1
Sven Wunder - Black Iris
2
Sven Wunder - Tulip
3
Sven Wunder - Magnolia
4
Sven Wunder - Lotus
5
Sven Wunder - Lily
6
Sven Wunder - Red Rose
7
Sven Wunder - Hibiscus
8
Sven Wunder - Magnolia (reprise)
9
Sven Wunder - Morning Glory
10
Sven Wunder - Chamomile
11
Sven Wunder - Hyacinth
12
Sven Wunder - Daisy
13
Sven Wunder - Gilboa Iris
This is the first stop on Sven Wunder’s musical journey. Wunder takes the listener somewhere around the easternmost part
of the Mediterranean Sea, around the Levantine Sea, where he paints a colourful portrait and illustrates the regions flora
through sound.
The fruitage is a vivid bouquet where Wunder fuses colours and pigments by using traditional and modern instruments
merged with arrangements and melodies that stretches from popular to folk music by portraying tulips, red roses, hibiscus,
hyacinths, chamomile, magnolia, daisies etcetera. With both fine and thick brushes are these flowers being pictured in a
both modern and classic idiom.
The outcome is prismatic. It stands between Anatolian rock and European jazz-funk with ponderous drum patterns, groovy
organs, far-out synthesizers, enchanting Saz and impetuous bass lines. Eastern Flowers sweeps through time and space
and points towards the future. It could appeal both psych and prog listeners, folk or jazz aficionados and as well the gourmet
hip hop connoisseurs.
A1. Black Iris
A2. Tulip
A3. Magnolia
A4. Lotus
A5. Lily
A6. Red Rose
B1. Hibiscus
B2. Magnolia (reprise)
B3. Morning Glory
B4. Chamomile
B5. Hyacinth
B6. Daisy
B7. Gilboa Iris More
of the Mediterranean Sea, around the Levantine Sea, where he paints a colourful portrait and illustrates the regions flora
through sound.
The fruitage is a vivid bouquet where Wunder fuses colours and pigments by using traditional and modern instruments
merged with arrangements and melodies that stretches from popular to folk music by portraying tulips, red roses, hibiscus,
hyacinths, chamomile, magnolia, daisies etcetera. With both fine and thick brushes are these flowers being pictured in a
both modern and classic idiom.
The outcome is prismatic. It stands between Anatolian rock and European jazz-funk with ponderous drum patterns, groovy
organs, far-out synthesizers, enchanting Saz and impetuous bass lines. Eastern Flowers sweeps through time and space
and points towards the future. It could appeal both psych and prog listeners, folk or jazz aficionados and as well the gourmet
hip hop connoisseurs.
A1. Black Iris
A2. Tulip
A3. Magnolia
A4. Lotus
A5. Lily
A6. Red Rose
B1. Hibiscus
B2. Magnolia (reprise)
B3. Morning Glory
B4. Chamomile
B5. Hyacinth
B6. Daisy
B7. Gilboa Iris More
More records from Sven Wunder
1
Sven Wunder - Sundown
2
Sven Wunder - Pop-Jazz Structures
3
Sven Wunder - Take A Break
4
Sven Wunder - Stars Align
5
Sven Wunder - Lunar Distance
6
Sven Wunder - Jazz At Night
7
Sven Wunder - Snowdrops
8
Sven Wunder - Stellar Plates
9
Sven Wunder - Asterism Waltz
10
Sven Wunder - Late Again
When the sun hovers near the horizon, the rays of white sunlight are scattered out of the beam by small particles and molecules in the atmosphere that sprinkle the sky with brilliant hues indicating that the day starts to fade. As night begins to fall, tree-tops redden and begin to glow. Darkness closes in and falls like a blanket covering the sky. It is late again and all is in shadow below. It is when stars align and dreams come true.
Sven Wunder thrives at nightfall and welcomes the horizon of beginnings on Late Again, a collection of nocturnal jazz pieces that depict shooting stars and scattered beams from the setting sun, with an emphasis on gentle compositions for piano and orchestral pop-jazz arrangements for flute, brass, and strings.
A1 - Sundown
A2 - Pop-Jazz Structures
A3 - Take A Break
A4 - Stars Align
A5 - Lunar Distance
B1 - Jazz At Night
B2 - Snowdrops
B3 - Stellar Plates
B4 - Asterism Waltz
B5 - Late Again More
Sven Wunder thrives at nightfall and welcomes the horizon of beginnings on Late Again, a collection of nocturnal jazz pieces that depict shooting stars and scattered beams from the setting sun, with an emphasis on gentle compositions for piano and orchestral pop-jazz arrangements for flute, brass, and strings.
A1 - Sundown
A2 - Pop-Jazz Structures
A3 - Take A Break
A4 - Stars Align
A5 - Lunar Distance
B1 - Jazz At Night
B2 - Snowdrops
B3 - Stellar Plates
B4 - Asterism Waltz
B5 - Late Again More
1
Sven Wunder - Yugen
2
Sven Wunder - Shinrinyoku
3
Sven Wunder - Hot Winds Arrive
4
Sven Wunder - Hanami
5
Sven Wunder - Komorebi
6
Sven Wunder - Blanket Fog Descends
7
Sven Wunder - Wabi Sabi
8
Sven Wunder - Bamboo And Rocks
9
Sven Wunder - Kachofugetsu
10
Sven Wunder - Onsen
11
Sven Wunder - North Wind Rattles the Leaves
By welcoming the beauty of imperfection and simplicity, Sven Wunder applies the timeless wisdom of wabi sabi on this
musical journey. What you can hear is filtered through Ukiyo-e (which translates as “pictures of the floating world”), which
illustrates everyday life, as well as through Japonism, the study of Japanese art, and more specifically its influence on
European works. The result is a surface that creates an illusion by sound. The infusion of Min’yo with jazz rock, this hazy
scene evokes the landscape of Monet’s ”The Water Lily Pond”, which depicts the painter’s Giverny garden, with a
Japanese bridge, bamboo, ginkgo trees and the reflection of the sky in the pond. This illusion constructs both time and
space.
The surface of the music, like the canvas of the painting, invents a journey between now and then by interpreting the idiom
of folkloric and western art instruments. In this composition, the sound of the Western concert flute, which stretches back
to the Renaissance and Baroque periods, evokes the sound of the bamboo-flute (”shakuchachi”), which reached its peak
during the Edo period. The guzheng, also known as the Chinese zither, with a more than 2,500 year history, joins traditional
Japanese folk melodies with modern pop percussion and 20th century electronic instruments such as the Moog synthesizer,
Wurlitzer electric piano and electric bass.
This is the illusion that celebrates the fleeting nature of all things. A journey. A deep inhale and a slow exhale. It has a mix
of jazz (both funky and progressive), East Asian and South Asian sounds. The idea of fusing these styles and reframing them
with the aesthetic of wabi sabi is to reconnect with nature and concentrate on asymmetries and emphasize ornamentation
to generate new ways of looking at the world, here and now.
