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Where GB’s debut record was shrouded in a downtempo haze, Herzsprung creates a distinct sound that pushes outward: something more melodic, more full-throated, and more assured. "Herzsprung is GB’s most expansive work yet. Written while living in London, the Copenhagen-based songwriter and producer spent weeks cutting up copies of Metro — one of the city’s free newspapers — to form the lyrical foundation of the songs. In makeshift studios, he began bringing these ideas to life. Herzsprung draws together a wide spectrum of influences; from the groove-driven fusion jazz of the 1970s to Japanese noise-rock psychedelia, anthemic grunge, and outsider pop. There are traces of the alt-pop qualities that GB shares with his Copenhagen peers, but you hear London’s influence too, an urge to stretch rock tradition and break with form. After finding himself improbably cast in a viral Jaguar ad in 2024, he used the money to book out a studio villa in the Swedish wilderness, joined by a band of trusted musicians. Over the course of a week, the songs — which had previously existed as memos and notebook scribbles — took full shape through live performance and collective instinct. Tracked largely live to 24-track tape, the result is a record that feels immediate and playful in its execution. It captures the chemistry of an uncompromising band brimming with ideas and welcoming spontaneity. Herzsprung sifts through the past and present with urgency, cutting it open so that the future leaks out. On the record's climax, “Shit River”, GB is backed by a full choir as he screams for "someplace beaming with more colors”. “..and everything in between collapsed, rushing floods of insignificance”."
Strung-out yet precise. Introverted but with something to say. Industrial Relations is a further unraveling of the stories untold left lingering around the Piedmont capital. Cloistered away behind one of Turin’s many crumbling doorways, a basic studio set-up alongside a scattering of found photos and a type-writer forms the backbone of this bureau. Noticeably more barbed than its predecessor Chamber Music, drums are frayed and left to splutter. Grungy guitar chords come in at angles, occasionally spiralling into delay-drenched depths before coming back up for air. The ghosts of 90’s post rock are often summoned and keep close company. Drowsy drum-loops and turntable mischief is a strong nod to the bedsit charms to Crescent (specifically Electronic Sound Construction to these ears at least), whilst Hood’s fuzzy greyscale warmth forms a backdrop for the songier moments. For all its uncanny abstraction though, Industrial Relations is punctuated by moments of unexpected sensitivity and space. Burial is little more than soft nylon strings, a demure vocal and the passing of traffic. Egg Monster unravels to expose a tender character, only just about covered with vinyl crackle whilst Musica Di Guarigione demonstrates a genuine sensitivity and ear for melody. It’s music outside but of it’s time, equally of the past and the present, offering a further insight into the inner-workings of this unique Italian dilettante.
An archival compilation that brings together My Bloody Valentine’s 1988 John Peel Session and rare tracks from the same period.
When it was first released in 1997, White Heaven founder You Ishihara’s solo debut Passivité seemed to vanish into the ether, going largely unnoticed; the scant coverage it did receive in the Japanese music press was confused or even dismissive and it hardly reached an overseas audience in that moment just before the online music era. It was released by the short-lived Japanese Creativeman Disc label, which also produced albums by other luminaries of the Japanese underground, including Phew, Otomo Yoshihide, Taku Sugimoto, C.C.C.C. and Ground-Zero. Yet, even in that eclectic company, Ishihara’s album stood apart in a world all its own, out of time in that, or any other, era.
Passivité arrived at a pivotal point in Ishihara’s career, just as White Heaven dissolved and before the formation of his next group, The Stars. To realize the album, he recruited a choice group of players, including Michio Kurihara (White Heaven) on guitar, Chiyo Kemekawa (Yura Yura Teikoku) on bass, and Koji Shimura (Acid Mothers Temple) on drums, arranging them in no less than five configurations. The result revealed an expansive creative and even conceptual vision that could only find expression outside the band context. In the twenty-odd years since, the album has found adherents who, like P.S.F. Records founder Hideo Ikeezumi, praised its tremendous depth and discovered that they experienced something new each time they listened to it. Listening back today, Passivité sounds timeless and, in a sense, encapsulates the concepts, feeling, and brilliance that have marked the near 50-year career of one of the key figures in Japanese underground music.
