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12"
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BR 027EP
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Remixes of Juni Habel's "Pearl Cloud Song" from her Evergreen In Your Mind album by Tom Sharkett and Minotaur Shock. Pearl Cloud Song Reformations is a very limited 12" which features two remixes/reformations from Tom Sharkett and Minotaur Shock and also includes Juni Habel's original version. There will only be 200 ever made. Tom Sharkett is a producer from Manchester, now based in Todmorden. Having cut his teeth as a founding member of synth-wave band W. H. Lung. Minotaur Shock is the long-standing electronic project of Bristol-based producer David Edwards. With a discography spanning labels like 4AD, Melodic and Bytes, Edwards balances pastoral charm with IDM sensibilities, creating soundscapes that are as much about the heart as they are the head.
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LP
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BTR 086WHT-LP
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White color vinyl. Sababa 5 continues their musical journey following the success of their acclaimed self-titled debut album, which fused deep funk and Middle Eastern grooves. This offering, still under the Batov Records label, ventures into more explorative and experimental instrumental compositions. While evolving their musical direction, Aspan delves into the realm of psychedelic rock while retaining the essence of the band's signature Middle Eastern groove. In recent times, Sababa 5's talent has gained recognition on prominent French radio stations such as Radio Nova and FIP. Their tracks have become regular features on BBC Radio 6 Music, drawing the attention of notable figures and emerging talents like Gilles Peterson, Cerys Mathews, Jamz Supernova, Gideon Coe, and Deb Grant. Leading music publication Songlines has praised the band's "slick precision" and the captivating elements they infuse, ranging from "Moog synth licks" to "flavors reminiscent of Wes Montgomery-style guitar." The origin of the title stems from a misinterpretation of an upcoming storm named Alpis that proved to be milder than anticipated. The name resonated, resulting in several tracks adopting storm-related titles. Concluding the album is "Indra," a laidback composition that stands as its most serene offering. This track's fusion of psychedelic folk rock is poised to capture the hearts of many, serving as a poignant postscript to the bittersweet conclusion of summer -- a narrative of love discovered and lost.
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LP+CD
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BEC 5161908
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2026 restock. Because Music reissues on LP (with bonus CD format added) the 1977 album Supernature by French disco legend Marc Cerrone. Big hits can be the result of a combination of circumstances. Massively popular at the time, crowned with the success of Love in C Minor and Cerrone's Paradise that made him a disco hero of the '70s, the musician started working on his new album differently. This time, the inspiration came from a synthesizer, an instrument he never used before. ARP, an American manufacturer, provided him with it. "I was given this machine and didn't know how to use it," he remembers. "I twiddled a few knobs, trying to get some sounds out of it. Then, as I was playing on the keyboard, a bass line came to me that I immediately recorded on my Revox. It was 'Supernature!'" Lene Lovich, future queen of the punk and new wave English scene, wrote the lyrics. It was a science fiction story, similar in spirit to The Planet of the Apes. Once the track and album were finished, Cerrone asked the record company to focus on "Supernature," rather than the rest of the record, in the vein of his previous work. History would prove him right. This track, the more iconic of his catalog, would turn out to be his biggest hit. This third album (also called Supernature) would also sell eight million copies. Always a funny guy, Cerrone can be seen on the cover of the record, but without naked women. Creatures with animal-heads in a surgery room replaced them. It meant a mutant and more synthetic kind of disco was born. Pressed on pale green vinyl + CD. Includes a 4-page booklet with a 30cm x 30cm poster-booklet with photos and biographic notes.
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7"
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BCR 253EP
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Version 1. "Beer City is reissues this long out of print rare sought-after 'killed by death punk' classic originally released in 1982! This is the first release by Midwest punk band URBN DK. It originally came out in 1982 and only 200 copies were pressed. This reissue has been restored and remastered to not only sound better than ever, but to sound louder too. Includes liner notes by founding member Bob DK. Gatefold-style cover/sleeve. URBN DK formed in 1980. Bob had recently returned from California where he lived for a while and played in a band called The Antibodies. When he moved back to the Midwest, he started looking to form a band, and shortly latter URBN DK was formed. This first lineup and iteration of the band would last for about three years. Years later a new lineup would form and the band would continue into the late '90s with Bob always remaining the sole founding member."