A1. Yugen
A2. Shinrinyoku
A3. Hot Winds Arrive
A4. Hanami
A5. Komorebi
A6. Blanket Fog Descends
B1. Wabi Sabi
B2. Bamboo And Rocks
B3. Kachofugetsu
B4. Onsen
B5. North Wind Rattles the Leaves More
musical journey. What you can hear is filtered through Ukiyo-e (which translates as “pictures of the floating world”), which
illustrates everyday life, as well as through Japonism, the study of Japanese art, and more specifically its influence on
European works. The result is a surface that creates an illusion by sound. The infusion of Min’yo with jazz rock, this hazy
scene evokes the landscape of Monet’s ”The Water Lily Pond”, which depicts the painter’s Giverny garden, with a
Japanese bridge, bamboo, ginkgo trees and the reflection of the sky in the pond. This illusion constructs both time and
space.
The surface of the music, like the canvas of the painting, invents a journey between now and then by interpreting the idiom
of folkloric and western art instruments. In this composition, the sound of the Western concert flute, which stretches back
to the Renaissance and Baroque periods, evokes the sound of the bamboo-flute (”shakuchachi”), which reached its peak
during the Edo period. The guzheng, also known as the Chinese zither, with a more than 2,500 year history, joins traditional
Japanese folk melodies with modern pop percussion and 20th century electronic instruments such as the Moog synthesizer,
Wurlitzer electric piano and electric bass.
This is the illusion that celebrates the fleeting nature of all things. A journey. A deep inhale and a slow exhale. It has a mix
of jazz (both funky and progressive), East Asian and South Asian sounds. The idea of fusing these styles and reframing them
with the aesthetic of wabi sabi is to reconnect with nature and concentrate on asymmetries and emphasize ornamentation
to generate new ways of looking at the world, here and now.
A1. Yugen
A2. Shinrinyoku
A3. Hot Winds Arrive
A4. Hanami
A5. Komorebi
A6. Blanket Fog Descends
B1. Wabi Sabi
B2. Bamboo And Rocks
B3. Kachofugetsu
B4. Onsen
B5. North Wind Rattles the Leaves More
1
Sven Wunder - En Plein Air
2
Sven Wunder - Impasto
3
Sven Wunder - Prussian Blue
4
Sven Wunder - Natura Morta
5
Sven Wunder - Panorama
6
Sven Wunder - Alla Prima
7
Sven Wunder - Umber
8
Sven Wunder - Barocco, Ma Non Troppo
9
Sven Wunder - Memento Mori
10
Sven Wunder - Pentimento
11
Sven Wunder - Natura Morta (reprise)
Throughout human history, we have depicted the world we live in through art. By reworking what we see in the world, the
simplest things have helped us understand the beauty of nature and to evaluate the material world that we have created
around us, as a window to a constantly changing reality, through our own perception. It is that absolute reality that appears
in the seam of human and nature and that can be revealed through art.
Still life painting, also referred to as natura morta (”dead nature”) in Italian, stretches back to ancient times. Some of the
earliest works, found in Pompeii, depict commonplace objects such as fresh autumn fruits alongside man-made objects
such as a small amphora and a small terracotta heap with dried fruits. These two thousand year old paintings give a
snapshot of Roman life, and also creates a link to time and space. A slice of life has been created by binding the earth’s
pigments with extracts of oil, made from nuts and seeds, painted with brushes, made from a variety of fibers, such as trees
and hair from animals. While life wanes with each brush stroke, by shifting reality into past, art exists to make us come alive,
being a living image of a dead thing, a surface and a symbol with symbolic powers of its own. Still life works celebrate
material and ephemeral pleasures by returning to nature as the ultimate source for our standards in art as well as in life
itself.
Natura Morta collects pieces from a continuous variety of melodies — supported by a decisive rhythm section — creating
a musical kaleidoscope of ever-changing colors. Sven Wunder brings life into this rich assortment of musical implications
by fusing and combining melodic instruments with each other in a setting that spans from a classical to a modern idiom.
The author evokes this panoramic portrait by articulating an instrumental dialog between a chamber orchestra and a jazz
ensemble. The result is a musical celebration of material pleasures that also serves as a reminder of the brevity of human
life.
A1. En Plein Air
A2. Impasto
A3. Prussian Blue
A4. Natura Morta
A5. Panorama
B1. Alla Prima
B2. Umber
B3. Barocco, Ma Non Troppo
B4. Memento Mori
B5. Pentimento
B6. Natura Morta (reprise) More
simplest things have helped us understand the beauty of nature and to evaluate the material world that we have created
around us, as a window to a constantly changing reality, through our own perception. It is that absolute reality that appears
in the seam of human and nature and that can be revealed through art.
Still life painting, also referred to as natura morta (”dead nature”) in Italian, stretches back to ancient times. Some of the
earliest works, found in Pompeii, depict commonplace objects such as fresh autumn fruits alongside man-made objects
such as a small amphora and a small terracotta heap with dried fruits. These two thousand year old paintings give a
snapshot of Roman life, and also creates a link to time and space. A slice of life has been created by binding the earth’s
pigments with extracts of oil, made from nuts and seeds, painted with brushes, made from a variety of fibers, such as trees
and hair from animals. While life wanes with each brush stroke, by shifting reality into past, art exists to make us come alive,
being a living image of a dead thing, a surface and a symbol with symbolic powers of its own. Still life works celebrate
material and ephemeral pleasures by returning to nature as the ultimate source for our standards in art as well as in life
itself.
Natura Morta collects pieces from a continuous variety of melodies — supported by a decisive rhythm section — creating
a musical kaleidoscope of ever-changing colors. Sven Wunder brings life into this rich assortment of musical implications
by fusing and combining melodic instruments with each other in a setting that spans from a classical to a modern idiom.
The author evokes this panoramic portrait by articulating an instrumental dialog between a chamber orchestra and a jazz
ensemble. The result is a musical celebration of material pleasures that also serves as a reminder of the brevity of human
life.
A1. En Plein Air
A2. Impasto
A3. Prussian Blue
A4. Natura Morta
A5. Panorama
B1. Alla Prima
B2. Umber
B3. Barocco, Ma Non Troppo
B4. Memento Mori
B5. Pentimento
B6. Natura Morta (reprise) More
1
Sven Wunder - Impasto
2
Sven Wunder - Prussian Blue
Tracklist:
A. Impasto
B. Prussian Blue
In collaboration with Piano Piano Records, Mr Bongo is thrilled to present a taster 7” single, ‘Impasto’ / 'Prussian Blue’. The single showcases the colourful palette of Sven Wunder's fabulous forthcoming third album 'Natura Morta’. The album is set to be released on Piano Piano Records later in 2021 with this 7” acting as the perfect prelude.
Sven's 2019 album 'Eastern Flowers' took us into the world of Anatolian rock, European jazz, library, funk, psychedelia, and traditional folk melodies. The 2020 follow up, 'Wabi Sabi’, mixed jazz and Eastern and Southern Asian sounds to present an aural aesthetic of the Japanese ancient wisdom. 'Natura Morta’, "still life" in Italian, owes its inspiration to art. Sven Wunder explores it as a bridge between nature and the human ability to judge and observe through eleven unique musical compositions, each one brightly coloured and textured with an emphasis on vibrant melodies.
As with previous Sven Wunder material the tracks here on this 7" are covered in lush orchestration, evoking the rich musical soundscapes of a previous era (think library music or the film scores of Morricone). First up is the beautiful ‘Impasto’ which refers to the technique used in painting where the paint is laid in very thick layers on a surface. With its lavish sweeping strings and melodies there are echoes of the arrangements of Arthur Verocai, but it then takes a turn into 60s detective movie territory. You can imagine it being the score to a scene in a Harry Palmer film which breaks for a romantic interlude in between the action and suspense.
