal 60's bossa nova, jazz, samba sound. We’d place it up there with Sergio Mendes at his finest, Tambo Trio or Milton Banana. It’s a breezy ride that touches on easy listening at times, but it holds it together with a cool swagger. Biba and Thaís Do Amaral's vocals are on point, with a relaxed delivery that compliments the tracks with the sublime beauty à la vocal groups such as Quarteto Em Cy, who Biba also sang with, as well as with Antonio Adolfo's e A Brazuca. Also appearing on the record is bassist extraordinaire, Novelli who worked with Milton Nascimento, Nelson Angelo E Joyce, Airto, and many of the greats of Brazilian music of the time.
The album has long been a favourite with DJs and collectors over the years, with songs selected for compilations by Gilles Peterson and Nicola Conte. One of the centrepieces of the album, 'Candomblé’, has been sampled by Cut Chemist on his track 'Povo De Santo'. The song 'Naña' is punchy and light with dancefloor-jazz appeal. The gloriously catchy 'Vem Balançar' is a brilliant bossa shuffler. A superb listen throughout, the album sticks to a framework but delivers in spades.
Though released on the major-label RCA Victor, original copies are elusive, sought-after items with a price tag to match. For this reissue, we have opted for the Mono master, mirroring the original 1967 Brazilian pressing. Instantly familiar, the album has a welcoming feeling of nostalgia and is something that stays with you from the first listen.
Tracklist:
1. Candomblé
2. Yearning Lovers
3. Nanã
4. De Brincadeira
5. Bye Bye Blackbird
6. E Nada Mais
7. Keep Talking
8. Vem Balançar
9. Once More
10. Morte De Um Deus De Sal
11. Tá Por Fora
12. Corcovado More
The album has long been a favourite with DJs and collectors over the years, with songs selected for compilations by Gilles Peterson and Nicola Conte. One of the centrepieces of the album, 'Candomblé’, has been sampled by Cut Chemist on his track 'Povo De Santo'. The song 'Naña' is punchy and light with dancefloor-jazz appeal. The gloriously catchy 'Vem Balançar' is a brilliant bossa shuffler. A superb listen throughout, the album sticks to a framework but delivers in spades.
Though released on the major-label RCA Victor, original copies are elusive, sought-after items with a price tag to match. For this reissue, we have opted for the Mono master, mirroring the original 1967 Brazilian pressing. Instantly familiar, the album has a welcoming feeling of nostalgia and is something that stays with you from the first listen.
Tracklist:
1. Candomblé
2. Yearning Lovers
3. Nanã
4. De Brincadeira
5. Bye Bye Blackbird
6. E Nada Mais
7. Keep Talking
8. Vem Balançar
9. Once More
10. Morte De Um Deus De Sal
11. Tá Por Fora
12. Corcovado More
1
trentemoller - Moan (Trentemoller Remix)
2
trentemoller - Moan (Radioslave Remix)
2022 repress
Tracklist:
01 Moan (Trentemoller Remix)
02 Moan (Radioslave Remix)
Only released in October 2006, Anders Trentemøller‘s stunning debut-album „The Last Resort“ already evolved into one of the most successful independent albums of the year. Raving reviews all over the place, various elections as „album of the year“ and solid playlists at the radios express the huge interest in the fantastic album. While 2006 has been topped of with a tour through Australia, the first Trentemøller highlight in 2007 will be the release of „Moan“, the second single from the album. For the a-side Trentemøller himself created a brilliant remix of the „Moan“-Vocal Version, which has been released on the Bonus-CD of the limited edition album only. Trentemøller managed to keep the mystic melancholic vibe of the track featuring the vocals of danish talent Ane Trolle, but adds punshy drums, screaming synths and some more guitars to guarantee serious dancefloor-action. Radioslave aka Matt Edwards aka Rekid aka Quite Village, on of the most in demand remix artists at the moment (Moby, Booka Shade, Justice, Peace Division, Pet Shop Boys, Joakim etc) contributed a great remix on the flipside. Slowly building over reduced drumpatterns their mix culminates into a manic wall of sound. While Poker Flat 81 features the vocal versions of both Trentemøller‘s and Radioslve‘s remixes, the instrumental and dub versions will be released simultaneously More
