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Mana is producer and composer Daniele Mana from Torino in Italy. His debut EP for Hyperdub, 'Creature', is also the first under his own surname. It's one of his most vivid, personal and confident releases to date.Visit product page →
Since 2010, he has been releasing under the moniker Vaghe Stelle, with EPs and two full length albums on labels such as Gang of Ducks, Aisha Devi's Danse Noire, Astro:Dynamics and most recently, Nicolas Jaar's Other People records. He is also a member of One Circle with Lorenzo Senni and soundtracks composer Francesco Fantini.
On Creature', over eight tracks, he ingests Shostakovitch, Drexciya, Darkthrone, Frank Ocean and Paul Lansky, and refashions them into an almost operatic record - a rich, melodrama of dark tension and excitable in-your-face synth melodies. In using his own name for the first time, he says he is confronting the unfiltered, 'brutal truth' of his self, compressing 'tension and anxiety' into a 'claustrophobic sense of emotional vacuum.'
From the skulking clockwork of 'Crystaline,' the rich drifting ambience of 'Sei Nove', to the panicky, rushy rave stabs meets horror theme of 'Running Man', it's lucid, dynamic synth music which uses drums sparingly, but occasionally swirls into little sublime vortices of arpeggiated hyperrhythm.
The melodies are bright and pitch bent, swollen by euphoric voltage surges and stuttering, soaring strings in 'Rabbia', plucking wide-screen, heart strings on 'Uno e Solo' and lulling down into the delicate, shimmering prisms of Wetlife'and 'Consolations'. While in its own lane, Creature'feels totally at home on Hyperdub.
Tracklisting:
Side A:
1. Fade
2. Crystalline
3. Sei Nove
4. Runningman
Side B:
5. Wetlife
6. Rabbia
7. Uno E Solo
8. Consolations -
Guitar player and singer songwriter Özgür Yilmaz known as the member of Ayyuka and Kirika bands. His first official solo work ORA was recorded as the soundtrack of a documentary, which was the story of a man, Osman Gürsoy, who travelled around the world several times in 70's with his 150cc motorcycle.Visit product page →
Most of the pieces from ORA were recorded in 2013 for this unfinished film. with some additional tracks in similar moods, the album was finished in 2016.
The album was released by Shalgam records on 2016 and will be available on vinyl as 200 Limited Copies in 2017 November.
Tracklisting:
1. Simendifer
2. Kulube
3. Kalinti
4. Degirmen
5. Kuzgun Lesi
6. Atik
7. Ordu'nun Dereleri
8. Karincalar
9. Islak Cimen
10. Yaban
11. Selale
12. Yayla Sabahi
13. Ora
14. Gunduz Dusu
Release Date: 22/12/2017 -
Professor Rhythm is the production moniker of South African music man Thami Mdluli. Throughout the 1980's, Mdluli was member of chart-topping groups Taboo and CJB, playing bubblegum pop to stadiums. Mdluli became an in-demand producer for influential artists (like Sox and Sensations, among many others) and in-house producer for important record companies like Eric Frisch and Tusk.Visit product page →
During the early '80s, Mdluli projects usually featured an instrumental dance track. These hot instrumentals became rather popular. Fans demanded to hear more of these backing tracks without vocals, he says, so Mdluli began to make solo instrumental albums in 1985 as Professor Rhythm.
He got the name before the recordings began, from fans, and positive momentum from audiences and other musicians drove him to invest himself in a full-on solo project. It was the era just before the end of apartheid and house music hadn't taken over yet. There wasn't instrumental electronic music yet in South Africa. As the '80s came to a close, that was about to change.
Professor Rhythm productions mirror the evolution of dance music in South Africa. They grew out of the bubblegum mold - which itself stems from band's channelling influences like Kool & the Gang and the Commodores - into something based on music for the club. His early instrumental recordings First Time Around and Professor 3 mostly distilled R&B, mbaqanga and bubblegum grooves into vocal-less pieces for the dance floor. Musically, these were a success and commercially the albums all went gold.
There were countless bubblegum albums flooding the marketplace, with nearly disposable vocalists backed by mostly similar-sounding rhythm tracks. Most of the lyrical content was light and apolitical. But the keyboards used formed the musical basis for what would come next. By the time Professor 4 and this recording Bafana Bafana - the name references South Africa's national soccer team - were released in the mid-1990s, k waito had fully emerged. Access to instruments and freedom of expression helped its rise in influence among youth.
