{"title":"All Products","description":"","products":[{"product_id":"stevereid-rhythmatism","title":"Steve Reid - Rhythmatism","description":"\u003cp\u003eEngland's Soul Jazz imprint reissues one of two lost masterpieces from this obscure but brilliant 70s jazz-funk drummer. \u003cbr\u003e\u003cbr\u003e Recently reissued on Soul Jazz, Steve Reid's Rhythmatism steps expertly between funky and free. \"Soul jazz\" is the perfect moniker for the album, which both reflects the exploratory soloing and marathon track lengths of the free jazz school and digs intently into hard-swinging grooves. Recorded in 1975, Rhythmatism is exactly what its title implies: an examination into the power and pliability of the beat. - \u003ca href=\"https:\/\/pitchfork.com\/reviews\/albums\/6930-rhythmatism\/\" target=\"_blank\" rel=\"noopener noreferrer\"\u003ePitchfork\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ciframe width=\"300\" height=\"380\" src=\"https:\/\/open.spotify.com\/embed\/album\/2NbPAkiTu0dt8tfXKllesL\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003ctable border=\"1\" cellspacing=\"0\" cellpadding=\"0\"\u003e\n\u003ctbody\u003e\n\u003ctr\u003e\n\u003ctd\u003e\n\u003cp\u003eLabel: Soul Jazz Records ‎– SJR LP448\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\n\u003cp\u003eFormat: Vinyl, LP, Album, Limited Edition, Reissue, White\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\n\u003cp\u003eCountry: UK\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\n\u003cp\u003eReleased: 2019\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\n\u003cp\u003eGenre: Jazz\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\n\u003cp\u003eStyle: Post Bop\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\n\u003c\/table\u003e","brand":"Soul Jazz Records","offers":[{"title":"Default Title","offer_id":41456431923358,"sku":"5026328004488","price":45.0,"currency_code":"SGD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0584\/5434\/3838\/products\/8be4975a3d6f184ccaf481b8df1ecec2e517d78b.jpg?v=1646290346"},{"product_id":"pandaijingasatinsight","title":"Pan Daijing ‎– A Satin Sight","description":"\u003cp\u003ePan Daijing, a Chinese artist now based in Berlin, discovered techno on her first trip to Europe, when she was 20. But unlike many who have had a similar epiphany in Berghain's dark halls, Daijing didn't suddenly dedicate herself to dance music. \"It's not so much 'music,' but 'sound,'\" she told RBMA last year. \"Sound has always been the thing I've been the most interested in.\" Or maybe \"noise\" is a better way of putting it, as her interests in industrial and experimental music have been a major part in the intense, sexually charged performances she's become known for. All of which is to say that Daijing has taken a roundabout path to making techno, which gives her second release an interesting angle. A Satin Sight isn't light on rhythmic force, but the drums are sometimes utilized more for their sonic blasts than time keeping. \"What I like about techno is the energy,\" Daijing said in that same interview. \"Whether you're making it, playing it, listening to it or dancing to it, it's an energy exchange. – \u003ca href=\"https:\/\/www.residentadvisor.net\/reviews\/20346\" target=\"_blank\" rel=\"noopener noreferrer\"\u003e\u003cu\u003eResident Advisor\u003c\/u\u003e \u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ciframe width=\"300\" height=\"380\" src=\"https:\/\/open.spotify.com\/embed\/album\/62e4pq3nPqd62G1iAFeTwt\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003ctable border=\"1\" cellspacing=\"0\" cellpadding=\"0\"\u003e\n\u003ctbody\u003e\n\u003ctr\u003e\n\u003ctd\u003e\n\u003cp\u003eLabel: \u003ca href=\"https:\/\/www.discogs.com\/label\/673972-Bedouin-Records\"\u003eBedouin Records\u003c\/a\u003e ‎– BDN 013\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\n\u003cp\u003eFormat: \u003ca href=\"https:\/\/www.discogs.com\/search\/?format_exact=Vinyl\"\u003eVinyl\u003c\/a\u003e, 12\", EP, Limited Edition\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\n\u003cp\u003eCountry: \u003ca href=\"https:\/\/www.discogs.com\/search\/?country=United+Arab+Emirates\"\u003eUnited Arab Emirates\u003c\/a\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\n\u003cp\u003eReleased: \u003ca href=\"https:\/\/www.discogs.com\/search\/?decade=2010\u0026amp;year=2017\"\u003e2017\u003c\/a\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\n\u003cp\u003eGenre: \u003ca href=\"https:\/\/www.discogs.com\/genre\/electronic\"\u003e\u003c\/a\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\n\u003cp\u003eStyle: \u003ca href=\"https:\/\/www.discogs.com\/style\/techno\"\u003eTechno\u003c\/a\u003e, \u003ca href=\"https:\/\/www.discogs.com\/style\/industrial\" style=\"cursor: pointer;\"\u003eIndustrial\u003c\/a\u003e, \u003ca href=\"https:\/\/www.discogs.com\/style\/ebm\" style=\"cursor: pointer;\"\u003eEBM\u003c\/a\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\n\u003c\/table\u003e","brand":"Bedouin Records","offers":[{"title":"Default Title","offer_id":41456437199006,"sku":"516264","price":38.0,"currency_code":"SGD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0584\/5434\/3838\/products\/f211d8b2c1da96d7bcfa0debca99756436d6b834.jpg?v=1646290410"},{"product_id":"various-mainstream-funk","title":"Various – Mainstream Funk","description":"\u003cp\u003eWewantsounds continues its collaboration with Bob Shad's formidable label Mainstream Records, to present a selection of 12 turntable-friendly tracks recorded between 1971 and 1975 and showcasing the label's superb blend of Spiritual Jazz, Funk and Soul by the likes of Buddy Terry, Sarah Vaughan, LaMont Johnson and Johnny Coles. Most of the tracks are released on vinyl for the first time since their original release in the early 70s. – \u003ca href=\"https:\/\/wewantsounds.bandcamp.com\/album\/mainstream-funk\" target=\"_blank\" rel=\"noopener noreferrer\"\u003eWewantsounds\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ciframe width=\"100%\" height=\"380\" style=\"border-radius: 12px;\" src=\"https:\/\/open.spotify.com\/embed\/album\/1PUC5WGEtSshvSkFwSrEgM?utm_source=generator\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\"\u003e\u003c\/iframe\u003e\u003cu\u003e\u003cbr\u003e\u003c\/u\u003e\u003c\/p\u003e\n\u003ctable border=\"1\" cellspacing=\"0\" cellpadding=\"0\"\u003e\n\u003ctbody\u003e\n\u003ctr\u003e\n\u003ctd\u003e\n\u003cp\u003eLabel: Wewantsounds – WWSLP37\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\n\u003cp\u003eFormat: Vinyl, LP, Compilation\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\n\u003cp\u003eCountry: France\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\n\u003cp\u003eReleased: 28 Jan 2022\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\n\u003cp\u003eGenre: Jazz, Funk \/ Soul\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\n\u003cp\u003eStyle: Funk, Jazz-Funk\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\n\u003c\/table\u003e","brand":"Wewantsounds","offers":[{"title":"Default Title","offer_id":41456438018206,"sku":"3700604728023","price":48.0,"currency_code":"SGD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0584\/5434\/3838\/products\/a1286992033_10.jpg?v=1646290438"},{"product_id":"hoodoofushimitamaran","title":"Hoodoo Fushimi – Tamaran","description":"\u003cp\u003e\u003cstrong\u003eIs It Electro? Hip Hop? Techno? House? Funk? Disco? Balearic? Obscure? \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eIt’s all up to you. Ottagono Design Of Music is back introducing from its Italian headquarter the Japanese crossover Hoodoo Fushimi‘s Oto (sound) Imprint. Fushimi Sensei from his private studio in Yokosuka (the city where he is born ) during 1979 -1993 used to work on many projects, producing different music albums, working as a painter and illustrator, working also for a few Japanese magazines as a music writer and English translator. Nowadays for many people, he is considered one of the Electro Disco Tech Funk Japanese pioneers\/ innovators. Tamaran released during 1989 was available only on CD format on Syntax ( ’89 was the boom of CD Japanese Market ) for the Japanese Local Market becoming a true hard to find during the years, finally thanks to Ottagono after 30 years it takes the first official vinyl release. The Japanese Fushimi sound trademark looks still beautiful, fresh, and powerful ( from the Japanese word utsukushii) with influences that remind early Afrika Bambata, Cybotron, Egyptian Lover, De La Soul. Tamaran is featured by the club Hit “ Kaette Ne ” where Fushimi joining with singer Harka made a love song where still today it seems a true manifesto to Chicago Warehouse, New York Paradise Garage, it is something like a true mix of early Joe Claussell Instant House\/Jungle Sounds, Chicago Trax Records with some reminiscence of Nami Shimada and Soichi Terada. We are sure that Larry Levan and Frankie Knuckles would have liked to play at that time if only had a chance to have this pearl in their hands at that time. Claudio Mate from his musical vision after introducing Zen Oikawa Studio Ghibli director with the first Ottagono release remarks the Otaku Sound concept, where Artists, Producers, Musicians from the land of Rising Sun are responsible for Soundtracks for Anime, Video Games, Drama Live Action, Movies as at same time fathers also of a few pieces such as of Underground Music, indeed more recently Hoodoo Fushimi Ongaku (Music) got featuring over a few episodes of Giri\/ Haji the cult Netflix Uk\/ Japanese Drama series. Claudio and Fushimi Sensei together introduce one more time another Italian \/Japanese connection impossible to lose !!  – \u003cu\u003eBandcamp\u003c\/u\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cu\u003e\u003ciframe width=\"300\" height=\"150\" style=\"border: 0; width: 350px; height: 470px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=1430711062\/size=large\/bgcol=ffffff\/linkcol=0687f5\/tracklist=false\/transparent=true\/\" seamless=\"\"\u003e\u003ca href=\"https:\/\/ottagonodesignofmusic.bandcamp.com\/album\/tamaran\"\u003eTamaran by Hoodoo Fushimi\u003c\/a\u003e\u003c\/iframe\u003e\u003c\/u\u003e\u003c\/p\u003e\n\u003ctable border=\"1\" cellspacing=\"0\" cellpadding=\"0\"\u003e\n\u003ctbody\u003e\n\u003ctr\u003e\n\u003ctd\u003e\n\u003cp\u003eLabel: Ottagono Design Of Music – ODOM 002\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\n\u003cp\u003eFormat: Vinyl, LP, Album, Reissue, Remastered\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\n\u003cp\u003eCountry: Italy\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\n\u003cp\u003eReleased: 2020\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\n\u003cp\u003eGenre: Electronic, Hip Hop, Rock, Funk \/ Soul\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\n\u003cp\u003eStyle: Hip Hop, Abstract, Experimental, Electro, Disco, House, Techno\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\n\u003c\/table\u003e","brand":"Ottagono Design Of Music","offers":[{"title":"Default Title","offer_id":41456444145822,"sku":"753585v1","price":45.0,"currency_code":"SGD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0584\/5434\/3838\/products\/f71185d116f68df56cc6ef47a9dc2b8d6ab92cfc.jpg?v=1646290515"},{"product_id":"kamasi-washington-the-epic","title":"Kamasi Washington – The Epic (Volumes 1,2 \u0026 3)","description":"\u003cp\u003e\u003cstrong\u003e— The Analog Vault \/\/ Essential Listening —\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eKamasi Washington’s 2015 breakthrough on Brainfeeder Records was nothing short of a visionary and Homeric accomplishment. The American saxophonist’s third studio album and major label debut, aptly titled\u003cem\u003e The Epic\u003c\/em\u003e, was a triple LP of monumental scope and scale.\u003c\/p\u003e\n\u003cp\u003eAccompanied by Washington’s jazz collective decet The West Coast Get Down, alongside a 32-piece orchestra and 20-member choir, The Epic emerged as an expansive masterwork that blended Afrofuturist cosmic jazz, retro funk fusion, pan-global influences, and forward-thinking elements from Los Angeles’ experimental beat scene. \u003cem\u003eThe Epic\u003c\/em\u003e did not just merely survey the past and present of jazz - it audaciously propelled it into the future through fresh and stimulating compositions that shifted the genre’s paradigm entirely.\u003c\/p\u003e\n\u003cp\u003eFrom the thrilling swing of its opener \"Change of the Guard,” to its propulsive closer “The Message,” Washington and team take the listener through a 172-minute odyssey that unfolds with breathtaking virtuosity. — \u003ca href=\"https:\/\/theanalogvault.com\/\" target=\"_blank\" rel=\"noopener\"\u003eThe Analog Vault\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e—\u003c\/p\u003e\n\u003cp\u003eA brazen release from young Los Angeles jazz giant, composer, and bandleader Kamasi Washington. \u003cem\u003eThe Epic\u003c\/em\u003e is unlike anything jazz has seen, and not just because it emanates from the boundary-defying Brainfeeder, which isn’t so much a label in the traditional sense as it is an unfurling experiment conducted by the underground producer Flying Lotus who has featured Washington on his albums \u003cem\u003eCosmogramma\u003c\/em\u003e and \u003cem\u003eYou’re Dead!\u003c\/em\u003e.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eThe Epic \u003c\/em\u003eis a 172-minute, three-volume set that includes a 32-piece orchestra, a 20-person choir, and 17 songs overlaid with a compositional score written by Washington. Pulsing underneath is an otherworldly ten-piece band, each member of which is individually regarded as among the best young musicians on the planet – including bassist Thundercat and his brother, drummer Ronald Bruner Jr., bassist (yes, there are two) Miles Mosley, drummer Tony Austin (of course there are two), keyboard player Brandon Coleman, pianist Cameron Graves, and trombonist Ryan Porter. Patrice Quinn’s ethereal vocals round out the ensemble.\u003c\/p\u003e\n\u003cp\u003eThe band are all from Los Angeles, mostly South Central, and its members – who call themselves variously “The Next Step” and the “The West Coast Get Down” – have been congregating since they were barely teenagers in a backyard shack in Inglewood. Washington, 32, has known Bruner since he was two. The rest met, at various stages, by the time they were in high school. The hours they have put into the music, playing together and practicing alone, total cumulatively in the tens of thousands.\u003c\/p\u003e\n\u003cp\u003e“Nothing compares to these guys,” says Barbara Sealy, the former West Coast director of the Thelonious Monk Institute of Jazz, who has championed Kamasi and his compatriots from the beginning. “I challenge any group to go out on stage with them and see if they can keep up with it… Kamasi is at the top of his game, and only getting better.” “These young guys,” the rapper Common says, “remind me of why I love music.”\u003c\/p\u003e\n\u003cp\u003eAnd the story \u003cem\u003eThe Epic\u003c\/em\u003e tells, without words but rather through some combination of magic, mastery, and sheer force of imagination, is the story of Kamasi Washington and the Next Step and their collective mission: to remove jazz from the shelf of relics and make it new, unexpected, and dangerous again. They seek to both honour and alter tradition: as \u003cem\u003eThe Epic\u003c\/em\u003e’s opening track announces, they are the “Changing of the Guard”. The sound can be felt like flames, sometimes waving in the coziness of a fireplace, in other moments sweeping everything around like a backdraft. But Kamasi is always in control of the burning.\u003c\/p\u003e\n\u003cp\u003e “He just plays the craziest shit, man. I mean, everything — the past, present, the future,” Flying Lotus says, whose family lineage includes one of Washington’s direct musical forebears, John Coltrane. “It’s hard to find unique voices in this music. Especially in jazz, more so lately, everybody is trying to do the same shit. I don’t want to hear ‘My Favorite Things’ anymore… What I am hearing is a leader among artists.” — via Label \u003c\/p\u003e\n\u003cp\u003e\u003ciframe width=\"100%\" height=\"152\" style=\"border-radius: 12px;\" src=\"https:\/\/open.spotify.com\/embed\/album\/2j2q2ySuVk43eHB8wI5XQj?utm_source=generator\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003e↓\u003cbr\u003eLabel: Brainfeeder\u003cbr\u003eFormat: 3 × Vinyl, LP, Album, 180g\u003cbr\u003eReleased: 2015\u003cbr\u003eGenre: Jazz\u003cbr\u003eStyle: Fusion, Psychedelic, Soul-Jazz, Modern\/Future Jazz\u003c\/p\u003e\n\u003cp\u003eFile under: TAV Essential Listening\u003cbr\u003eFile under: Jazz  \/\/ Modern \/ Future Jazz\u003cbr\u003e⦿\u003c\/p\u003e","brand":"Brainfeeder","offers":[{"title":"Default Title","offer_id":41456446603422,"sku":"5054429002300","price":90.0,"currency_code":"SGD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0584\/5434\/3838\/products\/ca630bd305129fb4759196159b036d6ccbb5a178.jpg?v=1646290598"},{"product_id":"arthur-russell-calling-out-of-context","title":"Arthur Russell ‎- Calling Out Of Context","description":"\u003cp\u003eLike Another Thought, released ten years prior, \u003cem\u003eCalling out of Context\u003c\/em\u003e stitches together an hour's worth of songs left behind by the late, increasingly known - and therefore unceasingly beloved - Arthur Russell.\u003c\/p\u003e\n\u003cp\u003eAccording to liner notes from Audika's Steve Knutson, the content here pulls from a finished 1985 album that never made it past the test-pressing phase, along with an unfinished LP that was recorded and toyed with throughout the latter half of the '80s and the dawn of the '90s.\u003c\/p\u003e\n\u003cp\u003eDespite the multiple sources, the consistency of the tracks - which all carry a hazy, memories-of-events-that-never-happened feel - and the sympathetic sequencing make the disc seem more like a proper album than a vault-clearing compilation.\u003c\/p\u003e\n\u003cp\u003eIf you're familiar with the sound that Russell and his accomplices made on singles like \"Let's Go Swimming\" and Indian Ocean's \"School Bell\/Treehouse,\" you'll be familiar with the sound here. On these recordings, Russell (who plays cello, guitar, keyboards, and percussion) is joined primarily by Mustafa Ahmed and Peter Zummo, and the three of them produce an abstract cross between pop and R\u0026amp;B, constructed with drum machines and more organic instrumentation on top. None of these songs woo a crowd of dancers as so many of Russell's short-lived aliases did before; instead, they're more rooted in song-based pop. This goes for the structure of the tracks, and it also goes for the subject matter of the lyrics.\u003c\/p\u003e\n\u003cp\u003eOne of the greatest joys of listening to these songs is the regular presence of Russell's gentle, somewhat timid voice, which delivers one heartwarming line after another. If you're thinking this might possibly resemble a shoestring-budget, avant-garde version of Jam \u0026amp; Lewis, you're not too far off. With the many hats Russell wore, \u003cem\u003eCalling out of Context\u003c\/em\u003e should hammer home the fact that he was also a dynamite writer of heart-on-sleeve love songs - not just a formidable cellist and innovative disco producer. - \u003ca href=\"https:\/\/www.allmusic.com\/album\/calling-out-of-context-mw0000338961\" target=\"_blank\" rel=\"noopener\"\u003eAllMusic\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ciframe width=\"300\" height=\"380\" src=\"https:\/\/embed.spotify.com\/?uri=spotify%3Aalbum%3A6MKaaq8TAp1ebJ1FOnTHU8\" frameborder=\"0\" allowtransparency=\"true\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cstrong\u003eItem description:\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003ctable width=\"498\" style=\"height: 435.151px;\"\u003e\n\u003ctbody\u003e\n\u003ctr style=\"height: 54.3939px;\"\u003e\n\u003ctd style=\"height: 54.3939px;\"\u003e\n\u003cp\u003e\u003cspan\u003e\u003cstrong\u003eArtist:\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd style=\"height: 54.3939px;\"\u003e\n\u003cp\u003e\u003ca href=\"https:\/\/theanalogvault.com\/search?q=%22Arthur+Russell%22\"\u003eArthur Russell\u003c\/a\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr style=\"height: 54.3939px;\"\u003e\n\u003ctd style=\"height: 54.3939px;\"\u003e\n\u003cp\u003e\u003cspan\u003e\u003cstrong\u003eTitle:\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd style=\"height: 54.3939px;\"\u003e\n\u003cp\u003e\u003cspan\u003eCalling Out Of Context\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr style=\"height: 54.3939px;\"\u003e\n\u003ctd style=\"height: 54.3939px;\"\u003e\n\u003cp\u003e\u003cspan\u003e\u003cstrong\u003eLabel:\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd style=\"height: 54.3939px;\"\u003e\n\u003cp\u003e\u003ca href=\"https:\/\/theanalogvault.com\/search?q=%22label+-+Audika%22\"\u003eAudika\u003c\/a\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr style=\"height: 54.3939px;\"\u003e\n\u003ctd style=\"height: 54.3939px;\"\u003e\n\u003cp\u003e\u003cspan\u003e\u003cstrong\u003eFormat:\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd style=\"height: 54.3939px;\"\u003e\n\u003cp\u003e2 × Vinyl, LP, Compilation, Limited Edition, Repress\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr style=\"height: 54.3939px;\"\u003e\n\u003ctd style=\"height: 54.3939px;\"\u003e\n\u003cp\u003e\u003cspan\u003e\u003cstrong\u003eRelease Date:\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd style=\"height: 54.3939px;\"\u003e\n\u003cp\u003eThis reissue: 2015 | Original - 2004\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr style=\"height: 54.3939px;\"\u003e\n\u003ctd style=\"height: 54.3939px;\"\u003e\n\u003cp\u003e\u003cspan\u003e\u003cstrong\u003eGenre:\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd style=\"height: 54.3939px;\"\u003e\n\u003cp\u003eElectronica\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr style=\"height: 54.3939px;\"\u003e\n\u003ctd style=\"height: 54.3939px;\"\u003e\n\u003cp\u003e\u003cspan\u003e\u003cstrong\u003eStyle:\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd style=\"height: 54.3939px;\"\u003e\n\u003cp\u003eLeftfield, Abstract, Disco\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\n\u003c\/table\u003e\n\u003cp\u003e\u003cspan\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e","brand":"Audika","offers":[{"title":"Default Title","offer_id":41456447422622,"sku":"880301100117","price":45.0,"currency_code":"SGD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0584\/5434\/3838\/products\/c9056b3cfbac55786081b5626440df8a8705e5fd.jpg?v=1646290616"},{"product_id":"moderat-modeselektor-apparat-moderat","title":"Moderat [Modeselektor + Apparat] – Moderat","description":"\u003cp\u003e\u003cstrong\u003e— The Analog Vault \/\/ Essential Listening —\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eA sensational self-titled debut record from three of Germany’s most influential electronic music producers, Modeselektor (Gernot Bronsert and Sebastian Szary) and Apparat (Sascha Ring). Released on BPitch Control in 2009, this astonishing album features the best of both worlds - a nimble melding of Modeselektor’s boundary-pushing, floor-ready electro and techno, alongside Apparat’s emotive, introspective washes of experimental pop and glitchy IDM.