Tracklist:
01 Moan (Trentemoller Remix)
02 Moan (Radioslave Remix)
Only released in October 2006, Anders Trentemøller‘s stunning debut-album „The Last Resort“ already evolved into one of the most successful independent albums of the year. Raving reviews all over the place, various elections as „album of the year“ and solid playlists at the radios express the huge interest in the fantastic album. While 2006 has been topped of with a tour through Australia, the first Trentemøller highlight in 2007 will be the release of „Moan“, the second single from the album. For the a-side Trentemøller himself created a brilliant remix of the „Moan“-Vocal Version, which has been released on the Bonus-CD of the limited edition album only. Trentemøller managed to keep the mystic melancholic vibe of the track featuring the vocals of danish talent Ane Trolle, but adds punshy drums, screaming synths and some more guitars to guarantee serious dancefloor-action. Radioslave aka Matt Edwards aka Rekid aka Quite Village, on of the most in demand remix artists at the moment (Moby, Booka Shade, Justice, Peace Division, Pet Shop Boys, Joakim etc) contributed a great remix on the flipside. Slowly building over reduced drumpatterns their mix culminates into a manic wall of sound. While Poker Flat 81 features the vocal versions of both Trentemøller‘s and Radioslve‘s remixes, the instrumental and dub versions will be released simultaneously More
1
Die Vögel - Blaue Moschee
2
Die Vögel - Petardo
3
Die Vögel - Empire
2023 Repress
Tracklist:
A Blaue Moschee
B1 Petardo
B2 Empire
Pampa is a new label from old pals DJ Koze and Marcus Fink, dedicated to releasing club music that's seriously danceable without recourse to the tried and tested ingredients. A home for house and techno tunes that will conquer hearts and take root there forever, music that's brave and not afraid to break with convention. The first release is by Die Vogel, a collaborative project between Jakobus Siebels and Mense Reents. Jakobus is an innovative multi-instrumentalist who has previously recorded distinctive albums for Tomlab, Chicks On Speed Records, Karaoke Kalk; the no less talented Reents is a member of the groups Egoexpress, Die Goldenen Zitronen and Stella, and operates the Art Blakey Studios in Hamburg where this EP was recorded. Listening to A-side 'Blaue Moschee' you immediately know this going to be a strange and wonderful trip: oompa-style brass looped and layered over a stripped-back kickdrum, this tunes messes with all received notions of what house/techno music is! With a musicality and wicked sense of humour that naturally appealed to Koze and Fink, Siebels and Reents have created a timeless dancefloor banger using the most unlikely of elements. The result definitely isn't "jazzy techno" - the brass, far from being an afterthought, it's the very substance of the thing; it provides the melody, the bass, and the rhythm. Brass is the driving force behind the whole EP. B1, 'Petardo', is likewise driven by growling trombones and tubas, this time offset by cooing woodwind and set to a rolling, almost tribal drum tattoo. The horn chords are reminiscent of moody 60s British jazz, while the woodwind lends a South American fire and flair to proceedings. The track is full of subtle edits, but Siebels and Reents don't overwhelm the mix with synthesized sounds, instead letting the acoustic instruments speak for themselves. Closer 'Empire' again finds exquisitely arranged brass parts interlocking into a tough, single-minded groove, underscored with a skippy, broken 4/4 pulse and handclaps. Often when a new label claims to be taking risks and trying something new, the truth is rather less remarkable. Not in this case: Siebels and Reent have created a terrifically original, inimitable trio of tracks that combine the pop and the avant-garde, the cerebral and the physical, to absolutely stunning effect. It might be unusual and it might be clever, but it's still dance music pure and simple. magic!
