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LOW

Düsseldorfer’s Detlef Weinrich returns under his Tolouse Low Trax monikor (you might know him as a member of the band Kreidler). His first solo album “Mask Talk” thrives on a feathery beat frequency and cool new-wave-strength. His recently released piece “Corridor Plateau”, which appeared as a limited edition to accompany the exhibition “Corridor Plateau” contains percussive electronics and heavy industry as strangely resonated with much of north west England’s cotton towns.

His third album “Jeidem Fall” sounds like music brought down to earth from the heavens. But its a dark cosmos in which there are only fleeting glimpses of light. All eight tracks were composed in a short space of time over the period of just a few months and fit together perfectly atmospherically. With a musical expressiveness that undoubtedly twists your emotions, “Jeidem Fall” attacks the subconscious and clouds the mind. The drums have more movement than on “Mask Talk”, and there’s a thick, noxious gloop gelling much of the elements together.

TLT definitely takes inspiration from Craig Leon's first reductive album “Nommos“. There is also a hint of the minimallist industrial music of the Spanish band Esplendor Geometrico in the bubbly textures. Choosing the classic MPC and his small synth setup to make his music, the music has a unique identity. Again Tolouse Low Trax has created a truly mysteriously vibrating musique which offers hypnotic magic for the shadowy dance floor. Only a little light should illuminate the whole thing and the bodies that move above them should have no fear from the threatening percussion. A dark swaying shadowy mass, ideal for those end of the night journeies and possessing a air of dark eroticism. Recommended. 


Over the past few years The Magic Movement have coolly secured a place at the top table of consciousness shifting club tackle, and their latest release continues to fuel the shamanic dance. Fresh from a debut LP on Random Collective, Anatta arrives with tribal throwdown "Fields Of Play", along with a trio of mesmeric remixes from Noema, Tolouse Low Trax and Carrot Green.

In the original mix, Anatta invites us to discover a sonic world between pitched down UK House and future-primitive downbeat.
Rough Drumbeats, quirky synths, and catchy vocal chops guide us through a sophisticated arrangement with unforeseen twists and turns.

Salon des Amateurs resident Tolouse Low Trax delivers the 'Knights & Wheels Remix' in his signature style: While a hypnotic vocal loop hooks you up from the very beginning, minimalistic and dreamy synths slowly submerge the listener into a jam of stripped-down Lo-Fi funk.

The 'Beat Mix' by Rio de Janeiro's sound wizard Carrot Green and long time family member of the label, speeds up the tempo, and puts together a groove of classic electro boogie vibes with a P-Funky bassline that sounds like a futuristic liaison between Afrika Bambaataa and George Clinton.

Increasing the UK house vibe with strong drums and a wobbly bassline, Noema's 'Acid Ghetto Style Remix' works the mysterious vocals of Anatta into a delicious hook and creates a highly animating and fun dancefloor monster.

And now, let's get weird!!!

STAFF COMMENTS

says: Fifteen releases in and The Magic Movement continue to deliver the high grade dancefloor psychedelia. Now Empire Market's down, I'd suggest you light a candle and embrace the shamanic shakedown of the Tolouse Low Trax remix here.

This is Tolouse Low Trax’s 4th solo album Jumping Dead Leafs.
A 38 minutes exorcism, dionysac sexyness fueled with romanticism, made of mechanical incantations mixed with spectral vocals of forgotten imaginary tribes, words from a physicist (Incomprehensible Image), and mystical breathings… To remind you that music is demanding your soul and body, fully. A master irritator, disclosing this talent all the way, down to every chosen title, for the album itself and all of its components (would you put Milk in Water ?). As repetitive or minimalist music may already make some of you feel nervous, it seems more accurate to talk here about primitive music - notwithstanding a non violent anarchism. But those are only words and vain attempts to attach TLT to a region or a family. Neither the burden of classical European music legacy, which eventually lead to pop music, seemed to interfere with his wild mind, and if it is no surprising to hear Bach in German electronic music, there is here a clear statement that you are out of this sirupy prison… For D.W. is a sorcerer. He’s been empirically learning the speaking of trance with years of touring and experimenting with all kinds of audience and venues, from clubs to museums, from Mongolia to Brazil, from his performances with his bands Kreidler or Toresch to solo ones, sustained by a steady limited set up, as the one used when he’s recording : one MPC, rudimentary synths, few effects and a mixer. No sound engineer on stage as only he knows his secret language… Raw dubmaking, leaning towards
hip hop, indubitably underlining here a significant distanciation from his previous industrial inspirations. The bewitchment of this record is operating with no warning from the very first seconds until the last epiphany of Sales Pitch. He is using his knowledge of techno, psychedelism (Inverted Sea), UK bass (Jumping Dead Leafs), only to bring you out of it. We all tend to be slaves, without even being conscious about it, and a balance must be existing between being a slave and showing off. Mr. Weinrich’s answer is unsettling because it is an utter call to this balance, in our world of black and white and political correctness. There is no morality in music… Don’t expect anything else than an unaccountable liberating immediate experience. Don’t expect any kind of music because you are already in the past or the future… From his recording technique mainly relying on one takes, his adoration of mistakes and jeopardy, to the core essence of repetitive music, it is all hereabout being in the present. No ears no glasses. 