According to Mdluli, "Once Mandela was released from prison and people felt more free to express themselves and move around town, kwaito was becoming the thing." Lyrically, kwaito championed the local township lingo while adapting "international music," house music, into the local context. "International Music," as house music and early kwaito were interchangeably known, in many ways reflects the sounds coming from America. But South Africans made it their own. Today, the largest part of the music industry is occupied by house music and its relatives.
Tracklisting:
1. Bafana Bafana
2. Isidakwa
3. Via Botswana
4. Leave Me Alone
5. Kancane Kancane
6. Release Me
7. Zama Zama
8. Don't Say You Love Me -
Starting out as a recording project between Angus Lord, Claudia Serfaty and Stephanie Hughes, the germ of what would eventually become the Stroppies was formed around a kitchen table in Melbourne's inner west early 2016.Visit product page →
The initial idea was to create open ended music, collaged quickly and haphazardly together on a Tascam 4 track Portastudio that drew on stream of consciousness creativity and a DIY attitude a la Guided By Voices and The Great Unwashed.
The desire to move beyond the pre programmed drum patterns available on their Casio Keyboard led to the addition of Rory Heane on drums and a more conventional band dynamic. In Late 2016, Alex Macfarlane recorded the band in their lounge room direct to 4 track, capturing 7 songs that would become their 2017 self titled cassette tape debut.
The songs were bounced back and forth from tape machine to computer to tape machine to computer again. In keeping with the bands initial aesthetic, dubs were laid over a 4 month period incrementally on different devices as members had babies, explored intercontinental love affairs and set up homes together. Since the release of the tape, Adam Hewwit has joined the group on third guitar as they settle down into exploring the new band dynamic and focus on their next recording project.
The Stroppies is composed of members of many Melbourne and UK bands (Claudia is originally from London) including Dick Diver, Primetime, Possible Humans, White Walls, Boomgates, The Stevens, See/Saw to name a few.
They make modest, idiosyncratic pop songs that reward with repeated listening.
Tracklisting:
1. Gravity Is Stern
2. Go Ahead
3. No Joke
4. Under Your Sweater
5. Courtesy Calls
6. Celebration Day
7. All The Lines
Release Date: 27/10/2017 -
Sleep-deprived, breakbeat-driven vignettes of unclear authorship, from somewhere west of Lake Lagoda, near the Russia-Finland border.Visit product page →
Sekundenschlaf has significant points of correspondence with contemporary European electronic music, as well as the golden age of (early) jungle and ambient techno. But its response to tradition, and to the zeitgeist, is idiosyncratic to say the least - with an atmosphere and psychogeography rooted in the tranquility and majesty of Western Russian nature, and the anxiety and distress of the country's post-Soviet working class.
Pastoral calm meets dissonance and unease. The music has a loose, improvised feel, but its arrangements are intricate, its melodies iridescent: cascading arpeggios that stir a sense of optimism and renewal, sighing string-pads that evoke the deepest melancholy. Rhythms simultaneously hyped-up and burned-out, collapsing in on themselves as they race to destinations unknown.
All bound together with field recordings of eavesdropped conversations, blurred into abstraction, a droning subliminal menace.Trust me, you'll be fine.
Tracklisting:
1. Catching Rare Birds
2. The Grand Pacific Garbage Patch
3. Walking Distances
4. Quicksand
5. Matted Feathers
6. Pacifier Habits
7. Are You Still Hurt -
Vuelveteloca are a Chilean psych-rock outfit who formed over a decade ago in Santiago and since then have been busy picking up a notorious reputation amongst the ranks of fellow South American noiseniks Follakzoid and The Holydrug Couple for their incredible live show.Visit product page →
In their lengthy career, the project has been comprised of a number of different members but has always revolved around the vastly creative minds of its two core members, Tomas Olivos and Marcos De Iruarrizaga.
With four LP's now behind them, Vuelveteloca are teaming up with Fuzz Club Records for the release of their incredible fifth album, Sonora.