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Tracklist:
A Blaue Moschee
B1 Petardo
B2 Empire
Pampa is a new label from old pals DJ Koze and Marcus Fink, dedicated to releasing club music that's seriously danceable without recourse to the tried and tested ingredients. A home for house and techno tunes that will conquer hearts and take root there forever, music that's brave and not afraid to break with convention. The first release is by Die Vogel, a collaborative project between Jakobus Siebels and Mense Reents. Jakobus is an innovative multi-instrumentalist who has previously recorded distinctive albums for Tomlab, Chicks On Speed Records, Karaoke Kalk; the no less talented Reents is a member of the groups Egoexpress, Die Goldenen Zitronen and Stella, and operates the Art Blakey Studios in Hamburg where this EP was recorded. Listening to A-side 'Blaue Moschee' you immediately know this going to be a strange and wonderful trip: oompa-style brass looped and layered over a stripped-back kickdrum, this tunes messes with all received notions of what house/techno music is! With a musicality and wicked sense of humour that naturally appealed to Koze and Fink, Siebels and Reents have created a timeless dancefloor banger using the most unlikely of elements. The result definitely isn't "jazzy techno" - the brass, far from being an afterthought, it's the very substance of the thing; it provides the melody, the bass, and the rhythm. Brass is the driving force behind the whole EP. B1, 'Petardo', is likewise driven by growling trombones and tubas, this time offset by cooing woodwind and set to a rolling, almost tribal drum tattoo. The horn chords are reminiscent of moody 60s British jazz, while the woodwind lends a South American fire and flair to proceedings. The track is full of subtle edits, but Siebels and Reents don't overwhelm the mix with synthesized sounds, instead letting the acoustic instruments speak for themselves. Closer 'Empire' again finds exquisitely arranged brass parts interlocking into a tough, single-minded groove, underscored with a skippy, broken 4/4 pulse and handclaps. Often when a new label claims to be taking risks and trying something new, the truth is rather less remarkable. Not in this case: Siebels and Reent have created a terrifically original, inimitable trio of tracks that combine the pop and the avant-garde, the cerebral and the physical, to absolutely stunning effect. It might be unusual and it might be clever, but it's still dance music pure and simple. magic!
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1
DJ Koze - Seeing Aliens (Extended Breakthrough Version)
2
DJ Koze - Nein König Nein
2023 repress
Tracklist:
A. Seeing Aliens (Extended Breakthrough Version)
B. Nein König Nein
Info:
DJ Koze exists both above and beyond club culture as we know it - his albums and remixes flying free from genre and trend - and symbiotically woven into its heart. Yes, he always abstracts and weirds out the principles of house, techno, hip hop, pop, psychedelia, exotica and so forth, but he does that because he understands them. And when it comes to club-demolishing tracks, he understands those principles as well as just about anybody on earth.
Thus he could create an enduring club tune like 2015's "XTC" that is strange, contemplative, even disturbing, bore little relation to anything around at the time, yet still got bodies moving and sweating better than way more obvious techno bangers. And thus the Knock Knock album, which melts a million genres and none into one another, can comfortably include "Seeing Aliens".
"Seeing Aliens" unquestionably is a banger, its bass riff snaking around your body like a python, its high-drama strings, pianos and outbursts of noise designed for maximum crowd pressure release. But, again, it sounds like nothing else, and its dynamics and twists unfold over eight and a half minutes in ways that will mess with your head every time no matter how many times you hear it.
The exclusive b-side track, "Nein König Nein" ("No King No"!), meanwhile, is slightly gentler on the face of it: it's less about sonic pressure, more about hip-shaking syncopation. But it too tells strange fairytales in its peculiar and brain-tweaking accumulation of detail, and though you'll hear archetypal sounds from the heart of house and disco in it, every last one of them becomes new and otherworldly.
More
Tracklist:
A. Seeing Aliens (Extended Breakthrough Version)
B. Nein König Nein
Info:
DJ Koze exists both above and beyond club culture as we know it - his albums and remixes flying free from genre and trend - and symbiotically woven into its heart. Yes, he always abstracts and weirds out the principles of house, techno, hip hop, pop, psychedelia, exotica and so forth, but he does that because he understands them. And when it comes to club-demolishing tracks, he understands those principles as well as just about anybody on earth.