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7"
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BCR 254EP
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Version 2. "Beer City is reissues this long out of print rare sought-after 'killed by death punk' classic originally released in 1982! This is the first release by Midwest punk band URBN DK. It originally came out in 1982 and only 200 copies were pressed. This reissue has been restored and remastered to not only sound better than ever, but to sound louder too. Includes liner notes by founding member Bob DK. Gatefold-style cover/sleeve. URBN DK formed in 1980. Bob had recently returned from California where he lived for a while and played in a band called The Antibodies. When he moved back to the Midwest, he started looking to form a band, and shortly latter URBN DK was formed. This first lineup and iteration of the band would last for about three years. Years later a new lineup would form and the band would continue into the late '90s with Bob always remaining the sole founding member."
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LP
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BJR 046LP
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2026 repress. Where to place Yīn Yīn on the map -- maybe somewhere between Netherlands and South-East Asia, on an imaginary tropical island. That's where they brew a strange cocktail made of disco grooves, powerful "Thaï beat" tunes and experimental tropi-synths. After two mind-blowing singles on Les Disques Bongo Joe, Yīn Yīn are back with The Rabbit That Hunts Tigers. Yīn Yīn passed last month's burning scenes and make people dance around Europe, so they're ready to blow the world with this awaited first album. Made of groovy tunes and dancefloor killers, this album could be the crazy soundtrack of a '60s hippie village on the South China Sea.
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LP
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BB 493LP
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2026 restock; LP version. So Far, so far out. By 1972, Faust had already dismantled the concept of a rock album. With their self-titled debut, they tore through convention with tape edits, abstract structures, and a scathing collage of cultural detritus. Its successor, recorded just six months later, was not a retreat from that radicalism, but its evolution. Instead of challenging form through outright fragmentation, the band now disguised their subversion in structures that almost, almost, resemble songs. But don't be fooled. This is still Faust: unpredictable, subversive, and unbound by convention. The circumstances surrounding the album's creation were no less unconventional than those of their debut. Faust were still ensconced in the converted schoolhouse in Wümme, Lower Saxony, and its improvised studio -- a riddle of cabling, tape and custom electronics. By this point, the band had grown more cohesive as a unit but remained steadfastly anti-commercial, despite the pleas of their label. Taken as a whole, So Far is less a linear progression from Faust's debut than a sideways leap into a parallel sonic dimension. Where the first album exploded rock from the inside out, So Far rearranges the wreckage into strange new shapes. There's a sly-humor here too, buried under the fuzz and tape edits, a knowing wink that these sonic detours aren't acts of nihilism, but of creation. Faust were building something. What, exactly, remains elusive, and still utterly intoxicating.
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LP
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DIS 012LP
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2026 repress on crystal red transparent vinyl. Pressed with a fluorescent orange (Pantone 805) cover. "Twelve songs by Minor Threat. Tracks 1-8 are from the first Minor Threat 7". Tracks 9-12 are from the 'In My Eyes' 7". Recorded and mixed at Inner Ear Studios in Arlington, VA. Tracks 1-10 recorded in April of 1981 and mixed by Don Zientara and MT. Tracks 11-14 recorded in August 1981 and mixed by Don and MT. Originally released June 1, 1984."