'Prussian Blue’, is built on Sven’s ‘Shinrinyoku' from the 'Wabi Sabi’ album, sharing the same melody but here with an uptempo beat and another arrangement. It begins with a moment of calm with its soothing piano intro before it bursts into a percussive breakbeat workout. It skates and glides with the influences of Italian library music and Eastern melodies, yet at the same time it retains a unique element that can only be Sven Wunder. 'Prussian Blue' refers to the pigment that was imported to Japan.
Once again, we are indebted to Sven Wunder and John Henriksson at Piano Piano Records for letting us share this melodious vision from one of our favourite contemporary musicians. The compositions on this 7" were produced with financial support from the Swedish Arts Council. More
A. Impasto
B. Prussian Blue
In collaboration with Piano Piano Records, Mr Bongo is thrilled to present a taster 7” single, ‘Impasto’ / 'Prussian Blue’. The single showcases the colourful palette of Sven Wunder's fabulous forthcoming third album 'Natura Morta’. The album is set to be released on Piano Piano Records later in 2021 with this 7” acting as the perfect prelude.
Sven's 2019 album 'Eastern Flowers' took us into the world of Anatolian rock, European jazz, library, funk, psychedelia, and traditional folk melodies. The 2020 follow up, 'Wabi Sabi’, mixed jazz and Eastern and Southern Asian sounds to present an aural aesthetic of the Japanese ancient wisdom. 'Natura Morta’, "still life" in Italian, owes its inspiration to art. Sven Wunder explores it as a bridge between nature and the human ability to judge and observe through eleven unique musical compositions, each one brightly coloured and textured with an emphasis on vibrant melodies.
As with previous Sven Wunder material the tracks here on this 7" are covered in lush orchestration, evoking the rich musical soundscapes of a previous era (think library music or the film scores of Morricone). First up is the beautiful ‘Impasto’ which refers to the technique used in painting where the paint is laid in very thick layers on a surface. With its lavish sweeping strings and melodies there are echoes of the arrangements of Arthur Verocai, but it then takes a turn into 60s detective movie territory. You can imagine it being the score to a scene in a Harry Palmer film which breaks for a romantic interlude in between the action and suspense.
'Prussian Blue’, is built on Sven’s ‘Shinrinyoku' from the 'Wabi Sabi’ album, sharing the same melody but here with an uptempo beat and another arrangement. It begins with a moment of calm with its soothing piano intro before it bursts into a percussive breakbeat workout. It skates and glides with the influences of Italian library music and Eastern melodies, yet at the same time it retains a unique element that can only be Sven Wunder. 'Prussian Blue' refers to the pigment that was imported to Japan.
Once again, we are indebted to Sven Wunder and John Henriksson at Piano Piano Records for letting us share this melodious vision from one of our favourite contemporary musicians. The compositions on this 7" were produced with financial support from the Swedish Arts Council. More
More records from Piano Piano
1
Sven Wunder - Sundown
2
Sven Wunder - Pop-Jazz Structures
3
Sven Wunder - Take A Break
4
Sven Wunder - Stars Align
5
Sven Wunder - Lunar Distance
6
Sven Wunder - Jazz At Night
7
Sven Wunder - Snowdrops
8
Sven Wunder - Stellar Plates
9
Sven Wunder - Asterism Waltz
10
Sven Wunder - Late Again
When the sun hovers near the horizon, the rays of white sunlight are scattered out of the beam by small particles and molecules in the atmosphere that sprinkle the sky with brilliant hues indicating that the day starts to fade. As night begins to fall, tree-tops redden and begin to glow. Darkness closes in and falls like a blanket covering the sky. It is late again and all is in shadow below. It is when stars align and dreams come true.
Sven Wunder thrives at nightfall and welcomes the horizon of beginnings on Late Again, a collection of nocturnal jazz pieces that depict shooting stars and scattered beams from the setting sun, with an emphasis on gentle compositions for piano and orchestral pop-jazz arrangements for flute, brass, and strings.
A1 - Sundown
A2 - Pop-Jazz Structures
A3 - Take A Break
A4 - Stars Align
A5 - Lunar Distance
B1 - Jazz At Night
B2 - Snowdrops
B3 - Stellar Plates
B4 - Asterism Waltz
B5 - Late Again More
Sven Wunder thrives at nightfall and welcomes the horizon of beginnings on Late Again, a collection of nocturnal jazz pieces that depict shooting stars and scattered beams from the setting sun, with an emphasis on gentle compositions for piano and orchestral pop-jazz arrangements for flute, brass, and strings.
A1 - Sundown
A2 - Pop-Jazz Structures
A3 - Take A Break
A4 - Stars Align
A5 - Lunar Distance
B1 - Jazz At Night
B2 - Snowdrops
B3 - Stellar Plates
B4 - Asterism Waltz
B5 - Late Again More
1
Sven Wunder - En Plein Air
2
Sven Wunder - Impasto
3
Sven Wunder - Prussian Blue
4
Sven Wunder - Natura Morta
5
Sven Wunder - Panorama
6
Sven Wunder - Alla Prima
7
Sven Wunder - Umber
8
Sven Wunder - Barocco, Ma Non Troppo
9
Sven Wunder - Memento Mori
10
Sven Wunder - Pentimento
11
Sven Wunder - Natura Morta (reprise)
Throughout human history, we have depicted the world we live in through art. By reworking what we see in the world, the
simplest things have helped us understand the beauty of nature and to evaluate the material world that we have created
around us, as a window to a constantly changing reality, through our own perception. It is that absolute reality that appears
in the seam of human and nature and that can be revealed through art.
Still life painting, also referred to as natura morta (”dead nature”) in Italian, stretches back to ancient times. Some of the
earliest works, found in Pompeii, depict commonplace objects such as fresh autumn fruits alongside man-made objects
such as a small amphora and a small terracotta heap with dried fruits. These two thousand year old paintings give a
snapshot of Roman life, and also creates a link to time and space. A slice of life has been created by binding the earth’s
pigments with extracts of oil, made from nuts and seeds, painted with brushes, made from a variety of fibers, such as trees
and hair from animals. While life wanes with each brush stroke, by shifting reality into past, art exists to make us come alive,
being a living image of a dead thing, a surface and a symbol with symbolic powers of its own. Still life works celebrate
material and ephemeral pleasures by returning to nature as the ultimate source for our standards in art as well as in life
itself.
Natura Morta collects pieces from a continuous variety of melodies — supported by a decisive rhythm section — creating
a musical kaleidoscope of ever-changing colors. Sven Wunder brings life into this rich assortment of musical implications
by fusing and combining melodic instruments with each other in a setting that spans from a classical to a modern idiom.
The author evokes this panoramic portrait by articulating an instrumental dialog between a chamber orchestra and a jazz
ensemble. The result is a musical celebration of material pleasures that also serves as a reminder of the brevity of human
life.
A1. En Plein Air
A2. Impasto
A3. Prussian Blue
A4. Natura Morta
A5. Panorama
B1. Alla Prima
B2. Umber
B3. Barocco, Ma Non Troppo
B4. Memento Mori
B5. Pentimento
B6. Natura Morta (reprise) More
simplest things have helped us understand the beauty of nature and to evaluate the material world that we have created
around us, as a window to a constantly changing reality, through our own perception. It is that absolute reality that appears
in the seam of human and nature and that can be revealed through art.