Thus he could create an enduring club tune like 2015's "XTC" that is strange, contemplative, even disturbing, bore little relation to anything around at the time, yet still got bodies moving and sweating better than way more obvious techno bangers. And thus the Knock Knock album, which melts a million genres and none into one another, can comfortably include "Seeing Aliens".
"Seeing Aliens" unquestionably is a banger, its bass riff snaking around your body like a python, its high-drama strings, pianos and outbursts of noise designed for maximum crowd pressure release. But, again, it sounds like nothing else, and its dynamics and twists unfold over eight and a half minutes in ways that will mess with your head every time no matter how many times you hear it.
The exclusive b-side track, "Nein König Nein" ("No King No"!), meanwhile, is slightly gentler on the face of it: it's less about sonic pressure, more about hip-shaking syncopation. But it too tells strange fairytales in its peculiar and brain-tweaking accumulation of detail, and though you'll hear archetypal sounds from the heart of house and disco in it, every last one of them becomes new and otherworldly.
More
Special remarks: 180g Vinyl limited to 300 pcs
Genre: Indie, Alternative, Indie- folk
Tracklist 12":
A1. Lorenz Ambeek Linoleum 02:58
A2. Lorenz Ambeek Black & Blue 02:30
A3. Lorenz Ambeek Alienated 03:03
A4. Lorenz Ambeek Baby Shower 02:35
A5. Lorenz Ambeek Good Thing 02:44
B6. Lorenz Ambeek MacGyver 02:38
B7. Lorenz Ambeek Move 04:00
B8. Lorenz Ambeek Vain 03:33
B9. Lorenz Ambeek Therapist 03:03
B10. Lorenz Ambeek Look at Me Now 02:45
ALBUM INFO EN
Bold arrangements, excitingly honest lyricism and a riveting voice: Viennese Singer-Songwriter “Lorenz Ambeek” emanates the virtuosity of José Gonzalez and Eliott Smith (MUSIKEXPRESS / FM4). With his first two singles counting over a million streams, paired with chart positions and international airplay, Lorenz’ first album “Look at Me Now” sets sail for a promising musical future: 2023 will thus see the young artist release his 10-track debut-album, alongside several singles and live concerts.
“Look at Me Now” comes with a professional marketing-campaign of visualizer promotion on social media (TikTok & Meta), online marketing and print&online PR for Europe. Previously on chart positions and rotation in Germany (NDR2, EgoFm, FluxFM), Austria (FM4, 88.6) and France (FIP).
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Genre: Indie, Alternative, Indie- folk
Tracklist 12":
A1. Lorenz Ambeek Linoleum 02:58
A2. Lorenz Ambeek Black & Blue 02:30
A3. Lorenz Ambeek Alienated 03:03
A4. Lorenz Ambeek Baby Shower 02:35
A5. Lorenz Ambeek Good Thing 02:44
B6. Lorenz Ambeek MacGyver 02:38
B7. Lorenz Ambeek Move 04:00
B8. Lorenz Ambeek Vain 03:33
B9. Lorenz Ambeek Therapist 03:03
B10. Lorenz Ambeek Look at Me Now 02:45
ALBUM INFO EN
Bold arrangements, excitingly honest lyricism and a riveting voice: Viennese Singer-Songwriter “Lorenz Ambeek” emanates the virtuosity of José Gonzalez and Eliott Smith (MUSIKEXPRESS / FM4). With his first two singles counting over a million streams, paired with chart positions and international airplay, Lorenz’ first album “Look at Me Now” sets sail for a promising musical future: 2023 will thus see the young artist release his 10-track debut-album, alongside several singles and live concerts.
“Look at Me Now” comes with a professional marketing-campaign of visualizer promotion on social media (TikTok & Meta), online marketing and print&online PR for Europe. Previously on chart positions and rotation in Germany (NDR2, EgoFm, FluxFM), Austria (FM4, 88.6) and France (FIP).
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1
Jungle Brothers - Straight Out Of The Jungle
2
Jungle Brothers - Black Is Black
Repress!