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LP
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DIS 070LP
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2026 restock; on crystal vellum colored vinyl. Fugazi's third album, originally released in 1993. Remastered with full color inner sleeve. "Part of this album's beauty is the track list. It begins with the upbeat number 'Facet Squared' which is almost pop-punkish in its delivery. Essentially the tracking of the album begins it with the lightest material and by the end you're cast into Guy's own torments with the quiet brooding 'Last Chance For A Slow Dance.' The middle of the album is almost completely dedicated to the noise experimental side of Fugazi, especially the centerpiece and half-instrumental '23 Beats Off,' a soundscape of harsh noise that supposedly reflects the deterioration of a relationship... With Guy's brilliant performance, lyrically and vocally, walls of sound encapsulate his pleas of 'Why don't you come to my house? Why don't you drag me right out?'. It is truly one of the most beautiful yet aggressive songs in Fugazi's vast library." -- Sputnik Music
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CD
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GB 1564CD
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Originally released in 2020. A soundtrack to an imagined film. Bastien Keb presents his third album, The Killing of Eugene Peeps, an ode to Giallo, '70s crime flicks, and French new wave cinema. Befit with downbeat anti-ballads, psychedelic folk, and warped soliloquies, the music is an imagined score to a film that exists only in Keb's mind. The album was conceived, composed, performed, and produced by Bastien Keb in his bedroom. The music flows between spoken word narrative pulled from Keb's own journals, hauntingly layered vocals that conjure up dreamscapes and nostalgia, and rich, orchestral arrangements which were in fact all recorded via one singular microphone. Various contributions from longtime collaborators include Nottingham-based rapper Cappo, narrator Kenneth Viota, and album artwork by artist Will Morrison, who has worked with Bastien Keb for several years.
"One that recalls, variously, the proto-trip-hop of Serge Gainsbourg and Jean-Claude Vannier, the rumbling scores of Bernard Herrmann and the cinematic swagger of Barry Adamson." --John Lewis, The Guardian
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CD
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GB 1564CDOBI
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Japanese edition. Originally released in 2020. A soundtrack to an imagined film. Bastien Keb presents his third album, The Killing of Eugene Peeps, an ode to Giallo, '70s crime flicks, and French new wave cinema. Befit with downbeat anti-ballads, psychedelic folk, and warped soliloquies, the music is an imagined score to a film that exists only in Keb's mind. The album was conceived, composed, performed, and produced by Bastien Keb in his bedroom. The music flows between spoken word narrative pulled from Keb's own journals, hauntingly layered vocals that conjure up dreamscapes and nostalgia, and rich, orchestral arrangements which were in fact all recorded via one singular microphone. Various contributions from longtime collaborators include Nottingham-based rapper Cappo, narrator Kenneth Viota, and album artwork by artist Will Morrison, who has worked with Bastien Keb for several years.
"One that recalls, variously, the proto-trip-hop of Serge Gainsbourg and Jean-Claude Vannier, the rumbling scores of Bernard Herrmann and the cinematic swagger of Barry Adamson." --John Lewis, The Guardian
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LP
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GB 1564ECOLP
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LP version. Eco vinyl. Originally released in 2020. A soundtrack to an imagined film. Bastien Keb presents his third album, The Killing of Eugene Peeps, an ode to Giallo, '70s crime flicks, and French new wave cinema. Befit with downbeat anti-ballads, psychedelic folk, and warped soliloquies, the music is an imagined score to a film that exists only in Keb's mind. The album was conceived, composed, performed, and produced by Bastien Keb in his bedroom. The music flows between spoken word narrative pulled from Keb's own journals, hauntingly layered vocals that conjure up dreamscapes and nostalgia, and rich, orchestral arrangements which were in fact all recorded via one singular microphone. Various contributions from longtime collaborators include Nottingham-based rapper Cappo, narrator Kenneth Viota, and album artwork by artist Will Morrison, who has worked with Bastien Keb for several years.
