Ascension (Ft. Vince Staples)
Strobelite (Ft. Peven Everett)
Saturnz Barz (Ft. Popcaan)
Momentz (Ft. De La Soul)
Submission (Ft. Danny Brown & Kelela)
Charger (Ft. Grace Jones)
Andromeda (Ft. D.R.A.M.)
Busted and Blue
Carnival (Ft. Anthony Hamilton)
Let Me Out (Ft. Mavis Staples & Pusha T)
Sex Murder Party (Ft. Jamie Principle & Zebra Katz)
She’s My Collar (Ft. Kali Uchis)
Hallelujah Money (Ft. Benjamin Clementine)
We Got The Power (Ft. Jehnny Beth)
Like their previous work, Bohren & der Club of Gore's eighth album folds in lounge jazz, dark ambience, the languorous adagios of classical-music requiem, and the saturated romance of Italian film soundtracks. But while the German band's earliest recordings were chilly and even brittle, Piano Nights is luxurious in its warmth.
With Excavation, London-based electronic producer Bobby Krlic, aka the Haxan Cloak, offers a multifaceted roadmap of the afterlife. The record, his first for Tri Angle, is about the journey taken after death, and it's bold and domineering, the kind of music that towers over you and casts a giant, intimidating shadow.
Welcome to the further adventures of Bohren and his crew of axe carrying jazz deconstructionalists.
Another Bohren & Der Club of Gore classic seeps up from below, seeing its first vinyl reissue since the original 2002 pressing! Like its predecessor, Sunset Mission, the tone and feel of Black Earth is steeped in a smoky history of noirish soundtracks, European minimalism and the intensity of avant metal, all perfectly weighted for head-plunging midnight immersion.
It still beggars belief how they manage to play so slow without at least one of them nodding off during the session, which tends to be as effective as a xanax at those times when required. In their world everything operates at an opiated pace, with silvery solo piano, resonant double bass dabs and spectral voices seemingly curling off the wax into acres of negative space and taking your thoughts with them.
In terms of a sonic experience, basically everyone needs to undergo a Bohren album at least once in their life, and if you’ve never squinted into the distance of Sunset Mission or stared into the abyss of Black Earth, you genuinely don’t know quite what you’re missing out on.
Everything, as David Lynch would say, is never quite what it seems.
Bohren & Der Club of Gore's intense blend of heaving doom reductions and late night Badalemanti style midnight jazz has bought them a fanatical following in both the Avant-Metal and Jazz communities. Their sound really can be best visualised with reference to the 'Bang Bang' Bar in Twin Peaks, all sleaze, unease and glamour in the archetypal Lynchian sense.
The members of Bohren started out in various Hardcore outfits, but when the band formed in the early 90's they soon settled on a blend of Metal, Ambient and Jazz that confounded and confused most listeners. Almost two decades later and Bohren enjoy something akin to a secret members following, with the likes of Mike Patton being so into the band that they are now signed to his own Ipecac imprint in the states. 'Dolores' is their first album since 2005's 'Geisterfaust' and is their most beautifully realised album yet, oozing mystery and atmosphere with a more muted take on that super luxurious sound.
Opening track 'Staub' unfolds with a solitary mournful organ, eventually coupled with that unmistakable, spine-tingling Fender Rhodes played so ably by Christoph Clöser. The track continues with spacious, staggered percussion and Vibraharp, whirling through 8 minutes of mystery and wonder. At the other end of the album 'Welten' closes off proceedings with a monkish drone most suitable to a Sunn 0)) opening, before once again those shimmering keys create that kind of immeasurably addictive confusion between darkness and light that could be said to be Bohren's calling card.
'Dolores' is a stunning, mesmerising minute journey into that sh*t that lurks beneath the surface, confusing, confounding and oddly uplifting all at once. A wonderful album that comes to you with our highest possible recommendation.
Philharmonics is the first studio album by the Danish singer-songwriter Agnes Obel. It was released from 17 September 2010 by PIAS. The album received positive reviews from both Danish and international music critics. Philharmonics peaked at number one in Denmark and Belgium, and charted inside the top ten in France and the Netherlands. The album has sold 450,000 copies in Europe.
