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LOUD E

Is there another DJ out there like Loud-E? The guy operates in his own universe, soaring through absurdly obscure dance floor records and flipping them with his dusty, demented and wildly psychedelic sound. This contribution to Discos Capablanca is no exception, kicking off with the sequined disco stomp of "Get Down On Me", a Soul Train moment viewed through a thick fuzz of radio static from a UFO in high orbit. In fact, as the hot brass, celestial arps and breathy vocal twist in on themselves, it seems we've taken residence in an alien brain which can't quite make sense of our human noises. Next up "Marathon", my all time favourite former chocolate bar and new wormhole funk anthem. The nuanced percussion brings an organic funk to the party, while that gnarly synth sequences serves as gut loosening bass and face melting riff, locking us in for the mind melding prowess of that proggy lead line. If you've ever had one too many Jean-Michel Jarres and stumbled into the topless bar, you know what this sounds like. Finally we freak it to "Yeah Clavilove", a low slung and sleazy dancer centered on that timeless ribbet of the clavinet. Right at the sweet spot between funk, soul and AOR, this strange and brilliant jam will do it for Balearic beards and Cosmic explorers alike - believe the hype!

STAFF COMMENTS

Patrick says: Loud-E moves another couple of places up my all-time favourite editors here with a mindblowing three tracker of whacked out space disco, intergalactic sleaze and Balearic funk - keeping it psychedelic throughout.

James Brown

Say It Live And Loud (Expanded Edition)

On August 26, 1968, two weeks after releasing his civil rights anthem, “Say It Loud – I’m Black And I’m Proud,” James Brown recorded his concert at Dallas, Texas’ Memorial Auditorium. First released on CD in 1998, Brown’s Say It Live and Loud: Live in Dallas 08.26.68 album makes its vinyl debut in an expanded 2LP 50thAnniversary Edition.

"Say It Live and Loud..." captures James Brown and his band laying it down onstage in the heat of a tumultuous summer, just months after the assassinations of Martin Luther King Jr. and Robert Kennedy, and on the same night the turbulent Democratic National Convention opened in Chicago. The album features the first-ever live recordings of “Say It Loud – I’m Black And I’m Proud,” which Brown performed twice.

The new 2LP vinyl edition add two previously unreleased recordings, “That’s Life” and “The Popcorn,” as well as an updated essay by James Brown’s former tour manager, Alan Leeds. An essay by Public Enemy’s Chuck D, written for the album’s 1998 CD package, is also included. 

Makeness drops his debut album, "Loud Patterns" on the Secretely Canadian labe. Crafting tracks which make a virtue of disparate influences, Kyle Molleson manages to pull off something difficult: songs which have been tirelessly worked on, although sound loose-limbed and to-the-point.

"Loud Patterns" is noticeably indebted to house and techno; there are 4/4 rhythms, and a no-nonsense directness that harks back to the Detroit pioneers. Channeling avant-garde experimentalism and an outsider’s interest in pop, Kyle embraces the distance between those two poles.

Cosmic Slop, an underground institution in Leeds, was another touchstone. As Kyle recalls,'That place was definitely an awakening in terms of dance music.' It boasts a hand-built, peerless soundsystem, a near-pitch black dancefloor and a music policy that ranges from Dilla instrumentals to Detroit house. It takes dance music away from regimented structure, fashion and trends and into a freeform world of creative, one which Kyle thoroughly embraces.

"Loud Patterns" arrives after a series of releases that have established his particular, in-between approach to dance-minded music. He put out two EPs on Manchester-based imprint Handsome Dad, a one-off single with Adult Jazz and self-released Temple Works EP; Whities also released a limited-edition white label of a Minor Science dub of one of his tracks.

Containing single, “Stepping Out Of Sync" - 'for me is about losing a little bit of a grip on reality,' says Kyle. 'There’s a big nod to the world of pop music in the track and I wanted to reflect that in the video too. Josha and Felix, who directed the video, came up with this great time splicing technique using a custom 3-camera rig. The idea was to use the technique as a character in the video to add a sense of detachment from reality and subtly invert the upbeat aspect of the music. I had also been talking to my friend Maddie who is a brilliant dancer about working on some choreography for the video. These aspects seemed to come together perfectly when Josha and Felix started sending ideas across. I think the video really captures the range of emotions that exist in the track, it’s upbeat and positive aspect alongside a layer of dissonance and confusion that lies under the surface.'. 


Beach Slang's second full-length is a crash-and-thunder collection of songs about what it takes to keep yourself going, to make it through the rest of the night—hell, through the rest of your youth—and beyond. Frontman James Alex wrote much of A Loud Bash Of Teenage Feelings on their first album’s support tour, during which he spent a lot of time with the kids who’d picked up the record.