Following on from last years successful RSD 7 Inch, Idlers are proud to release the title track from the JBs 1988 debut album 'Straight Out The Jungle' that has never had a full release on 45 before. Backed with the more relevant than ever 'Black is Black'. More golden era hip hop on 7! With a Picture sleeve. More
Following on from last years successful RSD 7 Inch, Idlers are proud to release the title track from the JBs 1988 debut album 'Straight Out The Jungle' that has never had a full release on 45 before. Backed with the more relevant than ever 'Black is Black'. More golden era hip hop on 7! With a Picture sleeve. More
1
DJ Koze - Blume Der Nacht
2
DJ Koze - Rue Burnout
2023 repress
Tracklist:
A: Blume Der Nacht
B: Rue Burnout
DJ Koze doesn't aim for technical perfection for its own sake, but rather to serve the purpose of giving birth to great music. On his debut 'Rue Burnout EP' from his own Pampa label, he plays with finesse and sophistication, and implicitly understands the importance of subtlety, leading from dreamy and restrained parts to a noisy frenzy at the end. 'Blume der Nacht' starts with a looped piano solo from Arabian dodecaphony, interwoven with bangs of violine bows, piercing high-pitched strings, almost shrieking glissandi, deep angel chants and obsessive sharp rhythms. The 37 year old constantly horny wunderkind producer has made a habit of creatively foiling expectations, and works also under the pseudonyms Adolf Noise, Swahimi and recently Madima Lokkah to redefine the boundaries of electronic music. This daring concept works perfectly in the title track 'Rue Burnout' - it is very rare that you find house music this excitingly light-fooded and precisely transparent. The musician cuts the pigtail off the term 'Kackmusik' for good, and demonstrates how sounds are capable of creating the most delicate musical interplay.
Amen.
DJ Koze, Germany, April 2010.
More
Tracklist:
A: Blume Der Nacht
B: Rue Burnout
DJ Koze doesn't aim for technical perfection for its own sake, but rather to serve the purpose of giving birth to great music. On his debut 'Rue Burnout EP' from his own Pampa label, he plays with finesse and sophistication, and implicitly understands the importance of subtlety, leading from dreamy and restrained parts to a noisy frenzy at the end. 'Blume der Nacht' starts with a looped piano solo from Arabian dodecaphony, interwoven with bangs of violine bows, piercing high-pitched strings, almost shrieking glissandi, deep angel chants and obsessive sharp rhythms. The 37 year old constantly horny wunderkind producer has made a habit of creatively foiling expectations, and works also under the pseudonyms Adolf Noise, Swahimi and recently Madima Lokkah to redefine the boundaries of electronic music. This daring concept works perfectly in the title track 'Rue Burnout' - it is very rare that you find house music this excitingly light-fooded and precisely transparent. The musician cuts the pigtail off the term 'Kackmusik' for good, and demonstrates how sounds are capable of creating the most delicate musical interplay.
Amen.
DJ Koze, Germany, April 2010.
More
1
The Mighty Cavaliers - Wacha Maneno
2
The Mighty Cavaliers - Baruwa Ya Soweto
3
The Mighty Cavaliers - Africa Tuungane
4
The Mighty Cavaliers - Mama Come Home
5
The Mighty Cavaliers - Mapendo Mapendo
6
The Mighty Cavaliers - Mambo Bado
7
The Mighty Cavaliers - Wacha Tabia Mbaya
8
The Mighty Cavaliers - Mimi Ni Wako
9
The Mighty Cavaliers - Bring Your Love
10
The Mighty Cavaliers - Nifanye Nini
The Mapendo album of the Mighty Cavaliers, up to today, has been shrouded in mystery. If you look at the original cover of this very rare Kenyan funk-infused album all you will find are the names of the engineer and the producer, as EMI Kenya omitted the names of the musicians and the songwriters. Digging deeper a rather sinister story of deceit develops whereby Mapendo becomes symbolic for all what was wrong about the Kenyan record industry in the 1970s, and the music industry in Africa as a whole. As this maltreatment of artists proved endemic throughout the continent, although little talked about.
