Ponza is ready to paint the independent music scene with fluorescent colors with their debut EP “Free Kids” By taking the 60’s and 70’s peaceful and lovely echoes as the EP’s origin, the band aims to direct the independent music spirit to an optimistic future.
Güneş Akyürek’s psychedelic flavored home recording demos met with the drumbeats coming out of Salih Topuz’s colorful mind. Free Kids Ep is recorded at Noiseist (Istanbul) and includes four songs which mixed and mastered by Çağan Tunalı.
In the album Güneş Akyürek performed vocals, electric and bass guitars and Salih Topuz performed the drums and all instruments are tuned in 432 Hz. Fearlessly they experimented on traditional and modern recording technics using every analog and digital toys they can find and came up with hi-fi album whit a lo-fi spirit.
The EP mixed and mastered by Çağan Tunalı. With the long time fellows, Burak Serter (bass) and Doğukan Acar (synthesizer) aligning the orbit, Ponza continues to experience the journey.
Ponza’s Free Kids Ep will be digitally and physically released by Shalgam Records.
Tracklisting: 1. Free Kids 2. Sea O’Flowers 3. Mr. T 4. Motherland
Fake Laugh’s self-titled debut album arrives this summer as a delicate accumulation of years of experimentation. Unfurling slowly, the full length has been a gradual process: part playfulness, part perfection. Whilst perpetually in tune with the digital disconnect of contemporary life, the album is a vivid rummage through sixties US-pop standards and British alternative stalwarts.
Fake Laugh showcases a familiar world of love, confusion and self-questioning but refocused through the bright lens of the London/Berlin based artist Kamran Khan. Tirelessly writing and recording whenever he can, a busy 2016 saw Khan release the energetic 'Ice' EP, the bubbly trepidation of double A side 'Mind Tricks/Birdsong Lullaby' and the more complex and serene ‘Great Ideas’ EP.
All three were important steps towards manifesting the right combination for the eagerly anticipated debut. Khan confesses that once upon a time Fake Laugh was “a bit of fun on the side”. However, now with the project his sole focus, there’s a revitalised commitment to recording that has seen him finishing the album this year. Reuniting once again with producer Theo Verney (Traams, O.Chapman) in Brighton, Khan has brought the intimacy of his bedroom and added it to a more luscious environment.
Certain parts of the record date as far back as 2013, whilst others were recorded only in the past few months. The result is a record that flows with a wise but youthful abandon. Echoing latter Belle & Sebastian records - that retained their adolescent flare and longing - Khan has fortified his dreams rather than forgotten them.
Tracklisting: 1. Melt 2. Short Of Breath 3. Kinda Girl 4. As I Get To Know You Better 5. Hiding Place 6. Freely 7. You Would Find Out 8. Wouldn’t Bother 9.Physical 10. You Do Know 11. Time To Die
Limited edition colour vinyl LP is pressed on split colour blue and black vinyl.
One of Entertainment Weeklies 100 Best Soundtracks Of All Time.
A precursor to Lynch’s Twin Peaks and Mulholland Drive, Blue Velvet sets a template for ethereal noir soundtracks in a modern, quite disturbed age. “The shock of the new fades by definition, but it has hardly done so in the case of Blue Velvet.” Dennis Lim, Salon, 2016
"The haunting soundtrack accompanies the title credits, then weaves through the narrative, accentuating the noir mood of the film." - John Alexander, The British Film Resource
You know that feeling you get when you’re shook awake in mid-dream? You were teetering on the ledge of a building, or maybe trying to free a butterfly from a spider web while wearing cricket gloves? Perhaps you’re running late for a train and your short cut takes you through a bad part of town, you’re being followed but the ever changing reflection in the shop window is a younger you, a healthier person – with a better hairstyle. It’s an anxiety thing, an off-kilter almost world, best summed up on the soundtrack for Blue Velvet, David Lynch’s 1986 film that nods somnambulantly to the shadowy netherworld of film noir.
Oedipal fantasies, finding a severed ear on your way home, voyeurism, crime and retribution, violence; they’re all there in abundance in the movie, a rotten sleazy commercialism set off against a set of strange situations that the edge of the seat is never far away from. And what soundtrack would suit such an experience? Of course a mix of orchestral pieces from composer and conductor Angelo Badalamenti inspired by Shoshtakovich’s 15th Symphony (which rumour has it Lynch played onset to create the ‘mood’) mixed up with trashy Hammond-led boogie and overblown baroque pop from Roy Orbison and Ketty Lester, suitable for any dive’s jukebox.
That awkward mix plays itself out in Isabella Rossellini as Dorothy’s rendition of the song ‘Blue Velvet’ that melds beautifully and indeed hauntingly into ‘Blue Star’, a broken piece of vintage pop. Similarly, the track ‘Going Down To Lincoln’ with its narrative audio shtick takes all of the previously-mused elements to create a perfectly disjointed travelogue. The soundtrack album starts with Bernard Hermann-styled Hitchcock-esque strings and violin slashes, which dally before deconstructing the themes and motifs into a disturbing procession that climaxes with Julee Cruise’s funereal ‘Mysteries Of Love’, a fittingly titled epilogue to an epic that concludes with the hero’s true love’s reality of a simplistic birdsong dream from earlier in the film.
It’s a cyclical trip that feeds directly back to the beginning and, yes, there’s that severed ear again, now ant infested laying on the ground, proving that dreams become real, or is it reality that becomes a dream?