Passivité is an entrancingly beautiful album that draws from rock and psychedelic music, the sounds of 60’s America as well as elements of jazz, bossa nova, soul, and even electronic music. It’s an enigmatic late-night meditation that unfolds in a cool darkness pierced by scattered flashes of light and heat. The album’s opening tracks “K” and “Nachbild,” as well as the second side’s nearly 15-minute “Nightwalker,” slowly float in the night, quietly seductive, stripped down, and soulful. Even as Ishihara seems to surrender to these nocturnal atmospheres, he cuts to songs that erupt with urgent energy, overdriven fuzz guitars, and even dives into an electronic excursion recorded 18 years before. Through all of this, there is a clarity and cohesion of vision. On Passivité, Ishihara both embraces and departs from his work with White Heaven. The music is deeply personal and intimate even as it operates on a conceptual level with a masterful nuance and subtlety.
Black Editions presents Passivité for the first time on vinyl in a meticulously remastered deluxe edition, including metallic silver tip-on jacket with gloss film laminate finish, matte pigment stamping, two inserts with liner notes in Japanese and English newly written by renowned music critic and editor Masato Matsumura (Studio Voice, Tokion) and the original notes by Shinji Shibayama (Nagisa Ni Te, Hallelujahs, Org Records).
Inventor of the “infinite guitar,” Canadian musician Michael Brook’s 1992 4AD record Cobalt Blue is a timeless and quietly stunning collection of instrumental pieces and shimmering dreamscapes, featuring contributions from ambient music pioneer Brian Eno, composer & multi-instrumentalist Roger Eno, and Grammy-winning producer Daniel Lanois.
Recorded later that year, Live at the Aquarium captures Brook’s rare solo performance in London, highlighting the hypnotic sustain and atmosphere that define his work. Beyond his albums, Brook has scored acclaimed films including Into the Wild, Brooklyn, and An Inconvenient Truth.
Newly remastered by Rashad Becker and presented as a 2XCD and crystal clear 2LP with artwork by Alison Fielding based on the original v23 designs, this set marks the first vinyl reissue of Cobalt Blue and the vinyl debut of Live at the Aquarium — a long-overdue celebration of an underrated gem in the 4AD catalogue.
Brook is known as a pioneer in the ambient music movement and a highly sought-after producer, especially in the arena of world music, for Peter Gabriel’s Real World Records. He has worked with a vast range of important artists, including Cheb Khaled, U. Srinivas, Mary Margaret O’Hara, and the Pogues, and toured with David Sylvian and Robert Fripp and with John Cale.
Brook was nominated for a Grammy Award in 1996 for his album with Nusrat Fateh Ali Khan, Night Song, and for a Golden Globe in 2008 for the Into the Wild soundtrack. El Infierno won the 2011 Havana Film Festival award for best music. In 2024, Nusrat’s album Chain of Light, produced by Brook, was The Guardian’s World Music album of the year.
言わずと知れたスロウコアの大名盤！これは是非聞いておくがいい。自国のソウル、ゴスペル、ファンクにとどまらず、ニューエイジ・ミュージック始祖ヤソスや日本からは原マスミまで、世界各地のオブスキュアなサウンドを掘り起こしてきた米国の大名門〈Numero〉からは、1998年に〈Up Records〉からリリースされたDusterのデビュー・スタジオ・アルバム『Stratosphere』が25周年を記念してアニヴァーサリー・リイシュー。スロウコアの第一波の頂点にたつ一枚であり、子宮の中で聞くべき！暗い空間と閉じた瞼のための音楽にして、パンクの鋸歯状のエッジを持つアンビエント・ミュージック。
Japanese Edition with Obi. A band that has risen to become a representative of the scene proves its further evolution
A milestone of 90's alternative music.
Japanese Edition with Obi. The album is one of the most influential albums of the post-rock, electronica, and “acoustic school” that followed.