“A lot of the songs [on Loud Bash] are the stories of the kids who got turned on to Beach Slang by the first album,” says Alex. “They’re autobiographical, too, but kind of at a remove—I’m not that young kid anymore, but I used to be. You know how it is; rock and roll is a new crop of 15-year-olds picking up guitars every year and having at it. There was something really cool about documenting someone elses life, but seeing myself in it. I suppose that’s why we connect. We’re all kind of one big gang.”

The Wimmins' Institute

Badass Lady Power Picnic

The riot grrrls have grown up. And their music just gets sassier. Former Melody Maker journo Ngaire Ruth sums up The Wimmins’ Institute to a T: “The Raincoats meets Throwing Muses, with an individual down-to-earth humour that shows these women live their ordinary lives with extraordinary flair, wickedness and good grace.” (Louderthanwar.com) By this she refers to their songs about caesarean sections, mansplaining, and mother-in-laws. Wry humour in awesome punk-pop.

This all-woman supergroup has only been together as a band since April 2015, however they are all ͚old hands͛: Jen Denitto and Deb Van Der Geugten were in seminal riot grrrl band Linus in the 90s, and Cassie Fox and Melissa Reardon are also in Thee Faction, the notorious ͚socialist R’n’B band who wowed this summer’s Leftfield stage at Glastonbury. Charley Stone (of Salad, Gay Dad, Ye Nuns amongst many others) produced the album at Dean Street studios in Soho, and frequently joins the women on stage as guest lead guitarist. Cheerfully DIY, the Wimmins posted a few CDs out to the media, and have had a flood of glowing reviews back. 

Workin' Man Noise Unit

Play Loud

    Knocking around the UK underground toilet scene for the past 4 or 5 years, Reading’s WORKIN’ MAN NOISE UNIT have been busy playing countless gigs, releasing limited run tapes/singles and making a nuisance of themselves on postage stamp sized stages around the country. Along the way they’ve picked up some fans, including the likes of Julian Cope who dragged them to London to perform at one of his book launches, and have shared stages with plenty of the current UK underground Mafioso including Hey Colossus, The Unit Ama, Good Throb, Carlton Melton, Terminal Cheesecake, the Wharves, Sly & the Family Drone, Grey Hairs, Gum Takes Tooth, Art of Burning Water, Henry Blacker, Perspex Flesh, Wolf People etc

    SOME OF THE THINGS THIS RECORD IS ABOUT
    Most of the songs on this record are pretty self-evident. Creepin’ Round is about feeling like an outsider. Smoke Like Hell is about choosing immediacy, choosing the ‘right now’. Jammer is sorta the same except it’s got a beady eye on what you might call ‘basic shamanism’, you know… Cruisin’ the IDR is about Reading’s Inner Distribution Road, which is a concrete blanket that snakes around the centre of the town, holding Reading in a sort of permanent stranglehold. It’s been there since the late 60s and it’s ugly to look at. Part of the IDR has big concrete walls and all you can see whilst driving through these sections is tarmac, concrete and, if you look up, sky. We drive around it a lot. Cruisin’ the IDR is the closest thing we will ever get to a ‘hometown’ song. Yeah, I was Hypnotised is about fascination with the atomic bomb, particularly the ubiquitous ‘mushroom cloud’ image but also the small matter of the human race making this thing in order to destroy itself en masse. Hate It is about apathy and feeling powerless to change owt going on. It’s also about recognising that apathy and trying to get yourself going, find a way through it. And about lying to yourself.

    Julian Cope reviewing the bands ‘DRINKIN’ STELLA TO MAKE MUSIC TO DRINK STELLA’ cassette

    “Okay, now deffo the best way to commence this month’s Reviews Section is to pop on to my nearest ‘90s ghetto blaster this manky chromate yellow cassette emblazoned with the simple words ‘play loud’. Brilliantly named DRINKIN’ STELLA TO MAKE MUSIC TO DRINK STELLA TO and magnificently performed by four English nuttas by the name of Workin’ Man Noise Unit, there’s enough cunted Mithraic fire within these two brief sides of monumental midrange and Tinnitus-inducing plateaux to summon up a whole new music scene around these geezers, nay, these Pyramids of Giza. What’s it sound like? Fuck knoweth, brothers’n’sisters. How about the bastard offspring of Final Solution-period Pere Ubu plays Tight Bros From Way Back When, or even the Electric Eels performing Monoshock’s ‘Model Citizen’ into a single compressor microphone. Sweeeeeett! A classic debut, kiddies; let’s just hope nobody with a studio comes to fuck’em up.”