Tracklisting: 1. Main Title 2. Night Streets / Sandy And Jeffrey 3. Frank 4. Jeffrey’s Dark Side 5. Mysteries Of Love (French Horn solo) (a) 6. Frank Returns 7. Mysteries Of Love (Instrumental) (a) 8. Blue Velvet (b) / Blue Star (a) - Montage 9. Lumberton U.S.A. (a) / Going Down To Lincoln – Sound Effects Suite 10. Akron Meets The Blues 11. Honky Tonk Part I (performed by Bill Doggett) 12. In Dreams (performed by Roy Orbison) 13. Love Letters (e) (performed by Ketty Lester) 14. Mysteries Of Love (a) (Vocal by Julee Cruise)
“Mnestic Pressure” is Lee Gamble’s first album since 2014 and his first with Hyperdub, a reset that sees a noticeable change in his sound and the concepts that feed into his music. Lee says ‘From “Diversions 1994-1996” (2012) through to “Koch” (2014) - my music felt like I was dealing with signals from elsewhere - signals from the unconscious, sub-aqua, hallucinated, dreamt. “Mnestic Pressure” feels like their decoded offspring, a terra interpretation.’
The title “Mnestic Pressure” comes from Lee’s thinking about how our contemporary memory is pressured, individually, but also collectively. ‘We live in these strobing, visual times, like a constant subliminal advertisement but, also over the last few years the world seems to have become more and more dreamlike, alien, and parodic itself and there was this part of me that wanted to drag my music back from this Shangri-La, but fully drenched and infected by its ghosts.’
“Mnestic Pressure” as a whole is a simulation of this experience; a flow of targeted information, through contrasting and quickly changing terrain, from one track to another you’re dragged into a new space. The pressure to move is intrinsic to the flow of the album, one thing morphologically transforms into another, zooming in and out from wide angle to detail, reshaping into new forms at a speed Lee’s music hasn’t before.
The music on “Mnestic Pressure” has a hardness, with a structure and melody that was sublimated in Lee’s previous LPs. It builds on his more recent experiments with more functional dancefloor forms.
Here his hypermodern production and crunchy, dissembled beats feel like they could be malfunctioning holograms projected onto the hallucinated memories of his early work.
Tracklisting: Side A: 1. Inta Centre 2. Istian 3. East Sedducke 4. 23 Bay Flips 5. Swerva 6. Quadripoints 7. You Hedonic
Side B: 1. UE8 2. Locked In 3. Ignition Lockoff 4. A tergo Real 5. Ghost 6. Déjà Mode
Blackest Ever Black presents Sleep Heavy, the debut album of broken-hearted, downtempo R&B/street-soul and supremely atmospheric, introspective electronics from Jabu: a trio comprised of vocalist/lyricists Alex Rendall and Jasmine Butt, and producer Amos Childs.
The group was born out of Bristol’s Young Echo collective: an ecosystem unto itself which has birthed and nurtured a number of other notable soundsystem-rooted projects and artists to date including Kahn & Neek, Sam Kidel, Ishan Sound, Ossia, Asda, Chester Giles (the title Sleep Heavy comes from a giles poem) and Killing Sound (Childs with Kidel and Vessel).
Jabu’s previous 7” singles, though arresting, barely hinted at the level of accomplishment and emotional heft that Sleep Heavy delivers. It’s a future Bristol classic with a universal resonance, with songs that are highly personal but deeply relatable, and tripped-out, time-dissolving sound design that both haunts and consoles. It is, first and foremost, a meditation on grief, on loss, making sense of separation and death; but it also looks forward to what might come after the aftermath: healing, acceptance, the chance to begin again.
Childs is one of the most gifted producers of his generation and his work here, grounded in hip-hop but floating free, is a thing of sustained wonder: crepuscular, melancholic – funereal, at times – subtly psychedelic and heavily dubwise, but always concise and purposeful. Stitched together from deep-dug and beautifully repurposed samples, it draws on influences from US R&B to Japanese art-pop minimalism – Mariah to Mariah Carey, if you will – and a rich seam of underground UK soul, boogie, DIY/post-punk, library music and lovers rock; refining and reconstituting these inputs into powerfully immersive, emotionally ambiguous soundscapes as eloquent and engaging as they are understated and bottomlessly mysterious.
There is also of course a distant connection to the Bristol blues of Smith & Mighty and the sultry urban gothic of Protection-era Massive Attack, but Jabu’s orchestration of womb-like ambiences, cold synth tones and brittle beats feel entirely sui generis. They provide the perfect setting for Rendell’s wounded, imploring and carefully weighted vocals, which are no less extraordinary: nodding to giants like Teddy Pendergrass and The Temptations in terms of phrasing and front-and-centre vulnerability, with something of The Associates’ Billy Mackenzie in there too; defeated but defiant.
Meanwhile Jas’s heavenly interventions, sometimes leading but more often parsed and layered into tremulous, gossamer abstraction, draw a line between the Catholic choral harmonies of her childhood and the ethereal, oceanic sweep of Cocteau Twins. Oceanic is the word: this is music to drown, and drown gratefully, in.By its end, Sleep Heavy’s world-weariness is intact and scarcely diminished, but some light has been admitted, and is visible from the sea-floor. A chance, not a promise. Something to swim towards.
Tracklisting: 1. Let Me Know 2. Tomb 3. Get 4. Fool If 5. Bones 6. On 7. Searc 8. Wounds 9. Which Way 10. Lay You Down 11. Give