"One that recalls, variously, the proto-trip-hop of Serge Gainsbourg and Jean-Claude Vannier, the rumbling scores of Bernard Herrmann and the cinematic swagger of Barry Adamson." --John Lewis, The Guardian
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LP
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GB 1564LP
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LP version. Originally released in 2020. A soundtrack to an imagined film. Bastien Keb presents his third album, The Killing of Eugene Peeps, an ode to Giallo, '70s crime flicks, and French new wave cinema. Befit with downbeat anti-ballads, psychedelic folk, and warped soliloquies, the music is an imagined score to a film that exists only in Keb's mind. The album was conceived, composed, performed, and produced by Bastien Keb in his bedroom. The music flows between spoken word narrative pulled from Keb's own journals, hauntingly layered vocals that conjure up dreamscapes and nostalgia, and rich, orchestral arrangements which were in fact all recorded via one singular microphone. Various contributions from longtime collaborators include Nottingham-based rapper Cappo, narrator Kenneth Viota, and album artwork by artist Will Morrison, who has worked with Bastien Keb for several years.
"One that recalls, variously, the proto-trip-hop of Serge Gainsbourg and Jean-Claude Vannier, the rumbling scores of Bernard Herrmann and the cinematic swagger of Barry Adamson." --John Lewis, The Guardian
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LP
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GB 1564OBILP
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LP version. Japanese edition. Originally released in 2020. A soundtrack to an imagined film. Bastien Keb presents his third album, The Killing of Eugene Peeps, an ode to Giallo, '70s crime flicks, and French new wave cinema. Befit with downbeat anti-ballads, psychedelic folk, and warped soliloquies, the music is an imagined score to a film that exists only in Keb's mind. The album was conceived, composed, performed, and produced by Bastien Keb in his bedroom. The music flows between spoken word narrative pulled from Keb's own journals, hauntingly layered vocals that conjure up dreamscapes and nostalgia, and rich, orchestral arrangements which were in fact all recorded via one singular microphone. Various contributions from longtime collaborators include Nottingham-based rapper Cappo, narrator Kenneth Viota, and album artwork by artist Will Morrison, who has worked with Bastien Keb for several years.
"One that recalls, variously, the proto-trip-hop of Serge Gainsbourg and Jean-Claude Vannier, the rumbling scores of Bernard Herrmann and the cinematic swagger of Barry Adamson." --John Lewis, The Guardian
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CD
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GB 1565CDOBI
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Japanese Edition. Originally released in 2021. Japanese musician Chihei Hatakeyama presents Late Spring, an album of a humble nature that gently unfolds as a shared journeying experience through a series of rich and outstanding encounters. Chihei Hatakeyama is a sound artist, mastering engineer, and record label founder who was born in 1978 and lives in Tokyo. He has performed for years under his given name and also as one half of the electroacoustic duo Opitope alongside Tomoyoshi Date. From his first full-length album Minima Moralia in 2006, through the subsequent 70+ albums that followed, Hatakeyama has created a mighty canon of work. His catalogue is spread across a number of highly-regarded labels, including Kranky, Room40 and his own White Paddy Mountain imprint. His release rate is unquestionably impressive, but what is even more striking is the continual high quality of each alluring album.
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CD
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GB 1566CD
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Glasgow drummer and composer Graham Costello returns with his second STRATA album, Second Lives. Second Lives spans Reichian minimalism, semi-free jazz à la Binker and Moses, polyrhythmic math rock, and pensive, cinematic ambience. The album was recorded straight to tape at RAK Studios with co-producer and engineer Hugh Padgham at the helm, mixed at British Grove, and subsequently mastered in-house at Gearbox. The inspiration and wider themes of Second Lives sit with thoughts of identity, heritage, and Stoicism, as well as the theme of overcoming inner challenges - what you face and the process you go through to get to the other side. The album features STRATA, an ensemble formed by Graham in 2016 which brings together stylistic elements of minimalism, jazz and noise-rock whilst channeling a strong DIY ethic. Made up of some of Scotland's most exciting musical proponents, the band features: pianist Fergus McCreadie, whose critically acclaimed new solo album just came out via Edition Records; guitarist Joe Williamson, who was named Young Scottish Jazz Musician Of The Year in 2018 and leads hard-hitting five-piece Animal Society; rising trombonist Liam Shortall, who also leads jazz collective corto.alto; renowned bassist Mark Hendry and rising saxophonist Harry Weir who also leads AKU!.