\u003c\/p\u003e\n\u003cp\u003eThis compelling combination worked more symbiotically than anyone could have expected, culminating in the trio’s most accessible work here. \u003cem\u003eModerat\u003c\/em\u003e is filled with cerebral yet catchy club music that blurs the lines between early dubstep and minimal techno - seamlessly reconciling insular textures with the thumping grooves of a populist party. - \u003ca href=\"https:\/\/theanalogvault.com\/\" target=\"_blank\" rel=\"noopener\"\u003eThe Analog Vault\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003eHaving initially surfaced in 2002 only to sink back into the deep of Berlin’s dance scene, few saw this full-length from Apparat (Sascha Ring) and Modeselektor's Sebastian Szary coming. But arrive it did, in the early summer of 2009, and it almost matched expectations set absurdly high once news of their reunion broke.\u003c\/p\u003e\n\u003cp\u003eAlmost, because nothing would have fully sated the appetites of fans fervently fond of the duo’s 'solo' work. Rightly celebrated on their own terms, Ring and Szary have broken free of the underground with genre-hopping discs that appeal effortlessly to myriad demographics. Apparat’s Walls long-player of 2007 was an almost-instant classic of its kind, a cerebral, organic journey into soft-focus electronica and tensile techno; Modeselektor’s Happy Birthday! album of the same year led to touring with Radiohead, and featured said band’s Thom Yorke on (one) highlight (of many), The White Flash.\u003c\/p\u003e\n\u003cp\u003eNeedless to say, to certain sorts \u003cem\u003eModerat\u003c\/em\u003e – the album and the artist – is a very big deal indeed.\u003c\/p\u003e\n\u003cp\u003eThe contrast of protagonist styles – one favouring washes of sound, the other aggressive beats – could easily have produced a muddled affair with little synergy between arrangements. But \u003cem\u003eModerat\u003c\/em\u003e, when heard as a complete album, is an affecting, embracing listen. It invites its audience in with a warm welcome before settling them down and asking them to open their mind to the near-endless possibilities of contemporary dance. Cold steel and sharp edges are off the agenda, much of what’s heard here is enveloping of atmosphere and texturally rich, each explosion a controlled expression of tumult which might, without the admirable restraint, ricochet and spoil the splendid overall ambience.\u003c\/p\u003e\n\u003cp\u003eSuch is the symbiosis on show that it’s tough to discern exactly what elements are brought to the table by each artist – and it’s this seamless fusion that really makes \u003cem\u003eModerat\u003c\/em\u003e an essential listen. It flirts with dubstep, shifts through smoky reggae and minimal techno; the result is a picture of compositional lines blurred and intentionally coloured over. Vocals are soft and unobtrusive, complementary rather than mix-leading; the sampled guitar passages recall the boundary-pushing sensibilities of TV on the Radio and their ilk, always catchy but never quite conventional.\u003c\/p\u003e\n\u003cp\u003eIn short, Moderat is promise realised, an album that was threatened years ago but has only now come to fruition. Though given its excellence, and elegance, obviously its makers wouldn’t have had it any other way. — (via \u003ca href=\"https:\/\/www.bbc.co.uk\/music\/reviews\/g4hf\/\" target=\"_blank\" rel=\"noopener\"\u003eBBC\u003c\/a\u003e)\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003ciframe width=\"100%\" height=\"152\" style=\"border-radius: 12px;\" src=\"https:\/\/open.spotify.com\/embed\/album\/2HEh23ogCT3wiYfag2iMxD?utm_source=generator\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\"\u003e\u003c\/iframe\u003e\u003cbr\u003e↓\u003cbr\u003eLabel: BPitch Control\u003cbr\u003eFormat: Vinyl, LP, Album\u003cbr\u003eReleased: 2009\u003cbr\u003eGenre: Electronic\u003cbr\u003eStyle: Techno, Dubstep, Electro\u003cbr\u003e\u003cbr\u003eFile under: TAV Essential Listening\u003cbr\u003eFile under: Electronic \/\/ House \/ Electro \/ Techno\u003cbr\u003e⦿\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e","brand":"BPitch Control","offers":[{"title":"Default Title","offer_id":41456448045214,"sku":"880319418815","price":48.0,"currency_code":"SGD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0584\/5434\/3838\/products\/457d3011cfe3a2fae525491f2a76584b8554841a.jpg?v=1646290633"},{"product_id":"trentemoller-the-last-resort","title":"Trentemøller – The Last Resort (3LP 2018 Reissue)","description":"\u003cp\u003e\u003cstrong\u003e- The Analog Vault \/\/ Essential Listening -\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eThis full-length debut of Trentemøller, released on Poker Flat Recordings in 2006, remains one of the quintessential minimal masterpieces within the realm of 21st century electronic music. Although the Danish multi-instrumentalist and producer had previously been best known for his straight-up, beat-driven techno output, \u003cem\u003eThe Last Resort\u003c\/em\u003e finds Trentemøller shining in the micro details and multifaceted melodies of his foggy and frosty electronica compositions.\u003c\/p\u003e\n\u003cp\u003eGorgeously intricate patterns, broody glitchy textures and ambient undertones immerse the listener in an intimately introspective dancefloor that’s downtempo without ever being depressing. From the dub-techno darkness of “Nightwalker”, to the fragile melancholy of “Snowflake”, to the wide-screen Lynchian mysticism of “The Very Last Resort” - this ambitious and atmospheric LP presents a truly singular musical experience. - \u003ca href=\"https:\/\/theanalogvault.com\/\" target=\"_blank\" rel=\"noopener\"\u003eThe Analog Vault\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003eTrentemøller's debut album on Poker Flat, \u003cem\u003eThe Last Resort \u003c\/em\u003eis a beautifully crafted, astonishing masterpiece, that will leave you breathless.\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe 13 instrumental tracks together form a wordless musical story, almost like the soundtrack of a movie. It manages to capture a whole range of emotions in subtle melodic miniatures, dreamy ambiences, dusty beats, deep dub-tracks and driving groove-excursions. An ever-changing kaleidoscope of colours and moods, The Last Resort without a doubt contains Trentemøller’s best work to date. \u003c\/span\u003eAlthough it’s definitely an electronic album, it also incorporates live-drums, some guitars and other acoustic instruments like celesta, glockenspiel, melodica and even DJ scratching to create a more organic feel. “Something I couldn’t manage with just electronica“, according to the producer.\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eMost tracks were recorded over the course of last year, often in the time in between sessions for his 12-inches and remixes. “Making these tracks was like having time-off.“, says Trentemøller, “Moments to totally space out and let the music flow.” \u003c\/span\u003e\u003cspan\u003eIt may come as a surprise that on The Last Resort Trentemøller moves away from the dancefloor and instead produces an introspective album that’s especially great for homelistening (or listening in the car). \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eFrom his first release on Audiomatique (“Physical Fraction” from January 2005) we knew the young producer from Copenhagen was able to fuse great melodies and chord progressions with subtle, yet driving beats. \u003c\/span\u003eHis excellent remixes for Yoshimoto (“Du what U do “on OM, 2004), Röyksopp (“What else is there”, 2005) and Pet Shop Boys (“Sodom”, Parlophone, 2006) show yet another side of this multitalent, while his first releases on Audiomatique (“Physical Fraction“) and Poker Flat (‘Polar Shift’) suddenly propelled him to dancefloor-fame.\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eBut, as Trentemøller says now, he doesn’t see himself as someone who just produces dance-tech. “Because I have always made all kinds of music. In the studio, I never think about which genre it is or what target group it is for, I just make the music I feel like. \u003c\/span\u003eWhat came out of the recording sessions for The Last Resort was a very personal album: “It reflects my life, my thoughts, my needs, my insecureness, my longings.” And it was a challenge, he adds, “to express these feelings and moods without words, only with music.” – (via \u003ca href=\"http:\/\/trentemoller.bandcamp.com\/album\/the-last-resort\"\u003eBandcamp\u003c\/a\u003e)\u003cbr\u003e\u003cbr\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003ciframe width=\"100%\" height=\"850\" src=\"https:\/\/embed.spotify.com\/?uri=spotify%3Aalbum%3A71atOmlAjqT0QIFbLcRa0a\" frameborder=\"0\" allowtransparency=\"true\"\u003e\u003c\/iframe\u003e\u003cbr\u003e\u003cbr\u003e↓\u003cbr\u003eLabel: Poker Flat Recordings\u003cbr\u003eFormat: 3x Vinyl, LP, Album, Reissue\u003cbr\u003eCountry: Europe\u003cbr\u003eReleased: Jun 13, 2018 \/ Original Release: Oct 9, 2006\u003cbr\u003eGenre: Electronic\u003cbr\u003eStyle: Tech House, Ambient, Minimal, Techno\u003cbr\u003e⦿\u003c\/p\u003e\n\u003cp\u003eFile under: House \/ Electro \/ Techno\u003c\/p\u003e","brand":"Poker Flat Recordings","offers":[{"title":"Default Title","offer_id":41456449552542,"sku":"4250382435914","price":60.0,"currency_code":"SGD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0584\/5434\/3838\/products\/Trentmoller.jpg?v=1653718349"},{"product_id":"nightmares-on-wax-in-a-space-outta-sound","title":"Nightmares On Wax – In A Space Outta Sound","description":"\u003cp\u003eTaking a penchant for mid-90's golden era hip-hop production flourishes, a deep love for tipsy Jamai-can dub and a working knowledge of leftfield European electro, Nightmares On Wax have added to their already impressive catalog with \u003cem\u003eIn A Space Outta Sound\u003c\/em\u003e. With a stronger dubwise rocksteady vibe than past NOW releases, the new album is still firmly rooted in the dusty funk that has anchored past collaborations and remixes with hip-hop heavy hitters like De La Soul, Roots Manuva, Black Eyed Peas_Efrontman Will.i.Am and RJD2. One of the prime architects of the organic grooves later dubbed trip-hop, Nightmares on Wax de-serted their early formula in 2002 only when it became respectable and a crossover appeared most like-ly. With the air cleared of downtempo cash-ins, producer George Evelyn and producer\/keyboardist Robin Taylor-Firth went right back to dub-heavy trip-hop with In a Space Outta Sound. \u003cbr\u003e\u003cbr\u003eUnsurprisingly, Nightmares on Wax remain among the best at constructing simple grooves with end-less depths; their only rival is Massive Attack…. As with past NoW releases,\u003cem\u003e In a Space Outta Sound\u003c\/em\u003e boasts an emphasis on sound architecture that requires expensive stereo equipment (or bucket loads of narcotics) to fully appreciate.” — via AllMusic\u003c\/p\u003e\n\u003cp\u003e\u003ciframe width=\"100%\" height=\"152\" style=\"border-radius: 12px;\" src=\"https:\/\/open.spotify.com\/embed\/album\/0SoMbQsPZTM8iA6HB5GSkg?utm_source=generator\u0026amp;theme=0\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003cbr\u003e↓\u003cbr\u003eLabel: Warp Records\u003cbr\u003eFormat: 2x Vinyl, LP, Album, Reissue, Repress, Gatefold\u003cbr\u003eCountry: UK\u003cbr\u003eReissued: 2014 \/ Original Release: 2006\u003cbr\u003eGenre: Electronic, Hip Hop, Jazz, Funk \/ Soul\u003cbr\u003eStyle: Downtempo, Trip Hop\u003c\/p\u003e\n\u003cp\u003eFile under: Downtempo\u003cbr\u003e⦿\u003cbr\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/p\u003e","brand":"Warp Records","offers":[{"title":"Default Title","offer_id":41456450732190,"sku":"801061013318","price":55.0,"currency_code":"SGD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0584\/5434\/3838\/files\/a0196707939_10.jpg?v=1712127135"},{"product_id":"air-moon-safari","title":"Air – Moon Safari","description":"\u003cp\u003e\u003cstrong\u003e— The Analog Vault \/\/ Essential Listening —\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eImagine every romanticised ideal of French coolness you’ve ever had - effortless sophistication and style - and filter that through spacey, loungey dream pop. The result is Moon Safari, the 1998 debut album from Versailles’ electronic music duo Air.\u003c\/p\u003e\n\u003cp\u003eThis lush and absorbing LP is 45 minutes of starry-eyed, downtempo mood pieces. From the watery nostalgia “La Femme D’Argent”, to the funky vocoder anthem that is Sexy Boy”, to gentle seductiveness of \"All I Need\" and “You Make it Easy” (both featuring Beth Hirsh), every single track on Moon Safari feels lush and luxuriant. Buoyed by soothing melodies and multifarious instrumentation (synths, bongos, organs, glockenspiels, harmonicas, among others), Air’s debut record remains a gorgeous chill-out triumph. — The Analog Vault\u003c\/p\u003e\n\u003cp\u003eAlthough electronica had its fair share of chillout classics prior to the debut of Air, the lion's share were either stark techno (Warp) or sample-laden trip-hop (Mo' Wax). But while Air had certainly bought records and gear based on the artists that had influenced them, they didn't just regurgitate (or sample) them; they learned from them, digesting their lessons in a way that gave them new paths to follow. They were musicians in a producer's world, and while no one could ever accuse their music of being danceable, it delivered the emotional power of great dance music even while pushing the barriers of what \"electronica\" could or should sound like. (Never again would Saint Etienne be the only band of a certain age to reveal their fondness for Burt Bacharach.)\u003c\/p\u003e\n\u003cp\u003eThe Modulor EP had displayed astonishing powers of mood and texture, but it was Air's full-length debut, Moon Safari, that proved they could also write accessible pop songs like \"Sexy Boy\" and \"Kelly Watch the Stars.\" But it wasn't all pop. The opener, \"La Femme d'Argent,\" was an otherworldly beginning, with a slinky bassline evoking Serge Gainsbourg's Histoire de Melody Nelson and a slow glide through seven minutes of growing bliss (plus a wonderful keyboard solo). The vocoderized \"Remember\" relaunched a wave of robot pop that hadn't been heard in almost 20 years, and the solos for harmonica and French horn on \"Ce Matin La\" made the Bacharach comparisons direct. Unlike most electronica producers, Air had musical ideas that stretched beyond samplers or keyboards, and Moon Safari found those ideas wrapped up in music that was engaging, warm, and irresistible. — (via John Bush \/\/ \u003ca href=\"https:\/\/www.allmusic.com\/album\/moon-safari-mw0000597258\" target=\"_blank\" rel=\"noopener\"\u003eAllMusic\u003c\/a\u003e)\u003c\/p\u003e\n\u003cp\u003e\u003ciframe width=\"100%\" height=\"352\" style=\"border-radius: 12px;\" data-testid=\"embed-iframe\" src=\"https:\/\/open.spotify.com\/embed\/album\/5dmYtZVJ1bG9RyrZBRrkOA?utm_source=generator\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003e↓\u003cbr\u003eLabel: Parlophone\u003cbr\u003eFormat: Vinyl, LP, Album, Reissue, Repress, 180 Gram\u003cbr\u003eCountry: Europe\u003cbr\u003eReissued: 2015 \/ Original Release: 1997    \u003cbr\u003eGenre: Electronic\u003cbr\u003eStyle: Downtempo, Synth-pop\u003c\/p\u003e\n\u003cp\u003eFile under: Downtempo\u003cbr\u003e⦿\u003c\/p\u003e","brand":"Parlophone","offers":[{"title":"Default Title","offer_id":41456452370590,"sku":"724384497811","price":48.0,"currency_code":"SGD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0584\/5434\/3838\/files\/71ZHOFs7D_L._UF1000_1000_QL80.jpg?v=1707820569"},{"product_id":"tord-gustavsen-with-simin-tander-jarle-vespestad-what-was-said","title":"Tord Gustavsen | With Simin Tander \u0026 Jarle Vespestad - What Was Said","description":"\u003cp\u003e“What Was Said” brings new colours to Tord Gustavsen’s musical palette.\u003c\/p\u003e\n\u003cp\u003eHis latest trio project builds upon the subtle understanding of his long musical association with drummer Jarle Vespestad, introduces German-Afghan vocalist Simin Tander, and explores the tradition of Norwegian church music in untraditional ways: “For the repertoire of the new project, Simin and I have been working with Afghan poet B. Hamsaaya, translating and shaping a selection of hymns that I grew up with in Norway into Pashto,” Gustavsen explains. “This process has been challenging and really fruitful. We have gone quite far in interpreting the lyrics in a more ‘integral’ manner, reaching into a space where I feel that Sufism and Christianity actually meet.” Simin Tander also sings, in English, verse of Persian mystic Jalal al-Din Rumi (1207-73) and US proto-Beat poet Kenneth Rexroth (1905-82).\u003c\/p\u003e\n\u003cp\u003eAs a pure play of sounds, too, the combination of Tander’s voice and Gustavsen’s piano and discreet electronics has an emotional persuasiveness of its own, outside the limits of language. The trio takes its programme of “hymns and visions” to the concert halls and clubs of Europe in the first months of 2016.\u003c\/p\u003e\n\u003cp\u003eWhat was said was recorded at Oslo’s Rainbow Studio in April 2015 and produced by Manfred Eicher. – \u003ca href=\"https:\/\/www.ecmrecords.com\/catalogue\/1452516760\/\" target=\"_blank\" rel=\"noopener noreferrer\"\u003eECM Records\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e\"Tord Gustavsen, the lyrical and scholarly Oslo-born pianist, got big with a blend of pensive improv and Norwegian hymns, but lately he has moved closer to jazz. This album, however, finds him returning to simple songs with religious roots, and to collaboration with a remarkable singer (he has previously worked with compatriots Solveig Slettahjell and Silje Nergaard) in the tender-toned German-Afghan Simin Tander. Tander sings Norwegian traditionals and hymns in Pashto, and Beat icon Kenneth Rexroth’s stark renewal poem I Refuse and Persian sufi mystic Rumi’s writings in English, while Gustavsen gradually adds melodic embroidery, glimpsed grooves and electronics, with Jarle Vespestad’s fragile percussion the only other instrumental sound.\u003c\/p\u003e\n\u003cp\u003eThe set occasionally suggests an early Gustavsen band spliced with Susannah and the Magical Orchestra, and the mixture of the instrumentalists’ distilled reflections with Tander’s palette of hummed tones, sighing note-bends and pristine inflections represents a beguiling new Gustavsen collaboration.\" - \u003ca href=\"https:\/\/www.theguardian.com\/music\/2016\/jan\/28\/tord-gustavsensimin-tanderjarle-vespestad-what-was-said-review-beguiling-new-song-project\" target=\"_blank\" rel=\"noopener noreferrer\"\u003eThe Guardian\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003eMusicians:\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eTord Gustavsen, piano\u003c\/li\u003e\n\u003cli\u003eSimin Tander, vocals\u003c\/li\u003e\n\u003cli\u003eJarle Vespestad, drums\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e \u003ciframe width=\"560\" height=\"315\" src=\"https:\/\/www.youtube.com\/embed\/dZ8tbk8qtf4\" frameborder=\"0\" allowfullscreen=\"\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003eMore about Tord Gustavsen:\u003c\/p\u003e\n\u003cp\u003e“Musically, I have the very clear feeling that my stretching out and being creative has a much better chance of happening organically, avoiding alienation and stiffness, when done in energetic connection with my roots – with the sensuality and groundedness of the hymns and the spirituals and the lullabies.”\u003c\/p\u003e\n\u003cp\u003eTord Gustavsen was born in Oslo in 1970 and grew up in the Norwegian countryside. He began playing the piano aged 4, and was composing and improvising before he learned to read music and perform classical pieces. He recalls: “I played in churches and local settings of different kinds, combining classical training with writing my own songs and performing gospel.”\u003c\/p\u003e\n\u003cp\u003eAt the age of 19, he began his studies at the University of Oslo and his interest in jazz started to flourish. He was accepted into the jazz department at the Conservatory of Music in Trondheim in 1993, where he formed several bands and toured all over Scandinavia.\u003c\/p\u003e\n\u003cp\u003eChanging Places, Gustavsen’s 2003 recording debut with his trio, was ECM’s most successful debut in a decade. Michael Tucker wrote: “Nothing is forced, or rushed: a variety of quietly memorable, essentially poetic themes unfold, every one of them caressed rather than clipped by pianist Gustavsen… this is superb stuff.” 2005 saw a second trio album, The Ground, which reached No. 1 in the Norwegian pop charts and in 2007 they completed the trilogy with Being There.\u003c\/p\u003e\n\u003cp\u003eIn 2009 Gustavsen launched a new, more flexible ensemble, which released the album Restored, Returned. The line-up included Tore Brunborg on saxophones and Kristin Asbjørnsen on vocals. This was followed in 2012 by an instrumental quartet album called The Well, which John Fordham praised in the Guardian for its “gospel playing, acres of open space, memorable melodies and a glistening delicacy of touch”.  