Adrian Sherwood teams up with Speakers Corner Quartet and African Head Charge for new four track EP Barbican Heights, a project which traverses the musical worlds of dub, jazz, electronic, afrobeat, and beyond. Barbican Heights is born out of a spirit of collaboration, bringing together one of the UKs most innovative and influential producers, Adrian Sherwood; one of the longest serving and most iconic members of the On-U Sound family, African Head Charge; together with Speakers Corner Quartet, a rising force whose influence is integral to the sound of the contemporary UK jazz scene. Recorded during a singular day of creative spontaneity at Wicker Studios, the three acts, alongside Alex White of Primal Scream and Fat White Family, combined for semi-improvised reworkings of classic African Head Charge composition “Wicked Kingdom Of This Earth”, Speakers Corner Quartet’s own “Topanga”, as well as two new tracks constructed from scratch during the session
'I Bet on Sky' is the third Dinosaur Jr. album since the original trio – J Mascis, Lou Barlow and Murph – reformed in 2005. And, crazily, it marks the band’s 10th studio album since their debut on Homestead Records in 1985. Back in the ‘80s, if anyone has suggested that these guys would be performing and recording at such a high level 27 years later, they would have been laughed out of the tree fort. The trio has taken everything they’ve learned from the various projects they tackled over the years, and poured it directly into their current mix. J’s guitar approaches some of its most unhinged playing here, but there’s a sense of instrumental control that matches the sweet murk of his vocals (not that he always remembers to exercise control on stage, but that’s another milieu). This is head-bobbing riff-romance at the apex. Lou’s basswork shows a lot more melodicism now as well, although his two songs on 'I Bet on Sky' retain the jagged rhythmic edge that has so often marked his work. And Murph…well, he still pounds the drums as hard and as strong as a pro wrestler, with deceptively simple structures that manage to interweave themselves perfectly with his bandmates’ melodic explosions. After submerging myself in 'I Bet on Sky', it’s clear that the album is a true and worthy addition to the Dinosaur Jr. discography. It hews close enough to rock formalism to please the squares. Yet it is brilliantly imprinted with the trio’s magical equation, which is a gift to the rest of us. For a combo that began as anomalous fusion of hardcore punk and pop influences, Dinosaur Jr. have proven themselves to be unlikely masters of the long game.
The acoustic unit MIZ, formed by members of Japan's hugely popular band MONO NO AWARE, released in 2022.
"A friend of mine told me he had visited the place that Cancer House live and record. He said they jammed together all afternoon. In the moment, in the zone so to speak, he became more and more convinced that what they were making together was the best music he had ever been involved with. As the afternoon drifted by, second by revelatory second, he began making grandiose plans to release the recording. By the time it was dark outside the windows he imagined it as a future lost classic, a key live document of a scene, a moment and an aesthetic. He thought about all the records he loved. He thought about the great, little known, statements of lo-fi, downer indie: dark, sweet, crawling guitar music by bands like Farewood, Bedhead, UN or The Sonora Pine. He could even picture the sleeve down to the last detail. The session ended and as they were all packing up he asked about the recording. And someone said ‘oh, we weren’t recording." -Jack Rollo
new avatar is where everything Kelela has been building toward comes into focus. She started writing her first songs in the D.C. indie scene before the club music and electronic production that defined her early career took over. With new avatar, she closes the loop: R&B run through distorted guitar living alongside new intersections in dance music, culminating in a sound that pulls from everywhere she has ever lived musically.
Bad Brains is the self-titled debut studio album recorded by American hardcore punk/reggae band Bad Brains. Recorded in 1981 and released on (then) cassette-only label ROIR on February 5, 1982, many fans refer to it as "The Yellow Tape" because of it's yellow packaging. Though Bad Brains had recorded the 16 song Black Dots album in 1979 and the 5-song Omega Sessions EP in 1980, the ROIR cassette was the band's first release of anything longer than a single. The release includes the original liner notes by Ira Kaplan of Yo La Tengo. This reissue marks the second release in the remaster campaign on the band's own Bad Brains Records imprint with Org Music. In coordination with the band, Org Music has overseen the restoration and remastering of the iconic Bad Brains' recordings. The audio was mastered by Dave Gardner at Infrasonic Mastering.