STAFF COMMENTS

says: Dusseldorf's dance floor Derrida comes correct with his first solo album in six years, providing a little club deconstruction for the fringe DJ and haunted home listener! Frankly, no one sounds like Detlef, and as this LP blazes its hazy trail through warehouse smog, dislocated dubspace and an entirely crepuscular strand of psychedelia, it becomes increasingly clear how much we've missed him.

Twin Peaks

Lookout Low

    Twin Peaks are elated to announce their new album, Lookout Low,  via Communion Records. Where their last LP, 2016’s Down In Heaven, and 2017’s Sweet ‘17 Singles compilation were adventurous and compelling updates on their youthfully raucous formula, their fourth album, Lookout Low feels like a total revolution. Their most deliberate and seamless record yet, the album is a collaborative triumph, propelled forward by Twin Peak’s near-decade-long bond.

    For Lookout Low, the five of them - guitarists Cadien Lake James and Clay Frankel, bassist Jack Dolan, multi-instrumentalist Colin Croom, and drummer Connor Brodner - committed to work countless hours in their studio and practice space. Meeting daily, they demoed 27 songs and relentlessly rehearsed them, eventually whittling down to a select ten tracks.

    The album was recorded at Monnow Valley with legendary producer Ethan Johns ((Paul McCartney, Kings of Leon, Laura Marling, White Denim), who lauds Twin Peaks as “the best Rock and Roll band I’ve heard for a very long time.” Already a well-oiled live unit, the band’s mission was to capture the exhilarating vibe of their shows. Often, they thrived on the thrill of live recording, going with the magic of the original first take. This life-affirming burst of adrenaline seeps into every facet of the LP. 


    STAFF COMMENTS

    says: You may have heard the standout single 'Dance Through It', but if not, it's a feel-good slice of rich feel-good instrumentals perfectly balanced with smooth vocals and sleazy wurlitzer. The rest of 'Lookout Low' is just as superb, ranging from more relaxed soul-led pieces to giant party anthems.

    The 12th installment of Fat Beats’ celebrated instrumental series, featuring harpist, pianist, guitarist and producer Low Leaf. "Not all creation is inspired. It is the Spirit of Life that gives breath to a chord, a texture, a space to explore. Pure inspiration is a direct translation from the cosmic symphony that our collective heart beats to.

    It is the essence of all that is true, whole, and free. Being planted in the periphery of Los Angeles, I have witnessed the musical landscape’s ever-evolving terrain from a spiritual perspective. I’ve come to learn the gravity of music’s inherent healing quality through life experiences; the ones that have tilled the soil of my being, season after season. By way of meditation and prayer / listening and speaking, we are capable of connecting to endless musical realms within. These are sounds that forever feel familiar, for they bring the spirit home; the return to peace and understanding. My dream is to live as music to the best of my ability, so that the Spirit of Life may use my voice as an instrument for God’s glory. create or die." - Low Leaf 

    OK SPIRIT is a new label founded by N.I.B., Kilian Paterson and DJ Neewt. The Frankfurt trio get on message from the off, opening their account with a wild range of contemporary dancefloor adventures prompted by sonic shaman Bear Bones, Lay Low. On the A-side, title track 'Voces De Humo' is an epochal 17 minute journey from the Belgium based producer, twisting searing waveforms and vivid distortion around tribal rhythms in a typically lysergic fashion. The B-side belongs to the remixers, and DJ Plead kicks it off with a growling EBM / Industrial version complete with scattering, almost DnB rhythms, sacred frogs and scorched frequencies. The B2 sees the track taken on a different tack as TNC6 heads for the undergrowth with the humid and transcendental "Needles In The Heart Mix", a ceremonial stunner with a late break into wild rave breaks.

    Low Sea

    Portals

      Hailing from Ireland, Bobby (originally from Liverpool) and Billie (Bosnian born) from the ephemeral Low Sea compose music that flows like a serpentine river through the uncanny valley. Indeed, the owls are not what they seem—but even such blatant allusions can’t sketch an intuitive image of the sound-scapes woven by this intriguing dyad.

      This is the duo’s third album having released a mini album on Lefse and a narcotic synth pop album on Dell’Orso and this album further extends their insular grey disco sound.