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LP
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GB 1566LP
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LP version. Glasgow drummer and composer Graham Costello returns with his second STRATA album, Second Lives. Second Lives spans Reichian minimalism, semi-free jazz à la Binker and Moses, polyrhythmic math rock, and pensive, cinematic ambience. The album was recorded straight to tape at RAK Studios with co-producer and engineer Hugh Padgham at the helm, mixed at British Grove, and subsequently mastered in-house at Gearbox. The inspiration and wider themes of Second Lives sit with thoughts of identity, heritage, and Stoicism, as well as the theme of overcoming inner challenges - what you face and the process you go through to get to the other side. The album features STRATA, an ensemble formed by Graham in 2016 which brings together stylistic elements of minimalism, jazz and noise-rock whilst channeling a strong DIY ethic. Made up of some of Scotland's most exciting musical proponents, the band features: pianist Fergus McCreadie, whose critically acclaimed new solo album just came out via Edition Records; guitarist Joe Williamson, who was named Young Scottish Jazz Musician Of The Year in 2018 and leads hard-hitting five-piece Animal Society; rising trombonist Liam Shortall, who also leads jazz collective corto.alto; renowned bassist Mark Hendry and rising saxophonist Harry Weir who also leads AKU!.
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CD
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GB 1567CD
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Originally released in 2021. Piano and clarinet duo albums are few and far between within the jazz canon. In the case of Dancing in the Dark, versatile horn player Tony Coe chose to stick to the clarinet as his saxophone case was too heavy, or so that's how pianist John Horler recounts it. The performance in question takes place at St Michael's Church, Appleby in 2007 as part of the annual Appleby Jazz Festival. The setting is warm and intimate as is the church acoustic, a perfect backdrop for the varied repertoire of standards and original compositions performed. Coe and Horler dance their way through Bill Evans' "Person I Knew" and Cole Porter's "Night and Day" as well as Horler's own "Piece for Poppy," dedicated to his partner Wendy, and Coe's contrafact to Autumn Leaves, titled "Some Other Autumn." Both players push and pull the well-known melodies to suit the moment yet maintain complete synergy with one another, with Horler's Bill Tatum-esque chord voicings and meandering lyrical interludes giving platform to Coe's resounding, cadenza-like improvisations. Coe recounts this as "one of my very best performances, which would not have been possible without a partner who is one of the finest jazz pianists in the world." The respect from Horler is mutual, with him noting, "Tony was such a great player that it took sometime for me to realize that I could play a bit too." Their trust in each other, in the music, and in the moment, rings true with this live performance Dancing in the Dark, which finally sees the light of day.
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CD
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GB 1567CDOBI
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Japanese edition. Originally released in 2021. Piano and clarinet duo albums are few and far between within the jazz canon. In the case of Dancing in the Dark, versatile horn player Tony Coe chose to stick to the clarinet as his saxophone case was too heavy, or so that's how pianist John Horler recounts it. The performance in question takes place at St Michael's Church, Appleby in 2007 as part of the annual Appleby Jazz Festival. The setting is warm and intimate as is the church acoustic, a perfect backdrop for the varied repertoire of standards and original compositions performed. Coe and Horler dance their way through Bill Evans' "Person I Knew" and Cole Porter's "Night and Day" as well as Horler's own "Piece for Poppy," dedicated to his partner Wendy, and Coe's contrafact to Autumn Leaves, titled "Some Other Autumn." Both players push and pull the well-known melodies to suit the moment yet maintain complete synergy with one another, with Horler's Bill Tatum-esque chord voicings and meandering lyrical interludes giving platform to Coe's resounding, cadenza-like improvisations. Coe recounts this as "one of my very best performances, which would not have been possible without a partner who is one of the finest jazz pianists in the world." The respect from Horler is mutual, with him noting, "Tony was such a great player that it took sometime for me to realize that I could play a bit too." Their trust in each other, in the music, and in the moment, rings true with this live performance Dancing in the Dark, which finally sees the light of day.
