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Al Maslakh
Charbel Haber 'It Ended Up Being A Great Day, Mr. Allende' CD
£17.99
Al Maslakh
Charbel Haber 'It Ended Up Being A Great Day, Mr. Allende' CD
£17.99
Born in Beirut on June 1, 1978. Co-founder and member of Lebanese post-punk group Scrambled Eggs.
Founder of experimental music record label Those Kids Must Choke in 2004. Active member of the Lebanese free improvisation scene and part of MILL(Musique Improvisee Libre au Liban) association since 2002 Member and co-founder of free improvisation group BAO trio, member of the Lebanese free improvisation big ensemble, Moukhtabar Ensemble.
Also works under the monikers, La Chambre, and Kitano Home Ensemble. He has also collaborated with musicians and artists such as Michael Zerang, Gene Coleman, Justice Yeldham And The Dynamic Ribbon Machine, Jean Pallandre, Laurent Grappe, Tadahiko Yokogawa, Discipline, Stephane Rives, Mazen Kerbaj, Sharif Sehnaoui, David Stackenas, Mats Gustafsson, Annette Krebs, Christine Sehnaoui, Raed Yassin…
Recorded mixed and mastered by Fadi Tabbal at Tunefork studios on the 16th and 17th of January 2012. All track titles are taken from Roberto Bolaño's novel "Nazi Literature in the Americas" Artwork and design by Mazen Kerbaj. Produced in Lebanon by Al Maslakh.
Tracklisting:
1. Itinerant Heroes Or The Fragility Of Mirrors
2. Wandering Women Of Letters
3. Two Germans At The End Of The Earth
4. Magicians, Mercenaries And Miserable Creatures
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Mike Paradinas, veteran producer and Planet Mu label owner has written a new album called ‘Grush' and it's full of weird bangers that reclaim the 'dance' part of the woeful term IDM. A back-to-first-principles record, inspired in part by the group of artists IDM was coined for; melodic dance music that didn't come out of urban scenes, but interpreted them from a distance.
The tracks on ‘Grush’ are all road-tested live favorites developed with feedback from Mike's touring partner and visuals guy Mora (Jan Moravec). It's a detailed and energetic journey which replicates the flow of a live gig. A lot of the tracks have been made in hotel rooms in response to shows, ‘Imperial Crescent’ is named after a Japanese Hotel, as is ‘Belvedere’ in Prague, while some tracks such as ‘Hyper Daddy’ were created specifically to play live.
Drums are confidently at the fore here and the album feels like it traces Mike's musical history and interests neatly around his sweetly nostalgic melodies, with atmospheres and structures which twist and turn with a charming softness which contrasts with the tension in the drums. Take ‘Hyper Daddy’s’ spiralling notes and twinkling piano which remind one of early Black Dog or Omni Trio rushing alongside splashy jungle drums, or the aquatic acid footwork of the title track with its drums softly bubbling and kicking.
Elsewhere there's territory which harks back to his Tusken Raiders pseudonym, like the heads down Drexciyan funk of ‘Windsor Safari Park,’ which transforms from moody electro into a sunny hardcore track midway.
The album is interspersed with Reticulum A, B and C at the start middle and end of the album which suggest a theme which carries across the music in an effortless and joyful way. ‘Grush’ is a strong album that works both for listening and DJing and a great snapshot of where Mike Paradinas musical head is at in 2024.
Tracklisting:VinylSide A1. Reticulum A2. Hyper Daddy3. FogouSide B1. Magic Pony Ride (Pt.4)2. Imperial Crescent3. Reticulum B4. GrushSide C1. Belvedere2. Raver3. Windsor Safari Park4. HastingsSide D1. Manscape2. Metaphonk3. Reticulum C
CD1. Reticulum A2. Hyper Daddy3. Fogou4. Magic Pony Ride (Pt.4)5. Imperial Crescent6. Reticulum B7. Grush8. Belvedere9. Raver10. Windsor Safari Park11. Hastings12. Manscape13. Metaphonk14. Reticulum C -
Release Date: 12/07/2024Visit product page →
One mere year after their previous pitch-black sounding album Krypt, LA outfit Male Tears is back with a new full-length and – oh boy – everything is changed.
The used-to-be duo is now a four piece with James Edward as the sole founding member remaining and apparently this new line-up helped the original vocalist to shapeshift again.
Remember their very first debut album from 2021 and those dark synthpop sounds?
With their upcoming fourth album (in only three years), this American electronic-pop act from Southern California doubles the stakes once again and where Krypt was all about being goth and gloomy and disturbingly paroxysmal, Paradisco is somehow quite the opposite.
Eight new tracks of pure italo disco, hi-NRG and freestyle bliss that pick up where the band left off three years ago to pursue much darker realms. Now that the quest for darkness is done, it is time to polish our nails and dress up for the night-out cause there's more in life than feeling sorry for yourself. Yes you will need to cut out the deadwood but there is no change in stillness.
So join Male Tears and their new arsenal of bangers and floor fillers with assertive titles such as Out of my Life, Regret 4 Nothing and Leave it Alone.
Get yourself wrapped up in one warm cover of delicate nostalgia and reborn romanticism, driven by sounds that pay homage equally to Miko Mission and Ken Laszlo, Lisa Lisa and Exposé and, well yeah, even The Smiths because say what you wanna say but you simply cannot not love The Smiths.
Embrace the vintage vibes that organically propagate from this new record's grooves and get in the mood for this new course in full-on 1980's Pop.
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The third album of powerfully vivid songwriting from Marina Allen. Beautifully orchestrated, highly melodic and delivered with unrivalled lyrical perspective. Across two acclaimed records, the Los Angeles-based singer-songwriter has ripened a rare harvest, but her third studio album is an arrival home.
Taking fragments and stories from Marina’s past, Eight-Pointed Star deftly weaves together a new future, in what feels for all the world like a glittering, clear-eyed modern classic of alternative folk and Americana. For fans of Aldous Harding, Fiona Apple and Waxahatchee.
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It favours a type of soul-searching that doesn’t dwell in complications, and is open to answers. Rolling guitars rise and fall with the canyons and dust is kicked-up from the red scarred earth. Allen’s vocals pure and crystalline whilst the instrumentation is rich and bursting with brightness. You can hear contentment radiating from the music, with Chris Cohen’s production offering a full-band affair.
Allen’s affection runs deepest for singers who in her words can really sing, from The Roches to Karen Dalton, Joanna Newsom to Meredith Monk. But these influences vanish like ghosts in the attic when she starts to sing herself. Allen has a voice that stands up to the canon – inimitable – and it’s never sounded more resolute than it does here.
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Nearly four years in the making, the album pulls from disparate strands of American ephemera to create a uniquely captivating collection of songs that play out like one act plays, full of doomed anti-heroes and beautiful losers; calling to mind the small town dramas of Bobbie Gentry, the golden age pop of The Beach Boys, the lonely jangle of The Beau Brummels, the echoing melodies of Lee Hazlewood, and the experimental ethos of ambient folk. Highly anticipated sophomore album from Michael James Tapscott.
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