Agnes Obel's pristine, delicate 2010 debut, Philharmonics, was an unexpected platinum-selling sensation here in Denmark, and a hit throughout Europe. The sudden fame left her reeling, and on Aventine, the classically trained pianist/singer has tried to make sense of things. Accompanied mainly by a single cellist, she has created a quiet, watchful record – a response to having spent 18 months in "a blur" of touring. The lyrics are impressionistic sketches (on Fuel to Fire, she sighs: "Roses on parade, they follow you round"), suggesting she saved the real firepower for the exquisite arrangements: sculpting strings and piano into beautifully melancholy ripples. Like Ane Brun and Seventh Tree-era Alison Goldfrapp, Obel is exceedingly good at conveying weariness and disorientation through sound: Run Cried the Crawling's pizzicato-plucked cello and otherworldly violin-swoops evoke the desolation of being awake at 3am, as do The Curse's precise droplets of strings and vocals. A wonderful autumn album.
Twin Peaks - Original Score LP. Music by Angelo Badalamenti. Artwork by Sam Smith, full package design by Jay Shaw. Pressed on 180 Gram 'Damn Fine Coffee' colored vinyl.
One of the greatest scores ever recorded is finally back in print for the first time in 25 years! We went back to the Warner archives, where engineer Tal Miller cut us brand new vinyl masters. We then worked with Dave Cheppa at Plush Vinyl to cut us new lacquers. Finally we asked Rainbo to press the record on 180g vinyl for the best possible sound quality.
The record comes housed inside a 425gsm gatefold sleeve featuring lyrics and liner notes by composer Angelo Badalamenti; the cover image by Sam Smith comes approved by David Lynch himself! The gatefold sleeve is then housed within a bespoke die cut outer jacket designed by Jay Shaw featuring super subtle white spot varnish text. The whole affair is finished with a top loading obi strip & pressed on ‘Damn Fine Coffee' colored vinyl.
“I'm glad that after 25 years, Death Waltz Recording Company has re-released the original soundtrack for Twin Peaks for a new audience to enjoy. This is my defining work as a composer and I’m happy it will get a fresh listen” - Angelo Badalamenti, 2016
Norwegian prog metallers LEPROUS present the band’s very first live DVD/CD/LP release, “Live At Rockefeller Music Hall” (2016). The band comments: "LEPROUS has always been a very active live band, and the live sound is a very important part of the band’s identity. The concert at Rockefeller in Oslo was a milestone for us and it perfectly shows what LEPROUS 2016 is all about."
Recorded live at a hometown show in Oslo on June 4th, 2016, “Live At Rockefeller Music Hall” was directed by Costin Chioreanu and its audio was recorded/mixed by David Castillo as well as mastered by Tony Lindgren of Fascination Street Studios. It offers a career-spanning set with surprise guests such as Ihsahn, an intense atmosphere and is a highly recommended audiovisual delight.
Quentin Dupieux a.k.a. Mr. Oizo has a knack for breaking molds. The producer’s constant innovation over the last 20 years has cemented him as a closely-guarded secret – one that has started to leak into mainstream electronic consciousness.
All Wet is but another morceau of psychedelic chirping in Mr. Oizo’s arsenal. Starting strong with “OK Then” and “Sea Horses,” Dupieux opens his oeuvre with a sleazy seminar on the archetypal funk-laden French house sound. “Freezing Out,” featuring Canadian sex-siren Peaches, is a jarring departure from convention, a footwork-accented dubstep ode to vaginas. From then onward, Dupieux takes listeners on a veritable rollercoaster of sonic exploration. Standout dancefloor-ready tracks like “Ruhe,” “All Wet” and “Low Ink” clash with the bare noise of “Chairs” and “Useless” in a beautiful chaos best consumed as an album, not a shuffled mess of singles.
Where Mr. Oizo’s sound was once too-future, votes of confidence from creative luminaries like Boys Noize, Charli XCX, and even Skrillex, are a resonating “fuck you” to the pandering, safe trend that electronic music has been invaded by as of late. Ultimately, Dupieux’s latest work is an unapologetic tapestry of intriguing tidbits. While few of its tracks fit the conventional definition of music, the impression is that Mr. Oizo never intended for them to be. All Wet, then, is a challenging, but rewarding listen for the open-minded.