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LP
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GB 1567LP
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LP version. Originally released in 2021. Piano and clarinet duo albums are few and far between within the jazz canon. In the case of Dancing in the Dark, versatile horn player Tony Coe chose to stick to the clarinet as his saxophone case was too heavy, or so that's how pianist John Horler recounts it. The performance in question takes place at St Michael's Church, Appleby in 2007 as part of the annual Appleby Jazz Festival. The setting is warm and intimate as is the church acoustic, a perfect backdrop for the varied repertoire of standards and original compositions performed. Coe and Horler dance their way through Bill Evans' "Person I Knew" and Cole Porter's "Night and Day" as well as Horler's own "Piece for Poppy," dedicated to his partner Wendy, and Coe's contrafact to Autumn Leaves, titled "Some Other Autumn." Both players push and pull the well-known melodies to suit the moment yet maintain complete synergy with one another, with Horler's Bill Tatum-esque chord voicings and meandering lyrical interludes giving platform to Coe's resounding, cadenza-like improvisations. Coe recounts this as "one of my very best performances, which would not have been possible without a partner who is one of the finest jazz pianists in the world." The respect from Horler is mutual, with him noting, "Tony was such a great player that it took sometime for me to realize that I could play a bit too." Their trust in each other, in the music, and in the moment, rings true with this live performance Dancing in the Dark, which finally sees the light of day.
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LP
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GB 1568LP
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Originally released in 2021. Cahill//Costello present their debut album, Offworld. Recorded during August 2020 on location in Sanna, Ardnamurchan, in the Scottish Highlands, the album captures the spontaneity and improvised nature of the immersive Scottish landscape. By fusing together minimalist music and improvisation in a "live session," Cahill//Costello chronicle their own contemporary bardic and ethnographic interpretation of modern-day Scotland.
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2LP
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GB 1570LP
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Originally released in 2020. Those who know the duo will appreciate that every Binker and Moses performance is distinct in itself, characterized by a mutual spontaneity and a tireless interrogation of the infinite. This six-track recording, taken from their Journey to the Mountain of Forever album launch at the iconic Total Refreshment Centre back in 2017, is a whole new interpretation of the studio album's first disc (with the opening tune clocking in at a full 17 minutes of semi-free exploration). The audience's excitement, a sound-bed of whoops and yells, is heard intermittently throughout and only adds to the incredible vibe -- a tonic perhaps to these gig-dry, restricted times.
"Saxophonist Binker Golding and drummer Moses Boyd remain the most convincing of the new wave of London jazzers." -The Wire
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LP
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GB 1571OBILP
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Japanese edition. Look Out! is the triumphant sixth album return of jazz supergroup The Cookers. Recorded at the iconic Van Gelder studio in Englewood Cliffs and cut using a Van Gelder-era '67 Haeco Sculley lathe at Gearbox Records, the seven-track release comprises original, fresh pieces written by Cecil McBee, Billy Harper, and George Cables which channel the heady, aggressive post-bop era of the mid-60s. Whereas the majority of the jazz tradition's elder statesmen head their own groups, this is one of the few jazz bands to contain legacy musicians of this caliber functioning as an equitable, long-standing ensemble. Billy Harper, Cecil McBee, George Cables, Eddie Henderson, and Billy Hart all came up in the heady era of the mid '60s: Hart and Henderson were members of Herbie Hancock's groundbreaking Mwandishi group; Cecil McBee anchored Charles Lloyd's great '60s quartet alongside Keith Jarrett and Jack DeJohnette; Billy Harper was part of Lee Morgan's last group, as well as being a member of Max Roach's Quartet and Art Blakey and the Jazz Messengers; while George Cables held down the piano chair in numerous bands including groups led by Sonny Rollins, Joe Henderson, Freddie Hubbard, Dexter Gordon, and Art Pepper. David Weiss and Donald Harrison, from a more recent generation and the youngest members of the band, are experts in this forthright lingo, having gained experience performing with Art Blakey, Bobby Hutcherson, Freddie Hubbard, Charles Tolliver, Roy Haynes and Herbie Hancock. After 14 years together, again the incredibly high level of musicianship has only increased with the revisiting of their boundary-pushing music from these revered improvisers.