Still life painting, also referred to as natura morta (”dead nature”) in Italian, stretches back to ancient times. Some of the
earliest works, found in Pompeii, depict commonplace objects such as fresh autumn fruits alongside man-made objects
such as a small amphora and a small terracotta heap with dried fruits. These two thousand year old paintings give a
snapshot of Roman life, and also creates a link to time and space. A slice of life has been created by binding the earth’s
pigments with extracts of oil, made from nuts and seeds, painted with brushes, made from a variety of fibers, such as trees
and hair from animals. While life wanes with each brush stroke, by shifting reality into past, art exists to make us come alive,
being a living image of a dead thing, a surface and a symbol with symbolic powers of its own. Still life works celebrate
material and ephemeral pleasures by returning to nature as the ultimate source for our standards in art as well as in life
itself.
Natura Morta collects pieces from a continuous variety of melodies — supported by a decisive rhythm section — creating
a musical kaleidoscope of ever-changing colors. Sven Wunder brings life into this rich assortment of musical implications
by fusing and combining melodic instruments with each other in a setting that spans from a classical to a modern idiom.
The author evokes this panoramic portrait by articulating an instrumental dialog between a chamber orchestra and a jazz
ensemble. The result is a musical celebration of material pleasures that also serves as a reminder of the brevity of human
life.
A1. En Plein Air
A2. Impasto
A3. Prussian Blue
A4. Natura Morta
A5. Panorama
B1. Alla Prima
B2. Umber
B3. Barocco, Ma Non Troppo
B4. Memento Mori
B5. Pentimento
B6. Natura Morta (reprise) More
1
Sven Wunder - Yugen
2
Sven Wunder - Shinrinyoku
3
Sven Wunder - Hot Winds Arrive
4
Sven Wunder - Hanami
5
Sven Wunder - Komorebi
6
Sven Wunder - Blanket Fog Descends
7
Sven Wunder - Wabi Sabi
8
Sven Wunder - Bamboo And Rocks
9
Sven Wunder - Kachofugetsu
10
Sven Wunder - Onsen
11
Sven Wunder - North Wind Rattles the Leaves
By welcoming the beauty of imperfection and simplicity, Sven Wunder applies the timeless wisdom of wabi sabi on this
musical journey. What you can hear is filtered through Ukiyo-e (which translates as “pictures of the floating world”), which
illustrates everyday life, as well as through Japonism, the study of Japanese art, and more specifically its influence on
European works. The result is a surface that creates an illusion by sound. The infusion of Min’yo with jazz rock, this hazy
scene evokes the landscape of Monet’s ”The Water Lily Pond”, which depicts the painter’s Giverny garden, with a
Japanese bridge, bamboo, ginkgo trees and the reflection of the sky in the pond. This illusion constructs both time and
space.
The surface of the music, like the canvas of the painting, invents a journey between now and then by interpreting the idiom
of folkloric and western art instruments. In this composition, the sound of the Western concert flute, which stretches back
to the Renaissance and Baroque periods, evokes the sound of the bamboo-flute (”shakuchachi”), which reached its peak
during the Edo period. The guzheng, also known as the Chinese zither, with a more than 2,500 year history, joins traditional
Japanese folk melodies with modern pop percussion and 20th century electronic instruments such as the Moog synthesizer,
Wurlitzer electric piano and electric bass.
This is the illusion that celebrates the fleeting nature of all things. A journey. A deep inhale and a slow exhale. It has a mix
of jazz (both funky and progressive), East Asian and South Asian sounds. The idea of fusing these styles and reframing them
with the aesthetic of wabi sabi is to reconnect with nature and concentrate on asymmetries and emphasize ornamentation
to generate new ways of looking at the world, here and now.
A1. Yugen
A2. Shinrinyoku
A3. Hot Winds Arrive
A4. Hanami
A5. Komorebi
A6. Blanket Fog Descends
B1. Wabi Sabi
B2. Bamboo And Rocks
B3. Kachofugetsu
B4. Onsen
B5. North Wind Rattles the Leaves More
musical journey. What you can hear is filtered through Ukiyo-e (which translates as “pictures of the floating world”), which
illustrates everyday life, as well as through Japonism, the study of Japanese art, and more specifically its influence on
European works. The result is a surface that creates an illusion by sound. The infusion of Min’yo with jazz rock, this hazy
scene evokes the landscape of Monet’s ”The Water Lily Pond”, which depicts the painter’s Giverny garden, with a
Japanese bridge, bamboo, ginkgo trees and the reflection of the sky in the pond. This illusion constructs both time and
space.
The surface of the music, like the canvas of the painting, invents a journey between now and then by interpreting the idiom
of folkloric and western art instruments. In this composition, the sound of the Western concert flute, which stretches back
to the Renaissance and Baroque periods, evokes the sound of the bamboo-flute (”shakuchachi”), which reached its peak
during the Edo period. The guzheng, also known as the Chinese zither, with a more than 2,500 year history, joins traditional
Japanese folk melodies with modern pop percussion and 20th century electronic instruments such as the Moog synthesizer,
Wurlitzer electric piano and electric bass.
This is the illusion that celebrates the fleeting nature of all things. A journey. A deep inhale and a slow exhale. It has a mix
of jazz (both funky and progressive), East Asian and South Asian sounds. The idea of fusing these styles and reframing them
with the aesthetic of wabi sabi is to reconnect with nature and concentrate on asymmetries and emphasize ornamentation
to generate new ways of looking at the world, here and now.
A1. Yugen
A2. Shinrinyoku
A3. Hot Winds Arrive
A4. Hanami
A5. Komorebi
A6. Blanket Fog Descends
B1. Wabi Sabi
B2. Bamboo And Rocks
B3. Kachofugetsu
B4. Onsen
B5. North Wind Rattles the Leaves More
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Release-Date:16.07.2021
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Release-Date:16.07.2021
Genre:Jazz / Nu Jazz
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Hiroshi Suzuki - B3. Romance
No sales to Japan!
LP: 180g vinyl, half speed mastered, heavy sleeve, obi, gold ink
Genre: Jazz, Fusion, Funk
Tracklisting LP
A1. Shrimp Dance
A2. Kuro To Shiro
B1. Walk Tall
B2. Cat
B3. Romance
Info
We Release Jazz is ecstatic (purrrr!) to announce the official reissue of Hiroshi Suzuki's glorious jazz-fusion-funk Holy Grail Cat (originally released in 1976), sourced from the original masters and available on limited edition 180 gram vinyl mastered at half speed for full audiophile sound, as well as on digipack CD. Both versions come with liner notes by Teruo Isono.
Cat was recorded in October 1975 at at Nippon Columbia Studio, while Hiroshi Suzuki was visiting his home country of Japan after moving to Las Vegas in 1971 to play with Buddy Rich and perfect his craft. Back on his old stomping grounds, the man known as Neko (Cat) immediately reunited with his dear friends for an epic two day session of groove magic. The chemistry was still intact. The skills and style had grown.
The result, Cat, is a smooth masterpiece, a deep and soulful affair where stunning trombone solos by Hiroshi Suzuki flirt with Takeru Muraoka's heavenly saxophone and the sensual rhythm section of Hiromasa Suzuki (keyboards), Kunimitsu Inaba (bass), and Akira Ishikawa (drums).