Gustavsen says: “Taken together, the bands and projects represent my quest for a deepening of my own playing.” Gustavsen’s most recent line-up sees him on piano and electronics collaborating with Simin Tander (vocals), Jarle Vespestad (drums). – \u003ca href=\"https:\/\/www.ecmrecords.com\/artists\/1435047213\/tord-gustavsen\" target=\"_blank\" rel=\"noopener noreferrer\"\u003eECM Records\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eItem description:\u003c\/strong\u003e        \u003c\/p\u003e\n\u003ctable width=\"498\"\u003e\n\u003ctbody\u003e\n\u003ctr\u003e\n\u003ctd\u003e\n\u003cp\u003e\u003cstrong\u003eArtist:\u003c\/strong\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd\u003e\n\u003cp\u003e\u003ca href=\"https:\/\/theanalogvault.com\/search?q=%22Tord+Gustavsen%22\"\u003eTord Gustavsen\u003c\/a\u003e | With \u003ca href=\"https:\/\/theanalogvault.com\/search?q=%22Simin+Tander%22\"\u003eSimin Tander\u003c\/a\u003e \u0026amp; \u003ca href=\"https:\/\/theanalogvault.com\/search?q=%22Jarle+Vespestad%22\"\u003eJarle Vespestad\u003c\/a\u003e \u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\n\u003cp\u003e\u003cstrong\u003eTitle:\u003c\/strong\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd\u003e\n\u003cp\u003eWhat Was Said\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\n\u003cp\u003e\u003cstrong\u003eLabel:\u003c\/strong\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd\u003e\n\u003cp\u003e\u003ca href=\"https:\/\/theanalogvault.com\/collections\/label-ecm-records\"\u003eECM Records\u003c\/a\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\n\u003cp\u003e\u003cstrong\u003eFormat:\u003c\/strong\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd\u003e\n\u003cp\u003e2 × Vinyl, LP, Album, Gatefold 180 gram\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\n\u003cp\u003e\u003cstrong\u003ePressing:\u003c\/strong\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd\u003e\n\u003cp\u003eGermany\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\n\u003cp\u003e\u003cstrong\u003eRelease Date:\u003c\/strong\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd\u003e\n\u003cp\u003e2016\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\n\u003cp\u003e\u003cstrong\u003eGenre:\u003c\/strong\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd\u003e\n\u003cp\u003eJazz, Folk, World\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\n\u003cp\u003e\u003cstrong\u003eStyle:\u003c\/strong\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd\u003e\n\u003cp\u003eContemporary Jazz, Folk, Nordic, Female Vocals\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\n\u003cp\u003e\u003cstrong\u003eCatalog No:\u003c\/strong\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd\u003e\n\u003cp\u003eECM 2465 \/ 476 6532\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\n\u003cp\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd\u003e\n\u003cp\u003eNew\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\n\u003c\/table\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e","brand":"ECM Records","offers":[{"title":"Default Title","offer_id":41456456925342,"sku":"602547665324","price":55.0,"currency_code":"SGD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0584\/5434\/3838\/products\/ab67616d0000b273b292a40cfc18982e6928e324.jpg?v=1669281730"},{"product_id":"keith-jarret-the-koln-concert","title":"Keith Jarrett - The Köln Concert","description":"\u003cp\u003e\u003cstrong\u003e— The Analog Vault \/\/ Essential Listening —\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eRecorded as one continuous concert at the Cologne Opera House in 1975, this hour-long solo improvisation by Pennsylvanian pianist Keith Jarrett became nothing short of legendary - and the best-selling piano record in history. Indulgent and esoteric, but also transformative and spiritual - \u003cem\u003eThe Köln Concert\u003c\/em\u003e features Miles Davis' and Art Blakey’s former keyboardist at his most audacious and unrestrained.\u003c\/p\u003e\n\u003cp\u003eAs much jazz as it was classical and pop, Jarrett brought the poorly-tuned piano he was provided to life with mutating passages and marvellous turns that provided the listener with an immersive glimpse to the piano maestro’s train of thought in real-time. Built upon repeating meditative motifs and hypnotically rhythmic sequences, this live performance was divine inspiration manifested. — \u003ca href=\"https:\/\/theanalogvault.com\/\" target=\"_blank\" rel=\"noopener\"\u003eThe Analog Vault\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e—\u003c\/p\u003e\n\u003cp\u003eRecorded in 1975 at the Köln Opera House and released the same year, this disc has, along with its revelatory music, some attendant cultural baggage that is unfair in one sense: Every pot-smoking and dazed and confused college kid — and a few of the more sophisticated ones in high school - owned this as one of the truly classic jazz records, along with Bitches Brew, Kind of Blue, Take Five, A Love Supreme, and something by Grover Washington, Jr. Such is cultural miscegenation. It also gets unfairly blamed for creating George Winston, but that's another story.\u003c\/p\u003e\n\u003cp\u003eWhat Keith Jarrett had begun a year before on the \u003cem\u003eSolo Concerts\u003c\/em\u003e album and brought to such gorgeous flowering here was nothing short of a miracle. With all the tedium surrounding jazz-rock fusion, the complete absence on these shores of neo-trad anything, and the hopelessly angry gyrations of the avant-garde, Jarrett brought quiet and lyricism to revolutionary improvisation. Nothing on this program was considered before he sat down to play. All of the gestures, intricate droning harmonies, skittering and shimmering melodic lines, and whoops and sighs from the man are spontaneous. Although it was one continuous concert, the piece is divided into four sections, largely because it had to be divided for double LP. But from the moment Jarrett blushes his opening chords and begins meditating on harmonic invention, melodic figure construction, glissando combinations, and occasional ostinato phrasing, music changed. For some listeners it changed forever in that moment. For others it was a momentary flush of excitement, but it was change, something so sorely needed and begged for by the record-buying public.\u003c\/p\u003e\n\u003cp\u003eJarrett's intimate meditation on the inner workings of not only his pianism, but also the instrument itself and the nature of sound and how it stacks up against silence, involved listeners in its search for beauty, truth, and meaning. The concert swings with liberation from cynicism or the need to prove anything to anyone ever again. With this album, Jarrett put himself in his own league, and you can feel the inspiration coming off him in waves. This may have been the album every stoner wanted in his collection \"because the chicks dug it.\" Yet it speaks volumes about a musician and a music that opened up the world of jazz to so many who had been excluded, and offered the possibility — if only briefly — of a cultural, aesthetic optimism, no matter how brief that interval actually was. This is a true and lasting masterpiece of melodic, spontaneous composition and improvisation that set the standard. – (via\u003cspan\u003e \u003c\/span\u003e\u003ca href=\"https:\/\/www.allmusic.com\/album\/the-k%C3%B6ln-concert-mw0000188364\" target=\"_blank\" rel=\"noopener\"\u003eAll Music\u003c\/a\u003e)\u003c\/p\u003e\n\u003cp\u003e\u003ciframe width=\"100%\" height=\"152\" style=\"border-radius: 12px;\" src=\"https:\/\/open.spotify.com\/embed\/album\/0I8vpSE1bSmysN2PhmHoQg?utm_source=generator\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003e↓\u003cbr\u003eLabel: ECM Records\u003cbr\u003eFormat: 2 x Vinyl, LP, Album, Reissue, Stereo, 180 g, Gatefold\u003cbr\u003eReissued: 2010 onwards \/ Original: 1975\u003cbr\u003eGenre: Jazz\u003cbr\u003eStyle: Post Bop, Free Improvisation, Live, Piano\u003c\/p\u003e\n\u003cp\u003eFile under: TAV Essential Listening\u003cbr\u003eFile under: ECM\u003cbr\u003e⦿\u003c\/p\u003e","brand":"ECM Records","offers":[{"title":"Default Title","offer_id":41456458039454,"sku":"602527278889","price":70.0,"currency_code":"SGD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0584\/5434\/3838\/products\/c90a5a6b7173bdca3fecfe71af4d21d0ef633fc7.jpg?v=1646290755"},{"product_id":"dj-krush-zen","title":"DJ Krush - 漸 Zen","description":"\u003cp class=\"MsoNormal\"\u003e\u003cstrong\u003e— The Analog Vault \/\/ Essential Listening —\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-GB\"\u003eHideaki Ishi, better known as DJ Krush, is one of Japan’s earliest hip-hop pioneers. Beloved around the world, the turntablist and producer is revered for his atmospheric soundscapes and lush breakbeats, crafted from samples of esoteric jazz and soul records. Those hypnotic downtempo signatures are certainly present on his luminous 2001 album, but unlike his other works, which were mostly instrumental, \u003ci style=\"mso-bidi-font-style: normal;\"\u003eZen\u003c\/i\u003e found the prolific beatmaker incorporating a bevy of inspired vocal guests. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-GB\"\u003eFeaturing the likes of Black Thought, Company Flow, Zap Mama, N'Dea Davenport and Boss the MC (among others) - DJ Krush found the ideal rappers and singers to complement his trip hop voyage. \u003ci style=\"mso-bidi-font-style: normal;\"\u003eZen\u003c\/i\u003e is also highlighted by stimulating collaborations with drummer Questlove, trumpeter Kazufumi Kodama and percussionist Tunde Ayanyemi, who contribute dynamic live instrumentation to the producer’s idiosyncratic beats. — \u003ca href=\"https:\/\/theanalogvault.com\/\" target=\"_blank\" rel=\"noopener\"\u003eThe Analog Vault\u003c\/a\u003e\u003cbr\u003e—\u003co:p\u003e\u003c\/o:p\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eFor \u003cem\u003eZen\u003c\/em\u003e, Japanese producer\/mixer DJ Krush works his way into a vision of sublime, downbeat hip-hop that's a snug fit with the title. The opening \"Song 1\" is an irresistible slice of trance-state trip-hop, with the cascading notes of a vibraphone and flute perfectly complementing the atmospheric grooves. Krush also continues the collaborational bent of previous LPs, with hip-hop heads Black Thought and ?uestlove from the Roots (appearing on separate tracks), Company Flow, and DJ Disk alongside left-field choices Zap Mama, N'Dea Davenport, and trumpeter Kazufumi Kodama. \u003c\/p\u003e\n\u003cp\u003eOn these tracks, the beats and effects are more pointed than on the opener and, as in the past, DJ Krush proves he's a stellar jack-of-all-trades trackmaster. The tuneless bassline and production gloom surrounding \"Vision of Art\" are the perfect bedrock for hardcore paranoiacs Company Flow, while the frenetic, quasi-jungle programming on \"Sonic Traveler\" only highlights the incredible flair of guest Tunde Ayanyemi (on kudi and bata drums). And while any other hip-hop producer would burn out on at least a few collaborations, Krush just keeps turning out excellent song beds: for DJ Disk on \"Duck Chase,\" for Zap Mama on \"Danger of Love,\" and for Kazufumi Kodama on \"Day's End.\" All these great appearances make any disappointment caused by the lack of solo jaunts after \"Song 1\" practically nil. — (via \u003ca href=\"https:\/\/www.allmusic.com\/album\/zen-mw0000011722\"\u003eAllMusic\u003c\/a\u003e)\u003c\/p\u003e\n\u003cp\u003e\u003ciframe width=\"560\" height=\"315\" src=\"https:\/\/www.youtube.com\/embed\/_3jUC_Fm34s?si=AkVOa_1GZp1e9K6L\" title=\"YouTube video player\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen=\"allowfullscreen\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ciframe width=\"560\" height=\"315\" src=\"https:\/\/www.youtube.com\/embed\/ycvOoAATBL0?si=gLi7mBD5gYCbOQp3\" title=\"YouTube video player\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen=\"allowfullscreen\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ciframe width=\"560\" height=\"315\" src=\"https:\/\/www.youtube.com\/embed\/WrU9deaaL6s?si=U0GmZNhVAxNiPSE2\" title=\"YouTube video player\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen=\"allowfullscreen\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003e—\u003c\/p\u003e\n\u003cp\u003eVinyl tracklist:\u003cbr\u003eA1 Song 1\u003cbr\u003eA2 Zen Approach\u003cbr\u003eA3 Danger Of Love\u003cbr\u003e     Featuring – Zap Mama\u003cbr\u003eB1 Sonic Traveler\u003cbr\u003e     Featuring – Tunde Ayanyemi\u003cbr\u003eB2 Duck Chase\u003cbr\u003e     Featuring – Phonosycographdisk\u003cbr\u003eB3 Vision Of Art\u003cbr\u003e     Featuring – Company Flow\u003cbr\u003eC1 Day's End\u003cbr\u003e     Featuring – Kazufumi Kodama\u003cbr\u003eC2 With Grace\u003cbr\u003eC3 Candle Chant (A Tribute)\u003cbr\u003e     Featuring – Boss The MC\u003cbr\u003eD1 Endless Railway\u003cbr\u003e     Featuring – Ahmir '?uestlove' Thompson\u003cbr\u003eD2 Whut'z Da Solution\u003cbr\u003eD3 ゴクラクチョウ論 (Paradise Bird Theory)\u003cbr\u003e     Featuring – Sunja Lee\u003c\/p\u003e\n\u003cp\u003e—\u003c\/p\u003e\n\u003cp\u003e↓\u003cbr\u003eLabel: Columbia, Music On Vinyl\u003cbr\u003eFormat: 2 x Vinyl, LP, Album, Reissue, 180 Gram\u003cbr\u003eCountry: Europe\u003cbr\u003eReissued: 2010 \/ Original Release: 2001\u003cbr\u003eGenre: Electronic, Hip Hop\u003cbr\u003eStyle: Trip Hop, Abstract, Downtempo\u003c\/p\u003e\n\u003cp\u003eFile under: TAV Essential Listening\u003cbr\u003eFile under: Electronic \/\/ Downtempo\u003cbr\u003e⦿\u003c\/p\u003e","brand":"Music On Vinyl \/ Columbia","offers":[{"title":"Default Title","offer_id":41456458367134,"sku":"8713748980801","price":55.0,"currency_code":"SGD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0584\/5434\/3838\/files\/DJKrush.jpg?v=1725352785"},{"product_id":"bon-iver-for-emma-forever-ago","title":"Bon Iver - For Emma, Forever Ago","description":"\u003cp\u003e\u003cstrong\u003e— The Analog Vault \/\/ Essential Listening —\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eThere is no creation myth in indie folk more iconic that the wintry origins of Bon Iver’s debut album, For Emma, Forever Ago. Reeling from breakups with his girlfriend and band, and dealing with debilitating illnesses, singer-songwriter Justin Vernon decamped to father’s remote hunting cabin to write and record his heartsick masterpiece. There’s no way to know how much of that tale is actually true, but what is undeniable, is the isolated and quiet beauty of this yearning record.\u003c\/p\u003e\n\u003cp\u003eFuelled by loss and loneliness, \u003cem\u003eFor Emma, Forever Ago \u003c\/em\u003eis introspective catharsis by way of folk music. Anchored by his layered falsetto, Vernon imbues For Emma’s ruminative pieces with choral arrangements and open-tuned warmth on his instruments - making this trembling album as emotionally fraught and it is gently wondrous. — The Analog Vault\u003c\/p\u003e\n\u003cp\u003e— \u003c\/p\u003e\n\u003cp\u003eBon Iver is the work of Justin Vernon. He isolated himself in a remote cabin in Wisconsin for almost four months, writing, and recording the songs on \u003cem\u003eFor Emma, Forever Ago\u003c\/em\u003e, his haunting debut album. A few parts (horns, drums, and backing vocals) were added in a North Carolina studio, but for the majority of the time it's just Vernon, his utterly disarming voice, and his enchanting songs.\u003c\/p\u003e\n\u003cp\u003eThe voice is the first thing you notice. Vernon's falsetto soars like a hawk and when he adds harmonies and massed backing vocals, it can truly be breathtaking. \"The Wolves (Acts I \u0026amp; II)\" truly shows what Vernon can do as he croons, swoops, and cajoles his way through an erratic and enchanting melody like Marvin Gaye after a couple trips to the backyard still.\u003c\/p\u003e\n\u003cp\u003e\"Skinny Love\" shows more of his range as he climbs down from the heights of falsetto and shouts out the angry and heartachey words quite convincingly. Framing his voice are suitably subdued arrangements built around acoustic guitars and filled out with subtle electric guitars, the occasional light drums, and slide guitar. Vernon has a steady grasp of dynamics too; the ebb and flow of \"Creature Fear\" is powerfully dramatic and when the chorus hits it's hard not to be swept away by the flood of tattered emotion.\u003c\/p\u003e\n\u003cp\u003eAlmost every song has a moment where the emotion peaks and hearts begin to weaken and bend: the beauty of that voice is what pulls you through every time.\u003cem\u003e For Emma\u003c\/em\u003e captures the sound of broken and quiet isolation, wraps it in a beautiful package, and delivers it to your door with a beating, bruised heart. It's quite an achievement for a debut and the promise of greatness in the future is high. Oh, and because you have to mention it, Iron \u0026amp; Wine. Also, Little Wings. Most of all, though, Bon Iver. — (via \u003ca href=\"https:\/\/www.allmusic.com\/album\/for-emma-forever-ago-mw0000580526\" target=\"_blank\" rel=\"noopener\"\u003eAllMusic\u003c\/a\u003e)\u003cbr\u003e—\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eFor Emma, Forever Ago\u003c\/em\u003e has been making major waves in critics circles based on the strength of an early artist-pressed advance cd and a couple awe-inspiring sets at CMJ in October. The New York Times called it \"irresistible\" and Pitchfork stamped its early review of the album with a Recommended tag. For those of you hiding away in a cabin of your own, it's time that you hear the story, and more importantly, the music.\u003cbr\u003e\u003cbr\u003eBon Iver (pronounced: bohn eevair; French for \"good winter\" and spelled wrong on purpose) is a greeting, a celebration and a sentiment. It is a new statement of an artist moving on and establishing the groundwork for a lasting career. For Emma, Forever Ago is the debut of this lineage of songs. As a whole, the record is entirely cohesive throughout and remains centered around a particular aesthetic, prompted by the time and place for which it was recorded. Justin Vernon, the primary force behind Bon Iver, seems to have tested his boundaries to the maximum, and in doing so has managed to break free from any pre-cursing or finished forms.\u003cbr\u003e\u003cbr\u003eIt wasn't planned. The goal was to hibernate. Vernon moved to a remote cabin in the woods of Northwestern Wisconsin at the onset of winter. He lived there alone for three months, filling his days with wood splitting and other chores around the land. This solitary time slowly began feeding a bold, uninhibited new musical focus. The days slowly evolved into nights filled with twelve-hour recording blocks, breaking only for trips on the tractor into the pines to saw and haul firewood, or for frozen sunrises high up a deer stand. All of his personal trouble, lack of perspective, heartache, longing, love, loss and guilt that had been stock piled over the course of the past six years, was suddenly purged into the form of song.” — (via \u003ca href=\"https:\/\/boniver.org\/audio\/for-emma-forever-ago\/\" target=\"_blank\" rel=\"noopener\"\u003eLabel\u003c\/a\u003e)\u003c\/p\u003e\n\u003cp\u003e\u003ciframe width=\"100%\" height=\"352\" style=\"border-radius: 12px;\" data-testid=\"embed-iframe\" src=\"https:\/\/open.spotify.com\/embed\/album\/7EJ0OT5ZqybXxcYRa6mccM?utm_source=generator\u0026amp;si=385e0be4fc604b1f\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\"\u003e\u003c\/iframe\u003e\u003cbr\u003e↓\u003cbr\u003eLabel: Jagjaguwar\u003cbr\u003eFormat: Vinyl, LP, Album, Reissue, GZ Pressing, JNH Cut\u003cbr\u003eReissued: 2023 \/ Original Release: 2007\u003cbr\u003eGenre: Rock, Folk\u003cbr\u003eStyle: Folk Rock, Acoustic, Indie Rock, Folk\u003c\/p\u003e\n\u003cp\u003eFile under: TAV Essential Listening\u003cbr\u003eFile under: Alternative \/ Indie \/ Pop\u003cbr\u003e⦿\u003c\/p\u003e","brand":"Jagjaguwar","offers":[{"title":"Default Title","offer_id":41456461250718,"sku":"656605211510","price":48.0,"currency_code":"SGD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0584\/5434\/3838\/products\/boniver-for-emma.jpg?v=1649750850"},{"product_id":"moderat-modeselektor-apparat-iii-deluxe-edition","title":"Moderat – III","description":"\u003cp\u003e\u003cspan\u003eIn 2002, Sascha, Gernot and Sebastian met for the first time. At that point in time, Apparat and Modeselektor were well established in the Berlin music scene. Sascha had already released his debut album and Gernot and Sebastian, a series of 12”s. Their shared studio time wore them down to such an extent, that they were forced to shelve the project almost immediately. But the foundations were laid and the three of them were able to present the fruits of their labour: the\u003cem\u003e Auf Kosten der Gesundheit\u003c\/em\u003e EP. Eleven years later, one still can have a sense of the sparks that must have flown in the studio: complex beats wrestling with furious bass and reduced rap elements.\u003cem\u003e\u003cbr\u003e\u003cbr\u003eIII\u003c\/em\u003e is the third studio album by electronic trio Moderat,\u003c\/span\u003e\u003cspan\u003e consisting of Modeselektor (the duo of Gernot Bronsert and Sebastian Szary) and Apparat (aka Sascha Ring)\u003c\/span\u003e\u003cspan\u003e. It was released in 2016 by Monkeytown Records. \u003c\/span\u003eIntent on creating something that contrasted their own individual projects, Moderat — the trio comprised of Gernot Bronsert, Sebastian Szary (aka Modeselektor) and Sascha Ring (aka Apparat) — complete the trilogy with\u003cem\u003e III\u003c\/em\u003e.\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cem\u003eIII\u003c\/em\u003e pairs an emotional pull with sensual imagery, creating dynamic sound and depth with sophisticated lyrics and themes as they direct their gaze inward. \u003c\/span\u003e\u003cspan\u003eApparat gives an insight on the journey we call life, Modeselektor reach another level, develop an intoxicating energy with their distinct rhythmical textures.