The record is nine tracks of ferocious (8 tracks on vinyl with 9 downloadable tracks), rhythmic psychedelia that sounds like a relentlessly motorik mix of Black Sabbath's doomy stoner rock and the kinetic psychedelic rhythms of modern bands like Kikagaku Moyo or King Gizzard & The Lizard Wizard.
Tracklisting:
1. La Niebla
2. Alta Montana
3. Ataque Masivo
4. Carnaval
5. L.A.
6. El Lado Frio
7. Tormento
8. Chepical
9. Cientologia & Altiplano
Release Date: 17/11/2017 -
Peter Holmström named his solo project Pete International Airport after a song by his other band The Dandy Warhols.Visit product page →
Safer With The Wolves - ¦'is a meticulously crafted psyche rock journey into the dark heart of electronica upon which Peter has enlisted the help of numerous like-minded musical allies.
One of which, if you're to believe a certain infamous rock documentary called Dig! is an unexpected union; the Brian Jonestown Massacre's Anton Newcombe is releasing Safer With The Wolves - ¦'on his own record label A Recordings.
The albums'11 tracks feature a variety of guest singers and collaborators including Robert Levon Been (Black Rebel Motorcycle Club), Alex Maas (Black Angels), Lisa Elle (Dark Horses), Jason Sebastian Russo (Hopewell, Mercury Rev), Jsun Atoms (The Upside Down, Daydream Machine), Emil Nikolaisen (Sereena-Maneesh) and Jeremy Sherrer (The Dandy Warhols, Modest Mouse, The Shins).
Tracklisting:
1. Even Happier
2. Señorita
3. Hurray For The People
4. Flowers Of Evil
5. VHS Or Beta Fish
6. Love In Reverse
7. Western Shouting
8. Dance Around The Broken
9. After All
10. Happens All The Time
11. Cloven Hooves
Release Date: 17/11/2017 -
12' 45rpm coloured vinyl EP, download card included.Visit product page →
300 limited white vinyl, 700 copies on black vinyl.
'Their ability to effortlessly write songs that are devastating in their lyrical impact yet bewitching to hear is only rivaled by a few.' Revue
'Their unique take on rock music feels familiar and lived-in, taking bits from indie-pop, post-punk, and classic rock.' Stereogum
"Gorgeous, achingly bittersweet vocals, perpetually swaying between comforting and devastating.' Gorilla Vs Bear
You can imagine John Peel's hurriedly inaccurate summation of a cold and unforgiving Swedish winter as he juxtaposes the big-jumper-like welcoming warmth of Hater. Their lush and tempered guitars are an almost Marr-approved Smiths-like foil for Caroline Landahl's beautifully accented and accentuated vocal - it's a heartwarming brew.
'We know little of their home town, Malmo,' Peel might have mused, caught up in Hater's minor chord world weariness, 'other than that Roy Hodgson had a particularly successful time there - ¦ probably long before this young four-piece were actually born. Indeed. Hater are new to the game. Last year's well-received debut album, You Tried'earned comparisons to Alvvays, The Pretenders and even Jefferson Airplane, eclectic for sure, but that's just incidental.
Their new EP distinguishes their very own super polished and intricate guitar-led dreamy pop. Featuring their first single for Fire, the wonderfully forlorn and truly lovesick Blushing'(we've all been there) and Rest'with its haunting monosyllabic guitar break, a super-clean chiming motif that seems like a closing salvo before it regains momentum and brings proceedings to a suitable climax, welcoming back Landahl for one last chorus.
The echoey eeriness of Red Blinders'could have come right out of the bubble blowing indie pop hey days of the early 80s, while Penthouse'is a chunkier c86 groove with a wind blowing through its motorik rhythm.
Tracklisting:
1. Blushing
2. Rest
3. Red Blinders
4. Penthouse -
"Psalmody, small bells, big cymbals, gongs and drums - this puzzling collage of Tibetan Buddhist rites recordings is hypnotizing.Visit product page →
It opens the way to the state of trance. The slight electronic arrangement still reminds that reality is not so far. The two twenty-minute tracks instantly convey an unknown and fascinating universe.
Mantra chanting accelerates, horns become more insistent and a mystical atmosphere arises. With Tibetan Buddhism Trip, Akuphone starts exploring ritual and ceremonial music, here with a subtle mix of field recordings and electronic handlings.