      Low Sea’s woozy, gothic take on coldwave synthpop remains intact on Portals, but this time out moving from the shadows to the light of city nights. Intricately layered melodies shimmer and then pick up energy, as Billie’s unique beguiling voice sings of loss and triumph, loneliness and euphoria.

      As with the last album there is a track mixed by the legendary Stephen Hague (Propaganda/ Pet Shop Boys), the final song All Living Creatures.

      ‘’There are just not enough superlatives in the English language for that matter to describe how good this band are’’
      - Dan Hegarty, RTE2FM

      ‘’the most glorious dark – hewn pop songs – the perfect mix of heart and ice’’ NME.


      FORMAT INFORMATION

      Coloured LP Info: 300 only on angel delight pink vinyl.

      Low

      The Great Destroyer (2018 Reissue)

      “From the ominous, post-punkish pulse and clang of opener ‘Monkey’, to the decidedly punky frustration of ‘Everybody’s Song’ and the unapologetic riffing of ‘California’, ‘The Great Destroyer’ pushes the band's sound on to thrilling new vistas” - The Guardian

      Formed in 1993, Low are a trio from Duluth, Minnesota comprised of guitarist/vocalist Alan Sparhawk, percussionist/vocalist Mimi Parker and bassist Zak Sally.

      Initially garnering attention as leaders of the ‘90s slowcore movement, Low went on to develop a sonic repertoire that incorporated pop, R&B and dissonant rock ‘n’ roll. With this kind of storied history, most people thought they had Low pegged. But then they turned in ‘The Great Destroyer’.

      The band’s seventh full-length album, ‘The Great Destroyer’ is fascinating in that it blends the band’s austere melodies (‘On the Edge Of’, ‘Silver Rider’) with an aggressive guitar onslaught (‘Monkey’, ‘Everybody’s Song’) and even melds Low’s varied styles together into a single song (‘When I Go Deaf’).

      Co-produced by Low and David Fridmann (Flaming Lips, Mercury Rev), ‘The Great Destroyer’ was a welcome surprise and, in the end, a rock ‘n’ roll revelation.

      In 2018, Low will turn twenty-five. Since 1993, Alan Sparhawk and Mimi Parker—the married couple whose heaven-and-earth harmonies have always held the band’s center—have pioneered a subgenre, shrugged off its strictures, recorded a Christmas classic, become a magnetic onstage force, and emerged as one of music’s most steadfast and vital vehicles for pulling light from our darkest emotional recesses. But Low will not commemorate its first quarter-century with mawkish nostalgia or safe runs through songbook favorites. Instead, in faithfully defiant fashion, Low will release its most brazen, abrasive (and, paradoxically, most empowering) album ever: Double Negative, an unflinching eleven-song quest through snarling static and shattering beats that somehow culminates in the brightest pop song of Low’s career.

      To make Double Negative, Low reenlisted B.J. Burton, the quietly energetic and adventurous producer who has made records with James Blake, Sylvan Esso, and The Tallest Man on Earth in recent years while working as one of the go-to figures at Bon Iver’s home studio, April Base. Burton recorded Low’s last album, 2015’s Ones and Sixes, at April Base, adding might to many of its beats and squelch and frisson beneath many of its melodies.

      This time, though, Sparhawk, Parker, and bassist Steve Garrington knew they wanted to go further with Burton and his palette of sounds, to see what someone who is, as Sparhawk puts it, “a hip-hop guy” could truly do to their music. Rather than obsessively write and rehearse at home in Duluth, Minnesota, they would often head southeast to Eau Claire, Wisconsin, arriving with sketches and ideas that they would work on for days with Burton. Band and producer became collaborative cowriters, building the pieces up and breaking them down and building them again until their purpose and force felt clear. As the world outside seemed to slide deeper into instability, Low repeated this process for the better part of two years, pondering the results during tours and breaks at home. They considered not only how the fragments fit together but also how, in the United States of 2018, they functioned as statements and salves.

      Double Negative is, indeed, a record perfectly and painfully suited for our time. Loud and contentious and commanding, Low fights for the world by fighting against it. It begins in pure bedlam, with a beat built from a loop of ruptured noise waging war against the paired voices of Sparhawk and Parker the moment they begin to sing during the massive “Quorum.” For forty minutes, they indulge the battle, trying to be heard amid the noisy grain, sometimes winning and sometimes being tossed toward oblivion. In spite of the mounting noise, Sparhawk and Parker still sing. Or maybe they sing because of the noise. For Low, has there ever really been a difference?

