Search "record store day" 237 Items

The Duo met on a rainy day in Tilburg (nl) while working for a dance project — they came down from very different roads. Fhunyue, a stage director–performer–musician chameleon, works alone or collaborate with Annalena Fröhlich (Robinrobin, Just Another Woman In Space), Thom Luz, Unplush, Peeping Tom, Dorit Chrysler, Ko Murobushi, Damien Jalet, The Scottish Dance Theatre, Bern Ballett, for a most colourful variety of venues in Europe. She is a member of the music association Bongo Joe (Switzerland). Sven, an established musician living between Hamburg and Nairobi, who released several records on Honest Jons and Bureau B and collaborated with several artists like Shabaka Hutchings, Ogoya Nengo, Marc Ribot, John McEntire, Sofia Jernberg, Nils Frahm, Hauschka, F.S. Blumm and Stefan Schneider.

Their encounter quickly revealed that both their musical sensitivity and their instruments (Marimbas, Drums, Percussions, Electronics, Theremin, Buchla Synthesizer, Piano) matched stunningly, and that they had to play together. After a short while of rocky life adventures and theatre projects in which they collaborated, their off rehearsal sessions would become a lively necessity. The wish to give birth to a project entirely their own, grew so strong that they locked themselves in Sven’s studio at Jaffestrasse in Hamburg, and started working on the debut of their duet. They are happy to present and share with you their labour of love, in hope that it will be good to your heart.

Armand Bultheel is half of the group Agar Agar. He also makes music on his own, which he now feels ready to present to the world. He composed an album, Lullabies For Computers which will be his first to be released on vinyl. It's a series of lullabies, addressed to our computers that so often accompany us in bed and sleep - even if in the end, while composing the tracks, Armand felt more like writing them for his friends. With this album, he presents a sensitive and organic electronic music, whose softness provokes a contrast of emotions between joy and melancholy. Happy to share these tunes, he put in the softest ingredients possible, with round bass and little melodies that wander over. He slipped in the colors of his favorite synths, one of which he made in the shape of a human mouth. Lullabies for Computers is the second part of the new "Meditations" series from Cracki Records, a series of records made to listen (for once) to escape and dream.

The story of six soulmate musicians meeting at the intersection of classical composition, pop, electronic and minimal music begins in 2016 with their celebrated performance at the Cologne Philharmonie. After follow-up performances at the Bundeskunsthalle Bonn as well as the Hamburg Elbphilharmonie, Gregor Schwellenbach, Daniel Brandt, John Kameel Farah, Paul Frick, Erol Sarp and Kai Schuhmacher made a guest appearance at the invitation of Radio Berlin Brandenburg in the iconic Haus des Rundfunks in Berlin's Westend on February 2, 2019. "Live im Haus des Rundfunks" documents the first half of this evening, in which the individual composer-pianists introduced themselves to the audience in solos, duos and trios. This carefully choreographed set served as an electrifying prelude to the grand finale, the 20-minute collective mantra of Steve Reich's 1973 composition Six Pianos, a studio recording of which has already been released on the 2016 record Steve Reich "Six Pianos" – Terry Riley "Keyboard Study #1" (FILM LP/CD 002).

In celebration of Specialty Records’ 75th anniversary, a new Sam Cooke compilation featuring tracks from his Specialty catalogue focusing on his pop-leaning tracks plus the live recordings from the legendary 1955 Shrine Concert that has never been available on vinyl before. 3x10″ released in a triple-gatefold jacket, featuring replica flyers and other ephemera included as inserts in the packaging.

The gala evening at the Paris Opera on December 19, 1958 was announced in the press as ''the greatest show in the world'. Maria Callas, at the height of her glory, performed for the first time in front of a Parisian audience. The diva delivered all the facets of her art through the Italian classics that she loved, with the theatrical genius that is proper to her. Paris gave her a triumphant evening!

The original recording of this evening, broadcast in Eurovision throughout Europe, has been newly restored with the greatest care.

Presentation by Benoît Duteurtre, novelist, essayist and music critic.