    Summed up nicely. PLAY LOUD.

    FORMAT INFORMATION

    Ltd LP Info: Limited edition 400 only black vinyl LP with download code and insert.

    The third studio album from singular artist Julia Holter.

    New album of avant-pop experimentation from the LA based singer / composer that blends influence ranging from Joni Mitchell to Arthur Russell and the poetry of Frank O’Hara into a daringly unique work as conceptually strong as it is immediately affecting.

    ‘Loud City Song’ follows, and progresses brilliantly from ‘Ekstasis’, one of last year’s most critically lauded records.

    STAFF COMMENTS

    Andy says: Julia Holter's Domino Records debut fittingly feels like the start of something new, honing as it does, everything that's special about her. Dark and dreamy.

    We Are Loud Whispers is a dreamy duo featuring Sonya Westcott (Arthur & Yu) and Ayumu Haitani (4 Bonjour's Parties).

    ‘Suchness’, their debut album, displays intricate electronic orchestration, loops, and effects, while relaying an organic ease.

    Assembled over emails sent between Seattle and Japan, ‘Suchness’ transcended geographical and language barriers - and traditional ideas of what a ‘band’ is - in its making.

    The album includes performances from a handful of very special guests including Bonnie 'Prince' Billy (singing duet on "Would You") and members of Lambchop and The Silver Jews (Matt Swanson on bass, Tony Crow on synth and William Tyler on electric guitar). Strings and horns were recorded in Kangaroo Valley by Tony Dupe. "A Loud Call" was recorded in a brick house on a leafy street in Nashville, Tennessee by engineer and producer Mark Nevers (Lambchop, Andrew Bird, Bonnie 'Prince' Billy). Partly written on the road , partly written at home, the songs on "A Loud Call" find their inspiration in the tenuous gaps between hope and resignation, romance and indecision, nostalgia and rejuvenation. From the swelling guitar feedback and beds of vocal harmonies which engulf the opening track ("Warm Jets") to the odd-pop, bicycle wheel percussion of "Time It Takes" and the bright sparks of trumpets and pizzicato cellos on "A Heart Divided" the album is richer and more full bodied than its predecessors. But for all it's diversity, "A Loud Call" is effortlessly cohesive: quotidian narratives, epigrams against heartbreak, and vivid, otherworldly fragments are anchored by Holly's distinctive phrasing and lyrical concision.

    Originally out in 2001, 4hero's follow-up to "Two Pages" is now reissued with a bonus track. The album features amazing ahead-of-the-game lush string-filled production from Mark and Dego (as we've come to expect) and an impressive line-up of vocalists - Terry Callier, Ursula Rucker, Jill Scott, Bembe Segue etc. Including a full live band playing the deepest, soulfulest cosmic soul-jazz and nu-jazz grooves, "Creating Patterns" is a masterpiece that still sounds totally fresh five years on.

    Gilles is back with another brilliant selection of tracks played on his syndicated 'Worldwide' radio show. Includes new stuff straight off the dubplate and old classics / rarities too: 2 Banks Of 4 "One Day", The RH Factor "Poetry" with Erykah Badu, RSL's killer latin-jazz anthem "Wesley Music", Henry Mancini & His Orchestra "Butterfly", a wicked latin remix of James Brown's "Give It Up Or Turn It Loose", Spanish Harlem Orchestra's "La Banda", Raphael Saadiq "Skyy, Can You Feel Me", DJ Gregory "Elle" and a Radio 1 session version of The Roots "The Next Movement" (exclusive to the vinyl).

    FORMAT INFORMATION

    CD Info: 15 track CD. Extras include The Detroit Experiment "Space Odyssey", Amy Winehouse "Take The Box", Kelis "Little Suzie" and Terri Walker "Guess You Didn't Love Me".

    Various Artists

    Gilles Peterson - Worldwide

      GP selects 24 favourites from his radio show, circa 2004. Includes nu-jazz, hip hop-soul, funk, soul and jazz classics (and whatever else he fancies!), plus recent winners: Vikter Duplaix, Roy Ayers, Pepe Bradock, Rotary Connection, Jill Scott, Spacek, Zero 7, John Martyn, Sarah Vaughan, Young Disciples, Edwin Starr and many more.

      Ramones

      Loud, Fast - Their Toughest Hits

      Ramones compilation compiled by Johnny Ramone. This limited edition version, includes a bonus disc, live in London, featuring eight previously unreleased songs.

      Sonna

      We Sing Loud Sing Soft Tonight

      Recorded by Steve Albini at his electrical audio studios, this dark and addictive music that will appeal to fans of Low, Tortoise, Papa M, Codeine and Yo La Tengo.


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