Over the years King Gong aka Laurent Jeanneau specialized in the recording of ethnic minorities, particularly from South East Asia. He has recorded over 160 albums and his work is now largely well-known around the globe.
Such an impressive collection enables him to manipulate, assemble and reconstruct his field recordings in order to create new sound landscapes.
Recorded in Tibet and Yunnan (China) between 2006 and 2013. Recomposed in Berlin in 2016.
Vinyl comes with printed inner sleeve and download card including live performance in Bristol and unseen pictures."
Tracklisting:
1. Tibetan Buddhism Trip Part 1
2. Tibetan Buddhism Trip Part 2 -
Blurring the lines between time and space, Ko Shin Moon mixes acoustic instruments from various regions of the world, analog devices, traditional music, electronic arrangements, sampling and field recordings.Visit product page →
As the soundtrack of a patchwork journey, the band's first LP conveys one along a succession of hybrid territories, imaginary sound landscapes, multicolored collages: Acid Dabke, Turkish-Greek Disco, Cosmic Raï, New Beat Molam, Tibetan Ambient, Synth Wave Hindi Filmi, Rickshaw Dance Music - ¦
Tracklisting:
1. Zaffa
2. Ciftetelli
3. Uber Ciftetelli
4. Dua
5. Dabke 91
6. Pashto Karachi 2000
7. Gabbar Singh
8. Lam Samai Dao
9. Klong Yao Dancing Klong Yao Racing
10. Lune De Koshi
11. 14 Kumpa
12. Outro Gompa
13. Sharie Didouche -
Slow paced drums with offbeats softly phased with the guitar, misty takeoffs from the synthesizer: a hazy idyll is starting off on the road to the rocket festival (bun bang fai). Answering each other on the responsive mode of the lam soeng, Sothipong engages in a flirt but Oulay Vanh is not ready to trifle with just anybody.Visit product page →
As a stylistic variation of a popular Lao musical genre, the lam soeng was the source of several themes among which the 'bang fai' - which is part of the Lao conciliatory festivities preceding the rainy season - remains one of the most renowned.
However, the producer and composer of these songs, Sothy, created an unusual arrangement: the instrumental introduction separates from the sang canon, the synthetic mix is stripped down of the traditional organology - everything here becomes unsettling for a listener familiar with the genre. Everything comes with a reason: the record was edited in 1981 under the title Sothy Productions yet produced in France by the Parisian label Oxygène (famously known for its unforgettable first French punk compilation 125 grammes de 33 1/3 tours).
Chansons Laotiennes still remains hard to classify. And then who's Sothy? Along with the unverifiable identity of the seemingly Laotian singers, skepticism gains ground concerning the man behind the pseudonym. Is he an escaped musician from one of the first Cambodian rock bands of the 1960s? A surviving producer from the 1980s Paris? Or a composer in transit in one of the many places of the Laotian diaspora? Sothy eludes any researches and disappears behind his numerous homonyms.
The second track is just as enigmatic: a beat box, a lightly reverberated voice as well as a guitar solo and a small synthesizer break, 'Tuei' or 'Tawai' [offering] (as the writing on the record suggests) makes way to dancing step and a truly joyful melody. Twisted and lively steps on a romantic background tune turn this second track into a genuine paslop - a program recommended by therapists to relieve muscular pains due to seated positions: you will unlock your pelvis with some synchronized Laotian choreographies.
For their first edits, Akuphone called on a young Parisian producer. Shelter, aka Alan Briand, mingles his own mixes and electro productions with a large variety of influences and styles: krautrock, disco, traditional music, psychedelic, synth pop, ambient, bossa nova, Japanese funk. He produces both original compositions and remix. Here is the first Akuphone's maxi single!
Tracklisting:
1. Lam Seung Bang Fai (Original Version)
2. Tawai (Original Version)
3. Lam Seung Bang Fai (Shelter's Edit)
4. Tawai (Shelter's Edit) -
When I arrived at the Khmer-Thai border in September 1980, disorganized resistance cadres were busy repairing old guitar instrument by using shing line for guitar strings and employing a rusty, empty gasoline tank as a drum. They played old Khmer pop songs. [ ...]Visit product page →
They performed for themselves and for appreciative audiences of villagers. Other informal musical groups also came together to entertain themselves and others. One day in 1981, I photographed what was generally called the Bamteay Ampil Band.' Gaffar Peang-Meth, November 2016 Cambodian Liberation Songs is a painful call from forgotten resistance fighters.