Excerpts from Norma by Bellini Excerpts from Il Trovatore by Verdi Excerpts from Il barbiere di Seviglia by Rossini Complete second act of Tosca by Puccini'

»In June 2017, I was due to perform in Moscow when I met Kirill Gilels, the grandson of the famous pianist Emil Gilels. He listened to what our Phoenix Mastering® restoration process, can achieve, and made the decision to entrust us with the results of several years of research: he gave us a list of dates and places of the previously unreleased recordings of his grandfather. In Berlin, Moscow and Saint Petersburg, we came across a treasure trove, stunning in terms of both the quality and consistency of Emil Gilels’s playing. We were fully aware that he was one of the greatest musicians of the twentieth century. It was in Amsterdam where at last, we succeeded in extracting this fabulous recital from 1976 at the Concertgebouw – recordings that had fallen into oblivion. We were allotted a studio where we listened to the tapes one by one, we did not utter a word, so overcome were we by the beauty of what we heard.« (F. D’Oria-Nicolas) Considered one of the most important pianists of the twentieth century, he was a pupil of H. Neuhaus. He wins the current Queen Elizabeth Competition in Brussels and takes on an international stature. In 1955, he was the first artist to be welcomed in the United States since the war: if the public, somewhat circumspect of Carnegie Hall, in New York, accompanies his entry on stage of a troubled silence, it is under a thunder of uninterrupted applause that he will refuse to leave the stage!

Hogan’s involvement with new wave, new romanticism, post punk and all-things-avant makes her a uniquely placed character through the last four decades on the scene - her recording/performing biography intersects with everyone from Soft Cell, The The and The Human League through to Simon Fisher Turner, Barry Adamson, The Style Council and more recently with Karl O’Connor aka Regis’ Downwards universe. For ‘Without the Moon’ (a title borrowed from Cathi Unsworth’s book of the same name), Hogan pulls out some of the most satisfying collaborations from her archive, featuring a couple of tracks originally released in 1985 on Cabaret Voltaire’s Doublevision label, as well as recordings that are here issued for the very first time. It’s properly all-over-the-place brilliance, ranging from Nick Cave’s incredible 1983 piano blues slo-mo grind ‘Vixo’ all the way thru to the Paul Kendall (Nitzer Ebb/Depeche Mode) engineered ‘Come Take My Hand’ produced and featuring Barry Adamson and sounding like some vintage Les Disques du Crépuscule poolside obscurity. Opening with ideas mapped out while staying at Lydia Lunch’s gaff in summer ’83, the record lassos 30 years of Hogan’s personal highlights, harking to a time circa 1984 when she regularly caught The Birthday Party playing Leeds or London, often crossing paths with Cave, and right thru to 1989’s ‘Come Take My Hand’. While ‘Delirious Eyes’ is a gorgeous slow dervish of swaying middle eastern scales featuring Gini Ball’s elusive smoke trail vocals, it’s best heard in context of the sequencing, which soon erupts with Marc Almond’s vocals on the arsonist thrill of ‘Burning Boats’ and JG Thirlwell’s signature clangour, while ’Scattered Carelessly’ was written in 2008 and gives the sweetest canvas for Hogan’s keys complemented by a whispering Jarboe ov Swans, and ‘Black Nocturne’ stars a perfectly tempered guitar shimmer by Kid Congo Powers, a longtime accomplice, whom Hogan first heard playing guitar on The Cramps’ records that she played in DJ sets at the time. Illuminated by Hogan’s favoured solo piano, ranging from flickering candlelight to hammering theatrics, and even including a rare appearance of her vocals on the could-have-been-a-popsong closer, the six songs on ‘Without The Moon’ speak to an incredibly rich artistic life spent immured at the core of her practice. Song to song, she outlines an extraordinary oeuvre that ties together and leaps between eras, drawing on decades of experience as a performer, composer, collaborator and ardent listener to portray a full spectra of styles she’s been involved in shaping for decades. Stunning.