Early this year remarkable reviews began to appear in the British music press for the latest sensations to come out of Scandinavia. There was a difference to many of the other acts earning Norway its reputation at the time, though. Jaga Jazzist is what can only be described as a supergroup. The ten members of the band are also active participants in, Kim Hiorthoy's group, Bobby Hughes Experience, Bugges Wesseltoft, Motorpsycho, Big Bang, Euroboys, Jazzkammer, Biosphere, Supersilent, Alog and Lasse Marhaug, covering every type of music from electronica, nu-jazz and rock. Jaga Jazzist are well known in Norway for contributing to almost every quality Norwegian record released in recent times.
The comparisons reached for by the press were as broad as they get - from Talk Talk, Soft Machine, Eric Satie, John Coltrane and Don Cherry to acts like Aphex Twin, Stereolab, Squarepusher, Isotope 217 and Tortoise. This range sums up the breadth and originality of the group's sound. Jaga Jazzist are indeed a musical one off who’s arsenal includes trumpets, trombone, electric guitar, bass, tuba, two bass clarinets, Fender Rhodes and vibraphone, and it is the mixture of these instruments with a sometimes harsh electronic edge that really makes the music stand out. It is melodic, delicate and subtle but a million miles from wallpaper music. It is music that demands and rewards attention, further proof that you don't have to shout to avoid being lazy chill-out-by-numbers.
The group came to the attention of Ninja Tune who will be releasing their work outside of Norway from now on and while "A Livingroom Hush" garnered critical acclaim , its distribution was patchy. Hence, this re-release, complete with the very odd but very wonderful Monty-Python-on-safari promo video from "Animal Chin".
It's a journey into sounds and moods that manages to sound both classic and contemporary and is an oasis to anyone interested in music which combines iconoclasm with beauty, melody with avant gardism and, in general, a complete lack of interest in anything other than good music.
The nine piece Norwegian jazz-rock-experimental behemoth that is Jaga Jazzist return to the fray with their stunning new album, “One Armed Bandit”. All galloping rhythms, and grandiloquent reach, main man Lars Horntveth describes the new sound, tongue-a-little-in-cheek, as “Wagner meets Fela Kuti!” Certainly we find it harder to imagine a better soundtrack being written for the first Nollywood Viking epic.
Jaga Jazzist have become something of a musical phenomenon in Norway since they started out fifteen years ago. Not only is this instrumental band regarded as one of the most exciting and innovative in Norway, the members are all involved in other musical projects and have in one way or another contributed to almost every significant recording to come out of that part of the world in the last few years. Their albums sell huge quantities in their own country and massive crowds come to their shows. Their international acclaim is signalled by the fact that the new album was mixed in Chicago by John McEntire of Tortoise.
Lars Horntveth began writing the music for “One-Armed Bandit” early in 2008. Looking for a way between and beyond the band’s previous albums, “What We Must” and “The Stix,” Hornveth decided that everything would be charted and written out, noth more focussed and layered than ever before. One night, while listening to Fela Kuti, he came up with title-track “One Armed Bandit” and everything fell into place – a kinf of ride of the polyrhythmic acid-addled valkyries that scarecely lets up across the 53 minutes of the final album.
Having taken on two new members, Øystein Moen and Stian Westerhus, the band rented a house in the Swedish forest to rehearse “this new Zappa-esque, more humorous prog-rock music.” On their return they rehearsed endlessly, a new tune each week, until in December 2008 the band went to Cabin Recorders to put down the album with Jørgen Træen, their producer since the early days of the group. Unfortunately, through no fault of the band’s, Træen got tinnitus after three weeks, so the mixing was completed in Chicago by the band and none other than John McEntire.
At heart this collective is a restless soul, going in many directions at the same time, but always going forward. Fast. The band always push their boundaries, both personal and musical. That is why they are impossible to categorize. And that's why they're special. Jaga is something natural and beautiful. A necessity. For both them and us.