      STAFF COMMENTS

      says: Never one to shy away from a new direction, the ridiculously superb Low return with their most shadowy electronic affair yet. Bathed in distortion and rich, saturated ambience, it's a testament to their skill as songwriters and their overwhelmingly familiar 'Sound' that this still comes across as one of the best releases of their career. Mindblowing stuff.

      FORMAT INFORMATION

      LP Info: Gatefold digipak with embossed cover.

      LP includes MP3 Download Code.

      CD Info: Embossed jacket with custom dust sleeve.

      CD includes MP3 Download Code.

      Denis Mpunga & Paul K

      Criola Remixed - Inc. Prins Emanuel/ Dazion / Androo / Tolouse Low Trax / Interstellar Funk Remixes

      Music From Memory continue to cook up the heaters here, beaming onto your deck with a remix disc inspired by that curious and crucial Afro-Belgian LP. The odd combination of electronic elements, rubberised grooves and the sunbaked flavours of the mother continent took us all by surprise when it dropped a couple of months back - bounding out the speaker like a long, lost twin of Zazou, Biyake & CY1 with just a little extra oddball rating. Now the dons of the 'dam invite a veritable who's who of contemporary production druids to work their body moving magic on a bunch of "Criola" originals. Swedish drum fiend Prins Emanuel kicks us off with a suitably percussive reinterpretation of "KWEI!!", cycling through chanted vocals and pinging synths over an irresistible blend of circular rhythm elements and breezy bass. Next up Holland's afro-cosmic wunderkind comes up to the plate with a "Turtle Maraca" remix of "Intermezzo B" perfect for a memorable night of chicken limbo and lysergic marinade. Picking up where he left off on "Rigola", Dazion stretches the OG into a proper cosmic roller, surrounding the psychedelic flute refrain with shamanic drums, hypnotic sequences and a deep and earthy kick drum. Second Circle's most recent recruit, Androo continues his fine run of early form with an astrally inclined kosmische mix dripping in otherworldly dub elements. The slow and sensual drum pattern holds it down from top to bottom, creating more than enough space for echo drenched guitars, delicate mallets and smooth synths to enjoy an ear pleasing threesome. Flipping the disc we're dropped into the dark and sticky domain Detlef calls home, coming face to face with a transportative Tolouse Low Trax mix of "Veronika". Slicing and dicing the emotive vocals and soft-goth guitars over a typically lopsided groove, the German makes us move...slowly. Mechanical, packed with soul and slow enough to lock your shoulders into a right good roll, it's another eyeball licking masterpiece from Dusseldorf. As we reach the B2 we take a break from the remixes in favour of an unreleased version of "Veronika 02" with about 4 tons of extra electronic bass banged under it - holy heft it's muscular. Finally, Dutch electro chief Interstellar Funk delivers a slow moving sci-fi rendition of "Intermezzo 2" which drifts through the deadzone dodging growling synth stabs and static space junk to the tripped out patter of a rippling rhythm track.

      STAFF COMMENTS

      says: MFM revisit the madcapped magic of "Criola" with a star studded remix package perfect for the more open minded dancefloors of the world. Dig in for Afro-cosmic strollers, deep space rollers, mechanical soul and subbed up dub. A perfect accompaniment to the original, with more than enough retweak to turn the dancefloor inside out.

      The Low Anthem would beckon you into the salty sea. Formed in 2007 by best friends, Ben Knox Miller and Jeff Prystowsky, The Low Anthem grew from DIY ethos in the late-aughts to semi-accidental success. Having originally self-released What The Crow Brings and Oh My God, Charlie Darwin (which sold a combined 100,000+ copies), the group signed with Nonesuch, toured the world, and were reluctantly lumped in with the so-called "folk revival".

      However, night after night of performing their early material was not ultimately where they wanted to land: “The moment was losing its mystery. We were scared of becoming robots,” said the band after six years of reflection. So, in the winter of 2012, the group came back to their hometown of Providence, RI, with an eye toward re-exploring their musical understanding from the ground up. Largely abandoning the international folk movement they were a part of, the group instead poured their energy into their local community by rehabbing a vaudeville-era theater, and building their own recording studio. It’s in this newly restored vaudeville theater-studio that The Low Anthem found new direction.

      The band began recording in increasingly experimental and meticulous ways (using various non-instruments and painstakingly tracking hundreds of hours of material). It was an exercise in complete musical deconstruction - scrambling and reassembling their musical ideas – which eventually resulted in the album Eyeland. A complexly experimental album, the release of Eyeland was tragically cut short after four shows due to a crippling car accident, leaving the band hospitalized and the tour cancelled. It was through this whole journey that The Low Anthem were able to boil-down their musical ideals and find their true voice.