Post-punk/new wave hero Ann Margaret Hogan’s second album of solo piano and field recordings for Downwards is a box of subtle wonders, mastered by Veronica Vasicka and highly recommended if yr into Satie, Virginia Astley, Sarah Davachi. A weight of history flows through Hogan’s keys with a stark intimacy, beautifully illuminated by naturally effortless, quietly grand songwriting. It’s a direct continuation of the landscaped themes and atavism of 2020’s ‘Honeysuckle Burials’ and the ‘Reversing Into Tomorrow’ collaboration with Karl O’Connor, vividly capturing the slow passage of time in a way that has quite literally compelled us to stop the relentless mind-grind for its 40 minute duration on more than one occasion. After previous fixations on the iron age forts and burial mounds of the Clywdian Range in North Wales, Hogan transmutes the scenery of her more immediate locale, Oxton on The Wirral - from the cadence of its red sandstone landmark Thor’s Rock, to memories of its boating lake, for example - into a quiet yet ravishing suite inflected with traces of wildlife and industry recorded on long walks, all subsumed within a deep blue estuarial atmosphere silted by the strange reality of life in the current era, echoing the surreal, sunny period when the album was conceived. A generation on from her pivotal work with spar Marc Almond and likes of Deux Filles and Nick Cave, and forty generations since The Wirral hosted, as she says “a Norse parliament at Thingwall”, Hogan weaves time and place into a reflective, funereal sort of parlour music, turning daily ambulations amid the gorse and under luminous skies into gorgeous, life affirming and intimate self expressions. The eight pieces are mostly improvised and flow with a free, fleeting concision from the palpable warmth of ‘Forgotten Prelude’ and bluesy ache of ‘Fragile Elements’ to more funereal modes in ’Mesto’ and ‘Funeral Cargo’ suggestive of a Viking burial soundtrack. At its core, ‘Wolfswalzer’, a dedication to her one time collaborator and erstwhile Kraftwerk member Wolfgang Flür - is described by Hogan as “a simple waltz of coffee, food, friends and music”, and ‘Impromptu’ is the album’s slowest, soaked in the feeling of atmospheric immanence that defines the album’s timeless appeal. It’s an unspeakably moving album, words really do it no justice.

If it were possible to relate images with Giovanni Di Domenico's music, the most plausible would be those of forms painted with perfect balance and purity. Absolutely versatile and eclectic, the Italian composer has long accustomed us to sounds full of ecstatic tension, but pervaded with a refined and cyclical harmony of the parts. Musica Per Insiemi is the result of three recordings with three different ensembles, two more varied in terms of orchestral tones, one for organ only and female voices. In their different physiognomy, the tracks retain a common denominator of beauty. Di Domenico has firmly established the frame of reference in his compositions, the spine of ethereal movements of the piano and fender rhodes. The mood of the other instruments are attached by subtle stratifications, like a river from which its tributaries wind. In this way, the sound matter advances with the solemn calm and brilliance of the individual fragments. The variety of influences remains in the perennial expectation of minimalist whiteness, of contemporary arias with a Nordic flavor or scents of cosmic drones, but always results in a personal and mysterious overview.

Marks from an anti-static inner sleeve on otherwise NM record.

Moby’s eclectic career has cast him in the roles of electronic dance music pioneer, singer and songwriter, producer, activist, and restaurateur, but for his latest venture he presents his music in a whole new light. Together with Deutsche Grammophon, he is releasing an album of some of his best known tracks in stunning new arrangements for classical instruments – featuring Moby himself and a stellar lineup of collaborators from across the musical spectrum.

Though it was as a creator of dance music that he found fame in the 1990s, Moby’s music has never been easy to pigeonhole – his 1999 smash hit album Play, for instance, drew heavily on samples from Alan Lomax’s archive of field recordings. On this newly announced album, to be released on 26 March 2021, classic Moby songs including “Porcelain”, “Why Does My Heart”, and “Extreme Ways” will be released in innovative new versions. The album concludes with a cover of David Bowie’s “Heroes”.

Always a daring and imaginative thinker, Moby’s first classical collaboration came in October 2018, when he performed a selection of his songs alongside the LA Phil and conductor Gustavo Dudamel. This was the inspiration for the current project, which features not only full orchestral versions but new electronic arrangements, as well as sophisticated smaller-scale acoustic interpretations.

The 14-track album features some eye-catching collaborations including both Jim James (My Morning Jacket) and the acclaimed classical pianist Víkingur Ólafsson on “Porcelain”; Gregory Porter and Amythyst Kiah on “Natural Blues”; and Kris Kristofferson as well as original vocalist Mark Lanegan on “The Lonely Night”.

