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We're excited to bring you this collaboration between Spanish Producer Nueen and Manc vocalist / rapper Iceboy Violet, who has previously sprinkled their magic dust across Hyperdub releases from aya and Loraine James. The album traces the arc of a four year relationship, In Iceboy's words - 'fondly memorialising its highs and documenting its lows, trying to process and reflect positively and then ending with the ecstatic but ominous spark of new love.' Between them they've made an album that's magical, intimate and heartfelt, sometimes anguished but ultimately re-enchanting.
Iceboy and Nueen mutually admired their like-minded approach to making ambient music on recent solo releases and started swapping ideas for collaboration. Nueen sent beats at an almost overwhelming rate, which matched the speed and sharpness of Iceboy's emotions while they processed the end of the aforementioned relationship, creating songs which helped them process and navigate through the mental fog. The tracks were finished with Iceboy zooming in and chiselling the details, all finished in 3 months.
Nueen's music responds with foggy, but richly detailed grainy production. There are Smudgy, drill-laced beats contrasting with curdled, spiralling chords and at times he seems to isolate elements from Burial's palette and intensifies them, like SM FID's fire-like crackles. At other times, he draws out a malevolent ambience which feels elemental and troubling like on Cement Skin. Friends and collaborators switched up some of these songs, with artist Harriet Morley as the first voice on the album and Dawuna adding their rugged silky background vocals around Still's descriptions of black hair braiding and lives intimately intertwined. The album's final track, Kiss Me Again is blessed with young Manchester singer Bennettiscoming as a softening foil to Iceboy's coarse rapture.
You Said You'd Hold My Hand Through The Fire is an immensely affecting and lucid album, powerfully wrought and ultimately hopeful.
Recorded in sessions spanning eighteen months, Magnificent Little Dudes Vol.1 is full of obscure beats and samples, ethereal droning synth lines, and drumming that lifts and drive the record into new territory. The duo are also joined by Japanese guest vocal performer Hatis Noit (Erased Tapes) in the penultimate track “M4”, which his released today as the first single.
“M4” perfectly exemplifies the album’s atmospheric and subtly intricate makeup, combining
mellifluous guitar lines with memory-evoking, slaloming electronics, while Ishiwaka’s drums ruminate in the background of the track and Noit’s otherworldly vocals add an element of wistful drama.
Speaking on the recording process, Hatakeyama says “No overdubbing was done. I like the 70's style of recording and wanted to give it an old-time jazz feel.” Speaking about his influences when writing the album, he goes on to say “It may not sound like much, but it's free jazz, spiritual jazz. I love Alice Coltrane and Sun Ra. Conceptually, we didn’t prepare anything in advance, but chose to take inspiration from the place, the studio, the venue, the weather, the temperature of the day, and so on – the album is full of short improvisations. I love Les Rallizes Dénudés, Keiji Haino, and My Bloody Valentine as well, so that's where a lot the guitar-based influence comes from”
Distant Call is a collection of early demos that were worked into finished productions appearing on Haha Sound, Tender Buttons and The Future Crayon.
The album also includes two songs discovered by James after Trish’s passing: “Come Back To Me” and “Please Call To Book” which was her response to Broadcast's 2006 ‘Let’s Write A Song’ project, where fans were asked to submit lyrics on a postcard which would then be worked into a finished song.
Distant Call is a closing of the door on Broadcast and will be the last release from the band.