      With their new album The Salt Doll Went To Measure The Depth Of The Sea, The Low Anthem present 12 short songs that are fragile, nuanced, and honest. In contrast to the existential freakout that is Eyeland, or the folk-faithful incubator albums, The Salt Doll... feels delicately purposeful. Acoustic arrangements are peppered with subtle and fragmented electronic elements. Rhythms are physically composed on the center loops of vinyl records. These elements weave songs that sound at once organic and highly-conceptual.

      STAFF COMMENTS

      says: Stunningly delicate in parts, but imbued with a bright and peaceful electronic counterpoint, 'The Salt Doll...' takes all the best parts of the 'Folktr*nica' (don't make me say it) craze of yesteryear, but deshittens it significantly. Properly lovely this.

      David Bowie

      Low - 2017 Remastered Edition

        The four studio albums ‘Low’, ‘‘Heroes’’, ‘Lodger’ and ‘Scary Monsters (and Super Creeps)’ have not been available as standalone vinyl LPs for over 25 years and this is the first time on vinyl for Stage (2017), which has 5 additional tracks to the original 1978 double LP release including The Jean Genie and Suffragette City.

        The powerful reach of Bowie's masterpiece, the first part of the much feted 'Berlin Trilogy' created with the aid of Brian Eno, is still being felt strongly almost 30 years on. Air's wonderful four hour Essential Mix began with this album's opener "Speed of Life", Q Magazine rated the album #14 in it's Greatest British Albums Ever, and Pitchfork, the New Testament for the New Indie generation, recently decreed "Low" as the #1 album of the 1970's. Side A (or tracks 1-7 for those more familiar with the CD format) are classic Bowie ("Sound and Vision", "Be My Wife"), although dealing with the unfamiliar and slightly darker topics of lethargy, depression and estrangement, highlighting Bowie's overcoming of his cocaine addiction. Over on Side B the album's true colours really come through - four ambient tracks, originally rejected for the soundtrack to "The Man Who Fell To Earth" (the source of Low's iconic cover image), which see Bowie pay homage to Can, Neu! and Eno himself. The word 'timeless' was invented for such moments as these.


        FORMAT INFORMATION

        LP Info: 180 gram.

        Les Graciés is a collaboration in the truest sense between Paris-based sound artist Gaël Segalen and Deepblak co-founder Afrikan Sciences. Segalen’s experiments in electroacoustic sound met the wider world this year via a debut LP for Erratum, an arresting work that showcases her ability to merge hypnotic murk ala Angus MacLise with the hard concréte of Parmegiani & Reibel. Segalen’s IHearU imprint / organization is a platform for her various doings, including psychogeographical audio works and multi-media collaborations, as well as servicing as a reference point for other contemporary female artists working across various mediums. Eric Douglas Porter aka African Sciences has been deconstructing and re-building forms of contemporary Black music since the mid-2000’s, through releases on Deepblak (the label he co-runs with Aybee) and PAN. His musical universe is one of warping cadences and celestial melody, referencing the bold work of percussionists like Milford Graves & Art Jenkins, the dissonant chords of Motor City Techno and stripped back essence of early Chicago House matched with broken Hard Bop sentiments: all tied together with an aesthetic that sits somewhere between Sun Ra’s omniverse, Jean Giraud Mœbius and Dogon cosmology. Together as Le Graciés, Segalen and Porter make a wholly unclassifiable strain of music that, while containing recognisable elements of each individual's work, also creates a third entity in the process, which can be heard to stunning effect on their forthcoming debut LP "Low Doses" for Firecracker Recordings.

        • 2xGatefold LP from Les Graciés
        • Strictly limited vinyl
        • Silkscreened artwork by Al White & House Of Traps


        A few months ago France synth obsessives Zombie Zombie put out a four track LP originally composed to score a juggling related performance art piece (bloody Frenchies eh?). To the surprise of our Zombies, "Slow Futur" sold out in a matter of days, so they decided to give it a longer lease of life via this red hot remix disc. Opening the set in total darkness is Piccadilly favourite, Kriedler mainstay and Salon Des Amateurs co-founder Tolouse Low Trax. The Dusseldorf man follows up killer releases on Themes For Great Cities and Antinote with a slowly unfolding piece of machine voodoo. Weaving black magic through bleeping keys, African rhythms and industrial toughness, Detlef does his thing, locking us into a hypnotic, glue-sniffing groove from start to finish. Over the other side, I:Cube lends "Hyperspace" a lilting dub flavour via thick bass notes, system twisting fx and lush soundscapes. Fresher than a cool summer evening, this dubby synth redux should play very nicely with anything from the Peaking Lights corner of your collection. Lastly, the legendary Gilb'r provides a percussive reprise, retaining some of that wall shaking dub bass, but adding a whole load of polyrhythmia for a humid, tropical delight.

