"As Days Get Dark", das erste Album des schottischen Duos - Aidan Moffat und Malcolm Middleton - nach einer 16jährigen Pause und nach "The Last Romance" ihr insgesamt siebter Longplayer, ist sowohl Evolution als auch Revolution zugleich.
Geblieben ist jene verwobene Mischung aus düsteren Post-Rock-Soundscapes, subtiler Elektronik, klickenden Drum-Beats, apokalyptischen Streichern und Moffats unvergleichlichen halb gesungenen, halb gesprochenen Gesang, jedoch erweitert um eine Vielzahl neuer Sounds wie Saxophonpassagen und Disco-Grooves.
Entstanden ist das Album in Zusammenarbeit mit Produzent Paul Savage (The Delgados).
Inkl. Postkarte mit Downloadcode
REMASTERED FROM THE ORIGINAL TAPES & PRESSED ON LOUD DOUBLE VINYL!
Hot of the success of Jay-Z’s Reasonable Doubt, producer extraordinaire Ski was on fire when he
flipped Dynasty’s “Adventures In The Land of Music” for Camp Lo’s breakout 1996 smash single
“Luchini aka This Is It”. The same year saw Camp Lo opening shows for De La Soul during their
Stakes is High tour. Combine that with the fact that Ish aka Butterfly from Digable Planets had
cosigned for the group’s reputation and would appear on of the tracks (in addition to Trugoy from De
La), there became a huge buzz around their debut album Uptown Saturday Night.
Fast forward a few months to January 1997 and the heavily anticipated release of Camp Lo’s first
record, which did not disappoint. It struck the perfect balance between club tracks and underground
bangers for the mixtape crowd. Critically acclaimed and fan approved, this late 90s must-have was
complimented by the incredible cover art illustrated by legendary NYC graffiti artist Dr. Revolt that paid
homage to Marvin Gaye’s 1976 classic I Want You. It’s hard to believe in the time of Puffy’s heyday,
Camp Lo had developed and delivered a style of Hip Hop that was not only fresh and creative, but also
straight up dope. Flipping intricate rhyme styles over some of Rap’s finer beats, the fact that Camp Lo
got main stream radio play and love from big time club DJ’s is a testament to the essence of what Hip
Hop was once about: raw talent and originality!
Mit ihrem dritten Album "Seeds" erheben sich DOMKRAFT wie ein Phönix aus der Asche ihrer vorherigen apokalyptischen Werke. Das psychedelische Doom-Trio konzentriert sich nun auf die Idee, aus den Ruinen des Zusammenbruchs eine neue und bessere Welt zu erreichten. Während der Hitzewelle des Jahres 2020 machten sich die Schweden nach Göteborg auf, um dort im Welfare Sounds Studio unter der Leitung von Kalle Lilja und Per Stålberg drei Tage lang, eine neues Epos einzuhämmern, das zugleich roh und live klingt. Dank des Zaubers von Mix-Magier Karl Daniel Lidén (GREENLEAF, KATATONIA, LOWRIDER) kommt DOMKRAFTs markante Wucht besser als je zuvor zur Geltung. Dazu gesellen sich ambitionierte lyrische Themen, die das massive Riffing und den mesmerisierenden Fluss der Stockholmer mit inhaltlichem Kontext versehen. Das Trio entstand ursprünglich aus seiner gemeinsamen Vorliebe für solche Acts wie SPACEMEN 3, MONSTER MAGNET, SLEEP und HAWKWIND.
Dancer and B3 Hammond player Leon Gardner moved from his Texas to Los Angeles sometime in the mid '60s. Soon after arriving he set up his own Igloo records.
While in LA, Gardner befriended arranger and pianist Arthur Monday, Monday had settled in LA with his friend and co-musician Gabe Fleming, and they shared arranging credits for a few of the igloo releases. Fleming was credited for 'Farm Song' while Monday was credited for 'Honest Song' on the flip. 'Igloo Records' ie Leon Gardner was credited as producer. In reality, it's likely that the three of them worked together on both sides of the record and others on the label. Leon also arranged and produced other bands on the label such as the deep soul classic by the Jhamels 'I've Cried' and Wallace Petty Combo's Petty Cash but never reached the success he had hoped for.
A Decade later and Gardner became frustrated by his lack of recognition, and became increasingly more reclusive, which in turn led to a rift between him and his family. Drummer Edward 'Apple' Nelson (see Tracks 2 and 12), remembers his first impressions of Leon, "I met Leon a few times here and there as him and Monday were real tight. I didn't get to know him that well or nothing as he could came across as very much into his own thing". Leon's son Darrell recalls his father's music, saying "I always knew his music was special even back then and am truly surprised that he never really got any recognition for it until now". Looking back, LA bandleader Charles Wright concurs, "We didn't think of him as being very significant but I guess he was. He did come out with some good lyrics".
As well as his other 45s released on Igloo, there were other recordings made for several other independent labels between 1965 and 1974, after which Gardner seemed to disappear under the radar.. The general consensus is that he is currently was no fixed address and living somewhere in the Hollywood district of Los Angeles, yet all attempts to contact at this point were unsuccessful.
This Leon Gardner / Igloo records LP was originally a project Gerald Short of Jazzman Records. Gerald worked on this over 10 years ago and spoke to many involved with the label who are no longer with us. He finally managed to track Leon down to a care home in LA but unfortunately, Leon passed away soon after Gerald reached out to him. Gerald decided not to continue with the LP out of respect, the information and text here is kindly supplied by Gerald so thanks to him for that.