1990年代といえばブライアン・イーノが「歓迎されないジャズ(Unwelcome Jazz)」と呼んだ「新種の音楽」としての独自のジャズにアプローチしていた時期でもある。その成果は名称を変えて1997年のアルバム『The Drop』にまとめられることになるのだが、翌1998年に彼はまさに自身がアプローチしていたジャズに近しい音楽と運命的な出会いを果たすことになる。それがJ・ペーター・シュヴァルムによるバンド・プロジェクト、スロップ・ショップのデビュー・アルバム『Makrodelia』(1998年)だった。意気投合した両者はコラボレーションを開始し、2000年に伶楽舎とディスクを分担した2枚組『music for 陰陽師』を、2001年にはCANのホルガー・シューカイを含む多数のミュージシャンを交えた『Drawn from Life』を完成させる−−のだが実はそこには前日譚があった。
イーノがシュヴァルムと知り合って間もない頃、3回目に会ったのがこのたびの発掘音源のリハーサルだそうである。そしてそこにはスロップ・ショップのベーシストであるラウル・ウォルトンおよびドラマーであるイェルン・アタイのほか、シュヴァルムが初めて対面する、カンの創設メンバーでありベーシストとしても知られるホルガー・シューカイがいた。イーノとシューカイはすでに『Cluster and Eno』(1977年)および『After The Heat』(1978年)で共同作業していたが、いずれもシューカイが参加したのは1曲のみ、かつベーシストとしての客演だった。しかし発掘音源に収められたイーノおよびシュヴァルムとのセッションでは、シューカイが「ラジオ・ペインティング」と呼ぶような、短波ラジオとテープを用いたサンプリング/コラージュを行っている。ともかく、三者が揃ってライヴを披露するのは初めてのことだった。しかもウォルトン、アタイを含む5人のメンバーが揃って演奏を行う機会はその後ついに訪れなかった。奇跡的な邂逅と言っていいだろう。
ブライアン・イーノが当時ライヴを行うこと自体も珍しかった。だがこの発掘音源の元となった「Sushi! Roti! Reibekuchen!」なるイベントはやや特殊なものだった。食べ物をタイトルに掲げているように、主役は料理人なのである。というのも、ドイツ・ボンの美術展示館で開催されたイーノによるインスタレーション展のオープニング・パーティーとして野外で行われたイベントだったのだが、字義通りパーティーであり、会場では大勢の来場者に料理人たちが食べ物を振る舞っていた。そうした中、用意されたステージでドローンが鳴り始め、そして5人のミュージシャンが即興で演奏を行った。イーノによればこのイベントにおけるパフォーマーは料理人たちであり、自分たちが作っているのはバックグラウンド・ミュージック。つまり音楽のパフォーマンスではなく、バックグラウンド・ミュージック付きの料理のパフォーマンスなのだという。イーノらしいコンセプトだと思うが、しかし、ステージで魅せる音楽は少なくない観衆の耳を釘付けにした。イーノとシュヴァルムが作り出すミニマルでアンビエント/ドローンなサウンドに、ホルガー・シューカイのサンプリング/コラージュが色を添え、そしてラウル・ウォルトンとイェルン・アタイは時に人力ドラムンベースのごとく怒涛のグルーヴを生み出していく。演奏は2セット、計3時間にもおよび、最後は警察に電源を切られて強制終了させられたという逸話さえ残っている。
発掘音源『Sushi. Roti. Reibekuchen』に収められているのは、そのような計3時間のライヴから抜粋された5つのトラックである。「料理のパフォーマンス」に付随するバックグラウンド・ミュージックとして構想されたライヴは、こうして音源化されることで新たに主役の座に躍り出る。そこから聴こえてくるサウンドは、ブライアン・イーノ、ホルガー・シューカイ、J・ペーター・シュヴァルムという三者の一期一会の本格的なインプロヴィゼーションであるとともに、ただ貴重な記録というだけに留まらず、アンビエント経由の「歓迎されないジャズ」に類する音楽が生演奏で収められた作品として、四半世紀経った2024年現在も実に興味深く思えるのである。
Text by 細田成嗣
6月26日発売。和物ダブ最高峰!カルト・ジャパニーズ・コズミック・ジャズ・レゲエ。Sly & RobbieにAugustus Pablo、吉田美奈子、大村憲司、松岡直也などが参加という超豪華編成の80年激レア和ダブ傑作「Pecker Power」がなんと37年ぶりのリイシュー。オリジナルは清水靖晃の「案山子」や坂本龍一をリリースしていた名レーベル、Better Daysからの発表。Jah PelikahoやBob Marleyら作曲の楽曲群を演奏し、オーガスタス・パブロ、リコ・ロドリゲス、マーシャ・グリフィス、ジュディ・モワット、ロビー・シェイクスピア、スライ・ダンバー等をフィーチャーした超本格派ジャマイカサウンド満載な中南米風味のエキゾが炸裂。堂々のジャパニーズ・ダブ大名盤にして金字塔。
日本初のサルサ・バンド、オルケスタ・デル・ソルを作ったパーカッショニスト、ペッカーが1980年に制作した日本最初のダブ・アルバム『ペッカー・パワー』。ボブ・マーリーのスタジオ「TUFF GONG」でのザ・ウェイラーズとのセッションと、「CHANNEL ONE」でのスライ&ロビーとのセッションから生まれたこの無国籍なダブ・サウンドは『21st Century Dub』というタイトルで1987年にアメリカで流通し、以降世界中に知られる作品となった数奇な名盤。
Glass Beams have announced their highly anticipated EP ‘Mahal’, out on March 22nd on their new label home Ninja Tune. Released alongside the news is the EP’s titular track “Mahal”.