One of the three surviving members of the Mighty Cavaliers, bass player Bonnie Wanda - who started his career in 1971 with Gloria Africana - vividly remembers participating in the recording of the two albums the band made in 1976 and 1977 - Fisherman and Mapendo - and how they, especially on the last album, got short-changed by shrewd record label executives. In the 1960s it was mostly Indian and European record bosses that called the shots and usually gave musicians the chance of a one-off payment for their session time and recorded songs or wait for - hopefully - a generous royalty check. In most cases records didn't sell more than a thousand copies with an occasional hit selling in the tens of thousands, so musicians were reluctant to register themselves with the Music Copyright Society of Kenya. Although without doing so one couldn't receive royalties.
'For two years the Mighty Cavaliers performed five nights a week at the Starlight Club for five hour sets.
The re-release of Mapendo, the first of the German Want Some Records label, is another exciting puzzle piece in the tapestry of groovy Kenyan music. It proves that there are still great gems out there to be re-discovered for audiences worldwide.
Text written by Michiel van Oosterhout
This Album is dedicated to the musicians
Bonnie Wanda, Rashid Salim, Vuli Yeni, Juma Waweru Njuguna and Athmani 'guitar boy'."
-------------------------
All songs, Composed, Arranged, Produced or Performed
by The Mighty Cavaliers.
Graphic Design: Benjamin Kühne (Cover restauration/Label Design); Tom Krailing (Sticker Design)
Written By: Michiel van Oosterhout
Text Editing: Nebil
Mastered by: Nick Robbins (Soundmastering)
All tracks are under exclusive license of Want Some Records. Licensed from Daudi Kabaka/Reuben Kabaka."
Tracklist:
A1: Wacha Maneno
A2: Baruwa Ya Soweto
A3: Africa Tuungane
A4: Mama Come Home
A5: Mapendo Mapendo
B1: Mambo Bado
B2: Wacha Tabia Mbaya
B3: Mimi Ni Wako
B4: Bring Your Love
B5: Nifanye Nini
More
One of the three surviving members of the Mighty Cavaliers, bass player Bonnie Wanda - who started his career in 1971 with Gloria Africana - vividly remembers participating in the recording of the two albums the band made in 1976 and 1977 - Fisherman and Mapendo - and how they, especially on the last album, got short-changed by shrewd record label executives. In the 1960s it was mostly Indian and European record bosses that called the shots and usually gave musicians the chance of a one-off payment for their session time and recorded songs or wait for - hopefully - a generous royalty check. In most cases records didn't sell more than a thousand copies with an occasional hit selling in the tens of thousands, so musicians were reluctant to register themselves with the Music Copyright Society of Kenya. Although without doing so one couldn't receive royalties.
'For two years the Mighty Cavaliers performed five nights a week at the Starlight Club for five hour sets.
The re-release of Mapendo, the first of the German Want Some Records label, is another exciting puzzle piece in the tapestry of groovy Kenyan music. It proves that there are still great gems out there to be re-discovered for audiences worldwide.
Text written by Michiel van Oosterhout
This Album is dedicated to the musicians
Bonnie Wanda, Rashid Salim, Vuli Yeni, Juma Waweru Njuguna and Athmani 'guitar boy'."
-------------------------
All songs, Composed, Arranged, Produced or Performed
by The Mighty Cavaliers.
Graphic Design: Benjamin Kühne (Cover restauration/Label Design); Tom Krailing (Sticker Design)
Written By: Michiel van Oosterhout
Text Editing: Nebil
Mastered by: Nick Robbins (Soundmastering)
All tracks are under exclusive license of Want Some Records. Licensed from Daudi Kabaka/Reuben Kabaka."
Tracklist:
A1: Wacha Maneno
A2: Baruwa Ya Soweto
A3: Africa Tuungane
A4: Mama Come Home
A5: Mapendo Mapendo
B1: Mambo Bado
B2: Wacha Tabia Mbaya
B3: Mimi Ni Wako
B4: Bring Your Love
B5: Nifanye Nini
More