It is a captivating record, a touching testimony of Cambodian history that brings to the world the breathless voice of these resistance members from the Banteay Ampil Band.
Released in 1983, Cambodian Liberation Songs is a mysterious and overwhelming record. As a genuine piece of history, this 'eloquent sadness and fierce passion' runs the gamut of Cambodian music, from folk to rock, expressing their suffering and pain.
On 17 April 1975, the Cambodian people, already crushed under national and international conflicts, was commanded by force to forget their own past; it was Year 0 of the Khmer Rouge calendar. Almost four years of genocide would follow before the start of a war between the Vietnamese army and the Khmer Rouge. Resistance units engaged in the conflict against what they considered a Vietnamese invasion. This record, produced by a resistance group, was given the reference number KHMER 001.
It was undoubtedly the first record composed and performed by non-Khmer Rouge Cambodians after the tragic events of 1975-79. The refugee camp of Ampil, near the Thai border, witnessed the creation of the Banteay Ampil Band. Musicians and female singers who had hidden their talents during the genocide, gathered around the composer and violinist Oum Dara to engage in a new struggle: the resistance. Oum Dara, who had been a composer for Sinn Sisamouth and Ros Serey Sothea among others, adapted several of his creations. It is therefore, with a poignant charm, that the Banteay Ampil Band binds together the golden age of Khmer music from the 1960s with the traditional repertoire and the context of their daily struggles.
Violin, guitar and voices work together to produce melancholic and intense songs - the stirring tone of grief expressed by these resistant fighters. The band went to Singapore to record Cambodian Liberation Songs, the only record of the 'Khmer People's National Liberation Front'.
Tracklisting:
1. My Last Words
2. Please Take Care Of My Mother
3. Tuol Tneung The Hillock Of The Vine
4. Don T Forget Khmer Blood
5. Sereika Armed Forces
6. Follow The Front
7. I M Waiting For You
8. Please Avenge My Blood Darling
9. Destroy The Communist Viet
10. Look At The Sky
11. Vietnamese Sparrows
12. The Vietnamese Have Invaded Our Country -
The first thing that hits you is the voice. Alex Lipinski's caressing sympathy, full-throated resentment, and the raw rockabilly excitement of earliest Elvis have grabbed unwary listeners from the West Country to Krakow, Berlin and New York, since he first left Somerset to become a crucial habitué of Soho's legendary, lost 12-Bar Club.Visit product page →
He has followed in the footsteps of his hero Dylan to write in the Chelsea Hotel, and sung Elvis songs in the home of an admiring Liam Gallagher, who responded with a roaring 'Acquiesce'.
With older brother and fellow musician Adam Lipinski by his side at Newcombe's residential studio in Berlin, Alex'basically took six hours. 'Anton put a lot of time and energy in. I recorded with an old guitar, because he wanted to capture the effortless, timeless 60s records that he had in his mind. We had initially planned to be in the studio for three or four nights.
The first evening we rattled though the songs, a take or two of each and in those six hours everything clicked. By midnight we were done. We ended the evening by going to a great bar called 8mm.
Anton set up a gig there the following night and played old folk records, then we played a live set. We added small overdubs on the record later. But the album captures the character of the songs live with no frills. The slight imperfections add to the feel. Anton taught me about perfect mistakes.'
Tracklisting:
1. Going Nowhere Fast
2. Dandylion Blues
3. Carolyn
4. Hurricane
5. Come On People
6. Sophie's Song
7. The Devil You Know
8. Lonely Kid
9. Another Travellin'Song
10. This Gir
Release Date: 10/11/2017 -
Peter's first solo album for three years is an intimate affair.Visit product page →
The songs are for the most part based on single piano, guitar and vocal parts, designed for live performance. (Indeed, many of these songs have already been performed on stage.)
Overdubbing is textural - no percussion, supportive guitars, a central spine of bass, synth and string washes; many extra voices - backing, harmony, choral - behind the main one.
The characters who pave their fretful way through these songs are in general facing up to or edging in towards twilight. What's coming to them are moments of realisation rather than resignation. In the third act of life it's time to look with a clear eye at where one's been, at where one's going.