Moby’s eclectic career has cast him in the roles of electronic dance music pioneer, singer and songwriter, producer, activist, and restaurateur, but for his latest venture he presents his music in a whole new light. Together with Deutsche Grammophon, he is releasing an album of some of his best known tracks in stunning new arrangements for classical instruments – featuring Moby himself and a stellar lineup of collaborators from across the musical spectrum.

Though it was as a creator of dance music that he found fame in the 1990s, Moby’s music has never been easy to pigeonhole – his 1999 smash hit album Play, for instance, drew heavily on samples from Alan Lomax’s archive of field recordings. On this newly announced album, to be released on 26 March 2021, classic Moby songs including “Porcelain”, “Why Does My Heart”, and “Extreme Ways” will be released in innovative new versions. The album concludes with a cover of David Bowie’s “Heroes”.

Always a daring and imaginative thinker, Moby’s first classical collaboration came in October 2018, when he performed a selection of his songs alongside the LA Phil and conductor Gustavo Dudamel. This was the inspiration for the current project, which features not only full orchestral versions but new electronic arrangements, as well as sophisticated smaller-scale acoustic interpretations.

The 14-track album features some eye-catching collaborations including both Jim James (My Morning Jacket) and the acclaimed classical pianist Víkingur Ólafsson on “Porcelain”; Gregory Porter and Amythyst Kiah on “Natural Blues”; and Kris Kristofferson as well as original vocalist Mark Lanegan on “The Lonely Night”.

Conceived At The Heel Of Italy's Boot-Shaped Peninsula In Apulia, Patrick Belaga's Blutt Makes Music For The Unruly Imagination. The Title Is An Old German Word For 'Naked', 'Bare', But It Can Also Mean 'Blood' When Spelt Blut. Take Away Another Letter And It Makes 'Butt'. None Of These Definitions And Adaptations Were What Prompted The Classically-Trained Composer And Cellist To Name His Second Album With A Word Simulating The Sound Of A Punctured Artery. That Came Later. Blutt's Nine Woozy Compositions Are Inspired By A Contemplative Road Trip With A Friend, And The Mysterious Muffled Music Heard From An Unidentified Source. It Was A Combination Of Jazz And Classical Music That Haunted Belaga's Wanderings Through The Byzantine Town Gallipoli, And Soon Infected His Dreams Of Long-Gone Civilizations. This Record Is Its Outcome, Where Organic Instrumentals And Electronic Production Merge Into A Sound That's Both Contemporary And Ancient. Samples Of Mewing Incantations And Tape Hiss Sway Atop The Waltzing Thud Of Piano Chords On "Sigh". Composite Layers Of Belaga's Cello Play In Downcast Harmony On "Rust". There's A Wistful Sense For The Romantic, In The Eerie Rhythm Of A Piece Like "Momentum". The Quarter Tones Of An Eastern European And Middle Eastern Folk Scale Probe A Profound Melancholy Via Kai Knight's Violin. Its Notes Are Haunted By A Field Recording Of Running Water On "Unsoft", Echoes Of Panpipes And A Jew's Harp On Opener "Lilt". As A Consummate Composer And Performer Known For His Work With Artists Wu Tsang, Boychild, Josh Johnson And Asma Maroof, Belaga's Blutt Is Itself Marked By Flawless Collaborations. Vocalist And Instrumentalist Jazmin Romero Sings And Composes The Surreal Melodies Of "Grey Eye". Multidisciplinary Dance Artist And Producer Riley Watts Contributes To The Muted, Motorik Movement Of "The Tunnel Is A Tower". Together, The Record Plays As A Stunning Soundtrack To The Strangeness Of Sleeping, And The Heartbreaking Transience Of Time. Like An Intense Dream Half-Remembered, The...

Melody As Truth present “Melodies In The Sand”, a collection of works from Czech artists Irena and Vojtěch Havlovi. The husband-and-wife duo began working together in the mid 80’s as part of experimental ensemble Capella Antiqua e Moderna, a unique association of musicians whose repertoire spanned various styles of European classical music. With an inventive and unorthodox approach to both historical and modern compositional techniques and interpretive procedures, the Havel’s have steadfastly developed a unique and musically autonomous language which continues to expand to this day. Spanning their early work in Capella Antique e Moderna to recent pieces recorded for Viola De Gamba, ‘Melodies In The Sand’ is presented to the listener with the simple aim of shining a light on these incredible musicians. Their work has within it the ability to penetrate and enrich the innermost corners of a perceptive human soul, a gift which they share with sincerity and humbleness.