Repress! Buffalo, NY rapper Westside Gunn is one of hip-hop’s most exciting
new stars, attracting fans and acclaim for his unique voice, exquisitely
gritty wordplay, and minimalist, soul-drenched production. Mr. Green
is a renowned hip-hop producer who has crafted tracks for the likes of
Jedi Mind Tricks, Snoop Doog, A$AP Ferg, The Roots, Freddie Gibbs,
KRS-One, Bodega Bamz, R.A. The Rugged Man, Deniro Farrar, Raz
Fresco, and many more. Now, the two artists are joining forces for a
new collaborative EP,
FLYGOD Is Good... All The Time
. While this is their
first time working together, the chemistry is obvious, and the respect is
“Westside Gunn is incredible, a true mastermind,” says Mr. Green. “He
has this sound that is completely one-of-a-kind, just gives you that
indescribable feeling we are all looking for in hip-hop these days.”
Mixed and mastered by legendary engineer Eddie Sancho (known for
his work with Gang Starr, Jay-Z, Nas, The Notorious B.I.G., Alchemist,
M.O.P., Dilated Peoples, and many more), the EP showcases some of
the best work to date from both Green and Gunn.
“This is a true WSG art piece,” says Westside Gunn. “Everything I do is
under a microscope, so it gotta be A1.”
Koma Saxo, the explosive quintet led by Berlin-based Swedish bassist/producer Petter Eldh, returns on We Jazz Records with their new album, cut live at We Jazz Festival in Helsinki, December 2019. Whereas their lauded debut was a triumph of remapping the goal posts for an acoustic jazz combo for the 2020's, "LIVE" takes you right to the heart of the actual ensemble sound, with 5 musicians tearing the place down, no post production. From the fiery opening sequence kicking off with "Euro Koma", on to the much calmer beauty of "Waltz Me, Waltz Me Baby, All Night Long" and the first single "Fiskeskärsmelodin", the 8-song set is pure fire, never failing to convey the extraordinary intensity of the group: Eldh on bass, Otis Sandsjö (Y-OTIS), Jonas Kullhammar and Mikko Innanen on saxes, and Christian Lillinger on drums.
An excerpt of liner notes by Peter Margasak:
"When I first saw Petter Eldh's quintet Koma Saxo in Berlin in September of 2019 I was floored. The raw, sprinting energy of the band was both infectious and astonishing, but what I most remember was a sense of cognitive dissonance. Was this the same combo that recorded a fantastic eponymous 2019 studio album that represented one of the most convincing, pleasurable, and driving hybrid's of searing post-bop and the production ethos of hip-hop? There have been endless stabs by producers trying to remap the machinations of an organic, all-acoustic jazz band with electronic post-production, but Eldh, channeling a sonic language heavily informed by J Dilla, nailed it in a way I'd never experienced before. Having the trust of his three imaginative, high-octane saxophonists—Jonas Kullhammar, Otis Sandsjö, and Mikko Innanen—he used their grainy sound as raw material, smudging and smearing it like a painter creating new hues on a palette, and then extending, editing, and powering it up within the imperturbable grooves meted out by he and drummer Christian Lillinger. He didn't really alter the essential core of the band's performances. There's no question that a seriously burning quintet had laid the tracks down, even if the performances reflected the kind of concision many jazz groups adapt for a studio endeavor. But the way his jacked-up bass lines and Lillinger's impossibly peripatetic, stuttering rhythms buffeted the massed saxophones elevated Koma Saxo to plane all its own, and I repeatedly returned to that place—half the time trying to figure out what the hell Eldh had done, and the other half lost in giddy ecstasy.
The live show, on the other hand, featured the band without any production tricks. Its soaring, pithy repertoire came alive in a different way, and this excellent live recording from the 2019 We Jazz Festival, has reminded me of how fun and visceral that experience was."
Koma Saxo "LIVE" is released by We Jazz Records on 30 April 2021 on two vinyl editions (silver + black), as a bundle with an unreleased 7" (+ silver vinyl edition), on CD and digitally. The vinyl versions plus the CD come complete with silver embossed lettering. The vinyl is delivered on heavy-duty tip-on sleeve, complete with an insert featuring liner notes by Peter Margasak, Andreas Müller, Matti Nives and Petter Eldh.
First reissue of this legendary album from Orchestra Baobab. Limited Vinyl 180g, remastered from tapes.
Released in 1981, the legendary album "Mouhamadou Bamba" is the masterpiece of the Orchestra Baobab, which has dedicated more than ten years of existence. Under the direction of the percussionist saxophonist Issa Sissokho, of the irremovable guitarist Barthélémy Attiso the band records this album at the Golden Baobab studio in Dakar directed and produced by the young producer Ibrahima Sylla.
The Baobab symbolizes both the rooting in Senegalese traditional values and the ability of the tree to reach heights, the sound of the group is a perfect syncretism of Senegalese and Afro-Cuban imaginaries in which the montunos of electric guitars and vocal improvisations in wolof language marry subtly to the rhythms of cuban son and other boleros.
Grandiose Werkschau der Anfangsjahre von Bob Dylan, des legendären Folk-Singer/Songwriters, einer der wichtigsten, musikalischen Vertreter der Friedens- und Protestbewegung der 1960/1970er. Doppel-LP mit sämtlichen Songs seines selbstbetitelten Debütalbums (1962), der Rockabilly-Flipside "Mixed Up Confusion" seiner Debüt-7" (1962), sowie weiteren Raritäten und Coverversionen (von Woody Guthrie, Howlin' Wolf, Muddy Waters) der Jahre 1961-1962.