Tracklisting:
1. My Unintended
2. Reputation
3. Charm Alone
4. What Lies Ahead
5. Anagnorisis
6. Torpor
7. Milked
8. Girl to the North Country
9. On Deaf Ears
10. The Descent -
Visit product page →Cambodia's first guitar band officially reissued for the first time with identical artwork, postcard and exclusive liner notes. (includes digital version)
Whereas most of the original recordings disappeared during the Khmers Rouge era, this
single bring back to us the Cambodian musical scene of the 1960s.
For the first time two single records of Baksey Cham Krong - the first Cambodian guitar band - are officially being reissued in an identical version. Between surf music and ballad, these two records released in 1963 and 1964 are an invitation to rediscover the effervescent Khmer musical scene of the 1960s.
The early 1960s are often described as the 'golden age' of Cambodia, with a flourishing economy and a strong cultural development. As the country had just won its independence, the King Norodom Sihanouk - who had been a singer himself (see below) - encouraged dynamism and creativity in all aspects of cultural life.
In 1959, in the midst of this artistic turmoil, Mol Kamach and his brothers created a band: the Baksey Cham Krong (also spelled Bakseis Cham Krung) named after a temple of the Angkor site. The teenagers were influenced by the latest hits they had listened on the radio.
For the music, Kagnol got his inspiration from the rock n'roll of the Ventures and the Shadows while Kamach took over the vocal techniques of crooners such as Paul Anka. The lyrics were either in French (as for the song Ne penser qu'Ã toi) or in Khmer. The song Pleine Lune became a hit and revealed Kagnol's musical genius at playing guitar and Kamach's delicate voice.
From their beginnings on the capital's high school stages to their first broadcasts on national radio, the success of the Baksey Cham Krong was very quick. At the end of the decade the band already split, the brothers getting back to activities that conformed more with their parents'expectations.
A few years later, in April 1975, the arrival of the Khmer Rouge in Phnom Penh put an end to this musical development and started the darkest era of Cambodia's contemporary history. A quarter of the population was killed in the Khmer Rouge genocide and the majority of artists and intellectuals were exterminated in a sordid will to wipe out any form of culture in the country.
Films and music were banned, movie tapes and vinyls were destroyed. Mol Kamach and Mol Kagnol luckily managed to flee the country: one now lives in France, the other in the USA. Both still continue to make music nowadays.
Bearing witness to the past history, the reissue of these two single records of Baksey Cham Krong brings back to us the Cambodian musical scene of the 1960s.
Release Date: 13/10/2017 -
Visit product page →Cambodia's first guitar band officially reissued for the first time with identical artwork, postcard and exclusive liner notes. (includes digital version)
Whereas most of the original recordings disappeared during the Khmers Rouge era, this
1. Pleine Lune
single bring back to us the Cambodian musical scene of the 1960s.
For the first time two single records of Baksey Cham Krong - the first Cambodian guitar band - are officially being reissued in an identical version. Between surf music and ballad, these two records released in 1963 and 1964 are an invitation to rediscover the effervescent Khmer musical scene of the 1960s.
The early 1960s are often described as the 'golden age' of Cambodia, with a flourishing economy and a strong cultural development. As the country had just won its independence, the King Norodom Sihanouk - who had been a singer himself (see below) - encouraged dynamism and creativity in all aspects of cultural life.
In 1959, in the midst of this artistic turmoil, Mol Kamach and his brothers created a band: the Baksey Cham Krong (also spelled Bakseis Cham Krung) named after a temple of the Angkor site. The teenagers were influenced by the latest hits they had listened on the radio.
For the music, Kagnol got his inspiration from the rock n'roll of the Ventures and the Shadows while Kamach took over the vocal techniques of crooners such as Paul Anka. The lyrics were either in French (as for the song Ne penser qu'Ã toi) or in Khmer. The song Pleine Lune became a hit and revealed Kagnol's musical genius at playing guitar and Kamach's delicate voice.
From their beginnings on the capital's high school stages to their first broadcasts on national radio, the success of the Baksey Cham Krong was very quick. At the end of the decade the band already split, the brothers getting back to activities that conformed more with their parents'expectations.
