Khruangbin & Friends
Live At Stubb's

Shake The Feeling: Outtakes & Rarities 2015-2021 est la nouvelle compilation du groupe de punk / post-punk danois Iceage sur Mexican Summer. Il s’agit d’une collection de morceaux qui n’ont pas trouvé leur place sur les derniers albums du groupe, Plowing Into the Field of Love (2014), Beyondless (2018), et Seek Shelter (2021). Ce disque nous plonge dans le coffre-fort d’Iceage avec des morceaux inédits et rares que les passionnés et les non-initiés apprécieront, c’est une étude du genre de chanson puissante et de l’exécution brute qui ont défini le groupe danois. Comme sur tous les albums d’Iceage, qu’il s’agisse de l’audace sensuelle de leur premier album dark-hardcore You’re Nothing, du passage au romantique gothique cowpunk de Plowing Into the Field of Love, ou du gospel-rock spatial de leurs plus récents albums, Elias Bender Rønnenfelt, Johan Suurballe Wieth, Jakob Tvilling Pless et Dan Kjær Nielsen rendent l’impossible facile. L’album avance et recule dans le temps, avec des morceaux écrits au cours des quatre années entre Plowing Into The Field of Love et Seek Shelter, entrant en collision avec des reprises de deux morceaux des années 60 : « I’ll Keep It With Mine » de Bob Dylan et « My Mule » d’Abner Jay). Iceage maintient ses valeurs initiales de la négativité du punk et du hardcore. Peut-être que Shake The Feeling est plus un disque qui documente le groupe à différents moments de la jeune vie de ses membres plutôt qu’une « œuvre d’art ». Peut-être que les chansons sur Shake The Feeling vont bien ensemble comme n’importe quel groupe d’outsiders, réunis en petit groupe seuls dans l’obscurité du monde.

Power duo from Berlin. Raw.

- The highly anticipated follow-up to Eastern Flowers and Wabi Sabi - The staff used on Natura Morta is the following: 9 violins, 4 violas, 3 cellos, 1 flute, 1 piano, 1 electric piano, 1 cembalo, 1 twelve-string guitar, 1 electric guitar, 1 trumpet, 1 flugelhorn, 1 tenor horn, 1 marimba, 1 electric bass, drums and percussions // On Natura Morta, Sven Wunder is exploring art as a bridge between nature and the human ability to judge and observe in eleven musical compositions with brightly colored textures and an emphasis on vibrant melodies. Throughout human history, we have depicted the world we live in through art. By reworking what we see in the world, the simplest things have helped us understand the beauty of nature and to evaluate the material world that we have created around us, as a window to a constantly changing reality, through our own perception. It is that absolute reality that appears in the seam of human and nature and that can be revealed through art. Still life painting, also referred to as Natura Morta ("dead nature") in Italian, stretches back to ancient times. Some of the earliest works, found in Pompeii, depict commonplace objects such as fresh autumn fruits alongside man-made objects such as a small amphora and a small terracotta heap with dried fruits. These two-thousand-year-old paintings give a snapshot of Roman life, and also creates a link to time and space. A slice of life has been created by binding the earth's pigments with extracts of oil, made from nuts and seeds, painted with brushes, made from a variety of fibers, such as trees and hair from animals. While life wanes with each brushstroke, by shifting reality into the past, art exists to make us come alive, being a living image of a dead thing, a surface and a symbol with symbolic powers of its own. Still life works celebrate material and ephemeral pleasures by returning to nature as the ultimate source for our standards in art as well as in life itself. Natura Morta collects pieces from a continuous variety of melodies - supported by a decisive rhythm section - creating a musical kaleidoscope of ever-changing colors. Sven Wunder brings life into this rich assortment of musical implications by fusing and combining melodic instruments with each other in a setting that spans from a classical to a modern idiom. The author evokes this panoramic portrait by articulating an instrumental dialog between a chamber orchestra and a jazz ensemble. The result is a musical celebration of material pleasures that also serves as a reminder of the brevity of human life. This album was produced with financial support from the Swedish Arts Council.

The follow up to the highly acclaimed reissue of the first volume Ethiopian Hit Parade. This 2nd volume features 'Ethiopian Hits' from 1972 to 1975. The track layout is Identical reissue to the original vinyl"After releasing around fifty 45 rpm singles and his first 33 rpm album (Ethiopian Modern Instrumental Hits AELP 10, re-released by Heavenly Sweetness HS092VL), Amha Esthèté set about compiling his best 45s on a series of now legendary albums (the originals are impossible to find) in 1972. The first four volumes of Ethiopian Hit Parade were released in September and October 1972, with the fifth volume appearing in January 1973. You are the proud owner of Volume 2.It is worth reminding ourselves that when Amha Esthèté set up his Amha Records label in 1968-69, it was in defiance of a state monopoly designed to regulate the imports and production of records by an imperial decree of July 1948. This extravagant state privilege had produced only 78s of traditional music , which though thrilling, excluded anything at all modern. To the best of our knowledge, only sixty-seven of these prehistoric discs were pressed in Great Britain between 1955 and 1961 and released by His Master’s Voice. They were supposed to be part of celebrations of Emperor Haile Selassie’s silver jubilee . . . even though 33s and 45s had existed since 1948 and 1949 respectively! Such incompetence and servility, combined with a rejection of an effervescent contemporary music scene, were symptomatic of the decadence surrounding the end of an era.An audacious, funky outlaw, a music lover and an entrepreneur in tune with the baby-boomer generation, young Amha Esthèté (he was only twenty-four when he launched his label) will be remembered as the instigator of a peaceful revolution thick with soul and rock’n’roll.After the acclaimed reissue of the first volume Ethiopian Hit Parade. Here is the second volume that include all the greatest Ethiopian Hits from 1972 to 1975. Identical reissue to the original vinyl which is extremely rare and expensive.The opening track of the compilation is the song Tezeta Slow and Fast by GETACHEW KASSA were featured on the album Ethiopiques, Vol. 10: Ethiopian Blues & Ballads. and originally released on 1972. The other tracks on this second volume celebrate such pioneers of modern Ethiopian groove as Abayneh Degene, Tèshomè Meteku, Menelik Wossenachew Mulatu Astatqe and Muluken Melesse, alongside “tradi-modern” singers representing Amhara and Oromo culture, so rich and so long marginalized."s

Kaidi Tatham returns to 2000BLACK with R&B and boogie offerings in his own distinct style.'Galaxy' features Lola Vialet who soulfully sings about escapism and hope through the stars.'A Message From Above' sounds like the gods themselves have passed on a message to Mr Tatham to tell us all. Take heed to the sound of jazz boogie via Jamaica.The Ep is signed off with 'Ergonomic Structures' the sound of a hip hop 2 step tune that we all wish existed in '87 (soundman know wha' we a chat)

Classic ! One of the best albums of the 2010's.