Celebrated in jazz collectors circles, in the lofi beat scene, and among music diggers around the world, Cat has become one of the most sought-after Japanese jazz albums of all time and, much like Ryo Fukui's Scenery, has fascinated old and young generations alike.
Points of interests
- For fans of jazz, fusion, funk, trombone, Japanese jazz, smooth rides, cats, allure.
- Official reissue of the glorious jazz-fusion album by Japanese trombonist extraordinaire Hiroshi "Neko" Suzuki.
- 10th release from We Release Jazz, following Ryo Fukui's Scenery, Mellow Dream, A Letter from Slowboat, and Ryo Fukui in New York, the soundtrack of Le Cercle Rouge by Eric Demarsan, Stuff Combe 5 + Percussion, Marc Moulin's Placebo Live 1971 and Boillat Thérace Quintet albums. We Release Jazz is the sister-label of Geneva-based WRWTFWW Records (Midori Takada's Through The Looking Glass and Lunar Cruise with Masahiko Sato, Pierre Barouh's Le Pollen, Jun Fuka-machi's Nicole, Grauzone's discography, …)
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LP: 180g vinyl, half speed mastered, heavy sleeve, obi, gold ink
Genre: Jazz, Fusion, Funk
Tracklisting LP
A1. Shrimp Dance
A2. Kuro To Shiro
B1. Walk Tall
B2. Cat
B3. Romance
Info
We Release Jazz is ecstatic (purrrr!) to announce the official reissue of Hiroshi Suzuki's glorious jazz-fusion-funk Holy Grail Cat (originally released in 1976), sourced from the original masters and available on limited edition 180 gram vinyl mastered at half speed for full audiophile sound, as well as on digipack CD. Both versions come with liner notes by Teruo Isono.
Cat was recorded in October 1975 at at Nippon Columbia Studio, while Hiroshi Suzuki was visiting his home country of Japan after moving to Las Vegas in 1971 to play with Buddy Rich and perfect his craft. Back on his old stomping grounds, the man known as Neko (Cat) immediately reunited with his dear friends for an epic two day session of groove magic. The chemistry was still intact. The skills and style had grown.
The result, Cat, is a smooth masterpiece, a deep and soulful affair where stunning trombone solos by Hiroshi Suzuki flirt with Takeru Muraoka's heavenly saxophone and the sensual rhythm section of Hiromasa Suzuki (keyboards), Kunimitsu Inaba (bass), and Akira Ishikawa (drums).
Celebrated in jazz collectors circles, in the lofi beat scene, and among music diggers around the world, Cat has become one of the most sought-after Japanese jazz albums of all time and, much like Ryo Fukui's Scenery, has fascinated old and young generations alike.
Points of interests
- For fans of jazz, fusion, funk, trombone, Japanese jazz, smooth rides, cats, allure.
- Official reissue of the glorious jazz-fusion album by Japanese trombonist extraordinaire Hiroshi "Neko" Suzuki.
- 10th release from We Release Jazz, following Ryo Fukui's Scenery, Mellow Dream, A Letter from Slowboat, and Ryo Fukui in New York, the soundtrack of Le Cercle Rouge by Eric Demarsan, Stuff Combe 5 + Percussion, Marc Moulin's Placebo Live 1971 and Boillat Thérace Quintet albums. We Release Jazz is the sister-label of Geneva-based WRWTFWW Records (Midori Takada's Through The Looking Glass and Lunar Cruise with Masahiko Sato, Pierre Barouh's Le Pollen, Jun Fuka-machi's Nicole, Grauzone's discography, …)
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Black Devil - "H" Friend
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Black Devil - Timing, Forget The Timing
3
Black Devil - One To Choose
4
Black Devil - We Never Fly Away Again
5
Black Devil - Follow Me (Instrumental)
6
Black Devil - No Regrets
Territories: WW minus FR
Tracklist :
A1 - "H" Friend
A2 - Timing, Forget The Timing
A3 - One To Choose
B1 - We Never Fly Away Again
B2 - Follow Me (Instrumental)
B3 - No Regrets
Release Info:
Disco Club is a groundbreaking 1978 EP of experimental electronic disco created by Bernard Fevre and his collaborator under their tongue-in-cheek aliases Joachim Sherylee and Junior Claristidge. The Aphex Twin-backed Rephlex label notably reworked a handful of Disco Club tracks in 2004, however this is the first ever reissue of the EP in its complete, originally intended sequence. So synonymous is Fèvre's career with this release, he continues to perform internationally as Black Devil Disco Club today. An impossibly rare piece, this edition has been treated to a remaster from the original tapes by Fèvre himself. More
Tracklist :
A1 - "H" Friend
A2 - Timing, Forget The Timing
A3 - One To Choose
B1 - We Never Fly Away Again
B2 - Follow Me (Instrumental)
B3 - No Regrets
Release Info:
Disco Club is a groundbreaking 1978 EP of experimental electronic disco created by Bernard Fevre and his collaborator under their tongue-in-cheek aliases Joachim Sherylee and Junior Claristidge. The Aphex Twin-backed Rephlex label notably reworked a handful of Disco Club tracks in 2004, however this is the first ever reissue of the EP in its complete, originally intended sequence. So synonymous is Fèvre's career with this release, he continues to perform internationally as Black Devil Disco Club today. An impossibly rare piece, this edition has been treated to a remaster from the original tapes by Fèvre himself. More
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Kimiko Kasai With Herbie Hancock - No Title
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Kimiko Kasai With Herbie Hancock - No Title
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Kimiko Kasai With Herbie Hancock - No Title
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Kimiko Kasai With Herbie Hancock - No Title
5
Kimiko Kasai With Herbie Hancock - No Title
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Kimiko Kasai With Herbie Hancock - No Title
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Kimiko Kasai With Herbie Hancock - No Title
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Kimiko Kasai With Herbie Hancock - No Title
Territories: World ex Japan
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Midori Takada - A. Mr. Henri Rousseau's Dream
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Midori Takada - B. Crossing
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Midori Takada - C. Trompe-l'œil
4
Midori Takada - D. Catastrophe £
- Limited 2023 REPRESS EDITION - 2x 180g, ORIG STOUGHTON TIP ON Sleeve, Black Vinyl, 45rpm Cut Edition (Emil Berliner) - Last 500 with Original Stoughton Tip On Sleeve
- sticker
*** TERRITORY RESTRICTION - NO SALES TO JAPAN ***
Tracklisting:
1. Mr. Henri Rousseau's Dream
2. Crossing
3. Trompe-l'œil
4. Catastrophe £
Info
Considered a Holy Grail of Japanese music by many, "Through The Looking Glass" is Midori Takada's first solo endeavor, a captivating four-song suite capturing her deep quests into traditional African and Asian percussive language and exploring contemplative ambient sounds with an admirably precise use of marimba. The result is alternatively ethereal and vibrant, always precise and mesmerizing, and makes for an atmospheric masterpiece and an unparalleled sonic and spiritual experience.
The fully licensed reissue is available as a single 33rpm LP and a limited 45rpm DLP, both cut directly from the original studio reels (AAA), at Emil Berliner (formerly the in-house recording department of renowned classical record label Deutsche Grammophon) for the 45rpm DLP, and at the equally famous Frankfurter SST Studio for the LP. It is also available in CD format for the first time. All versions come with extensive liner notes.