        STAFF COMMENTS

        says: Three production heavyweights step up on a remix tip here, offering very different flips of Zombie Zombie's driving "Hyperspace". Tolouse Low Trax slows things right down for a mindbending exercise in machine voodoo, I:Cube gets deeply dubby and Gilb'r goes round the globe with a totally tropical take on matters.

        FORMAT INFORMATION

        12" Info: *one copy found!**

        Warehouse is a five piece band from Atlanta, GA. The band formed while many of its members were attending school for various useless degrees. Taking inspiration from the 1980's Athens, GA scene (Pylon, R.E.M., The B-52's) and having a mutual taste for bands like Stereolab and Abstract Expressionist visual art, they quickly took on a post-punk style characterized by the spidery and interlocking guitar riffs of Alex Bailey and Ben Jackson, filled by the effortless drums of Doug Bleichner and the agile racing bass riffs of Josh Hughes. The full and textural sound provides a unique body for vocals, added by Elaine Edenfield, whose lyrics can be described as sidewinding and oblique, oscillating quickly between melodicism and contrary roughness, using vocals as more of a physical tool of expression than as a glossy harmony to the sound. Warehouse can be described as breathlessly fast-paced, conveying a deep sense of desired intensity and emotionality. Warehouse's first album Tesseract was self-released in 2014 and later re-released under Bayonet Records. Their new album super low is more concise continuation of Tesseract, while still carrying the prior album's organic and wildly sprawling nature. Largely written in a notorious punk house that was torn down to build a parking garage, the album was finished in a new environment: across from a food mart called super low. The title connotes stark change, but it also hints at the additional psychological undertones of the album's meaning, to move down into more darkly subconscious and deeply endogenous areas of yourself in order to work through them and out. Also contrastingly literal, it denotes Warehouse's self-evident, uncontrived and rough-around-the-edges nature. 

        Wolf Müller & Cass

        The Sound Of Glades Remixes - Inc. Tolouse Low Trax / Wolf Müller / Cass. Remixes

        Wolf Müller & Cass. arrived with their mini-album "The Sound Of Glades" on International Feel in early summer. A beautiful record comprising of natural percussion and long languid journeys for laying in fields and staring at skies. Following the 12 inch route travelled with Len Leise and CFCF, IFEEL asked both Jan & Cass. to remix one of the tracks and also choose a remixer for a third rework.... "Glade Runner" on the A side features a remix by Salon Des Amateurs resident Tolouse Low Trax. If there is one club in the world we'd like to go to right now its the Salon in Düsseldorf. A place where the beats rarely go over 110bpm and they understand the meaning of the word groove. Detlef Weinrich aka Low Trax is very much in this world. His mix arrives from a slightly different place. Wonky insect sounding synths and a perfect bump and ride. Not really much music out there that sounds like this as it clearly comes from a place of experience and the music that he loves to play. The B side is home to a version each by Wolf Müller and Cass. Müller's Wind Version of "Aiolos" takes the original sound of the forests to the beach. Ibiza via Germany. Cass. takes the same track to a more mellow zone to round things off with his trademark drones & drifting vocals, light percussion and flanged drums... 

        STAFF COMMENTS

        says: International Feel stop by the Salon for this remix disc, dedicating the A-side to the voodoo electronics and techno tribalism of Tolouse Low Trax. If Detlef brought the storm, then Wolf Muller and Cass cool things down with the coastal chill of the B-side. I'm all over this one!

        The Maharajas

        A Third Opinion

          First time on vinyl.

          "In 2004 The Maharajas returned with one of the best garage albums of the past few years and as some sort of a special x-mas present they now come up with a brandnew one, called 'A third opinion'. Well, many of you 'representatives of the good taste' might ask if those swedes can keep up the high standard of 'Unrelated statements' and we can just tell you that there's no need to worry at all, they surely can. This album is a true classic, a monster of a record, honestly. Once again they deliver a superb mixture of wylde sixties influenced fuzz stompers and moody folk ballads that will guide you through the exciting world of garage-music of the last four decades. Their songwriting is absolutely outstanding, which especially their slower tunes show impressively. If you love the Strollers, Backdoor Men, Chesterfield KIngs, you don't need a 'third opinion' to buy this record. Just believe us and get blown away by the magic sounds of The Maharajas. "    

          The Low Anthem return from an extraordinary five-year journey with Eyeland, an unprecedented collection of multi-dimensional future folk crafted with uncommon vision and emotional depth. The Providence, RI-based band’s fifth full-length recording, Eyeland began as a “vague and rather abstract” short story by co-founder/singer/guitarist Ben Knox Miller, based around the “sonic mythology of a moth’s dreams.”