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eOne of the best parts of Moderat is their use of electronics to achieve orchestral diversity. With III, they update the songwriting tradition with an intriguing palette, born of careful attention and skill, informed by their experiences with sounds of nearly 25 years of sub-and-club culture. These three were initially brought together by \u003c\/span\u003eBerlin’s now legendary rave scene and with this as their common foundation as individuals, III signifies Moderat’s maturation in modern pop and mastery of the group.” — via Label\u003c\/p\u003e\n\u003cp\u003e\u003ciframe width=\"100%\" height=\"152\" style=\"border-radius: 12px;\" src=\"https:\/\/open.spotify.com\/embed\/album\/64sE3WgwkDH8VMgIr7PhdF?utm_source=generator\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003e↓\u003cbr\u003eLabel: Monkeytown Records\u003cbr\u003eFormat: Vinyl, LP, Album\u003cbr\u003eCountry: Germany\u003cbr\u003eReleased: 2016\u003cbr\u003eGenre: Electronic\u003cbr\u003eStyle: Techno, Electro, Dubstep, Downtempo, IDM\u003c\/p\u003e\n\u003cp\u003eFile under: Electronic \/\/ House \/ Electro \/ Techno\u003cbr\u003e⦿\u003cbr\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/p\u003e","brand":"Monkeytown Records","offers":[{"title":"Default Title","offer_id":41456463347870,"sku":"817231012883","price":48.0,"currency_code":"SGD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0584\/5434\/3838\/files\/a1721011364_10.jpg?v=1712132830"},{"product_id":"charles-mingus-mingus-ah-um","title":"Charles Mingus - Mingus Ah Um","description":"\u003cp\u003e\u003cstrong\u003e— The Analog Vault \/\/ Essential Listening —\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-GB\"\u003e1959 was a watershed year for staggering jazz releases (\u003cem\u003eKind Of Blue, Giant Steps, The Shape Of Jazz To Come,  Moanin’\u003c\/em\u003e, and \u003cem\u003eTime Out),\u003c\/em\u003e but even amongst giants, Charles Mingus’ debut for Columbia stands out. \u003ci style=\"mso-bidi-font-style: normal;\"\u003eMingus Ah Um\u003c\/i\u003e is the breathtaking apotheosis of the bassist’s sizable talent as a composer, improviser and player - and his most accessible entry point for new listeners. \u003c\/span\u003e\u003cspan lang=\"EN-GB\"\u003eRousing and rambunctious, this magnificent LP is a perfectly sequenced hard bop tribute to Mingus’ musical forebears, with quintessential tracks directly referencing his influences and inspirations (gospel, blues, Lester Young, Duke Ellington, Jelly Roll Morton and Charlie Parker). He may be nicknamed The Angry Man of Jazz, but \u003ci style=\"mso-bidi-font-style: normal;\"\u003eMingus Ah Um\u003c\/i\u003e is the fiery man at his most playful, and the virtuoso artist at his most musical. - The Analog Vault\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-GB\"\u003e\u003co:p\u003e\u003c\/o:p\u003e\u003c\/span\u003eCharles Mingus' debut for Columbia, \u003cem\u003eMingus Ah Um\u003c\/em\u003e is a stunning summation of the bassist's talents and probably the best reference point for beginners. While there's also a strong case for \u003cem\u003eThe Black Saint and the Sinner Lady\u003c\/em\u003e as his best work overall, it lacks \u003cem\u003eAh Um's\u003c\/em\u003e immediate accessibility and brilliantly sculpted individual tunes. Mingus' compositions and arrangements were always extremely focused, assimilating individual spontaneity into a firm consistency of mood, and that approach reaches an ultra-tight zenith on \u003cem\u003eMingus Ah\u003c\/em\u003e \u003cem\u003eUm.\u003c\/em\u003e The band includes longtime Mingus stalwarts already well versed in his music, like saxophonists John Handy, Shafi Hadi, and Booker Ervin; trombonists Jimmy Knepper and Willie Dennis; pianist Horace Parlan; and drummer Dannie Richmond. Their razor-sharp performances tie together what may well be Mingus' greatest, most emotionally varied set of compositions. \u003c\/p\u003e\n\u003cp\u003eAt least three became instant classics, starting with the irrepressible spiritual exuberance of signature tune \"Better Get It in Your Soul,\" taken in a hard-charging 6\/8 and punctuated by joyous gospel shouts. \"Goodbye Pork Pie Hat\" is a slow, graceful elegy for Lester Young, who died not long before the sessions. The sharply contrasting \"Fables of Faubus\" is a savage mockery of segregationist Arkansas governor Orval Faubus, portrayed musically as a bumbling vaudeville clown (the scathing lyrics, censored by skittish executives, can be heard on Charles Mingus Presents Charles Mingus). The underrated \"Boogie Stop Shuffle\" is bursting with aggressive swing, and elsewhere there are tributes to Mingus' most revered influences: \"Open Letter to Duke\" is inspired by Duke Ellington and \"Jelly Roll\" is an idiosyncratic yet affectionate nod to jazz's first great composer, Jelly Roll Morton. \u003c\/p\u003e\n\u003cp\u003eIt simply isn't possible to single out one Mingus album as definitive, but \u003cem\u003eMingus Ah Um \u003c\/em\u003ecomes the closest. — (via Steve Huey \/\/ \u003ca href=\"https:\/\/www.allmusic.com\/album\/mingus-ah-um-mw0000188531\" target=\"_blank\" rel=\"noopener\"\u003eAllMusic\u003c\/a\u003e)\u003c\/p\u003e\n\u003cp\u003e\u003ciframe width=\"100%\" height=\"152\" style=\"border-radius: 12px;\" src=\"https:\/\/open.spotify.com\/embed\/album\/7pojWP7x9uEFSJgw765khA?utm_source=generator\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\"\u003e\u003c\/iframe\u003e\u003cbr\u003e↓\u003cbr\u003eLabel: Music On Vinyl \/ Columbia\u003cbr\u003eFormat: Vinyl, LP, Album, Reissue, Remastered\u003cbr\u003eReissued: 2010 \/ Original: 1959\u003cbr\u003eGenre: Jazz\u003cbr\u003eStyle: Bop, Hard Bop\u003c\/p\u003e\n\u003cp\u003eFile under: TAV Essential Listening\u003cbr\u003eFile under: Jazz\u003cbr\u003e⦿\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e","brand":"Music On Vinyl \/ Columbia","offers":[{"title":"Default Title","offer_id":41456463544478,"sku":"886976648718","price":48.0,"currency_code":"SGD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0584\/5434\/3838\/files\/81PoWzt0k_L._UF1000_1000_QL80.jpg?v=1727174234"},{"product_id":"caribou-our-love","title":"Caribou – Our Love","description":"\u003cp\u003e\u003cspan\u003eDaniel Victor Snaith is a Canadian composer, musician, and recording artist and has released 10 studio albums since 2000 and has recorded and performed under the stage names Caribou, Manitoba, and Daphni. His Caribou album \u003cem\u003eAndorra\u003c\/em\u003e (2008) was awarded the 2008 Polaris Music Prize, his Caribou album \u003cem\u003eSwim\u003c\/em\u003e (2010) was a shortlisted nominee for the 2010 Polaris Music Prize and was named the Best Album of 2010 by Resident Advisor. His follow-up \u003cem\u003eOur Love \u003c\/em\u003e(2014) was also shortlisted for the 2015 Polaris Music Prize and was nominated for the Grammy Award for Best Dance\/Electronic Album.\u003cem\u003e\u003cbr\u003e\u003cbr\u003eOur Love\u003c\/em\u003e is formed around a mixture of digital pop production, hip hop inspired beats, muted house bass lines and a love of shuffling garage that can be traced all the way back to the time of \u003cem\u003eStart Breaking My Heart\u003c\/em\u003e which are, of course, all filtered through Dan's own unique perspective. The warm analogue sounds of classic soul should not be overlooked either, for they weave themselves most intensely into the records DNA. In fact,\u003cem\u003e \u003c\/em\u003eThis is probably Caribou's most soulful record to date, chock-full of heartfelt lyrics and organic nature which cuts through bubbling synths and blissful euphoria of their synthetic constructions. \u003cbr\u003e\u003cbr\u003e\"The album title reflects the success of \u003cem\u003eSwim\u003c\/em\u003e.\" Snaith said \"the primary impulse on this record was to make something that was generous in the sense that it was for everybody, not just for me locked in a studio by myself.\" \u003cem\u003eOur Love\u003c\/em\u003e contains R\u0026amp;B and hip hop influences. Snaith described the lyrics as being more personal compared to previous Caribou releases, saying \"Part of it's just getting older and being more reflective, thinking, 'What is it that I want to have in my music when I look back on it? What are the things that matter to me?' And they are clichéd things: the love in my life, whether that be my family or my friends.\" Snaith cited the birth of his daughter as a major reason for the more personal lyrics.— via Label\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ciframe width=\"100%\" height=\"152\" style=\"border-radius: 12px;\" src=\"https:\/\/open.spotify.com\/embed\/album\/5ysMC5s4nOCDtPBYrTa5pl?utm_source=generator\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003e↓\u003cbr\u003eLabel: City Slang\u003cbr\u003eFormat: Vinyl, LP, Album\u003cbr\u003eCountry: UK\u003cbr\u003eReleased: 2014\u003cbr\u003eGenre: Electronic\u003cbr\u003eStyle: Experimental, Techno\u003c\/p\u003e\n\u003cp\u003eFile under: House \/ Electro \/ Techno\u003cbr\u003e⦿\u003c\/p\u003e","brand":"City Slang","offers":[{"title":"Default Title","offer_id":41456464298142,"sku":"4250506809560","price":48.0,"currency_code":"SGD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0584\/5434\/3838\/files\/a0675937985_10.jpg?v=1712051094"},{"product_id":"theo-parrish-american-intelligence","title":"Theo Parrish – American Intelligence","description":"\u003cp\u003e\u003cstrong\u003e— The Analog Vault \/\/ Essential Listening —\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eFew figures in house music lore inspire as much fanatical devotion as Theo Parrish. The revered producer seemed to have gotten even more exploratory with age, as proven on this acclaimed 2014 album released via his influential Sound Signature label. \u003cem\u003eAmerican Intelligence\u003c\/em\u003e is as subtly radical as house music gets, threading in the cadences of free jazz, R\u0026amp;B and soul through spare rhythmic patterns and acoustic drum programming, punctuated by vocals from Parrish and special guest Ideeyah. This two-hour collection is yet another revelatory statement in the discography of man who cannot help but push boundaries. - \u003ca href=\"https:\/\/theanalogvault.com\/\" target=\"_blank\" rel=\"noopener\"\u003eThe Analog Vault\u003c\/a\u003e\u003cbr\u003e—\u003cbr\u003eTheo Parrish is a musician and selector based in Detroit, Michigan, often described as a 'techno\/house' artist. He has recorded music under his own name as well as with Rick Wilhite, Marcellus Malik Pittman and Kenneth Dixon Jr as 3 Chairs. He also puts out releases on his record label, Sound Signature. Another aspect of Theo Parrish's productions are his re-edits, often of old disco, funk or soul records. He is almost as renowned for his expansive and genre-hopping live DJ sets as his productions. \u003cbr\u003e\u003cbr\u003eIn 2014 Theo Parrish took his new live show on the road. It wasn't the first time he'd been involved with live performance—he was playing shows with his Rotating Assembly ten years back—but this was Parrish putting himself out there, front and centre, performing his own material on stage with a band. This was Theo Parrish the musician, not Theo Parrish the producer or Theo Parrish the DJ. The idea of musicianship, of creating everything from scratch, also drives American Intelligence, Parrish's first solo full-length since 2007. For someone whose back catalogue is littered with examples of clever sampling, Parrish has distanced himself from sampling as an art form, explaining to Slices this year that \"As I grew older, [I began] respecting what I was sampling and editing.\" So you won't find many nifty samples on American Intelligence—it's all Parrish's music, and the vocals come from Parrish himself, or Ideeyah, an important cog in his live show.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eAmerican Intelligence \u003c\/em\u003eforms a kind of companion piece to the live show. It's presented in two versions: the triple-vinyl version, which clocks in at nine tracks, and the more unwieldy 15-track double-CD, which sags heavily as the second disc wears on. The tracks that Parrish performed live this year provide American Intelligence with its strongest moments. There's \"Footwork,\" an irresistible call to dance floor and one of 2014's best singles, \"Ah,\" with Ideeyah on vocals, is sweet and mostly drum-free, and \"Be In Yo Self,\" equals anything in Parrish's catalogue in terms of groove and depth. The drums skitter on \"Drive,\" on which Theo asks, \"Where's your drive? Has it died? It keeps me alive.\" It sounds like a question posed to people around him—lazy DJs, unadventurous live acts, a music press he feels is suffering. \"Life Spice's\" stuttering loop makes it sound like an Ugly Edit of \"Miss You\" by The Rolling Stones, while \"Welcome Back\" is a three-minute imagining of a trip to the grocery store interrupted by a traffic cop, played out by Parrish and backed by belligerent drums. — via Resident Advisor\u003c\/p\u003e\n\u003cp\u003e\u003ciframe width=\"100%\" height=\"152\" style=\"border-radius: 12px;\" src=\"https:\/\/open.spotify.com\/embed\/album\/0DoWNwSzBk0R0QzgaQIxcE?utm_source=generator\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003e↓\u003cbr\u003eLabel: Sound Signature\u003cbr\u003eFormat: 3x Vinyl, 12\", Album\u003cbr\u003eCountry: US\u003cbr\u003eReleased: 2014\u003cbr\u003eGenre: Electronic\u003cbr\u003eStyle: House, Deep House\u003c\/p\u003e\n\u003cp\u003eFile under: House \/ Electro \/ Techno\u003cbr\u003e⦿\u003c\/p\u003e","brand":"Sound Signature","offers":[{"title":"Default Title","offer_id":41456464953502,"sku":"SS055\/56\/57","price":75.0,"currency_code":"SGD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0584\/5434\/3838\/products\/d7f5212ec09641fa9e518b3a6deaa60a4fbc15a7.jpg?v=1646290819"},{"product_id":"badbadnotgood-iii","title":"BadBadNotGood – III","description":"\u003cp\u003eBADBADNOTGOOD is a young supremely talented trio of musicians made up of Matthew Tavares on keys, Chester Hansen on bass, and Alex Sowinski on drums. Since their inception at Humber College’s Music Performance program in 2011, the three have challenged the rule book on improvised instrumental music and taken jazz tradition into the future. With early champions including acclaimed BBC broadcaster Gilles Peterson and Tyler The Creator who helped fuel their discovery with a series of live jams that instantly went viral and dubbed them the “Odd Trio”, the band released their first EP BBNG in June 2011 to wide praise. The marriage of jazz virtuosity and hip hop source material offered a fresh take on the traditional “standard” applied to hip hop classics by taking on choice cuts from the golden era rap cannon and writing inspired arrangements for them instead of one-dimensional covers.\u003c\/p\u003e\n\u003cp\u003eThe band hit a landmark by introducing original material into their composi- tions with BBNG2 in 2012. New songs like “Rotten Decay”, “Vices” or “UWM” carried on the proud heritage of musical juxtaposition by bringing together jazz, hip hop, punk, and dance music into vigorous balance. Since then, they’ve won praise from the four corners of the globe and collaborated with Frank Ocean, Earl Sweatshirt, MF Doom, Pharaoh Monch and RZA among many. Their no- torious live performances have brought fans across the whole musical spectrum together, taking the band around the world from Coachella to Glastonbury.\u003c\/p\u003e\n\u003cp\u003eNow, the inseparable friends are prepping to release their biggest project to date III on prodigious young label Innovative Leisure, a highly-anticipated project ushering in the group’s newest explorations which are proving to be limitless. – \u003ca href=\"https:\/\/badbadnotgoodil.bandcamp.com\/releases\" target=\"_blank\" rel=\"noopener noreferrer\"\u003eInnovative Leisure\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003ciframe style=\"border: 0; width: 100%; height: 120px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=3399013291\/size=large\/bgcol=ffffff\/linkcol=0687f5\/tracklist=false\/artwork=small\/transparent=true\/\" seamless=\"\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e \u003c\/span\u003e↓\u003cbr\u003eLabel: Innovative Leisure Records\u003cbr\u003eFormat: 2 x Vinyl, LP, Album\u003cbr\u003eReleased: 2014\u003cbr\u003eGenre: Jazz\u003cbr\u003eStyle: Contemporary Jazz\u003c\/p\u003e\n\u003cp\u003eFile under: Modern \/ Future Jazz\u003cbr\u003e⦿\u003c\/p\u003e","brand":"Innovative Leisure Records","offers":[{"title":"Default Title","offer_id":41456465117342,"sku":"810874020505","price":55.0,"currency_code":"SGD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0584\/5434\/3838\/files\/a0977447903_10.jpg?v=1717062665"},{"product_id":"gilles-peterson-magic-peterson-sunshine-compilation","title":"Gilles Peterson – Magic Peterson Sunshine","description":"\u003cp\u003e\u003cstrong\u003e— The Analog Vault \/\/ Essential Listening —\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eGilles Peterson has a special love afair with MPS. To be exact, it goes back more than three decades to the London of the 1980’s when Gilles stood at the beginning of an exceptional career as DJ, Radio personality, and producer. At that time he was already interested in unusual and unique jazz recordings, and so he inevitably came across the record label from Germany’s Black Forest (Schwarzwald), whose catalogue encompassed a large, totally distinct repertoire that had never been released anywhere else. Naturally, there was a long list of amazing interpretations of jazz classics from acknowledged jazz masters, but early on Gilles had developed the talent to dig deeper into the depths of the archives in order to ferret out the special features of the catalogue – occasionally discovering a obscurity – and bring them to the light of day.\u003c\/p\u003e\n\u003cp\u003eHe seemed to be able to effortlessly show a completely new connection between classic jazz recordings through the way they were chosen, assorted, and sequenced. Thus, every single title was imbued with a new energy, freshness, and, above all, timelessness, always with an eye on whether the chosen recordings would possibly be compatible with the needs of clubs. This present MPS compilation is an especially good example of Gilles Peterson’s amazing talent. It delivers only a small, yet carefully chosen section out of the depths of the MPS archives. — via Label\u003cem\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ciframe width=\"100%\" height=\"152\" style=\"border-radius: 12px;\" src=\"https:\/\/open.spotify.com\/embed\/album\/6VflpBTIdO5wvutZII2Grw?utm_source=generator\u0026amp;theme=0\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ciframe width=\"100%\" height=\"500\" src=\"https:\/\/www.youtube.com\/embed\/5HCdVswwo4w?si=ZW85D4uZ3rdHrM91\" title=\"YouTube video player\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen=\"allowfullscreen\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003e↓\u003cbr\u003eLabel: Edel \/ MPS Records\u003cbr\u003eFormat: 2 × Vinyl, LP, Album, Compilation\u003cbr\u003eReleased: 2016\u003cbr\u003eGenre: Jazz\u003cbr\u003e\u003cbr\u003eFile under: Jazz Compilation\u003cbr\u003e⦿\u003c\/p\u003e","brand":"MPS Records","offers":[{"title":"Default Title","offer_id":41456465838238,"sku":"4029759108818","price":60.0,"currency_code":"SGD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0584\/5434\/3838\/files\/81K49TOwBFL._SL1500.jpg?v=1738302665"},{"product_id":"sun-ra-in-some-far-place-roma-77-rsd-2016-release","title":"Sun Ra – In Some Far Place: Roma '77 (RSD 2016 release)","description":"\u003cp\u003e1977 was a transitional time for jazz enigma and self-proclaimed member of an “angel race“, Sun Ra. During the Summer of 1976, he had stormed Montreux and toured West Africa with one of the greatest of his full-sized Arkestras before embarking on occasional solo concerts for the first time, emphasising his prowess at the piano. Although he had always played the blues within Arkestra sets, he now summoned up the rolling tradition of blues piano, recalling Otis Spann, Avery Parrish, stride and ricky-tick styles.\u003c\/p\u003e\n\u003cp\u003eHe made two solo albums for Paul Bley’s Improvising Artists label (’Solo Piano’ and ’St. Louis Blues’) before travelling to Rome. For the concert, featured here, Ra brought in drummer Luqman Ali, who had been part of the Arkestra during the band’s early Chicago years, and vocalist Thomas Thaddeus aka Eddie Thomas. Thomas was a percussionist, dancer and “incense dude“ with the Arkestra throughout the late ‚70s period. He would appear again on Ra’s ’Lanquidity’ album for Philly Jazz in ’79.\u003c\/p\u003e\n\u003cp\u003eDuring this intimate concert, Ra takes us through piano and synthesizer renditions of Arkestra staples like ’Love In Outer Space’, ’Space Is The Place’ and ’Calling Planet Earth’ but also explores a selection of jazz standards. Among them, we hear the first ever released Ra version of the 1930s staple ’I Cover The Waterfront’ alongside a dissonant version of ’Sometimes I Feel Like A Motherless Child’ and ’St. Louis Blues’. Ra’s ties to Italy would continue the following year as he recorded three acclaimed albums for Horo Records, run by filmmaker turned label owner, Aldo Sinesio.\u003c\/p\u003e\n\u003cp\u003eFollowing 2014’s Marshall Allen compilation, ’In the Orbit Of Ra’ and 2015’s Gilles Peterson-curated ’To Those Of Earth... And Other Worlds’, Strut and Art Yard join forces once more for the first release anywhere of ’In Some Far Place: Roma ’77’. Recorded direct from the sound board and mastered from first generation reel to reel tapes, this is one of the very few trio albums by Sun Ra ever to be released and is exclusively available for Record Store Day 2015. The release features rare photos from recently deceased photographer H.L. Lindenmaier with sleeve notes by the Sun Ra Arkestra’s Knoel Scott.\u003c\/p\u003e\n\u003cp\u003e- First issue of anywhere of this 1977 recording from Rome.