The genesis for the Melbourne-based trio, which formed around founding member Rajan Silva, was through the rekindling of childhood memories relating to his father, who emigrated to Melbourne from India in the late 1970's. Silva recalled watching a DVD on repeat with his father; ‘Concert for George’, a star-studded tribute to late Beatles member George Harrison performed at London's Royal Albert Hall in 2002, featuring legendary Indian sitar player Ravi Shankar with daughter Anoushka, alongside Western icons Eric Clapton, Paul McCartney and ELO’s Jeff Lynne. This intersection of musical styles was reflected in the record collection of Silva's father, where the sounds of iconic Bollywood vocalists Asha Bhosle and the Mangeshkar lineage sat alongside music from blues legends like B.B. King and Muddy Waters. In particular, Silva was drawn to the fusion of Western musical styles and traditional Indian music; a concept pioneered by Indian artists like R.D. Burman, Ananda Shankar, and fraternal duo Kalyanji-Anandji.
This cross-pollination of East and West, of old and new, is a sentiment that the band have sought to capture in their self produced works. Across their output, Glass Beams presents a timeless fusion of cultures and sounds beamed through a prism of live instrumentation and DIY electronica, all wrapped up inside a mesmerizing and mystical visual world of their own making.
Their debut EP ‘Mirage’, released in 2021 catapulted them into the collective consciousness of new followers who came to discover their serpentine, psychedelic-tinged tracks through social media, streaming services and word of mouth, with the vinyl copies selling-out as quickly as it could be pressed via grassroots record store support.
In the wake of the unexpected success of their debut release and an abundance of festival invitations, Glass Beams were amplified around the globe performing hypnotic renditions of the 'Mirage' EP alongside an additional 20 minutes of unreleased music. Early clips of these “unreleased tracks” quickly began circulating online garnering millions of views and a fast-growing and ever-hungry following. As 2023 drew to a close and the dust settled after a whirlwind of touring, Glass Beams retreated to their home studio to record this much anticipated 20 minutes of music. They have named the record 'Mahal'.
Glass Beams have announced their highly anticipated EP ‘Mahal’, out on March 22nd on their new label home Ninja Tune. Released alongside the news is the EP’s titular track “Mahal”.
The genesis for the Melbourne-based trio, which formed around founding member Rajan Silva, was through the rekindling of childhood memories relating to his father, who emigrated to Melbourne from India in the late 1970's. Silva recalled watching a DVD on repeat with his father; ‘Concert for George’, a star-studded tribute to late Beatles member George Harrison performed at London's Royal Albert Hall in 2002, featuring legendary Indian sitar player Ravi Shankar with daughter Anoushka, alongside Western icons Eric Clapton, Paul McCartney and ELO’s Jeff Lynne. This intersection of musical styles was reflected in the record collection of Silva's father, where the sounds of iconic Bollywood vocalists Asha Bhosle and the Mangeshkar lineage sat alongside music from blues legends like B.B. King and Muddy Waters. In particular, Silva was drawn to the fusion of Western musical styles and traditional Indian music; a concept pioneered by Indian artists like R.D. Burman, Ananda Shankar, and fraternal duo Kalyanji-Anandji.
This cross-pollination of East and West, of old and new, is a sentiment that the band have sought to capture in their self produced works. Across their output, Glass Beams presents a timeless fusion of cultures and sounds beamed through a prism of live instrumentation and DIY electronica, all wrapped up inside a mesmerizing and mystical visual world of their own making.
Their debut EP ‘Mirage’, released in 2021 catapulted them into the collective consciousness of new followers who came to discover their serpentine, psychedelic-tinged tracks through social media, streaming services and word of mouth, with the vinyl copies selling-out as quickly as it could be pressed via grassroots record store support.
In the wake of the unexpected success of their debut release and an abundance of festival invitations, Glass Beams were amplified around the globe performing hypnotic renditions of the 'Mirage' EP alongside an additional 20 minutes of unreleased music. Early clips of these “unreleased tracks” quickly began circulating online garnering millions of views and a fast-growing and ever-hungry following. As 2023 drew to a close and the dust settled after a whirlwind of touring, Glass Beams retreated to their home studio to record this much anticipated 20 minutes of music. They have named the record 'Mahal'.