Bio
Midori Takada is a composer, multi percussionist, and theater artist renowned in Japanese vanguard circles. She will tour Europe this year.
Midori released two solo albums: "Through The Looking Glass" and "Tree Of Life" and wrote music for Tadashi Suzuki's theater plays. Her hypnotic, minimalist music is based in the concept of coherence between sound and the human body. She performs solo on marimba and other percussion instruments.
She debuted on the scene of Berlin Philharmonic, performing with the RIAS Symphonie-Orchester Berlin just after graduating from Tokyo University of the Arts in 1974. She continued her career with solo concerts in Japan and abroad.
In the 1980s Midori began to explore the traditional music of Asia and Africa. Her fascination resulted in joint projects with Kakraba Lobi from Ghana, Lamine Konte from Senegal, Farafina Band from Burkina Faso, and Korean musicians: zither player Chi Seong-Ja, flute player Won-Il, and saxophone player Kang Tae-Hwan. She also led Mkwaju Ensemble's innovative percussion project and still performs with free-jazz band Ton-Klami with Kang Tae-Hwan and jazz pianist Masahiko Satoh.
In the past 20 years, Midori Takada spent more time in theaters than in concert halls - composing and performing live music for theater. She regularly works with Tadashi Suzuki and his Suzuki Company of Toga on their adaptations of "Electra" and "King Lear".
Takada's compositions have a remarkable way of affecting the imagination. Her minimalist, contemplative music is filled with the concept of infinity and reminds us of a moon voyage, falling stars, a journey into the ocean, or a walk in the garden. The trans melodies, initially simple, begin to loop and splinter, their rhythm breaking and thickening, slowly drawing the listener into another reality.
Every live performance Midori Takada gives is unique and prepared especially for that occasion.
More
- sticker
*** TERRITORY RESTRICTION - NO SALES TO JAPAN ***
Tracklisting:
1. Mr. Henri Rousseau's Dream
2. Crossing
3. Trompe-l'œil
4. Catastrophe £
Info
Considered a Holy Grail of Japanese music by many, "Through The Looking Glass" is Midori Takada's first solo endeavor, a captivating four-song suite capturing her deep quests into traditional African and Asian percussive language and exploring contemplative ambient sounds with an admirably precise use of marimba. The result is alternatively ethereal and vibrant, always precise and mesmerizing, and makes for an atmospheric masterpiece and an unparalleled sonic and spiritual experience.
The fully licensed reissue is available as a single 33rpm LP and a limited 45rpm DLP, both cut directly from the original studio reels (AAA), at Emil Berliner (formerly the in-house recording department of renowned classical record label Deutsche Grammophon) for the 45rpm DLP, and at the equally famous Frankfurter SST Studio for the LP. It is also available in CD format for the first time. All versions come with extensive liner notes.
Bio
Midori Takada is a composer, multi percussionist, and theater artist renowned in Japanese vanguard circles. She will tour Europe this year.
Midori released two solo albums: "Through The Looking Glass" and "Tree Of Life" and wrote music for Tadashi Suzuki's theater plays. Her hypnotic, minimalist music is based in the concept of coherence between sound and the human body. She performs solo on marimba and other percussion instruments.
She debuted on the scene of Berlin Philharmonic, performing with the RIAS Symphonie-Orchester Berlin just after graduating from Tokyo University of the Arts in 1974. She continued her career with solo concerts in Japan and abroad.
In the 1980s Midori began to explore the traditional music of Asia and Africa. Her fascination resulted in joint projects with Kakraba Lobi from Ghana, Lamine Konte from Senegal, Farafina Band from Burkina Faso, and Korean musicians: zither player Chi Seong-Ja, flute player Won-Il, and saxophone player Kang Tae-Hwan. She also led Mkwaju Ensemble's innovative percussion project and still performs with free-jazz band Ton-Klami with Kang Tae-Hwan and jazz pianist Masahiko Satoh.
In the past 20 years, Midori Takada spent more time in theaters than in concert halls - composing and performing live music for theater. She regularly works with Tadashi Suzuki and his Suzuki Company of Toga on their adaptations of "Electra" and "King Lear".
Takada's compositions have a remarkable way of affecting the imagination. Her minimalist, contemplative music is filled with the concept of infinity and reminds us of a moon voyage, falling stars, a journey into the ocean, or a walk in the garden. The trans melodies, initially simple, begin to loop and splinter, their rhythm breaking and thickening, slowly drawing the listener into another reality.
Every live performance Midori Takada gives is unique and prepared especially for that occasion.
More
1
Khruangbin - The Number 3
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Khruangbin - The Number 4
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Khruangbin - August 10 / Master Of Life
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Khruangbin - Two Fish And An Elephant
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Khruangbin - White Gloves
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Khruangbin - First Class
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Khruangbin - So We Won't Forget
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Khruangbin - Shida
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Khruangbin - Friday Morning
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Khruangbin - Lady And Man
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Khruangbin - Pelota
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Khruangbin - Evan Finds The Third Room
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Khruangbin - Maria Tambien
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Khruangbin - Time (You And I)
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Khruangbin - People Everywhere (Shifting Sands Remix)
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Khruangbin - A Calf Born In Winter
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Khruangbin - Zionsville
"Live at Sydney Opera House" ist der letzte Teil der Live-Alben Serie von Khruangbin, dem weltumreisenden, genreübergreifenden Trio aus Houston, Texas. Das Album ist eine Doppel-LP, die ausschließlich aus Khruangbin-Kompositionen besteht und den Abschluss eines ehrgeizigen einjährigen Projekts für die Band bildet, das eine Hommage an ihre Live-Shows ist und ihre Improvisationskünste und kultigen Setlists feiert. Hier kommen karriereübergreifende Songs wie "A Calf Born in Winter", "Maria También", "So We Won't Forget", "Shida" und "Friday Morning" in ihrer vollen interplanetarischen Pracht zur Geltung, aufgenommen an einem der berühmtesten Veranstaltungsorte der Welt, dem Opernhaus Sydney. Der erste Solo-Auftritt der Band im berühmten Opernhaus fand im November 2022 statt und war an drei Abenden ausverkauft, womit sie sich in die Reihe der unzähligen Stars einreihten, die dort ebenfalls auf der Bühne standen. Die Doppel-LP folgt auf vier Live-Alben der Band, die seit Anfang des Jahres veröffentlicht wurden und mit Gästen wie Kelly Doyle, Ruben Moreno, The Suffers und Robert Ellis im Stubb's in Austin, Nubya Garcia im Radio City in New York, Men I Trust im RBC Echo Beach in Toronto und Toro y Moi im Fillmore in Miami aufwarten. Khruangbin sind bekannt für ihre Verbindung von Klängen aus aller Welt - darunter "eine Mischung aus R&B, Reggae, Surf-Rock, Melodien aus dem Nahen Osten, persischen Phrasierungen, lateinamerikanischen Rhythmen, Hip-Hop der 90er Jahre, westafrikanischer Instrumentierung, ätherischen Harmonien, psychedelischen Effekten und rumpeliger Disco" (Vanity Fair). Das Trio war mit zahllosen Welttourneen unterwegs und stand auf fast allen großen Festivalbühnen der Welt, darunter Glastonbury, Primavera und Coachella.