\u003c\/p\u003e\n\u003cp\u003e- Continuation of Strut and Art Yard’s Sun Ra release programme following successful compilations by Marshall Allen (2014) and Gilles Peterson (2015)\u003c\/p\u003e\n\u003cp\u003e- Official reissue mastered from first generation reel to reel tapes\u003c\/p\u003e\n\u003cp\u003e- LP features photos by H.L. Lindenmaier, sleeve notes by the Arkestra’s Knoel Scott and new cover design featuring work by Lewis Heriz\u003c\/p\u003e\n\u003cp\u003e \u003ciframe width=\"300\" height=\"380\" src=\"https:\/\/embed.spotify.com\/?uri=spotify%3Aalbum%3A14EAxtCtgxMVv5W97bhmLO\" allowtransparency=\"true\" frameborder=\"0\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003e \u003cstrong\u003eItem description:\u003c\/strong\u003e        \u003c\/p\u003e\n\u003ctable width=\"498\"\u003e\n\u003ctbody\u003e\n\u003ctr\u003e\n\u003ctd\u003e\n\u003cp\u003e\u003cstrong\u003eArtist:\u003c\/strong\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd\u003e\n\u003cp\u003e\u003ca href=\"https:\/\/theanalogvault.com\/search?q=%22Sun+Ra%22\"\u003eSun Ra\u003c\/a\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\n\u003cp\u003e\u003cstrong\u003eTitle:\u003c\/strong\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd\u003e\n\u003cp\u003eIn Some Far Place: Roma '77\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\n\u003cp\u003e\u003cstrong\u003eLabel:\u003c\/strong\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd\u003e\n\u003cp\u003e\u003ca href=\"https:\/\/theanalogvault.com\/search?q=%22Label+-+Strut%22\"\u003eStrut\u003c\/a\u003e \/ \u003ca href=\"https:\/\/theanalogvault.com\/search?q=%22Label+-+Art+Yard%22\"\u003eArt Yard\u003c\/a\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\n\u003cp\u003e\u003cstrong\u003eFormat:\u003c\/strong\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd\u003e\n\u003cp\u003e2 × Vinyl, LP, Album, 180 Gram\u003c\/p\u003e\n\u003cp\u003e2 × CD\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\n\u003cp\u003e\u003cstrong\u003ePressing:\u003c\/strong\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd\u003e\n\u003cp\u003eUK\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\n\u003cp\u003e\u003cstrong\u003eRelease Date:\u003c\/strong\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd\u003e\n\u003cp\u003e2016\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\n\u003cp\u003e\u003cstrong\u003eGenre:\u003c\/strong\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd\u003e\n\u003cp\u003eJazz\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\n\u003cp\u003e\u003cstrong\u003eStyle:\u003c\/strong\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd\u003e\n\u003cp\u003eSpace Age, Free Jazz, Experimental, Avant-garde\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\n\u003cp\u003e\u003cstrong\u003eCatalog No:\u003c\/strong\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd\u003e\n\u003cp\u003eSTRUT122LP\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\n\u003cp\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd\u003e\n\u003cp\u003eNew\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\n\u003c\/table\u003e\n\u003cp\u003e \u003c\/p\u003e","brand":"Strut \/ Art Yard","offers":[{"title":"Default Title","offer_id":41456469508254,"sku":"730003312212","price":60.0,"currency_code":"SGD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0584\/5434\/3838\/files\/a2016416885_10.jpg?v=1728644040"},{"product_id":"kanye-west-my-beautiful-dark-twisted-fantasy","title":"Kanye West - My Beautiful Dark Twisted Fantasy","description":"\u003cp\u003e\u003cstrong\u003e— The Analog Vault \/\/ Essential Listening —\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eKanye West’s \u003cem\u003eMy Beautiful Dark Twisted Fantasy\u003c\/em\u003e, originally released in 2010, is widely hailed as his magnum opus. Created after public controversy and retreat in Hawaii, the album sprawls across maximalist production, fusing soul samples, orchestration, prog-rock textures and star-studded features.\u003c\/p\u003e\n\u003cp\u003eTracks like “Power,” “Monster” and “Runaway” bristle with grandeur and self-reckoning, while “All of the Lights” layers dozens of voices into a dizzying pop spectacle. Both confessional and theatrical, the record confronts fame’s contradictions with scale and ambition. Critically acclaimed and Grammy-winning, \u003cem\u003eMy Beautiful Dark Twisted Fantasy\u003c\/em\u003e stands as one of the defining hip-hop albums of the 21st century, a blend of vulnerability and bravado refracted through sonic excess. — The Analog Vault\u003cbr\u003e—\u003c\/p\u003e\n\u003cp\u003eAs fatiguing as it is invigorating, as cold-blooded as it is heart-rending, as haphazardly splattered as it is meticulously sculpted, \u003cem\u003eMy Beautiful Dark Twisted Fantasy\u003c\/em\u003e is an extraordinarily complex 70-minute set of songs. Listening to it, much like saying or typing its title, is a laborious process. In some ways, it's the culmination of Kanye West's first four albums, but it does not merely draw characteristics from each one of them.\u003c\/p\u003e\n\u003cp\u003eThe 13 tracks, eight of which are between five and nine minutes in length, sometimes fuse them together simultaneously. Consequently, the sonic and emotional layers are often difficult to pry apart and enumerate. Nothing exemplifies its contrasting elements and maniacal extravagance as much as \"All of the Lights.\" Rattling, raw, synthetic toms are embellished with brass, woodwinds, and strings. \u003c\/p\u003e\n\u003cp\u003eIt’s a celebration of fame (\"Fast cars, shooting stars\") and a lament of its consequences (\"Restraining order\/Can't see my daughter\"). Its making involved 42 people, including not one but two French horn players and over a dozen high-profile vocalists, only some of which are perceptible. At once, the song features one of the year's most rugged beats while supplying enough opulent detail to make Late Registration collaborator Jon Brion's head spin. \"Blame Game\" chills more than anything off 808s \u0026amp; Heartbreak. Sullen solo-piano Aphex Twin plays beneath morose cello; with a chorus from John Legend, a dejected, embittered West -- whose voice toggles between naturally clear-sounding and ominously pitched-down as it pans back and forth - tempers wistfully-written, maliciously-delivered lines like \"Been a long time since I spoke to you in a bathroom, ripping you up, fuckin' and chokin' you\" with untreated and distinctively pained confessions like \"I can't love you this much.\" \u003c\/p\u003e\n\u003cp\u003eThe contrast in \"Devil in a New Dress,\" featuring Rick Ross, is of a different sort; a throwback soul production provided by the Smokey Robinson-sampling Bink, it's as gorgeous as any of West's own early work, yet it's marred by an aimless instrumental stretch, roughly 90 seconds in length, that involves some incongruent electric guitar flame-out. Even less explicable is the last third of the nine-minute \"Runaway,\" when West blows into a device and comes out sounding something like a muffled, bristly version of Robert Fripp's guitar. The only thing that remains unchanged is West's lyrical accuracy; for every rhyme that stuns, there's one deserving of mockery from any given contestant off the The White Rapper Show. As the ego and ambition swells, so does the appeal, the repulsiveness, and - most importantly - the ingenuity. Whether loved or loathed, fully enjoyed or merely admired, this album should be regarded as a deeply fascinating accomplishment. — (via \u003ca href=\"https:\/\/www.allmusic.com\/album\/my-beautiful-dark-twisted-fantasy-mw0002022752\" target=\"_blank\" rel=\"noopener\"\u003eAllMusic\u003c\/a\u003e)\u003c\/p\u003e\n\u003cp\u003e—\u003c\/p\u003e\n\u003cp\u003e\u003ciframe width=\"300\" height=\"380\" src=\"https:\/\/embed.spotify.com\/?uri=spotify%3Aalbum%3A6LBiuhK7PZKjVXyMfPxPoh\" frameborder=\"0\" allowtransparency=\"true\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003e↓\u003cbr\u003eLabel: Roc-A-Fella Records ‎\u003cbr\u003eFormat :3 × Vinyl, LP, Album, Limited Edition, Reissue, Stereo\u003cbr\u003eReissued: 2016 \/ Original: 2010\u003cbr\u003eGenre: Hip Hop\u003cbr\u003eStyle: Contemporary R\u0026amp;B, Rap\u003c\/p\u003e\n\u003cp\u003eFile under: TAV Essential Listening\u003cbr\u003eFile under: Hip Hop\u003cbr\u003e⦿\u003c\/p\u003e","brand":"Roc-A-Fella Records‎","offers":[{"title":"Default Title","offer_id":41456470196382,"sku":"602527594934","price":98.0,"currency_code":"SGD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0584\/5434\/3838\/products\/a6b35ee8524d15fea187bdbaf1a261c26450be91.jpg?v=1646290862"},{"product_id":"eric-dolphy-at-the-five-spot-volume-1-200g-analogue-production-reissue","title":"Eric Dolphy - At The Five Spot, Volume 1 (2023 Analogue Productions Reissue)","description":"\u003cdiv\u003e\u003cstrong\u003e— The Analog Vault \/\/ Essential Listening —\u003c\/strong\u003e\u003c\/div\u003e\n\u003cul\u003e\u003c\/ul\u003e\n\u003cp\u003eAfter having left the ensemble of Charles Mingus and upon working with John Coltrane, Eric Dolphy formed a short-lived but potent quintet with trumpeter Booker Little, who would pass away three months after this recording. Despite all of the obstacles and subsequent tragedy, this quintet became legendary over the years justifiably so — and developed into a role model for all progressive jazz combos to come. The combined power of Dolphy and Little; exploring overt but in retrospect not excessive dissonance and atonality — made them a target for critics but admired among the burgeoning progressive post-bop scene. With the always stunning shadings of pianist Mal Waldron, the classical-cum-daring bass playing of Richard Davis, and the colorful drumming of alchemistic Ed Blackwell, there was no stopping this group.\u003c\/p\u003e\n\u003cp\u003eLive at the legendary Five Spot Café in New York City, this band set the Apple, and the entire jazz world on their collective ears. \"Fire Waltz\" demonstrates perfectly how the bonfire burns from inside the soul of these five brilliant provocateurs, as Dolphy's sour alto and Little's dour trumpet signify their new thing. Dolphy's solo is positively furious, while Blackwell nimbly switches up sounds within the steady 3\/4 beat. \"Bee Vamp\" does not buzz so much as it roars in hard bop trim. A heavy tandem line breaks and separates in the horn parts like booster rockets. Blackwell is even more amazing, and Dolphy's ribald bass clarinet set standards that still influences players of the instrument. Where \"The Prophet\" is a puckery blues, it is also open armed with minor phrasings and stretched harmonics. This is where Waldron and Davis shine in their terra cotta facades of roughly hewn accompaniments to Dolphy and Little's bold flavored statements. A shorter alternate take of \"Bee Vamp\" is newly available, shorter by two-and-a-half minutes and with a clipped introductory melody.\u003c\/p\u003e\n\u003cp\u003eMost hail this first volume, and a second companion album from the same sessions, as music that changed the jazz world as much as Ornette Coleman and John Coltrane's innovative excursions of the same era. All forward thinking and challenged listeners need to own these epic club dates. — via AllMusic\u003c\/p\u003e\n\u003cp\u003e\u003ciframe width=\"100%\" height=\"152\" style=\"border-radius: 12px;\" src=\"https:\/\/open.spotify.com\/embed\/album\/2QmssU0RNrWDa0YIJwDcb7?utm_source=generator\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003e↓\u003cbr\u003eLabel: Prestige, New Jazz, Analogue Productions\u003cbr\u003eSeries: The Prestige Stereo Series\u003cbr\u003eFormat: Vinyl, LP, Album, Limited Edition, Reissue, Stereo, 180g\u003cbr\u003eReissued: 2023 \/ Original Release: 1961\u003cbr\u003eGenre: Jazz\u003cbr\u003eStyle: Post Bop, Modal\u003c\/p\u003e\n\u003cp\u003eFile under: Audiophile Jazz\u003cbr\u003e⦿\u003c\/p\u003e","brand":"Analogue Productions \/ Prestige","offers":[{"title":"Default Title","offer_id":41456471605406,"sku":"753088826016","price":70.0,"currency_code":"SGD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0584\/5434\/3838\/products\/71krsXlhvzL.jpg?v=1677131199"},{"product_id":"boards-of-canada-the-campfire-headphase","title":"Boards Of Canada – The Campfire Headphase","description":"\u003cp\u003e\u003cspan\u003eBoards Of Canada’s \u003c\/span\u003e\u003cspan\u003ethird album for Warp Records, \u003cem\u003eThe Campfire Headphase\u003c\/em\u003e, was originally released in 2005. The album featured fifteen tracks, including \"Peacock Tail\", \"Chromakey Dreamcoat,\" and \"Dayvan Cowboy\". \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e—\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eAn inimitable late-night take on psychedelia that swirls between rock and techno.\u003c\/p\u003e\n\u003cp\u003eReach a certain age and you notice a peculiar thing: your thoughts frequently get interrupted by non sequitur memory images, seemingly insignificant but disconcertingly vivid. It's as if your overstuffed brain is calling up ancient files with a view to deleting for space.\u003c\/p\u003e\n\u003cp\u003eBoards of Canada offer a more benign version of this temps perdu recovery process. Somehow the Scottish duo's signature sounds - those glistening melody trails and misty-around-the-edges textures - trigger buried memories. I'd almost say that listening to Boards of Canada is a form of therapy, except that the emotions stirred up-painful beauty, sweet sorrow - do not deserve a term that now has such glib feelgood associations.\u003c\/p\u003e\n\u003cp\u003eBoC have ploughed this 'memory-work' terrain on their previous two albums, the home-listening electronica landmark \u003cem\u003eMusic Has the Right to Children \u003c\/em\u003e(1998) and its only-slightly-less-fabulous sequel \u003cem\u003eGeogaddi \u003c\/em\u003e(2002). \u003cem\u003eThe Campfire Headphase\u003c\/em\u003e pursues the same effect but with slightly different means. For the first time the group have incorporated acoustic and electric instruments, like guitars, alongside their customary array of vintage analogue synths and digital samples. So they're no longer making electronic music but an unclassifiable hybrid.\u003c\/p\u003e\n\u003cp\u003eOccasionally the new hues don't seem as idiosyncratic as their patented faded Super8-film synth tones, but then again, there's a thin line between developing your own vocabulary and coining your own set of cliches, and we should probably applaud BoC's attempt to extend their palette.\u003c\/p\u003e\n\u003cp\u003eIf the gorgeous mind-ripples of 'Satellite Anthem' and the dewy-eyed dreamwalk of \"84 Pontiac Dream' represent classic BoC almost to the point of redundancy, 'Dayvan Cowboy' steps off the group's beaten path. The track risks bombast with its stirring strings and crashing cymbal rolls (which dazzle the ear, as if the sticks are splashing into a pool of mercury) but stays just the right side of overblown.\u003c\/p\u003e\n\u003cp\u003eBlurring the boundaries between rock and techno is a smart move, because BoC have always made music that deserved to appeal beyond the electronic audience. You can imagine fans of My Bloody Valentine\/Cocteau Twins-style dreampop falling head over heels for \u003cem\u003eThe Campfire Headphase\u003c\/em\u003e, or devotees of the Cure and Radiohead wallowing in its exquisitely textured melancholy. BoC can also be seen as heirs to the psychedelic tradition, grandchildren of Syd Barrett and the Incredible String Band. The connection comes through not just in the duo's obsession with childhood or their frankly goofy song titles, but also in the stereophonic delirium of their production. On 'Oscar See Through Red Eye' and 'Slow This Bird', sounds pan back and forth across the speakers, the drift and swirl making you melt into a voluptuous disorientation. — (via \u003ca href=\"https:\/\/www.theguardian.com\/lifeandstyle\/2005\/sep\/18\/shopping3\" target=\"_blank\" rel=\"noopener\"\u003eThe Guardian\u003c\/a\u003e)\u003c\/p\u003e\n\u003cp\u003e—\u003c\/p\u003e\n\u003cp\u003eThe story of how I discovered Boards of Canada isn’t very romantic or memorable, but I still remember it. Their track “Roygbiv” from 1998’\u003cem\u003es Music Has the Right to Children\u003c\/em\u003e was placed on the Matador Records compilation \u003cem\u003eEverything Is Nice\u003c\/em\u003e between songs by Cat Power and Jon Spencer Blues Explosion and that first listen stopped me in my tracks. What struck me about the band is how familiar they sounded. They had a quality about them that immediately struck me as warm, childlike and nostalgic. They were an electronic act that felt unusually organic; they weren’t restricted solely to the dancefloor or the laptop, instead creating something altogether inviting and personal and oddly eerie at times. Inspired by educational film soundtracks (from which they took their name), you could almost see photosynthesis taking place while you listened. \u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eThe Campfire Headphase\u003c\/em\u003e contains essentially the same qualities that made the group’s earlier records \u003cem\u003eMusic Has the Right to Children\u003c\/em\u003e and \u003cem\u003eGeogaddi\u003c\/em\u003e as captivating as they were. The songs themselves have an immediacy and warmth not often found in IDM, the beats are never too overbearing, and the between-song interludes are frequently as fascinating and mysterious as the tracks themselves. But Headphase doesn’t have quite the same immediacy, opening up in slo-mo, like the visualized plant bud emerging from the soil.\u003c\/p\u003e\n\u003cp\u003eBy no means a “difficult” record, \u003cem\u003eThe Campfire Headphase\u003c\/em\u003e is something of a sideways progression for the duo. While there are no glaring differences between this and the previous two full-lengths, there is a more pronounced guitar presence this time around, which makes for an interesting change in tone and palette. Part of what makes \u003cem\u003eThe Campfire Headphase\u003c\/em\u003e seem a little strange at first is that guitar; it’s such a central part of the first proper “song” on the record (“Chromakey Dreamcoat”), that it almost seems like a different group. It doesn’t take long to get used to, however, and it brings added dimension to the Scottish duo’s sound.\u003c\/p\u003e\n\u003cp\u003eOn two of the album’s best tracks, “Satellite Anthem Icarus” and “Dayvan Cowboy,” the music draws similarities to the symphonic art funk of Serge Gainsbourg’s \u003cem\u003eHistoire de Melody Nelson. \u003c\/em\u003e“Dayvan” in particular stands out for its suspenseful buildup and heightened drum progression. Much of the album, however, still retains the analog dreamscape of \u003cem\u003eMusic Has the Right to Children\u003c\/em\u003e, at times floating in an ambient abyss, others grooving on an Air-like trip-hop haze.\u003c\/p\u003e\n\u003cp\u003eBoards of Canada are clearly still among the best electronic producers out there right now, and \u003cem\u003eThe Campfire Headphase\u003c\/em\u003e is yet another hour of blissful, dreamy IDM. After a few listens, it reveals its subtle and crackly charms, its digital-meets-analog progression a new, immersive chapter in the group’s consistently fascinating body of work. — (via \u003ca href=\"https:\/\/www.treblezine.com\/boards-of-canada-campfire-headphase-review\/\" target=\"_blank\" rel=\"noopener\"\u003eTrebleZine\u003c\/a\u003e)\u003c\/p\u003e\n\u003cp\u003e\u003ciframe width=\"100%\" height=\"152\" style=\"border-radius: 12px;\" src=\"https:\/\/open.spotify.com\/embed\/album\/6uO5B6km2Dco28tOBmZtSU?utm_source=generator\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003e↓\u003cbr\u003eLabel: Warp Records\u003cbr\u003eFormat: 2x Vinyl, LP, Album, Reissue, Stereo\u003cbr\u003eReissued: 2013 \/ Original: 2015\u003cbr\u003eGenre: Electronic\u003cbr\u003eStyle: Ambient, IDM, Leftfield\u003c\/p\u003e\n\u003cp\u003eFile under: Leftfield\u003cbr\u003e⦿\u003c\/p\u003e","brand":"Warp Records","offers":[{"title":"Default Title","offer_id":41456473079966,"sku":"801061812317","price":60.0,"currency_code":"SGD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0584\/5434\/3838\/files\/a0608755357_10.jpg?v=1705562852"},{"product_id":"the-xx-coexist","title":"The xx - Coexist","description":"\u003cp\u003eWith \u003cem\u003eCoexist\u003c\/em\u003e, The xx defied any perceived \"difficult second album\" pressures to create a record that cemented their status as a truly global breakout act. On the follow up to their acclaimed, era-defining debut, the London based trio of Romy Madly Croft, Oliver Sim and Jamie Smith (aka Jamie xx) continued to deal in compelling, sparse atmospherics but expanded their musical world, especially through producer Jamie's growing electronic sound palette.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eCoexist \u003c\/em\u003esurpassed expectations to become the best-selling vinyl record of 2012. Meanwhile, the band progressed from playing intimate venues to becoming an international must-see live act, curating their own festivals and collaborating with symphony orchestras.  — (via \u003ca href=\"https:\/\/thexx.bandcamp.com\/album\/coexist-deluxe-edition\" target=\"_blank\" rel=\"noopener\"\u003eLabel\u003c\/a\u003e)\u003c\/p\u003e\n\u003cp\u003e—\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eCoexist\u003c\/em\u003e is the second studio album by English indie pop band the xx. After a break from touring for their 2009 debut album xx, the band members began to write songs individually before they recorded Coexist from November 2011 to May 2012. For the album, the xx drew on personal experiences for their songwriting, while their music was influenced by the electronic dance scene that occurred when they had been away on tour. The album was produced by the band's Jamie xx, who had pursued electronic dance on other projects and developed as a DJ prior to the album.