When a synth master like Steve Moore joins forces with the legendary KPM, magic must materialise. And so it does with Analog Sensitivity: cinematic, enigmatic synthscapes to both haunt and heal. New York-based multi-instrumentalist/producer/film composer Steve Moore is probably best known for his synthesizer and bass guitar work as Zombi, together with Anthony Paterra. But he is also part of Miracle and Titan as well as being a prolific solo artist releasing music as Gianni Rossi, Lovelock and under his own name. The story of Analog Sensitivity starts with those soundtracks, or more specifically the time in between them. Rather than being commissioned by KPM, this LP comes from music Steve was recording sporadically and tinkering with for over three years during the downtime between his film projects. There were no ideas about what it was nor a plan for how it would be released, or even if it was going to be released at all. However, after Jon Tye invited him to play on the Ocean Moon project for KPM Steve realised that the hallowed library label might be the perfect home for what he had been working on. The people at KPM agreed. Finishing production in late 2019 in Albany, NY, he came up with the track sequencing and suddenly, he had an album: Analog Sensitivity.

Limited Edition Cloudy Clear Vinyl.Combining Processed Recordings Of Wind And Water With Analog Synthesizers And Chamber Orchestra, Elori Kramer's The Blue Of Distance Is An Audio Dissertation On The Role Technology Plays In Our Relationships To Geography And Nature, Unspoolinginto An Examination Of Memory And Longing Across Seven Sections That Layer Filmic Minimalism Over Churning Electronic Soundbeds. Half Of The Suite Was Written In The Adirondack Mountains During Summer Amid Lakes, Rivers, And Moss-Ladenforest Floors, While The Other Half Was Conceived On A Frozen Lake Superior Island In Deep Winter, Creating A Subtextual Dialogue Between The Two Extreme Settings. Kramer, Who Was Born In 1990 And Grew Up Alongside The Internet, Uses Her Musicto Explore Nature In The Actual And The Virtual World, Through Direct Experience And Facsimile Alike, Focussing And Blurring The Line Between The Two. "Looking Back At My Videos Of That Summer-- Which Is Where The Processed Audio Came From-- I Triedto Remember What It Had Felt Like To Be There," She Recalls, "Thinking About Questions Of Reality Versus Imagination; Physical Versus Digital; And The Ways In Which Memory Shifts Through Our Minds And Technology." The Title The Blue Ofdistance Was Derived From Rebecca Solnit's Book A Field Guide To Getting Lost, Referring To The Phenomenon Of Faraway Mountains Appearing Blue Due To Light Particles Getting Lost Over Distance. "If We Were To Go Up To The Mountains Thatappear Blue From Far Away, We Would See That They Weren't Actually That Color." She Says. "This Beauty Is Made Possible Because Of Their Distance," Much In The Same Way That The Splendor Of A Lush Season Is Only Fully Realized In The Throes Of A Bleak One, And The Joy Of An Event Can Only Be Felt When It Has Long Since Been Consigned To Remembrance.R.I.Y.L Kaitlyn Aurelia Smith, Philip Glass, Steve Reich, Josiah Steinbrick, Emily Sprague

Record Store Day 2020 Release.
Limitation: 500 copies.

Edith Sitwell’s series of her most famous poems re- released on the 100th anniversary of the original transcripts. Includes the original ultra rare Jim Flora artwork, this beautiful package includes 26 page lyric booklet. Idolised by Smiths frontman Morrissey, Sitwell was like the Warhol of her day, publishing a mountain of essays and poems covering every aspect of the arts. The Scarborough-born poet-eccentric extraordinaire who had once publicly declared that her immense wisdom had been born of a long, unrequited love affair with the Russian painter, Pavel Ychelitchew (unrequited on the account of his homosexuality). Morrissey heavily featured Edith as his tour mascot on his Kill Uncle tour and used her image as his stage backdrop and on his T-shirts.