"Genuine all-stars" -The Guardian
"Individually, they've been at the core of the post-bop jazz scene for decades. As a group, they've been thrilling audiences around the world for the past 5 years." --NPR
"A dream team of forward-leaning hard-bop" --NY Times
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CD
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GB 1572CD
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Levitation Orchestra presents one of the most adventurous albums of recent times, bringing together multiple inspirations ranging across spiritual jazz, classical, electronica, soul, spoken word, M-Base, and no-holds-barred free improvisation. With trumpeter Axel Kaner-Lidstrom (Cykada, Maisha) as musical director, the collective comprises some of London's most promising young musicians, who together play in or with the likes of SEED Ensemble, Alabaster de Plume, Shunaji, Nihilism, PÆN, and Nardedey. Lluis Domenech Plana on flute, James Akers on tenor saxophone, and Ayodeji Ijishakin on tenor saxophone complete the horn section, with Saskia Horton on violin, Beatriz Rola on violin, and Emma Barnaby on cello making up the strings. Rhythm is available in handfuls from Hamish Nockles-Moore on double bass and Harry Ling on drums, complemented by Roella Oloro on keys, Maria Osuchowska on harp, and Paris Charles on guitar, with last but not least, Plumm and Dilara Aydin-Corbett on vocals. As a true collective, each member is vital, contributing equally to the whole in terms of playing and writing. Compositions formed out of group discussions, which in the case of Illusions & Realities, delved into childhood, stoicism, astrophysical theories, and neurological delusions, all interweaving and circling the point where truth and reality enter the realm of illusion. The result is a record which manages to channels the energy of Sun Ra's Arkestra, the spiritual ambience of Alice Coltrane, and the harmonic subtleties of Debussy, whilst ultimately producing something tantalizingly original.
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CD
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GB 1572CDOBI
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Japanese edition. Levitation Orchestra presents one of the most adventurous albums of recent times, bringing together multiple inspirations ranging across spiritual jazz, classical, electronica, soul, spoken word, M-Base, and no-holds-barred free improvisation. With trumpeter Axel Kaner-Lidstrom (Cykada, Maisha) as musical director, the collective comprises some of London's most promising young musicians, who together play in or with the likes of SEED Ensemble, Alabaster de Plume, Shunaji, Nihilism, PÆN, and Nardedey. Lluis Domenech Plana on flute, James Akers on tenor saxophone, and Ayodeji Ijishakin on tenor saxophone complete the horn section, with Saskia Horton on violin, Beatriz Rola on violin, and Emma Barnaby on cello making up the strings. Rhythm is available in handfuls from Hamish Nockles-Moore on double bass and Harry Ling on drums, complemented by Roella Oloro on keys, Maria Osuchowska on harp, and Paris Charles on guitar, with last but not least, Plumm and Dilara Aydin-Corbett on vocals. As a true collective, each member is vital, contributing equally to the whole in terms of playing and writing. Compositions formed out of group discussions, which in the case of Illusions & Realities, delved into childhood, stoicism, astrophysical theories, and neurological delusions, all interweaving and circling the point where truth and reality enter the realm of illusion. The result is a record which manages to channels the energy of Sun Ra's Arkestra, the spiritual ambience of Alice Coltrane, and the harmonic subtleties of Debussy, whilst ultimately producing something tantalizingly original.
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