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eCoexist\u003c\/em\u003e features a minimalist musical style with spatial arrangements, loose song structure, little dynamism, and experimentation with tension. Its songs are characterised by sparse elements such as simple chord progression, keyboard ostinatos, and fading motifs, while Jamie xx's production incorporates both programmed beats and live percussion instruments. Coexist touches on themes of heartbreak, loneliness, and intimacy. The lyrics, written by guitarist Romy Madley Croft and bassist Oliver Sim, address a failing relationship and changes in a romance with inner monologues and simple metaphors. – via \u003ca href=\"https:\/\/en.wikipedia.org\/wiki\/Coexist_(album)\" target=\"_blank\" rel=\"noopener noreferrer\"\u003eWiki\u003c\/a\u003e)\u003c\/p\u003e\n\u003cp\u003eRefined progression, this is the sound of a band both expanding and consolidating. – (via \u003ca href=\"http:\/\/www.bbc.co.uk\/music\/reviews\/9xb6\" target=\"_blank\" rel=\"noopener noreferrer\"\u003eBBC)\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e \u003ciframe width=\"300\" height=\"380\" src=\"https:\/\/embed.spotify.com\/?uri=spotify%3Aalbum%3A2cRMVS71c49Pf5SnIlJX3U\" frameborder=\"0\" allowtransparency=\"true\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003e↓\u003cbr\u003eLabel: Young Turks\u003cbr\u003eFormat: Vinyl, LP, Album\u003cbr\u003eRepressed: 2023 \/ Original: 2012\u003cbr\u003eGenre: Electronic, Rock, Pop\u003cbr\u003eStyle: Indie Rock, Indie Pop, Ambient, Lo-Fi \u003c\/p\u003e\n\u003cp\u003eFile under: Alternative\/Indie\/Pop\u003cbr\u003e⦿\u003c\/p\u003e","brand":"Young Turks","offers":[{"title":"Black Vinyl","offer_id":41456474849438,"sku":"634904608019","price":48.0,"currency_code":"SGD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0584\/5434\/3838\/products\/de56cf043eca9c6afcf6f3fea34729d2e54eb39c.jpg?v=1646290889"},{"product_id":"bon-iver-bon-iver-bon-iver","title":"Bon Iver – Bon Iver, Bon Iver","description":"\u003cp\u003e\u003cem\u003eBon Iver, Bon Iver\u003c\/em\u003e is the second studio album from American indie folk band Bon Iver, originally released in 2011. First it was \u003cem\u003eFor Emma, Forever Ago\u003c\/em\u003e. The soul in a refraction of icicles. A moment hanging like breath on air. And yet life - even still life - is not still. The story is not a story if it does not unravel. Your eyes you may cast backward, but the heart is locked in the chest and must beat forever forward.\u003cem\u003e Bon Iver, Bon Iver\u003c\/em\u003e is the frozen beast pressing upward from a loosening earth, one ear cocked to the echo of the ghost choir still singing, the other craving the martial call of drums tumbling, of thrum and wheeze. The desolation smoke has dissipated, cut with strips of brass. Celebration will not be denied, the cabinet cannot contain the rattle, there is meat on the bones.\u003c\/p\u003e\n\u003cp\u003eIt's there right away, in the thicker-stringed guitar and military snare of \"Perth,\" and \"Minnesota, WI.\" Anyone who had a single listen to \u003cem\u003eFor Emma \u003c\/em\u003ewill peg Justin Vernon's vocals immediately, but there is a sturdiness - an insistence - to \u003cem\u003eBon Iver, Bon Iver\u003c\/em\u003e that allows him to escape the cabin in the woods without burning it to the ground. \"Holocene\" opens with simple finger-picking. The vocal is regret spun hollow and strung on a wire. Then the snare-beat breaks and drives us forward and up and up until we fly silent through the black-star night, our wreckage in view whole atmospheres below. The vocals in \"Hinnom, TX\" ease to the muffled depths, while the instrumentation remains sparse and cosmic. \"Calgary\" is a worship song to everything For Emma mourned, and at the point in the final track \"Beth\/Rest\" when Vernon sings, \"I ain't livin' in the dark no more\" it is clear he isn't dancing in the sunshine, but rather shading toward a new light.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eBon Iver, Bon Iver \u003c\/em\u003ewas recorded and mixed at April Base Studios, a remodeled veterinarian's clinic located in rural Fall Creek, Wisconsin. The main recording space is constructed over a defunct indoor pool attached to the clinic. \"It's an unique space and destination; it's our home out here,\" says Vernon, who purchased the structure with his brother in late 2008 with the sole intention of converting it into his ideal recording studio. \"It's been a wonderful freedom, working in a place we built. It's also only three miles from the house I grew up in, and just ten minutes from the bar where my parents met.\" The creation of \u003cem\u003eBon Iver, Bon Iver \u003c\/em\u003ewas a three-year process, and Vernon says the completion of the studio paralleled the completion of the album. \"I was writing and recording in the windows of time snatched between tours in support of \u003cem\u003eFor Emma,\u003c\/em\u003e\" he says. \"When I finally came home to hunker down for a solid stretch there was a feeling of solid ground and an opportunity for liberation waiting in the space for me.\" (— via \u003ca href=\"https:\/\/boniver.org\/audio\/bon-iver\/\" target=\"_blank\" rel=\"noopener\"\u003eLabel\u003c\/a\u003e)\u003c\/p\u003e\n\u003cp\u003e—\u003c\/p\u003e\n\u003cp\u003eInstead of something that scans as \"folk,\" the music here is more like rustic chamber pop with an experimental edge that makes careful use of arrangement and dynamics. And rather than being tied together by a central theme of loss, Vernon has fully shifted into a more impressionistic mode; these songs are broader and more musically sophisticated than those on \u003cem\u003eFor Emma\u003c\/em\u003e at every turn.\u003c\/p\u003e\n\u003cp\u003eAfter the closeness and austerity of \u003cem\u003eFor Emma\u003c\/em\u003e, Vernon has given us a knotty record that resists easy interpretation but is no less warm or welcoming. You can feel it even as you don't completely understand it-- a testament to its careful construction and Vernon's belief in the power of music to convey deeper meaning. It's a rare thing for an album to have such a strong sense of what it wants to be. \u003cem\u003eBon Iver\u003c\/em\u003e is about flow, from one scene and arrangement and song and memory and word into the next- each distinct but connected- all leading to \"Beth\/Rest\". On the way there, the music moves like a river, every bend both unpredictable and inevitable as it carves sound and emotion out of silence. — (via \u003ca href=\"https:\/\/pitchfork.com\/reviews\/albums\/15551-bon-iver\/\" target=\"_blank\" rel=\"noopener\"\u003ePitchfork\u003c\/a\u003e)\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'Segoe UI', Roboto, Oxygen, Ubuntu, Cantarell, 'Open Sans', 'Helvetica Neue', sans-serif;\"\u003e\u003ciframe width=\"100%\" height=\"352\" style=\"border-radius: 12px;\" data-testid=\"embed-iframe\" src=\"https:\/\/open.spotify.com\/embed\/album\/2LpfNj3vB5rOXfaawLcOBg?utm_source=generator\u0026amp;si=fe8c66a36fbb4145\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\"\u003e\u003c\/iframe\u003e\u003c\/span\u003e↓\u003cbr\u003eLabel: Jagjaguwar\u003cbr\u003eFormat: Vinyl, LP, Album, Reissue, Gatefold\u003cbr\u003eReissued: 2017 \/ Original Release: 2011\u003cbr\u003eGenre: Rock\u003cbr\u003eStyle: Folk Rock, Indie Rock\u003c\/p\u003e\n\u003cp\u003eFile under: Alternative \/ Indie \/ Pop\u003cbr\u003e⦿\u003c\/p\u003e","brand":"Jagjaguwar","offers":[{"title":"Default Title","offer_id":41456476225694,"sku":"656605213514","price":48.0,"currency_code":"SGD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0584\/5434\/3838\/products\/ab67616d0000b273567b0a6defc057bcbfaedadb.jpg?v=1649750802"},{"product_id":"gil-scott-heron-small-talk-at-125th-and-lenox","title":"Gil Scott Heron – Small Talk at 125th And Lenox","description":"\u003cp\u003e\u003cstrong\u003eA TAV Curator’s Pick.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eGilbert \"Gil\" Scott-Heron was an American soul and jazz poet, musician, author, and is most notably known for his work as a spoken-word performer in the 1970s and 1980s. His lyrical contents were predominantly concerned with the social and political issues of the time, delivered in both a rapping and melismatic vocal style. Which has gone on to be a heavy influence on future African-American music genres such as hip hop and neo soul.\u003c\/p\u003e\n\u003cp\u003eA New Black Poet - Small Talk at 125th and Lenox, is Scott-Heron’s debut album, recorded in 1970 on Flying Dutchman Records. Said to have been recorded live at a New York nightclub located on the corner of 125th Street and Lenox Avenue, the album includes his most well known and often quoted composition “The Revolution Will Not Be Televised”.\u003c\/p\u003e\n\u003cp\u003e“Small Talk at 125th and Lenox was a volcanic upheaval of intellectualism and social critique, recorded live in a New York nightclub with only bongos and conga to back the street poet.” – \u003ca href=\"http:\/\/www.allmusic.com\/album\/small-talk-at-125th-and-lenox-mw0000175340\" target=\"_blank\" rel=\"noopener noreferrer\"\u003eAllMusic\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e  \u003ciframe width=\"300\" height=\"380\" src=\"https:\/\/embed.spotify.com\/?uri=spotify%3Aalbum%3A1dEuqkkBkG4dy8OQjx92d5\" allowtransparency='“true\"' frameborder=\"0\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eItem description:\u003c\/strong\u003e\u003c\/p\u003e\n\u003ctable width=\"498\"\u003e\n\u003ctbody\u003e\n\u003ctr\u003e\n\u003ctd\u003e\n\u003cp\u003e\u003cstrong\u003eArtist:\u003c\/strong\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd\u003e\n\u003cp\u003e\u003ca href=\"https:\/\/theanalogvault.com\/search?q=%22Gil+Scott-Heron%22\"\u003eGil Scott-Heron\u003c\/a\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\n\u003cp\u003e\u003cstrong\u003eTitle:\u003c\/strong\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd\u003e\n\u003cp\u003eSmall Talk At 125th And Lenox\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\n\u003cp\u003e\u003cstrong\u003eLabel:\u003c\/strong\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd\u003e\n\u003cp\u003e\u003ca href=\"https:\/\/theanalogvault.com\/search?q=%22label+-+Flying+Dutchman%22\"\u003eFlying Dutchman\u003c\/a\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\n\u003cp\u003e\u003cstrong\u003eFormat:\u003c\/strong\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd\u003e\n\u003cp\u003eVinyl, LP, Album, Reissue, 180 Gram\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\n\u003cp\u003e\u003cstrong\u003ePressing:\u003c\/strong\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd\u003e\n\u003cp\u003eUS\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\n\u003cp\u003e\u003cstrong\u003eRelease Date:\u003c\/strong\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd\u003e\n\u003cp\u003eUnknown\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\n\u003cp\u003e\u003cstrong\u003eGenre:\u003c\/strong\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd\u003e\n\u003cp\u003eSoul, Jazz, Non-Music\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\n\u003cp\u003e\u003cstrong\u003eStyle:\u003c\/strong\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd\u003e\n\u003cp\u003eSpoken Word, Poetry\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\n\u003cp\u003e\u003cstrong\u003eCatalog No:\u003c\/strong\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd\u003e\n\u003cp\u003eFDS-131\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\n\u003cp\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd\u003e\n\u003cp\u003eNew\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\n\u003c\/table\u003e\n\u003cp\u003e\u003cspan\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e","brand":"Flying Dutchman","offers":[{"title":"Default Title","offer_id":41456483205278,"sku":"5051083091503","price":48.0,"currency_code":"SGD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0584\/5434\/3838\/products\/ScreenShot2023-01-18at4.21.05PMcopy_1718x_45b9e083-7ade-4d24-8d4a-fc81d3392369.webp?v=1675318481"},{"product_id":"a-tribe-called-quest-the-anthology","title":"A Tribe Called Quest – The Anthology","description":"\u003cp\u003e\u003cem\u003eThe Anthology\u003c\/em\u003e is A Tribe Called Quest's 1999 greatest hits compilation spanning their entire career.\u003c\/p\u003e\n\u003cp\u003eThe compilation contains songs from all of their currently existing full-length catalogue, including\u003cem\u003e People's Instinctive Travels and the Paths of Rhythm\u003c\/em\u003e, \u003cem\u003eThe Low End Theory\u003c\/em\u003e, \u003cem\u003eMidnight Marauders\u003c\/em\u003e, B\u003cem\u003eeats, Rhymes and Life \u003c\/em\u003eand \u003cem\u003eThe Love Movemen\u003c\/em\u003et. It also contains Q-Tip's \"Vivrant Thing\", which was featured on the first music compilation for Violator Management. The song would also later be featured on Q-Tip's solo effort, Amplified. The album cover features Erykah Badu with fluorescent stripes of green and orange reminiscent of the traditional colors of the Kente tribe of the north Congo.\u003c\/p\u003e\n\u003cp\u003eFor those who haven't discovered that A Tribe Called Quest made several of the best LPs in hip-hop history, Anthology is a perfect way to encapsulate the trio's decade-long career into one manageable portion.  All of their best and biggest songs are here, from the early neglected joint \"Luck of Lucien\" to classic jazz-rap from The Low End Theory like \"Jazz (We've Got),\" and their 45-rpm peak with \"Award Tour,\" all the way to their last big hit, \"Find a Way,\" from 1998's \u003cem\u003eThe Love Movement\u003c\/em\u003e. Yes, anyone who enjoys hip-hop needs to own at least \u003cem\u003eMidnight Marauders\u003c\/em\u003e and \u003cem\u003eThe Low End Theory\u003c\/em\u003e, but \u003cem\u003eAnthology\u003c\/em\u003e succeeds in delivering all the highest points from a great hip-hop group's career. The collection also includes the first solo track from Q-Tip, 1999's \"Vivrant Thing.\" — (via \u003ca href=\"https:\/\/www.allmusic.com\/album\/the-anthology-mw0000667815\" target=\"_blank\" rel=\"noopener\"\u003eAllMusic\u003c\/a\u003e)\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ciframe width=\"100%\" height=\"152\" style=\"border-radius: 12px;\" src=\"https:\/\/open.spotify.com\/embed\/album\/3FAK4h4t9uV4JxzESXllAU?utm_source=generator\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\"\u003e\u003c\/iframe\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e↓\u003cbr\u003eLabel: Jive\u003cbr\u003eFormat: 2x Vinyl, LP, Compilation, Reissue, Stereo\u003cbr\u003eCountry: US\u003cbr\u003eReissued: 2023 \/ Original Release: 1999\u003cbr\u003eGenre: Hip Hop\u003cbr\u003eStyle: Rap, Conscious, , Jazzy Hip-Hop\u003c\/p\u003e\n\u003cp\u003eFile under: Hip Hop\u003cbr\u003e⦿\u003c\/p\u003e","brand":"Jive Records","offers":[{"title":"Default Title","offer_id":41456487661726,"sku":"1241416910","price":60.0,"currency_code":"SGD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0584\/5434\/3838\/files\/71OyPGofKXL._UF1000_1000_QL80.jpg?v=1718102083"},{"product_id":"thelonious-monk-paris-1969","title":"Thelonious Monk - Paris 1969","description":"\u003cp\u003eThelonious Monk’s Paris 1969 is a fascinating late-career document of the legendary jazz pianist and composer in performance at the Salle Pleyel concert hall in Paris, France on December 15, 1969 with a quartet line-up featuring his longtime tenor saxophonist Charlie Rouse with bassist Nate Hygelund and drummer Paris Wright. After a series of tour dates throughout Europe the band was in fine form by the time they reached the Pleyel, which made for a triumphant return for Monk to the very stage he had made his Parisian debut on in 1954 in front of a hostile audience who felt that Monk was too avant-garde. 15 years later the situation could not have been more different with an enthusiastic audience cheering him on. In addition to rollicking Quartet versions of Monk classics such as \"I Mean You\", \"Straight No Chaser\", and \"Blue Monk\", the set also includes three stunning solo piano performances on \"Don’t Blame Me\", \"I Love You Sweetheart Of All My Dreams\", and \"Crepuscule With Nellie\". However, an undeniable highlight of the concert was when the veteran drummer Philly Joe Jones, who was an expat living in Paris at the time, comes from backstage to borrow the sticks from the 17-year-old Wright, providing a palpable spark on Monk’s \"Nutty\". — (via \u003ca href=\"https:\/\/store.bluenote.com\/products\/thelonious-monk-paris-1969-lp?srsltid=AfmBOoqENLYueXkx-bX9YYdux3C3Qszg7DYXVjlXU20tWOizT7_XOWXt\" target=\"_blank\" rel=\"noopener\"\u003eLabel\u003c\/a\u003e)\u003c\/p\u003e\n\u003cp\u003e \u003ciframe width=\"300\" height=\"380\" src=\"https:\/\/embed.spotify.com\/?uri=spotify%3Aalbum%3A5G5OcCMGTg2IxJZZ8Z9zmZ\" allowtransparency=\"true\" frameborder=\"0\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003eAbout Thelonious Monk\u003c\/p\u003e\n\u003cp\u003eThe most important jazz musicians are the ones who are successful in creating their own original world of music with its own rules, logic, and surprises. Thelonious Monk, who was criticized by observers who failed to listen to his music on its own terms, suffered through a decade of neglect before he was suddenly acclaimed as a genius; his music had not changed one bit in the interim. In fact, one of the more remarkable aspects of Monk's music was that it was fully formed by 1947 and he saw no need to alter his playing or compositional style in the slightest during the next 25 years.\u003c\/p\u003e\n\u003cp\u003eThelonious Monk grew up in New York, started playing piano when he was around five, and had his first job touring as an accompanist to an evangelist. He was inspired by the Harlem stride pianists (James P. Johnson was a neighbor) and vestiges of that idiom can be heard in his later unaccompanied solos. However, when he was playing in the house band of Minton's Playhouse during 1940-1943, Monk was searching for his own individual style. Private recordings from the period find him sometimes resembling Teddy Wilson but starting to use more advanced rhythms and harmonies. He worked with Lucky Millinder a bit in 1942 and was with the Cootie Williams Orchestra briefly in 1944 (Williams recorded Monk's \"Epistrophy\" in 1942 and in 1944 was the first to record \"'Round Midnight\"), but it was when he became Coleman Hawkins' regular pianist that Monk was initially noticed. He cut a few titles with Hawkins (his recording debut) and, although some of Hawkins' fans complained about the eccentric pianist, the veteran tenor could sense the pianist's greatness.\u003c\/p\u003e\n\u003cp\u003eThe 1945-1954 period was very difficult for Thelonious Monk. Because he left a lot of space in his rhythmic solos and had an unusual technique, many people thought that he was an inferior pianist. His compositions were so advanced that the lazier bebop players (although not Dizzy Gillespie and Charlie Parker) assumed that he was crazy. And Thelonious Monk's name, appearance (he liked funny hats), and personality (an occasionally uncommunicative introvert) helped to brand him as some kind of nut. Fortunately, Alfred Lion of Blue Note believed in him and recorded Monk extensively during 1947-1948 and 1951-1952. He also recorded for Prestige during 1952-1954, had a solo set for Vogue in 1954 during a visit to Paris, and appeared on a Verve date with Bird and Diz. But work was very sporadic during this era and Monk had to struggle to make ends meet.\u003c\/p\u003e\n\u003cp\u003eHis fortunes slowly began to improve. In 1955, he signed with Riverside and producer Orrin Keepnews persuaded him to record an album of Duke Ellington tunes and one of standards so his music would appear to be more accessible to the average jazz fan. In 1956 came the classic Brilliant Corners album, but it was the following year when the situation permanently changed. Monk was booked into the Five Spot for a long engagement and he used a quartet that featured tenor saxophonist John Coltrane. Finally, the critics and then the jazz public recognized Thelonious Monk's greatness during this important gig. The fact that he was unique was a disadvantage a few years earlier when all modern jazz pianists were expected to sound like Bud Powell (who was ironically a close friend), but by 1957 the jazz public was looking for a new approach. Suddenly, Monk was a celebrity and his status would not change for the remainder of his career. In 1958, his quartet featured the tenor of Johnny Griffin (who was even more compatible than Coltrane), in 1959 he appeared with an orchestra at Town Hall (with arrangements by Hall Overton), in 1962 he signed with Columbia and two years later was on the cover of Time. A second orchestra concert in 1963 was even better than the first and Monk toured constantly throughout the 1960s with his quartet which featured the reliable tenor of Charlie Rouse. He played with the Giants of Jazz during 1971-1972, but then in 1973 suddenly retired. Monk was suffering from mental illness and, other than a few special appearances during the mid-'70s, he lived the rest of his life in seclusion. After his death it seemed as if everyone was doing Thelonious Monk tributes. There were so many versions of \"'Round Midnight\" that it was practically a pop hit! But despite the posthumous acclaim and attempts by pianists ranging from Marcus Roberts to Tommy Flanagan to recreate his style, there was no replacement for the original.\u003c\/p\u003e\n\u003cp\u003eSome of Thelonious Monk's songs became standards early on, most notably \"'Round Midnight,\" \"Straight No Chaser,\" \"52nd Street Theme,\" and \"Blue Monk.