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THE THRESHOLD HOUSEBOYS CHOIR - A1. Part One: A Time Of Happening
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THE THRESHOLD HOUSEBOYS CHOIR - A2. Part Two: Intimations Of Spring
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THE THRESHOLD HOUSEBOYS CHOIR - B. Part Three: So Young It Knows No Maturing
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THE THRESHOLD HOUSEBOYS CHOIR - C. Part Four: So Free It Knows No End
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THE THRESHOLD HOUSEBOYS CHOIR - D. Part Five: As Doors Open Into Space
THE THRESHOLD HOUSEBOYS CHOIR (PETER "SLEAZY" CHRISTOPHERSON OF COIL)
“FORM GROWS RAMPANT”
(Heavy 180g black vinyl. First time on vinyl. 350gsm Gatefold, interior sleeve printed. Half Speed Mastering. 45 rpm) The Threshold HouseBoys Choir was a project by Peter "Sleazy" Christopherson. Operating out of Bangkok, Thailand, the Throbbing Gristle and Psychic TV founding member started this audio and visual endeavour following Coil's end. File under COIL Forever, Erotic Trance, Religious IDM, Ecstatic Classical, Post Ethnic Industrial Exotica and best album ever heard.
TRACKLISTING
A1. The Threshold HouseBoys Choir - Part One: A Time Of Happening
A2. The Threshold HouseBoys Choir - Part Two: Intimations Of Spring
B. The Threshold HouseBoys Choir - Part Three: So Young It Knows No Maturing
C. The Threshold HouseBoys Choir - Part Four: So Free It Knows No End
D. The Threshold HouseBoys Choir - Part Five: As Doors Open Into Space
INFO
The Threshold HouseBoys Choir was a project by Peter "Sleazy" Christopherson. Operating out of Bangkok, Thailand, the Throbbing Gristle and Psychic TV founding member started this audio and visual endeavour following Coil's end.
Despite the name, it was a solo project which relied heavily on computer generated vocals. The name was derived from a play on words, combining the terms houseboy, house of boys, boys' choir, and Threshold House, which was Coil's own label. "Form Grows Rampant" is the soundtrack of a film shot by Christopherson (a video capture at the GinJae Vegetarian Festival in the south of Thailand) and his first major musical project since the tragic death of John Balance and the subsequent demise of Coil.
The music is a suite of lenghty dense atmospherics that combine shuddering electronics with sampled vocals, eerie digitalia, buried melodies and sinister undercurrents hinting at a gleaming heart of darkness, with a joyful melodic progression that sounds positively triumphant towards the end of the disc. It's both Coil-esque and quite different, and undoubtedly is the worthy successor of the legendary group that Christopherson created with his partner John Balance.
First released in small quantities in 2007 as a CD/DVD set, this is the first time it is released on vinyl, CD and digital. This reissue has been mastered from original files by Sidney Claire Meyer at former Deutsche Grammophon studios Emil Berliner in Berlin, using the half speed mastering process, and pressed on heavy vinyl.
File under COIL Forever, Erotic Trance, Religious IDM, Ecstatic Classical, Post Ethnic Industrial Exotica and best album ever heard.
More
“FORM GROWS RAMPANT”
(Heavy 180g black vinyl. First time on vinyl. 350gsm Gatefold, interior sleeve printed. Half Speed Mastering. 45 rpm) The Threshold HouseBoys Choir was a project by Peter "Sleazy" Christopherson. Operating out of Bangkok, Thailand, the Throbbing Gristle and Psychic TV founding member started this audio and visual endeavour following Coil's end. File under COIL Forever, Erotic Trance, Religious IDM, Ecstatic Classical, Post Ethnic Industrial Exotica and best album ever heard.
TRACKLISTING
A1. The Threshold HouseBoys Choir - Part One: A Time Of Happening
A2. The Threshold HouseBoys Choir - Part Two: Intimations Of Spring
B. The Threshold HouseBoys Choir - Part Three: So Young It Knows No Maturing
C. The Threshold HouseBoys Choir - Part Four: So Free It Knows No End
D. The Threshold HouseBoys Choir - Part Five: As Doors Open Into Space
INFO
The Threshold HouseBoys Choir was a project by Peter "Sleazy" Christopherson. Operating out of Bangkok, Thailand, the Throbbing Gristle and Psychic TV founding member started this audio and visual endeavour following Coil's end.
Despite the name, it was a solo project which relied heavily on computer generated vocals. The name was derived from a play on words, combining the terms houseboy, house of boys, boys' choir, and Threshold House, which was Coil's own label. "Form Grows Rampant" is the soundtrack of a film shot by Christopherson (a video capture at the GinJae Vegetarian Festival in the south of Thailand) and his first major musical project since the tragic death of John Balance and the subsequent demise of Coil.
The music is a suite of lenghty dense atmospherics that combine shuddering electronics with sampled vocals, eerie digitalia, buried melodies and sinister undercurrents hinting at a gleaming heart of darkness, with a joyful melodic progression that sounds positively triumphant towards the end of the disc. It's both Coil-esque and quite different, and undoubtedly is the worthy successor of the legendary group that Christopherson created with his partner John Balance.
First released in small quantities in 2007 as a CD/DVD set, this is the first time it is released on vinyl, CD and digital. This reissue has been mastered from original files by Sidney Claire Meyer at former Deutsche Grammophon studios Emil Berliner in Berlin, using the half speed mastering process, and pressed on heavy vinyl.
File under COIL Forever, Erotic Trance, Religious IDM, Ecstatic Classical, Post Ethnic Industrial Exotica and best album ever heard.
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Minnie Riperton - Les Fleur
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Minnie Riperton - Completeness
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Minnie Riperton - Come To My Garden
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Minnie Riperton - Memory Band
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Minnie Riperton - Rainy Day In Centerville
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Minnie Riperton - Close Your Eyes & Remember
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Minnie Riperton - Oh, By The Way
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Minnie Riperton - Expecting
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Minnie Riperton - Only When I'm Dreaming
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Minnie Riperton - Whenever, Wherever
Repress!