A few years later, in April 1975, the arrival of the Khmer Rouge in Phnom Penh put an end to this musical development and started the darkest era of Cambodia's contemporary history. A quarter of the population was killed in the Khmer Rouge genocide and the majority of artists and intellectuals were exterminated in a sordid will to wipe out any form of culture in the country.
Films and music were banned, movie tapes and vinyls were destroyed. Mol Kamach and Mol Kagnol luckily managed to flee the country: one now lives in France, the other in the USA. Both still continue to make music nowadays.
Bearing witness to the past history, the reissue of these two single records of Baksey Cham Krong brings back to us the Cambodian musical scene of the 1960s.
Tracklisting:
2. Je Ne Pense Qu'a T'aimer
3. De Quoi Pleures-tu
4. Ne Penser Qu'a Toi -
Much needed reissue of 'Brazil,' a collaborative work by three spearheads of Scandinavian electronic music today.Visit product page →
The original edition was presented in a limited run of four cassettes, boxed and with an accompanying book. This timely reissue comes as a remastered double LP set, inviting a new set of listeners to the work.
Four sides of uniquely textured summer ambience, industrial rhythms, synthesizer pieces, and piano works, complete 'Brazil.' The luxuriant melodic drones of Loke Rahbek's Hvide Sejl project converge with the percussive work of Varg and the largely acoustic work of Frederik Valentin of Kyo, producing a fragile beauty.
There is a sense of narrative to 'Brazil.' The work cryptically leads us through a small collection of moving panoramas. Keeping its distance, the storyline remains perpetually obscured. Like a crime unsolved, or a nameless love letter, as greater detail comes into focus the intrigue blooms. A multifaceted affair for multifaceted affairs.
"Things were somehow so good that they were in danger of becoming very bad because what is fully mature is very close to rotting."
Tracklisting:
Side A:
1. A Vase on a Table
2. & A Painting in a Room
3. Botany (Blonde)
4. Decades of Fashion
Side B:
5. Privacy
6. Over the Course of a few Weeks
7. Shoulder Dislocated During Intercourse
Side C:
8. Like Fruits in a Bowl
9. Left in the Sun (Men in Love)
Side D:
10. Women in Love
11. Brazil
12. Water Colour (Brunette)
13. Till the Flowers Wilt
Release Date: 27/10/2017 -
There's nothing hard or heavy about The Granite Shore but, as the name suggests, they are statuesque and stately, and their debut LP chisels out a monument to the Life of the Rock Group.Visit product page →
Emerging from the fevered imagination of Occultation supremo Nick Halliwell, The Granite Shore have so far issued singles with a revolving cast of legends and friends. A debut 10" with backing from Liverpool's Wild Swans was followed by a 7' featuring Phil Wilson (June Brides), Arash Torabi (June Brides/Distractions) and Probyn Gregory (Brian Wilson/Arthur Lee/Wondermints), all of whom return for Once More From The Top, joined by Mike Kellie (Spooky Tooth/Only Ones/Distractions), Steve Perrin and Mike Finney (Distractions) and Martin Bramah (The Fall/Blue Orchids/Factory Star).
The roll call shows these luminaries'huge respect for the Halliwell songbook. Steeped in literature and with an elf-free narrative concept, these musical tragi-dramas decked out in sweeping, epic arrangements hint slyly at late '60s/early '70s progressive music and indeed, fans of '70s pastoralists will grasp the ambitious sentiments and mournful Englishness of Once More From The Top, albeit there's a lyrical realism that's recurred in British music ever since.
'I'm wondering how much to talk about the conceptual side of things,' Nick continues, discussing changing attitudes to recorded sound in the Spotify era, a subject tackled on the album. 'There was no need when most people only had access to a limited number of records and spent time with them, thinking about the contents. Now anyone can hear every record ever made'.
This album needs to be heard a few times to make sense, but should then appeal to anyone who's lived and breathed music. 'Whilst writing, I began connecting songs both musically and lyrically,' says Nick discussing how this bespoke product grew out of a 10-track LP. 'I decided on quite distinct LP and CD sleeves, each offering a different slant on the record. It then struck me that, as the album closes with Be that as it may'a song in dialogue, I should write further scenes to be published alongside the record as an illustrated book. We're also working on video content to flesh out the visual side - ¦'
Forget multimedia, this is a genuinely multifaceted project which is still growing, a multitude of artistic concepts in one.