Both prolific composers in their own right working within the field of modern composition/ new electronic music, Berlin-based Yair Elazar Glotman and Stockholm-based Mats Erlandsson have been collaborating since 2015. ‘Negative Chambers’, their first joint album together was released on Miasmah Recordings in 2017, and saw them exploring new approaches to the use of traditional acoustic instruments. Having recently signed to FatCat’s 130701 imprint, and following closely on from Deutsche Gramophon’s release of Jóhann Jóhannsson’s ‘Last and First Men’ project which Yair co-composed, the pair’s sophomore album ‘Emanate’ is a powerful and stunningly executed extended duration work that utilises a fantastic ensemble cast and continues to explore their ideas of a ‘displaced sound’ – combining electronic and acoustic sound sources through both analogue and digital means to create an ambiguous composite work, a music that sounds neither clearly electronic or acoustic, existing instead in some in-between space.

Newly remastered living presence LP set cut directly from first generation master tapes at 45rpm. Atarker's recording of the suites from 1965 make a lasting impression on the listener, box reproducing the original artwork pressed by qrp.

Toronto keyboardist R. Grunwald has played on sessions for hundreds of musicians, and has served as bandleader for jazz/pop chanteuse Jill Barber and country/folk songwriter Donovan Woods for the better part of a decade. Now he's ready to step onto the public stage with his own music'alone. Oma is an evocative and deeply personal solo piano record, inspired in part by the life story of his 96-year-old grandmother, a Holocaust survivor and pianist. Drawing from Erik Satie, Nils Frahm and others, Grunwald refers to his intensely melodic compositions as 'extended minimalism.'

'After quitting piano, it was my Oma who inspired me to get back into it. She survived the 2nd world war moving from town to town, hiding from the Nazis, and the Russians in Poland. Music was the one thing that tied her young life together. This music is a tribute to her.'

Enjoy in a quiet environment.

"How to begin? No beginning... never ending reverberation," Antoine Beuger writes in the accompanying notes to Leo Svirsky's River Without Banks. Dedicated to his first piano teacher Irena Orlov, River Without Banks is a mesmerizing, emotional collection of pieces that are simultaneously complex and fluid. The title River Without Banks comes from a chapter of musicologist Genrikh "Henry" Orlov's profound work Tree of Music. In said chapter, Orlov traces the history of sacred music from the Western and Eastern tradition and how the forms (of the chant, raga etc.) sought to eliminate the division between the physical and the spiritual - the bank and the river.

Arranged for two pianos with accompaniment from strings, trumpet, and electronics, this is Svirsky's deepest dive yet into the instability of listening and its transformation of musical semantics and affect. Like Wolfgang Voigt's Gas project, Svirsky overlays romantic musical gestures to create a lush unfamiliarity. No sooner than each track begins the next moment unfurls beneath it, cascading time and blurring perception of past and present. River Without Banks is less an album of songs than songs of a singular, unlocatable album. Performed by the composer with assistance from Britton Powell, Max Eilbacher, Leila Bordreuil, Tim Byrnes, and recorded by Al Carlson.

2012 reissue. Still sealed with hype sticker.

Meet the intoxicating, meditative sounds of Claude Debussy (1862-1918), one of the greatest innovators of Western music. The impressionist composer was inspired by the classical myth of the sirens, female sea-demons with such unearthly beautiful voices that they managed to lure all passing sailors into their deadly arms. In a similar way, Debussy wanted to enchant his listeners with his esoteric composition Trois nocturnes, inspired by the atmosphere of the night. In the first part, Nuages, one can hear silvery-lit clouds slide slowly past the moon. The second part, Fetes, depicts nocturnal festivities and blazing torches, and the third part is devoted to the mysteriously singing Sirens. Unlike his contemporaries, Debussy did not compose elaborate, bombastic symphonies, but rather dreamy, self-contained music that is still topical today, and breaths the free spirit of nature. It 'would resound through the open spaces and float joyfully over the tops of the trees.' The lucid performance of the Orchestre National De Lyon comes close to Debussy's ideal, and seduces the listener to lose himself in otherworldly dreams and mind-expanding fantasies. This beautiful recording of Nocturnes never been on vinyl before!! *Pre-order price*