What a beauty here. A proper re-issue of Minnie Riperton debut album on GRT, originally licensed in 1970. Her name came to prominence with the highly influential Chicago band Rotary Connection, forerunners of the rock & soul crossover. In addition to their own recordings, including their 1967 debut album Rotary Connection, the band is notable as the backing band for Muddy Waters on his 1968 psychedelic blues album Electric Mud. Standing on her own, Minnie cut a series of sublime albums moving in a more soulful way. Opening track ‘Les Fleurs’ is a shiny cover of Ramsey Lewis – who is musical assistant and contributor here – classic number penned in 1968, literally a cornerstone for contemporary hip-hop and r&b being sampled by the likes of Jurassic 5 feat. Nelly Furtado, Damu the Fudgemunk, Dr. Octagon and Cut Chemist among others. Produced by Charles Stepney (already in with Rotary Connection and subsequently behind the desk with Earth Wind & Fire), the album benefits from is lushy orchestral arrangements, pushing the vocal duties of Minnie even forward (her five-octave vocal range, enabled her to sing in ‘whistle register’ nevertheless). The jazzy soft-pop feel overall will mark comparison with Stevie Wonder, Riperton’s future employer/mentor. More
What a beauty here. A proper re-issue of Minnie Riperton debut album on GRT, originally licensed in 1970. Her name came to prominence with the highly influential Chicago band Rotary Connection, forerunners of the rock & soul crossover. In addition to their own recordings, including their 1967 debut album Rotary Connection, the band is notable as the backing band for Muddy Waters on his 1968 psychedelic blues album Electric Mud. Standing on her own, Minnie cut a series of sublime albums moving in a more soulful way. Opening track ‘Les Fleurs’ is a shiny cover of Ramsey Lewis – who is musical assistant and contributor here – classic number penned in 1968, literally a cornerstone for contemporary hip-hop and r&b being sampled by the likes of Jurassic 5 feat. Nelly Furtado, Damu the Fudgemunk, Dr. Octagon and Cut Chemist among others. Produced by Charles Stepney (already in with Rotary Connection and subsequently behind the desk with Earth Wind & Fire), the album benefits from is lushy orchestral arrangements, pushing the vocal duties of Minnie even forward (her five-octave vocal range, enabled her to sing in ‘whistle register’ nevertheless). The jazzy soft-pop feel overall will mark comparison with Stevie Wonder, Riperton’s future employer/mentor. More
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Vana - Viimne Ratsu
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Vana - Kuu Maa
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MW001 - Just Can't Stop (Incantation Mix)
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MW001 - Just Can't Stop (Orca Space Dub)
For their first release, London label Moonworks are reissuing two highly sought-after UK house bombs from Carlos Baker aka Serpico to mark the 30th anniversary of its original 1993 release.
'Just Can't Stop' is a record which fell through the cracks, deemed not commercially viable enough by the major label that Serpico was signed to at the time. Determined to get the music out there, Baker decided to self-release a limited run of blue labelled vinyl. Several big independent labels of the '90s were subsequently interested in putting out the tracks, however it never came to fruition.
Over 30 years this record has aged gracefully, inspiring generations of diggers with its quirky euphoric feel, weighty low-end and intoxicating synthwork becoming a prized possession for some of the biggest names on the scene, with original copies trading hands for £100+. Whether you draw for the ecstasy-inducing Incantation Mix or the acid-infused Orca Space Dub, there’s no denying this is a timeless masterpiece from the UK underground.
Moonworks have worked closely with Serpico to bring this gem back down to earth, restoring the tracks from the original DAT tapes at Gat Decor’s studio, remastering them to modern standards and finally giving this music the official release it deserves. More
'Just Can't Stop' is a record which fell through the cracks, deemed not commercially viable enough by the major label that Serpico was signed to at the time. Determined to get the music out there, Baker decided to self-release a limited run of blue labelled vinyl. Several big independent labels of the '90s were subsequently interested in putting out the tracks, however it never came to fruition.
Over 30 years this record has aged gracefully, inspiring generations of diggers with its quirky euphoric feel, weighty low-end and intoxicating synthwork becoming a prized possession for some of the biggest names on the scene, with original copies trading hands for £100+. Whether you draw for the ecstasy-inducing Incantation Mix or the acid-infused Orca Space Dub, there’s no denying this is a timeless masterpiece from the UK underground.
Moonworks have worked closely with Serpico to bring this gem back down to earth, restoring the tracks from the original DAT tapes at Gat Decor’s studio, remastering them to modern standards and finally giving this music the official release it deserves. More
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Monolake - Cyan
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Monolake - Index
3
Monolake - Lantau
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Monolake - Macau
5
Monolake - Arte
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Monolake - Occam
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Monolake - Mass Transit Railway
Field Records proudly presents the first complete vinyl edition of Monolake’s seminal excursion into experimental dub techno, Hongkong. Originally released on the now-classic Chain Reaction label in 1997, this collection of early singles by Robert Henke and Gerhard Behles has gone on to become a vital listening experience in its own right - a genre classic alongside the other groundbreaking works from the likes of Porter Ricks and Vladislav Delay.
The tracks which make up Hongkong were made while Henke and Behles studied computer science and immersed themselves in Berlin’s techno scene. Their early forays into computer-based music production were enabled by the use of the Max/MSP programming environment, forming a backdrop to the landmark work they would undertake in developing the Ableton Live DAW. Henke and Behles travelled to Hong Kong in 1996 to attend the annual International Computer Music Conference, and while there recorded extensive field recordings. These recordings became the glue that pieced together their collaborative tracks into a fluid listening experience for a CD-compilation at Chain Reaction’s request.
While absolutely rooted in the embryonic sound of European dub techno, Monolake’s early work possesses a back room, headphone-ready demeanour which lends itself to the album listening experience. In the cascade of rhythms created by precision engineered delays and subliminal, expansive spatial world building occurring throughout Hongkong, the stage is set for a full and thorough immersion. Before the Monolake sound progressed into a more pointillist form of computer music as Henke’s solo project, Hongkong presented a gritty, grainy sonic still tied in some way to the traditional methods of techno production, even as the artists’ ideas were sending the sequencing and arranging in exciting new directions.
Remastered and presented for the first time as a complete double 12” package, this is the definitive edition of an essential work in the evolution of experimental techno. As Henke himself explains, “twenty-five years later, this record still holds immense value to me in many ways.” More
The tracks which make up Hongkong were made while Henke and Behles studied computer science and immersed themselves in Berlin’s techno scene. Their early forays into computer-based music production were enabled by the use of the Max/MSP programming environment, forming a backdrop to the landmark work they would undertake in developing the Ableton Live DAW. Henke and Behles travelled to Hong Kong in 1996 to attend the annual International Computer Music Conference, and while there recorded extensive field recordings. These recordings became the glue that pieced together their collaborative tracks into a fluid listening experience for a CD-compilation at Chain Reaction’s request.
While absolutely rooted in the embryonic sound of European dub techno, Monolake’s early work possesses a back room, headphone-ready demeanour which lends itself to the album listening experience. In the cascade of rhythms created by precision engineered delays and subliminal, expansive spatial world building occurring throughout Hongkong, the stage is set for a full and thorough immersion. Before the Monolake sound progressed into a more pointillist form of computer music as Henke’s solo project, Hongkong presented a gritty, grainy sonic still tied in some way to the traditional methods of techno production, even as the artists’ ideas were sending the sequencing and arranging in exciting new directions.
Remastered and presented for the first time as a complete double 12” package, this is the definitive edition of an essential work in the evolution of experimental techno. As Henke himself explains, “twenty-five years later, this record still holds immense value to me in many ways.” More
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Movulango - Differently
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Movulango - Make A Run For It
3
Movulango - It Already Happened
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Movulango - Out For The Count
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Movulango - The Irony
Following his impressive debut EP ‘Mirror In Man’, which touched on cosmic folk jams and Balearic pop, the Belgium singer-producer Mozes Mosuse aka Movulango has announced his second project ‘The Irony’, a 5 track EP out 24th November via Soulwax’s DEEWEE label. Movulango’s musical paintings are a visual and intuitive reflection of what it feels like to be him. His weekly radio show, Radio Atlantis on StuBru, Belgium, is a clever alias he uses to explore different worlds, deconstruct existing music and blend it with his own musical experiments. His latest project ‘The Irony’ is further insight into Movulango's devine mind, building deeply personal stories on feeling and emotion that bundle into soaring melodies and lyrics. You can try your best to understand what it all means or you can sit back and let them bewitch your mind and soul.
More