\" Many of his other compositions have by now been figured out by other jazz musicians and are occasionally performed including \"Ruby My Dear,\" \"Well You Needn't,\" \"Off Minor,\" \"In Walked Bud,\" \"Misterioso,\" \"Epistrophy,\" \"I Mean You,\" \"Four in One,\" \"Criss Cross,\" \"Ask Me Now,\" \"Little Rootie Tootie,\" \"Monk's Dream,\" \"Bemsha Swing,\" \"Think of One,\" \"Friday the 13th,\" \"Hackensack,\" \"Nutty,\" \"Brilliant Corners,\" \"Crepuscule With Nellie\" (written for his strong and supportive wife), \"Evidence,\" and \"Rhythm-a-Ning,\" Virtually all of Monk's recordings (for Blue Note, Prestige, Vogue, Riverside, Columbia, and Black Lion) have been reissued and among his sidemen through the years were Idrees Sulieman, Art Blakey, Milt Jackson, Lou Donaldson, Lucky Thompson, Max Roach, Julius Watkins, Sonny Rollins, Clark Terry, Gerry Mulligan, John Coltrane, Wilbur Ware, Shadow Wilson, Johnny Griffin, Donald Byrd, Phil Woods, Thad Jones, and Charlie Rouse. His son Thelonious Monk, Jr. (T.S. Monk) has helped keep the hard bop tradition alive with his quintet and has headed the Thelonious Monk Institute, whose yearly competitions succeed in publicizing talented young players. — (via \u003ca href=\"https:\/\/www.bluenote.com\/artist\/thelonious-monk\/\" target=\"_blank\" rel=\"noopener\"\u003eLabel\u003c\/a\u003e)\u003c\/p\u003e\n\u003cp\u003eVinyl Tracklist\u003cbr\u003eA1 I Mean You \u003cbr\u003eA2 Ruby My Dear \u003c\/p\u003e\n\u003cp\u003eB1 Straight, No Chaser \u003cbr\u003eB2 Bright Mississippi \u003cbr\u003eB3 Light Blue\u003cbr\u003e \u003cbr\u003eDisc 2\u003cbr\u003eC1 Epistrophy  \u003cbr\u003eC2 Dont Blame Me \u003cbr\u003eC3 I Love You Sweetheart Of All My Dreams \u003c\/p\u003e\n\u003cp\u003eD1 Bright Mississippi (Reprise) \u003cbr\u003eD2 Nutty \u003cbr\u003eD3 Blue Monk\u003c\/p\u003e\n\u003cp\u003e↓\u003cbr\u003eLabel: Blue Note \/ Laser Swing Productions \/ Lower 5th\u003cbr\u003eFormat: 2 x Vinyl, LP, Album, Gatefold\u003cbr\u003eReleased: 2013\u003cbr\u003eGenre: Jazz\u003cbr\u003eStyle: Bop, Hard Bop\u003c\/p\u003e\n\u003cp\u003eFile under: Jazz - Thelonious Monk\u003cbr\u003e⦿\u003c\/p\u003e","brand":"Blue Note Records","offers":[{"title":"Default Title","offer_id":41456488808606,"sku":"602537460526","price":60.0,"currency_code":"SGD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0584\/5434\/3838\/products\/71YC6x6ezkL-_SL1400.jpg?v=1646290983"},{"product_id":"jaylib-champion-sound","title":"Jaylib – Champion Sound","description":"\u003cp\u003eThe original release of the Madlib and J Dilla collab, created between Los Angeles and Detroit in 2002-2003. \u003c\/p\u003e\n\u003cp\u003eThe project was conceived in fall 2002 after Stones Throw released a limited edition 12\" featuring \"The Message,\" a track made by Madlib in 2000, flipping Grandmaster Flash \u0026amp; The Furious Five's lyrics over a J Dilla beat. The song, unofficially credited to \"Jaylib,\" was never intended for commercial release, but it got the two producer\/mc's together to talk about an equal collaboration. Dilla \u0026amp; Madlib previously worked together briefly in Detroit, late 2001, on a project which was never completed.\u003c\/p\u003e\n\u003cp\u003eAs each were situated in their home towns (Dilla in Detroit and Madlib in L.A.), they fleshed out Champion Sound, which will easily win the award for the Most Blunted Album of the Year; these guys were smoking serious greens while working this one out. As one might expect, the production qualities of an album made by two of hip-hop's most celebrated producers is rich in texture, innovation, and solid momentum. Where Madlib is a seasoned MC (look at Lootpack's Soundpieces or Quasimoto's The Unseen), Dilla is not. He's not bad, just rougher around the edges, which lends to a disorienting listen in general. The beats are slapped together, whacked samples are abruptly dropped, and the lyrics are steps behind the beat and generally about nothing but b-boy posturing and other nonsense. All of which results in a very unique and strangely rewarding album. While it may require repeated listens to take hold, Champion Sound is full of a lot more winners than losers. —(via \u003ca href=\"http:\/\/www.allmusic.com\/album\/champion-sound-mw0000318883\" target=\"_blank\" rel=\"noopener\"\u003eAllMusic\u003c\/a\u003e)\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e \u003ciframe width=\"100%\" height=\"600\" src=\"https:\/\/embed.spotify.com\/?uri=spotify%3Aalbum%3A6Jv0VIFX5CMzxAK6JwAB23\" frameborder=\"0\" allowtransparency=\"true\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cbr\u003eItem description:\u003c\/strong\u003e\u003c\/p\u003e\n\u003ctable style=\"width: 686px;\"\u003e\n\u003ctbody\u003e\n\u003ctr\u003e\n\u003ctd\u003e\n\u003cp\u003e\u003cstrong\u003eArtist:\u003c\/strong\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd\u003e\n\u003cp\u003e\u003ca href=\"https:\/\/theanalogvault.com\/search?q=%22Jaylib%22\"\u003eJaylib\u003c\/a\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\n\u003cp\u003e\u003cstrong\u003eTitle:\u003c\/strong\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd\u003e\n\u003cp\u003eChampion Sound\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\n\u003cp\u003e\u003cstrong\u003eLabel:\u003c\/strong\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd\u003e\n\u003cp\u003e\u003ca href=\"https:\/\/theanalogvault.com\/search?q=%22Label+-+Stones+Throw+Records%22\"\u003eStones Throw Records\u003c\/a\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\n\u003cp\u003e\u003cstrong\u003eFormat:\u003c\/strong\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd\u003e\n\u003cp\u003e2 × Vinyl, LP, Album, Reissue\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\n\u003cp\u003e\u003cstrong\u003ePressing:\u003c\/strong\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd\u003e\n\u003cp\u003eUS\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\n\u003cp\u003e\u003cstrong\u003eRelease Date:\u003c\/strong\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd\u003e\n\u003cp\u003eThis reissue: 2009 | Original - 2003\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\n\u003cp\u003e\u003cstrong\u003eGenre:\u003c\/strong\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd\u003e\n\u003cp\u003eHip Hop\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\n\u003cp\u003e\u003cstrong\u003eCatalog No:\u003c\/strong\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd\u003e\n\u003cp\u003eSTH 2062\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\n\u003cp\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd\u003e\n\u003cp\u003eNew\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\n\u003c\/table\u003e\n\u003cp\u003e \u003c\/p\u003e","brand":"Stones Throw Records","offers":[{"title":"Default Title","offer_id":41456490676382,"sku":"659457206215","price":48.0,"currency_code":"SGD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0584\/5434\/3838\/files\/JAYLIBCHAMPIONSO_2019-11-06_13-19-30_iwjrsyHeNP_2000xcopy.jpg?v=1714125837"},{"product_id":"freddie-hubbard-breaking-point","title":"Freddie Hubbard – Breaking Point","description":"\u003cp\u003eDespite having performed on several of the most revolutionary avant-garde jazz records of the 1960s, including Ornette Coleman’s Free Jazz and John Coltrane’s Ascension, Freddie Hubbard’s own albums tended to hew closer to the mainstream. Perhaps no other single album captures the trumpeter’s awe-inspiring breadth of ability and versatility than \u003cem\u003eBreaking Point!\u003c\/em\u003e, which was recorded in May 1964 shortly after Hubbard had departed Art Blakey’s Jazz Messengers in order to form his own band. On this 6-song set featuring 5 of Hubbard’s original compositions, his new quintet—with James Spaulding on alto saxophone and flute, Ronnie Mathews on piano, Eddie Khan on bass, and Joe Chambers on drums—moves assuredly across vast stylistic terrain. \u003cbr\u003e\u003cbr\u003eOn the stunning title track alone the band shifts from free-form exploration into a playful Calypso and back with ease. The rest of the program traverses modal jazz (“Far Away”), the blues (“Blue Frenzy”), and stunningly beautiful balladry (Chambers’ “Mirrors”) to create one of the more remarkable albums in Hubbard’s formidable Blue Note oeuvre. — via Label\u003c\/p\u003e\n\u003cp\u003e\u003ciframe width=\"100%\" height=\"152\" style=\"border-radius: 12px;\" src=\"https:\/\/open.spotify.com\/embed\/album\/0FeZbhuzIoD7E5ru2eDpIH?utm_source=generator\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003e↓\u003cbr\u003eLabel: Blue Note\u003cbr\u003eFormat: Vinyl, LP, Album, Reissue, Stereo\u003cbr\u003eReissued: 2015 \/ Original Release: 1964\u003cbr\u003eGenre: Jazz\u003cbr\u003eStyle: Hard Bop, Post Bop, Modal\u003c\/p\u003e\n\u003cp\u003eFile under: Blue Note\u003cbr\u003e⦿\u003c\/p\u003e","brand":"Blue Note Records","offers":[{"title":"Default Title","offer_id":41456491823262,"sku":"602547292506","price":38.0,"currency_code":"SGD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0584\/5434\/3838\/files\/freddie-hubbard-breaking-point-blue-note-tone-poet_cc1ac3bf-db08-40d9-8022-eaf271b99ee7.webp?v=1741245125"},{"product_id":"tortoise-tnt","title":"Tortoise - TNT","description":"\u003cp\u003e\u003cstrong\u003e— The Analog Vault \/\/ Essential Listening —\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eWhile their sophomore release \u003cem\u003eMillions Now Living Will Never Die\u003c\/em\u003e may have been their most commercially successful, it was Tortoise’s expansive third effort that represented the band’s creative pinnacle. Released in 1998 via Thrill Jockey, \u003cem\u003eTNT\u003c\/em\u003e was the American post-rock pioneers’ first record with avant-garde guitarist Jeff Parker, and it shows. Though everyone in Tortoise were already musical innovators dissatisfied with rock conventions, Parker pushed them to more experimental heights by reinforcing the group’s jazz leanings. Likewise, their producer, engineer and drummer John McEntire employed a revolutionary reconstructive approach to recording, with different members adding individual parts to a track at different stages. This led to one of the most unique albums ever created, one where post-rock dizzyingly melded with the eclectic textures of dub, krautrock, jazz, and groove. — \u003ca href=\"https:\/\/theanalogvault.com\/\" target=\"_blank\" rel=\"noopener\"\u003eThe Analog Vault\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e—\u003c\/p\u003e\n\u003cp\u003eTortoise's third full-length release, TNT, was written and recorded during a 10-month interval in 1997. This longer-than-usual writing\/production schedule was purposefully undertaken by the group in the hopes of crafting an expansive, diverse, yet thematically coherent offering. Clocking in at 65 minutes, TNT builds upon the spare, instrumental framework of the group's first, self-titled album, and the extended edits, melodic adventures, and klangfarben of the subsequent full-length release, Millions Now Living Will Never Die. Further to this, Tortoise's interest in the possibilities offered by the remixing of tracks was realized within the actual production of TNT; individual elements, sections, or sometimes whole compositions mutate within the album's shifting framework. These techniques were suitably realized thanks in part to the use of non-linear digital recording and editing methods, the first example of such work for the group. In addition, many of the arrangements push the group's standard instrumentation into new territories with the inclusion of strings, woodwinds, and brass. The permanent addition of guitarist Jeff Parker (New Horizons ensemble, Chicago Underground Orchestra, Isotope 217) to the group's lineup should be noted; his unique contributions can be felt throughout the album.\u003c\/p\u003e\n\u003cp\u003eTortoise's long-standing interest in electronic and computer music is revealed during the unbroken suite of tracks beginning with \"In Sarah, Mencken, Christ, and Beethoven There Were Women And Men,\" and ending with \"Jetty.\" Yet TNT remains very much a record produced by a group of musicians who enjoy presenting their material in a live context. To this end, the axis of drums-basses-guitars-keyb oards-mallets-percussion continues to provide both the backdrop and the inspiration for points of departure in style and sound.”  — via Label\u003c\/p\u003e\n\u003cp\u003e\u003ciframe width=\"100%\" height=\"352\" style=\"border-radius: 12px;\" data-testid=\"embed-iframe\" src=\"https:\/\/open.spotify.com\/embed\/album\/4JwjxPyISbFEUeh267bYbg?utm_source=generator\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\"\u003e\u003c\/iframe\u003e\u003cbr\u003e↓\u003cbr\u003eLabel: Thrill Jockey\u003cbr\u003eFormat: 2 x Vinyl, LP, Album, Reissue\u003cbr\u003eReleased: 1998\u003cbr\u003eGenre: Rock, Electronic\u003cbr\u003eStyle: Post Rock, Abstract\u003c\/p\u003e\n\u003cp\u003eFile under: TAV Essential Listening\u003cbr\u003eFile under: Rock, Shoegaze \/ Post-Rock\u003cbr\u003e⦿\u003c\/p\u003e","brand":"Thrill Jockey","offers":[{"title":"Default Title","offer_id":41456494936222,"sku":"790377050110","price":60.0,"currency_code":"SGD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0584\/5434\/3838\/products\/NTAtNzQ5OS5qcGVn.jpg?v=1669278817"},{"product_id":"roisin-murphy-take-her-up-to-monto","title":"Roisin Murphy - Take Her Up To Monto!","description":"\u003cp\u003e\u003cspan\u003eContinuing the process of re-emergence that began with 2014's \u003cem\u003eMi Senti EP\u003c\/em\u003e and 2015's critically acclaimed, Mercury Prize nominated album \u003cem\u003eHairless Toys,\u003c\/em\u003e \u003cem\u003eTake Her Up To Monto!\u003c\/em\u003e is an album which crackles with wild invention. \u003c\/span\u003e\u003cspan\u003eIf \u003cem\u003eMi Senti EP\u003c\/em\u003e was a \"love letter\" to Murphy's creative life, then the sessions that followed were a full-blown symphony. Five intensive weeks working alongside long term musical collaborator Eddie Stevens resulted in enough material for two albums. \u003cem\u003eHairless Toys \u003c\/em\u003eserved to ease her audience into this new phase of Murphy's career, before hitting them full force with \u003cem\u003eTake Her Up To Monto!\u003c\/em\u003e \u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eFlights of disco fancy, dark cabaret, the sonorities of classic house and electronica, the joy and heartbreak of pure pop, torch song drama, 'Take Up Her To Monto' has everything Murphy's always done - but seen afresh. Made into new, strange shapes. The title originates from an Irish folk song, popularised by The Dubliners and sung to Róisín by her father - \"It's me and my rhythm. It's very simple, really - but very complicated.\" says Murphy. — via Label\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003ciframe style=\"border: 0; width: 100%; height: 120px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=2723242634\/size=large\/bgcol=ffffff\/linkcol=0687f5\/tracklist=false\/artwork=small\/transparent=true\/\" seamless=\"\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003e↓\u003cbr\u003eLabel: Play It Again Sam\u003cbr\u003eFormat: 2 x Vinyl, LP, Album, 180g\u003cbr\u003eReleased: 2016\u003cbr\u003eGenre: Electronic, Funk \/ Soul, Pop\u003cbr\u003eStyle: Downtempo, Disco, Acid Jazz, Trip Hop\u003c\/p\u003e\n\u003cp\u003eFile under: Alternative \/ Indie \/ Pop\u003cbr\u003e⦿\u003c\/p\u003e","brand":"Play It Again Sam","offers":[{"title":"Default Title","offer_id":41456495919262,"sku":"5414939940149","price":40.0,"currency_code":"SGD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0584\/5434\/3838\/products\/29421276a36539574fc5203ec8e34aa7f8f8db25.jpg?v=1646291113"},{"product_id":"jeff-buckley-grace","title":"Jeff Buckley – Grace (Legacy Reissue)","description":"\u003cp\u003e\u003cstrong\u003e— The Analog Vault \/\/ Essential Listening —\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eBob Dylan considers its creator as \"one of the great songwriters.\" David Bowie proclaimed it as “the best album ever made.” Led Zeppelin’s Jimmy Page named it as his “favourite album of the decade.” What record could possibly be worthy of such adulation from so many legends? None other than Jeff Buckley’s first and only LP, \u003cem\u003eGrace\u003c\/em\u003e. Although it was met with modest sales and mixed reviews during its release in 1994, the American singer-songwriter’s masterpiece now towers as a seminal work.\u003c\/p\u003e\n\u003cp\u003ePowered by Buckley’s dynamic four octave range and his intensely emotional songwriting, \u003cem\u003eGrace\u003c\/em\u003e is a staggering achievement in folk-rock that elicits goosebumps and stirs the soul. From his iconic cover of Leonard Cohen’s “Hallelujah” to the awe-inspiring rawness of opener “Mojo Pin” - his serenades of devastation and desperation remain timeless. — \u003ca href=\"https:\/\/theanalogvault.com\/\" target=\"_blank\" rel=\"noopener\"\u003eThe Analog Vault\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e—\u003c\/p\u003e\n\u003cp\u003eJeff Buckley's\u003cem\u003e Grace\u003c\/em\u003e is a masterpiece. The critically acclaimed breakthrough is filled with sweeping choruses, bombastic arrangements, searching lyrics, and above all, the richly textured voice of Buckley himself. \u003cem\u003eGrace\u003c\/em\u003e is the only complete studio album by Jeff Buckley, originally released on August 23, 1994. After his death in 1997, the album grew to be one of the most important album's of the '90s. The album was produced by Andy Wallace who had mixed Nirvana's album \u003cem\u003eNevermind\u003c\/em\u003e. In addition to seven original songs, the album included three covers: \"Lilac Wine\", based on the version by Nina Simone, \"Corpus Christi Carol\", from Benjamin Britten's A Boy Was Born and \"Hallelujah\" by Leonard Cohen. \u003cem\u003eGrace\u003c\/em\u003e gives voice to those secrets of the human experience that lie mute and waiting for sound. \"Eternal Life,\" is a sonically bruising plea for emotional tolerance and psychic liberation.\u003c\/p\u003e\n\u003cp\u003e\"Lover, You Should Have Come Over,\" holds a candle in a dark circular staircase, lonesome vocals wrapped around slow tender chords and lines like \"It's never over, she's the tear that hangs inside my soul forever.\" \"Mojo Pin,\" co-written by Buckley and former Captain Beefheart guitarist Gary Lucas, is a powerful ensemble reading of a song first introduced on Live At Sin-é, a testimony to Buckley's avant-garde and free jazz procliv-ities. On the moody \"Dream Brother,\" the singer offers a warning to a friend, a mysterious message swad-dled in the unconscious. Tipping his hat to the master, Buckley renders his interpretation of Leonard Cohen's \"Hallelujah,\" a solo track recorded live-in-the-studio; the song is one of Jeff's most enthusiastically-received tunes in-concert. — (via \u003ca href=\"https:\/\/elusivedisc.com\/jeff-buckley-grace-numbered-limited-edition-180g-45rpm-2lp\/?srsltid=AfmBOor13-5GiXVyHhnGWQNDo5q7jLbNojayZzuNogwR00uLmK4fCm68\" target=\"_blank\" rel=\"noopener\"\u003eElusive Disc\u003c\/a\u003e)\u003cstrong\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e—\u003cbr\u003eRecorded in the fall of 1993 at Bearsville Recording Studio in Woodstock, NY, \u003cem\u003eGrace\u003c\/em\u003e features Jeff on vocals, guitars, keyboards, dulcimer and tabla; Mick Grondahl and Matt Thompson, members of his touring band, on bass and drums respectively; and production by Andy Wallace (Paw, White Zombie, Soul Asylum). Noted classical composer and jazz vibraphonist Karl Berger wrote and conducted string arrangements assisted by Jeff. Within the walls of this studio, Buckley and company created a unique blend of sound and vision: emotion-drenched vocals laced throughout extraordinary instrumental work. The record includes seven originals and one cover performed with his band and two covers done solo.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eGrace\u003c\/em\u003e gives voice to those secrets of the human experience that lie mute and waiting for sound. “Eternal Life,” is a sonically bruising plea for emotional tolerance and psychic liberation. “Eternal life is now on my trail,” he sings, “Got my red glitter coffin, man, just need one last nail\/While all these ugly gentlemen play out their foolish games\/There’s a flaming red horizon that screams our names.”\u003c\/p\u003e\n\u003cp\u003e“Lover, You Should Have Come Over,” holds a candle in a dark circular staircase, lonesome vocals wrapped around slow tender chords and lines like “It’s never over, she’s the tear that hangs inside my soul forever.” “Mojo Pin,” co-written by Buckley and former Captain Beefheart guitarist Gary Lucas, is a powerful ensemble reading of a song first introduced on Live At Sin-é, a testimony to Buckley’s avant-garde and free jazz proclivities.\u003c\/p\u003e\n\u003cp\u003eOn the moody “Dream Brother,” the singer offers a warning to a friend, a mysterious message swaddled in the unconscious. Tipping his hat to the master, Buckley renders his interpretation of Leonard Cohen’s “Hallelujah,” a solo track recorded live-in-the-studio; the song is one of Jeff’s most enthusiastically-received tunes in-concert.\u003c\/p\u003e\n\u003cp\u003e“The experience of creating and performing with a band was different from my solo work,” Buckley says about the recording of \u003cem\u003eGrace\u003c\/em\u003e. “All the spontaneity and attention to the dynamics of the moment is extended four times and maybe beyond. It’s the difference between the eight year-old and the twenty-eight year old: you still contain the eight year-old, but two decades exist around you. The object of going solo was to attract the perfect band. All my favorite music has been band music. I love listening to Bob Dylan, Robert Johnson and Thelonious Monk alone, but, the fact is, there are so many other areas you can go with other instruments going at the same time. You can reach a trance-like stage where what’s really going on inside the human psyche is being sung to…the music aims at what’s really going on underneath…not what people pretend to be or what they hope they can buy at a store. The little scared kid or the full-on romantic lover is being accessed. There are really majestic qualities about people that can be reached through music. People are incredible to me even though I’m healthily cynical sometimes. It’s because we are spirits and the whole tension is that we don’t know we are. Yet, music is able to touch this.”\u003c\/p\u003e\n\u003cp\u003eThe first member of this “perfect band” to come on-board was bass player Mick Grondahl who had seen one of Buckley’s solo shows inside a crypt at Columbia University. A few months later, Mick ran into Jeff on the street and offered his services. Weeks later they met at a neighborhood bar to talk, then returned to Jeff’s apartment. “We jammed,” Jeff recalls, “making this two o’clock-in-the-morning type music. And I thought, ‘he’s the one!’ He had all the qualities I dug. There are bass players all over the city that can play rings around him in terms of ‘technique,’ but nobody else could ever make the music he makes. And that’s more powerful!”\u003c\/p\u003e\n\u003cp\u003eDrummer Matt Johnson was recommended by some friends. Not only is Matt technically adept, even more crucially, he’s got a quality that’s all-too-rare in drummers: a strong sense of song. Jeff, Mick, and Matt began playing together four weeks before going to Woodstock to record \u003cem\u003eGrace\u003c\/em\u003e. “We really became a band during the album,” Jeff admits. “Even now, we’re still evolving.” Following completion of the bulk of the album’s tracks in early ’94, Jeff took to the road for the first time, playing solo electric shows throughout the U.S. and Europe. Guitar player Michael Tighe–who plays on \u003cem\u003eGrace\u003c\/em\u003e’s darkly confessional “So Real”–will perform with the band on Jeff’s first full-band tours of the United States and Europe.