          The tall tale became real life as Low Anthem immersed themselves in the creation of their own Eyeland Studios, developing Providence’s once obsolete Columbus Theatre into an innovative and in-demand recording space and live concert venue. Eyeland proves a prism of the album’s inner themes, refracting Miller and co-founding drummer/multi-instrumentalist Jeff Prystowsky’s sonic escapades into a full-blown Möbius strip of music and meaning. Low Anthem’s lofty aspirations and creative capriciousness resonate throughout songs like “The Pepsi Moon” and “Behind The Airport Mirror,” their elegiac arrangements and lyrical frankness marked by shimmering ambience and a hauntingly defiant tension. Psychedelic in the truest sense of that overused word, Eyeland is a perspective-shifting musical experience at once elliptical and intangible yet still precise and powerfully personal.


          Burnt Hills

          Live At The Low Beat

            'Hey daddy-o, I don’t wanna go down to the basement,’ spat some lanky bespectacled dope once a long time ago. Trust Burnt Hills to wait until he was long enough dead to afford the opportunity to not have to. Holed-up at the Helderberg House in Albany, NY, these cuddly middle-aged monsters of tuff, levitational, psychedelic thug punk swirliness have made an avant-rock legend of their agoraphobia. They played out a few times over the years – Bard College, NY; Weirdo Records, MA; Ron Schneiderman’s Festival Of Endless Gratitude back during the heyday of that ‘New Weird America’ boom; the legendary Elevens show in Northampton, MA – but their collective heart has remained between four breeze-blocked walls, surrounded by the washing machine, some DIY tools, a wall of 4×12 cabs loud enough to be heard four streets away and an occasional Monday night party crowd, every member of which knows how utterly blessed s/he is to be there witnessing this glorious band take flight.

            When the party’s not there, the band still is – pretty much every Monday for the past 10+ years now – doing it purely for its own reward. Real goose bump shit. Golden Lab feels no smugness in having witnessed this thing in action seven times now (and sat in on one unforgettable occasion). Rather a sense of longing that the rest of the right thinking world could be afforded the same opportunity. But then, isn’t it the inaccessibility that makes it so special?

            Live At The Low Beat does much to disprove that theory. The show presented on this LP, recorded to digital handheld recorder and mastered in Manchester, UK by Dom Tanner, took place at a local eatery regularly frequented by the band (the restaurant boasts bottles of BH founder Jackson Wingate’s homemade ‘Flipped Out Records Habanero Death Sauce’ on its tables) on December 4th 2014. It was the first of what, it has been decided, will be an annual Burnt Hills performance outside the basement. Nine of the ten full-time members of the band were in attendance on this night (guitarist Panda was absent) and it’s safe to assume that they were all pretty well smoked, fed and oiled by the time they took to the stage as it doesn’t take long for shit to really fly. Close to 50 minutes in total, this is the most savage, raging, oblivion-bound Burnt Hills set yet committed to wax.

            There’s a whole bucketload of sensitive noodling amidst the chaos – along with the obligatory shred – but it’s, of course, the six-guitar pile-up that really takes this crescendo-obsessed troupe of suburban weirdos into the ‘Lord take me now!’ zone. As with the prior two Burnt Hills releases on Golden Lab, we feel blessed to be the label putting this out into the world. In an edition of just 250 copies with stunning psychedelic splurge art by Desmadrados Soldados De Ventura guitarist Dylan Hughes, this is gonna fly far and fast. Grip one while ya can.

            FORMAT INFORMATION

            Ltd LP Info: EDITION OF 250 COPIES ONLY. 140g vinyl in super heavyweight casebound jackets with black paper inners. Cover art by Dylan Hughes (Desmadrados Soldados De Ventura).

            Disappears

            Low : Live In Chicago

              Recording of Disappears performing David Bowie’s classic 1977 album ‘Low’ in its entirety, mastered by Sonic Boom. Limited-edition orange vinyl, housed in a stunning see-through PVC sleeve, complete with the tracklisting on a sticker, as an homage to the original.

              The band ran through the album twice on November 22 last year as part of a concert series entitled Bowie Changes, which featured several Chicago-based musicians reinterpreting the Bowie catalogue to mark the opening of the ‘David Bowie Is’ exhibition at the city’s Museum of Contemporary Art. “Naturally we chose the hardest one,” jokes guitarist/singer Brian Case. They succeed by being faithful to the original, while turning it into something that sounds very much like a Disappears record. The seven regular songs on the first side are buzzing and muscular, injected with steroids by the ferocious rhythm section of Noah Leger (drums) and Damon Carruesco (bass). However, it is the more avant-garde songs on the B-side that are the revelation. Stripped of Eno’s EMS Synthi AKS and Minimoogs, ‘Warszawa’ becomes an intense battleground between Brian and Jonathan van Herik’s treated guitars, ‘Subterraneans’ swaps saxophones for Rother-esque kosmiche curlicues and ‘Weeping Wall’ builds to an appropriate and fearsome (Berlin) wall of noise. It’s stunning.

