Search Result for Catalog ST 002LP
viewing 1 To 6 of 6 items
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2LP
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HEIST 002LP
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Makèz have come a long way since they first sneaked into Amsterdam's studio 80 at the age of 17 to hand over their demos to Dam Swindle. Those demos led to their debut EP Different Planets on Heist in 2019 which gained major support from artists like Seth Troxler and Chez Damier. Quickly after, they signed two records on New York based label Let's Play House. Fast forward two years, and here it is: the release of their debut album City Of All. City Of All shows an admirable level of sophistication and matureness and effortlessly bridges genres across its 13 tracks. You can feel the amount of thought that has been put into this record, with songs happily blending into each other as Makèz submerge themselves in their concept of accidental encounters, inclusiveness and what it means to live in a city like Amsterdam. Makèz bring together all the musical influences they've picked up in their life as music fans, clubbers, and art students. The jazz-funk of opening track "The Entrance" feels breezy, casual almost, like the freeform rhythms that are played in a jazz club during soundcheck. That energy also oozes from "Not So Different", which features the smooth vocals of LYMA. There's a hint of the house-meets-Rn'B vibe that made Anderson .Paak the star that he is now. The song is brilliantly funky and shows the songwriting and arrangement talent of Makèz, who cleverly use pop and soul cues to create one of the album's highlights. What follows is four cuts ranging from the syncopated Balearic funk of "Orbit", the strings of album title track "City Of All", the organ-led jam "Gonna Getya" and the downbeat "Sonder". Allysha Joy -- best known for performing in Melbourne hip-hop collective 30/70 -- is featured on the deep and jazzy cut "Looking Up". These kindred spirits perfectly complement each other on this track, where the deep bass, warm harmonies and jazzy percussion prove to be a perfect foundation for Allysha's rhymes. Far from an album all about jazz and soulful tracks, there's a nice bit of dancefloor-oriented tracks, where the distorted filter funk of "Roselane" featuring Fouk proves to be a highlight along with what is arguably the heaviest cut of the album: "Bent With Funk".
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LP
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GFOST 002LP
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Limited restock. Goodfellas present a reissue of Ennio Morricone's soundtrack for Sacco & Vanzetti, originally released in 1971. A political statement, so to speak, the movie directed by Giuliano Montaldo in 1971 focused on the unfortunate events leading to the death of Italian immigrants Sacco and Vanzetti. The score was composed by maestro Ennio Morricone and featured two exclusive tracks sung by legendary singer/songwriter Joan Baez ("Here's To You" and "La Ballata Di Sacco E Vanzetti"). This is one of the most classical oriented scores composed by the maestro, with large strings arrangements and classical guitar parts.
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2LP
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SUBOST 002LP
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Sub Ost present the first vinyl release of Vince Tempera's Paganini Horror, the film was released 1989. Paganini Horror is the second release on Sub Ost, the soundtrack focused sub label of Subsound Records. For the first time ever on vinyl, this is the original soundtrack of Dario Argento protégé Luigi Cozzi's movie, composed and arranged by electronic composer and wizard Vince Tempera in 1989. Sinister like the sounds of a violin, this is a classic Italian horror score finally available on vinyl. Includes original artwork by Enzo Sciotti.
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DST 002LP
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2017 repress. Up-Tight are a three-piece psych group based in Hamamatsu, Japan with a history dating back to 1992 has released around 10 records. Up-Tight's current line-up (2016) is original members T. Aoki (vocal & guitar) T. Ogata (bass) and T. Shirahata (drums). The ghosts of The Velvet Underground, Les Rallizes Dénudés and Amon Düül loom large over their personal feedback song-destruction universe. This LP is the first re-issue of their original CD-R-only release in Japan in 1999 in a very limited edition of 100 copies. It has been remastered in Berlin from original recordings and presented here in an edition of 300. Here is what David Keenan (Wire magazine) thought about this first CD-R released in 1999 : "Up-Tight are a noxious young trio from south Tokyo, all acolytes of the legendary Japanese psych group Les Rallizes Dénudés, who augment their sound with crushing, Sabbath-styled dynamics, earsplitting acid leads and beautiful Velvets-inspired ballads... Song structures are mostly kept loose, allowing for lots of noisy improvisation. Generally the album is anchored by heavy riffs. Just when you thought you'd got to grips with Tokyo's paradigm destroying psych scene, this one hits like a sucker punch." All songs are five to ten minutes long, varying from very melodic ballads to psychedelic journeys. The album ends with an epic track, "無題", which is an 18 minutes tour-de-force, that takes you to another dimension as if the Velvet Underground's "Sister Ray" would have a child with Acid Mothers Temple, while listening to Amon Düül under codeine. Up-Tight are from the generation that emerged with the madness of the Tokyo '90s and the P.S.F Records scene. Close to Acid Mothers Temple (the two bands recorded an album together), Up-Tight has a unique sound and is one of the most important underground reference in the Japan psychedelic scene.
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KVIST 002LP
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Joseph Raglani : Analog Synth, Sine/Squarewave Generator, Electronics, Tapes, Vocals, Guitar and Places. The record version of Web Of Light is available on KVIST Records. Limited to 500 copies on 140 gram vinyl with pro-printed covers and inserts. "Raglani's use of analogue electronics is tied to traditional Krautrock by a thread of dark romanticism extending, in Germany, back to the work of Caspar David Friedrich. Epic and tumultuous landscapes as images of psychic space; hazardous journeys through awesome and forbidding worlds; the hair-blown viewer looking down onto incredible canyons...The entire extended metaphor of Friedrich's work, linking the arc of a spiritual journey to the beautiful and tumultuous work of nature, is conserved in the work of the kosmische school. Raglani's relationship with the music of Schulze or Fricke is not 'retrospective,' but contemporary. The musical commonalities proceed from a shared commitment to the elaboration of exotic musical spaces, pursued chiefly through melody, adorned by figurative electronic flourishes and concrète motifs. What is missed in alot of drone and noise is the ability of the sound to paint a scene; too often, we're presented with a blandly ecstatic wash of lo-fi murk, more stoned than psychedelic. Raglani avoids these generic limitations by engaging more directly with the tradition to which his peers owe, arguably, the most considerable debt. What he deepens in that tradition is in the abstraction and development of themes--spreading out the narrative through textural variation, rather than driving ever forward through arpeggios and circular rhythms. If Raglani avoids the ascending freakouts of early kosmische music, however, it is because everyday life today is freaked out enough on its own. What is needed, rather, are sounds that can address our already-piqued uncertainty by involving it in a story it might recognize as its own. So there is little here, also, to tether Raglani to the generic vibrations of noise and drone, though he uses some of the machines that make them; instead of any massive simultaneous display, secrets are revealed gradually and cumulatively. Raglani's voice may sound familiar at first, and there is no doubting its context and sources, but the events described by his music trickle out in shapes, and at a pace, uniquely his. The scenes he composes, surreal but distinct, have all the luster of real paint." -- Mike Ferrer.
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GEIST 002LP
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