              We first met Brian when his old band The Ponys played a Sonic Cathedral show back in 2006. He formed Disappears a couple years later, and the band have since released five albums through venerable Chicago indie label Kranky, the most recent, ‘Irreal’, coming out last January. They were also recently namechecked in Kim Gordon’s book ‘Girl In A Band’, thanks to her ex-Sonic Youth bandmate Steve Shelley being Disappears’ drummer for a time. In 2013 we got them to record a cover of Kraftwerk’s ‘Trans-Europe Express’ for a long sold-out split 7”, but with ‘Low: Live In Chicago’, they have excelled themselves.

              Disappears are: Noah Leger: drums/tank drum Jonathan van Herik: guitar Damon Carruesco: bass/vocals Brian Case: guitar/vocals Recorded and mixed by: Mike Lust Mastered by: Sonic Boom. 

              FORMAT INFORMATION

              Ltd LP Info: Orange vinyl.

              Low’s Alan Sparhawk had this offer about the new album: “In our 20+ years of writing songs, I've learned that no matter how escapist, divergent, or even transcendent the creative process feels, the result is more beholden to what is going on at the moment. It's hard to admit that one is so influenced by what is in front of us. Doesn't it come from something magical and far away? No, it comes from here. It comes from now. I'm not going to tell you what this record is about because I have too much respect for that moment when you come to know it for yourself.

              “I will, however, tell you about how we made it. BJ contacted us a few years ago and invited us out to the studio where he works with Justin, Lizzo, and other artists. The studio is close to our home in Duluth, so it seemed tempting. Months later, I worked with BJ, producing the recent record by Trampled by Turtles. We got along and seemed to have similar curiosity about the possibilities for Low, so time was booked and songs finished. We tracked under the soft glow of laser discs playing lost classics like Point Break and Speed. Glenn Kotche from Wilco was there one day working on another record, so we had him in to play hand-percussion on a couple songs. Working 2 or 3 days at a time, leaving it with BJ, then back again for more, we don't have the time or money to second-guess or pick from a pool of possibilities. This is the whole thought - the untamed truth. This is now. This is everything.”

              STAFF COMMENTS

              says: A more rhythmical undercarriage brings a more dynamic sound to this exceptional band.

              “Despite the commerce involved, we hope you will consider this our gift to you. Best wishes.” - Low

              Low’s eight song 1999 release ‘Christmas’ collects five seasonally-themed originals by the band and covers of ‘Little Drummer Boy’, ‘Blue Christmas’ and ‘Silent Night’.

              Of the originals here, one (‘If You Were Born Today’) was released backed with ‘Blue Christmas’ as a 7” single in 1997 on Wurlitzer Jukebox and another (‘Taking Down The Tree’) was released in 1998 on a compilation by the Dutch VPRO radio station. 

              STAFF COMMENTS

              says: "Just Like Christmas" is a sublime pop song with sleigh bells that give it a sprinkling of festive cheer without coming across all "Now That's What I Call Christmas"!

              The Low Lows

              Elizabeth Pier

              Athens, Georgia trio The Low Lows return to Europe in February to promote their new single, "Elizabeth Pier". The title track is taken from their forthcoming album, "Little Tigers". Backed with B-side "Raining In Eva", and the video for "Dear Flies, Love Spider". Their debut album "Fire On The Bright Sky" was released in October. It's a radiant, desperate prom-night of a record, in which stark southern sweetness gives way unexpectedly to great storms of guitar noise. Sheets of dissonance and singer P.L. Noon's arcing wail conjure Galaxie 500 or "Electr-O-Pura" era Yo La Tengo, while bright walls of country narcosis à la My Morning Jacket crumble into climactic, stomping feedback and lush, sad balladry.

              Terror

              Lowest Of The Low

              From the ashes of Buried Alive and Carry On comes Terror. Holy shit!!! This lot have to be one of the best hardcore bands going into 2003 totally up yer arse mayhem.

              Mazeppa

              Kick It For The Low Times

              Lovely majestic, piano-led songs on this debut album from Bolton band Mazeppa. The album tracks range from intense, emotive songs with sweeping strings to heavier tracks with percussive drumming and keyboard riffs.

              Hunter Gatherer

              Low Standards For High Fives

              If you like Small Brown Bike, Hot Water Music or The Get Up Kids then you'll love Hunter Gatherer. From Athens, Georgia this is a brand new set of songs from this fine emo-punk band. The twin guitar leads play sophisticated and subtly powerful riffs and the dual vocals are unusual but work well.


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