\u003c\/p\u003e\n\u003cp\u003eJeff Buckley wrote his first song at age 13, “some stupid thing about a break-up,” he claims. His horizons as a lyricist have expanded considerably since then; he now explores complex themes of love, inner strife, and separation. “Sensitivity isn’t being wimpy,” he explains. “It’s about being so painfully aware that a flea landing on a dog is like a sonic boom.” His lyrics are sharply-focused, yet enigmatic, revealing simple truths shrouded in the riddles of their origin. “I enjoy a lot of mystery,” he admits. “It provides a bit more movement without too much trivializing scrutiny.”\u003c\/p\u003e\n\u003cp\u003eDescribing himself as “rootless trailer-trash born in southern California,” Jeff Buckley grew up singing in the car with his mother, a classically-trained pianist and cellist. At the age of five, he discovered his grandmother’s guitar and began to teach himself to play. At 17, he left home, finished high school and wound up in Hollywood. The widening orbit of his sensibility led him through a motley series of rock and reggae bands and he did scattered studio session work “for grocery money.”\u003c\/p\u003e\n\u003cp\u003eIn 1990, he moved to New York, performing with various local outfits before striking out on his own. Hanging out on the Lower East Side, he found himself feeling very much at home. “More than any place,” he claims, “this is where I felt I belonged. I prefer the Lower East Side to any place on the planet. I can be who I am here…I couldn’t do it any place I lived as a child. I never fit in in California, even though my roots are there.”\u003c\/p\u003e\n\u003cp\u003eJeff Buckley describes his music as a “low-down dreamy bit of the psyche. It’s part quagmire and part structure. The quagmire’s important for things to grow in…do you ever have one of those memories where you think you remember a taste or a feel of something…maybe an object…but the feeling is so bizarre and imperceptible that you just can’t quite get a hold of it? It drives you crazy. That’s my musical aesthetic…just this imperceptible fleeting memory. The beauty of it now is that I can record it onto a disc or play it live. It’s entirely surreal. It’s like there’s a guard at the gate of your memory and you’re not supposed to remember certain things because you can only obtain the full experience by completely going under its power. You can be destroyed or scarred…you don’t know…it’s like dying.” — (via \u003ca href=\"https:\/\/jeffbuckley.com\/discography\/grace\/\" target=\"_blank\" rel=\"noopener\"\u003eLabel\u003c\/a\u003e)\u003c\/p\u003e\n\u003cp\u003e\u003ciframe width=\"100%\" height=\"352\" style=\"border-radius: 12px;\" data-testid=\"embed-iframe\" src=\"https:\/\/open.spotify.com\/embed\/album\/7yQtjAjhtNi76KRu05XWFS?utm_source=generator\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ciframe width=\"560\" height=\"315\" src=\"https:\/\/www.youtube.com\/embed\/y8AWFf7EAc4?si=CKfpf8mHebhGXbqh\" title=\"YouTube video player\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen=\"allowfullscreen\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003eVinyl tracklist:\u003cbr\u003eA1 Mojo Pin \/\/ Written by Gary Lucas, Jeff Buckley\u003cbr\u003eA2 Grace \/\/ Written by Gary Lucas, Jeff Buckley\u003cbr\u003eA3 Last Goodbye \/\/ Written by Jeff Buckley\u003cbr\u003eA4 Lilac Wine \/\/ Written by J. Shelton\u003cbr\u003eA5 So Real \/\/ Written by Jeff Buckley, Michael Tighe\u003cbr\u003eB1 Hallelujah \/\/ Written by Leonard Cohen\u003cbr\u003eB2 Lover, You Should've Come Over \/\/ Written by Jeff Buckley\u003cbr\u003eB3 Corpus Christi Carol \/\/ Written by Sir Benjamin Britten\u003cbr\u003eB4 Eternal Life \/\/ Written by Jeff Buckley\u003cbr\u003eB5 Dream Brother \/\/ Written by Jeff Buckley, Matt Johnson, Mick Grondahl\u003c\/p\u003e\n\u003cp\u003e↓\u003cbr\u003eLabel: Columbia, Legacy\u003cbr\u003eFormat: Vinyl, LP, Album, Reissue, 180 Gram\u003cbr\u003eReleased: 2015 \/ Original Release: 1994\u003cbr\u003eGenre: Rock\u003cbr\u003eStyle: Alternative Rock\u003c\/p\u003e\n\u003cp\u003eFile under: TAV Essential Listening\u003cbr\u003eFile under:  School of Rock\u003cbr\u003e⦿\u003c\/p\u003e","brand":"Columbia \/ Legacy","offers":[{"title":"Default Title","offer_id":41456506699934,"sku":"86977798313","price":48.0,"currency_code":"SGD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0584\/5434\/3838\/products\/jeff-Buckley.jpg?v=1646291247"},{"product_id":"quasimoto-the-unseen","title":"Quasimoto - The Unseen","description":"\u003cp\u003e\u003cstrong\u003e— The Analog Vault \/\/ Essential Listening —\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eThe Unseen \u003c\/em\u003eis the debut studio album by Quasimoto, an alter ego of American hip hop musician Madlib, originally released under Stones Throw Records in 2000. Each one of music hyphenate Madlib’s multidisciplinary projects tend to be revelatory. But even among the Californian native’s treasure trove of hip-hop jewels, few were as sui generis as his high-pitched yellow aardvark alter ego, Quasimoto. Quasimoto’s debut on Stones Throw was a quantum leap for Madlib’s creativity journey - with the album featuring a boisterous assembly of funk, prog, jazz, and soul samples, punctuated by various skits and interludes.\u003c\/p\u003e\n\u003cp\u003eMadlib’s idiosyncratic beats were augmented by the surreal and free-associative verses of the rapper duelling with the animated split personality Lord Quas, who satirized gangsta rap. \u003cem\u003eThe Unseen\u003c\/em\u003e has proven to be an impeccable showcase of Madlib’s unbound creativity and proficiency as both a skilled rapper and consummate producer.\" — \u003ca href=\"https:\/\/theanalogvault.com\/\" target=\"_blank\" rel=\"noopener\"\u003eThe Analog Vault\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e—\u003cbr\u003eQuasimoto's \u003cem\u003eThe Unseen\u003c\/em\u003e is one of the most imaginative albums of the new West Coast underground, a puzzling, psychedelic jazz-rap gem riddled with warped humor and fractured musical genius. Producer Madlib actually outdoes his inventive work on the Lootpack's debut album, \u003cem\u003eSoundpieces: Da Antidote\u003c\/em\u003e!, crafting deep, dreamy jazz loops littered with found sounds and wiggy vocal samples. \u003c\/p\u003e\n\u003cp\u003eQuasimoto's helium-huffing voice is actually Madlib's, electronically altered for an effect not unlike Prince's abandoned Camille project. It might put some listeners off as gimmicky, and it's really a shame if it does, because it isn't really the focal point of The Unseen's left-field brilliance. It's more of an added textural element for Madlib's off-kilter soundscapes and a vehicle for the cartoonish humor hinted at in his choice of samples. \u003c\/p\u003e\n\u003cp\u003eThe lyrics are highly free-associative (that is to say, stoned beyond belief), and by turns paranoid, threatening, or hallucinatory. But it all melts into the warm, druggy haze of the music; unlike, say, the Wu-Tang Clan or Dr. Octagon, this dream isn't supposed to be a nightmare. \u003c\/p\u003e\n\u003cp\u003eQuas' scattershot flow isn't what you'd call technically accomplished, but that's by design - he's supposed to be fragmented, not quite all there. The song structures are similarly loose, with rhymes coming from nowhere and disappearing just as quickly; the tracks are short (all under four minutes) and end abruptly, as though Quas is too blunted to think of anything else to say. (Madlib does appear as himself on occasion, and usually sounds just as noncommittal as his \"collaborator.\") \u003c\/p\u003e\n\u003cp\u003eHighlights are plentiful, and include the brilliant singles \"Microphone Mathematics\" and \"Come on Feet,\" the bizarre trash-talking of \"Bad Character\" and \"Put a Curse on You,\" and the joy-of-music cuts \"Return of the Loop Digga\" and \"Jazz Cats, Pt. 1,\" which recount Madlib's obsession with record collecting and name-check his favorites. It takes some time to assimilate, but \u003cem\u003eThe Unseen\u003c\/em\u003e gradually reveals itself as one of the most unique and rewarding albums of its era. — (via \u003ca href=\"https:\/\/www.allmusic.com\/album\/the-unseen-mw0000068073\" target=\"_blank\" rel=\"noopener\"\u003eAllMusic\u003c\/a\u003e)\u003c\/p\u003e\n\u003cp\u003e\u003ciframe width=\"100%\" height=\"152\" style=\"border-radius: 12px;\" src=\"https:\/\/open.spotify.com\/embed\/album\/0dCxrv92J8gKDh4zObd2ZZ?utm_source=generator\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\"\u003e\u003c\/iframe\u003e\u003cbr\u003e↓\u003cbr\u003eLabel: Stones Throw Records\u003cbr\u003eFormat: 2 x Vinyl, LP, Album, Reissue\u003cbr\u003eReissued: 2024 \/ Original Release: 2000\u003cbr\u003eGenre: Hip Hop\u003cbr\u003eStyle: Rap, Jazzy Hip Hop, Leftfield, Abstract\u003c\/p\u003e\n\u003cp\u003eFile under: TAV Essential Listening\u003cbr\u003eFile under: Stones Throw Records\u003cbr\u003e⦿\u003c\/p\u003e","brand":"Stones Throw Records","offers":[{"title":"Default Title","offer_id":41456510533790,"sku":"659457202514","price":55.0,"currency_code":"SGD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0584\/5434\/3838\/files\/81th0uJALML._UF894_1000_QL80.jpg?v=1746344356"},{"product_id":"nightmares-on-wax-smokers-delight","title":"Nightmares On Wax ‎– Smokers Delight","description":"\u003cp\u003e\u003cstrong\u003e- A TAV Essential Listening Album -\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eThis sophomore album from English DJ and producer Nightmares on Wax (aka George Herbert Evelyn) remains one of trip hop’s foundational documents, alongside the likes of Massive Attack’s Blue Lines and Portishead’s Dummy. Released in 1995 on Warp, \u003cem\u003eSmokers Delight\u003c\/em\u003e offers a summery cornucopia of dubby reggae, hip hop, smooth soul, Latin percussion and jazz-funk fusion layered through Evelyn’s evocative downtempo atmospherics.\u003c\/p\u003e\n\u003cp\u003eAs the album title implies, this chilled out record is ideal listening for stoners - bringing the listener on a hazy, super baked joyride that is continuously absorbing from beginning to end. Highlighted by zone out tunes such as the Quincy Jones-sampled “Nights Introlude” and the snare drum-driven, bluesy bass of “Pipes Honour” -\u003cem\u003e Smokers Delight\u003c\/em\u003e is a subminimal trip into the laid-back grooves of the mid-90s. — \u003ca href=\"https:\/\/theanalogvault.com\/\" target=\"_blank\" rel=\"noopener\"\u003eThe Analog Vault\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003eThe first quarter of \u003cem\u003eSmoker's Delight\u003c\/em\u003e is trip-hop basking in summer's glow. Hooks and breakbeats swing like Cubana's in the quinceanera of their favorite niece.\u003c\/p\u003e\n\u003cp\u003eWith that being said, \u003cem\u003eSmoker's Delight\u003c\/em\u003e is dynamic with a warm analog sound that is well suited for armchair listening (this facet of the album becoming more prominent as the record progresses).\u003c\/p\u003e\n\u003cp\u003eNightmares on Wax certainly channels that noir atmosphere that trip-hop is known for, but he never ventures as far into that realm as groups like Portishead or Massive Attack; for \u003cem\u003eSmoker's Delight\u003c\/em\u003e, a little flirtation with this sound is just enough. The drum pattern in tracks like dreddoverboad is undeniably Latin, but the samples of RnB vocals and the saxophone riff keep it from being pigeonholed into any specific genre. These transitions and flirtation with different sounds truly made Warp Records so exciting at the time. \u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eSmoker's Delight\u003c\/em\u003e is evocative. Its ability to conjure images and sensations that are palpable and wholly engaging is astounding. These soundscapes are expertly manipulated to assist the listener in total absorption.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eSmoker's Delight\u003c\/em\u003e is good and, at times, even a great album, but this is wholly contingent upon where you are and what you are looking for when the needle drops. -\u003ca href=\"https:\/\/www.sputnikmusic.com\/review\/84962\/Nightmares-On-Wax-Smokers-Delight\/\" target=\"_blank\" rel=\"noopener\"\u003eSputnik Music\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ciframe width=\"100%\" height=\"152\" style=\"border-radius: 12px;\" src=\"https:\/\/open.spotify.com\/embed\/album\/7mO1rDeboFf4ii6cp9maWJ?utm_source=generator\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003e↓\u003cbr\u003eLabel: Warp Records\u003cbr\u003eFormat: 2 x Vinyl, LP, Album, Repress, 180 gram\u003cbr\u003eCountry: UK\u003cbr\u003eReissued: 2014 \/ Original Release: 1995\u003cbr\u003eGenre: Electronic\u003cbr\u003eStyle: Trip Hop, Dub, Downtempo\u003c\/p\u003e\n\u003cp\u003eFile under: Downtempo\u003cbr\u003e⦿\u003cspan\u003e\u003c\/span\u003e\u003c\/p\u003e","brand":"Warp Records","offers":[{"title":"Default Title","offer_id":41456512762014,"sku":"801061003616","price":60.0,"currency_code":"SGD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0584\/5434\/3838\/products\/996fdc47a65370735ddb64e3d403b9d1f0176023.jpg?v=1646291364"},{"product_id":"olafur-arnalds-nils-frahm-trance-frendz-an-evening-with-olafur-arnalds-and-nils-frahm","title":"Olafur Arnalds \u0026 Nils Frahm - Trance Frendz: An Evening With Ólafur Arnalds And Nils Frahm","description":"\u003cp\u003eSince 2012 Erased Tapes peers Ólafur Arnalds and Nils Frahm have spent many hours together in their studios across Berlin and Reykjavik, freely improvising and occasionally capturing the music for their fans. The duo's sound is an astoundingly rich, tonally pure example of synth-driven experimentation, conceived and performed by two prolific collaborators. Ólafur Arnalds is a BAFTA-winning multi-instrumentalist and producer from Iceland. Ólafur is known for his unique mix of strings, piano with loops and edgy beats crossing-over from ambient\/electronic to pop. Ólafur was a drummer of hardcore metal bands Fighting Shit and Celestine, as well as others. In 2014 Ólafur announced his electronic debut album under the Kiasmos project with Bloodgroup front man Janus Rasmussen to much acclaim.\u003c\/p\u003e\n\u003cp\u003eNils Frahm works as an accomplished composer and producer from his Berlin-based Durton Studio. His unconventional approach to an age-old instrument, played contemplatively and intimately, has won him many fans around the world. For a musician this early in his career, Frahm displays an incredibly developed sense of control and restraint in his work, catching the ear of many fans.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eTrance Frendz \u003c\/em\u003eis their fifth release together, and is the music taken from the short film of the same name, in which the two improvise new pieces and eat homemade pizza in Nils Frahm’s flat, which appears to prioritise being a studio above being a home. It’s a charming bit of film, and while the music itself leaves you breathless, it’s very much worth also watching to truly understand just how spontaneously brilliant this album is, considering it was put together between the hours of 8pm and 4am. Despite being a fully improvised LP, the album gains some structural integrity by ending where it began, with a piece for two pianos, with the charming addition of Arnalds delicately humming. It’s an album that gets full marks not due to being a certain amount away from perfection, but because it’s such a feat of improvisation and incorporating elements that many would perceive to be flaws. — (via Headliner)\u003c\/p\u003e\n\u003cp\u003e\u003ciframe width=\"100%\" height=\"152\" style=\"border-radius: 12px;\" src=\"https:\/\/open.spotify.com\/embed\/album\/5yulSZK48ArdLPXWur0qik?utm_source=generator\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003e↓\u003cbr\u003eLabel: Erased Tapes Records\u003cbr\u003eFormat: Vinyl, LP, Album\u003cbr\u003eReleased: 2016\u003cbr\u003eGenre: Electronic, Classical\u003cbr\u003eStyle: Contemporary\u003c\/p\u003e\n\u003cp\u003eFile under: Modern Classical\u003cbr\u003e⦿\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e \u003c\/span\u003e\u003c\/p\u003e","brand":"Erased Tapes Records","offers":[{"title":"Default Title","offer_id":41456515776670,"sku":"4050486110539","price":45.0,"currency_code":"SGD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0584\/5434\/3838\/products\/tRANCE-fRENDZ.jpg?v=1646291411"},{"product_id":"sonny-rollins-way-out-west","title":"Sonny Rollins – Way Out West","description":"\u003cp\u003eThe timeless \u003cem\u003eWay out West\u003c\/em\u003e established Sonny Rollins as jazz's top tenor saxophonist (at least until John Coltrane surpassed him the following year). Joined by bassist Ray Brown and drummer Shelly Manne, Rollins is heard at one of his peaks on such pieces as \"I'm an Old Cowhand (From the Rio Grande),\" his own \"Way out West,\" \"There Is No Greater Love,\" and \"Come, Gone\" (a fast stomp based on \"After You've Gone\"). The William Claxton photo of Rollins wearing Western gear (and holding his tenor) in the desert is also a classic. — via AllMusic\u003c\/p\u003e\n\u003cp\u003e\u003ciframe width=\"100%\" height=\"152\" style=\"border-radius: 12px;\" src=\"https:\/\/open.spotify.com\/embed\/album\/6pWgCHxQp3DYbPKxduwvmC?utm_source=generator\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003e↓\u003cbr\u003eLabel: Original Jazz Classics, Contemporary Records\u003cbr\u003eFormat: Vinyl, LP, Album, Reissue, Remastered\u003cbr\u003eReissued: 1988 \/ Original Release: 1965\u003cbr\u003eGenre: Jazz\u003cbr\u003eStyle: Hard Bop\u003c\/p\u003e\n\u003cp\u003eFile under: Jazz - Saxophone\u003cbr\u003e⦿\u003c\/p\u003e","brand":"Original Jazz Classics [OJC] \/ Contemporary Records","offers":[{"title":"Default Title","offer_id":41456519741598,"sku":"25218033718","price":39.0,"currency_code":"SGD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0584\/5434\/3838\/files\/sonny.webp?v=1734502645"},{"product_id":"floating-points-elaenia-uk-press","title":"Floating Points ‎– Elaenia","description":"\u003cp\u003e\u003cstrong\u003e- A TAV Essential Listening Album -\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eThis debut album from British producer Sam Shepherd aka Floating Points is a fluid and spacious electronic symphony. Originally conceived as one long piece, Shepherd eventually divided his composition into seven tracks that flow from quiet, open spaces to beatless techno to sci-fi fantasia. While Floating Points commands a deserved reputation as an outstanding DJ, Elaenia is not meant for the club.\u003c\/p\u003e\n\u003cp\u003eConceived from a dream he had about a bird that became engulfed in a forest, and drawing inspiration from classical, jazz, electronic, soul and Brazilian music, this record subtly envelops the listener as they journey further inward through its richly arranged foliage of ambient electronica and orchestral elements (violin, viola and cello). From the sumptuousness of its 10-minute epic “Silhouettes (I, II, III),” to the unorthodox weave of synth threads on “\"Nespole\" - \u003cem\u003eElaenia\u003c\/em\u003e patiently unfolds at unexpected moments. — \u003ca href=\"https:\/\/theanalogvault.com\/\" target=\"_blank\" rel=\"noopener\"\u003eThe Analog Vault\u003c\/a\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003ehe full-length debut from Sam Shepherd (aka Floating Points) is as warm and fluid an \"electronic\" album as you will hear all year, and it has a timeless feel: There's no reason it could not have been written and recorded 10, 20, or even 30 years ago.\u003c\/p\u003e\n\u003cp\u003eThe title track of Sam Shepherd's debut album as Floating Points was inspired by a dream: A migratory bird strays from its flock and is swallowed up by the forest, mimicking the way our atoms are absorbed into the fabric of the universe when we die (or so goes one theory, anyway). We might find ourselves \"reincarnated as a SIM card in Singapore, or as a beetle in Scotland,\" as Shepherd told Pitchfork recently.\u003c\/p\u003e\n\u003cp\u003eHe recorded the song \"Elaenia\" the very next morning, and its improvised, fluid form mirrors the dream's holistic vision. Made with just a Fender Rhodes electric piano and a handful of arcane synthesizers, it bobs between gurgles and limpid, lyric melodies. At more than seven minutes long, it is the second-longest song on the album, and also the most spare— just a handful of chords, some rumble, and a lot of nuance. Like an ocean swell, it is simple on the surface but complex beneath, and the same could be said of \u003cem\u003eElaenia\u003c\/em\u003e as a whole.\u003c\/p\u003e\n\u003cp\u003eThough comparatively short—just seven songs totaling some 43 minutes—\u003cem\u003eElaenia\u003c\/em\u003e is rich and welcoming, balancing Shepherd's intelligence with intuition. Flitting between strange time signatures and simple pulses, it utilizes mostly analog synthesizers, pairing them with live instrumentation: electric bass, guitar, piano, live drums, and strings. It is as warm and fluid an \"electronic\" album as you will hear all year, and it has a timeless feel: There's no reason it could not have been written and recorded 10, 20, or even 30 years ago.\u003c\/p\u003e\n\u003cp\u003eFor long-time fans of the UK producer, musician, and DJ, \u003cem\u003eElaenia\u003c\/em\u003e feels both like a surprise and a logical extension of his previous singles and EPs. Rhythms are played, not looped or sampled; the album skirts the edges of the dancefloor, flitting between ambient miniatures and extended jams falling somewhere between post-rock and jazz fusion. But nothing here feels like a radical departure, which is a testament to Shepherd's gradual process of refinement. He is trained in neuroscience and epigenetics, but it would be just as easy to imagine him as a furniture builder who had spent the past six years working on a single desk. The underlying structure of his work has remained more or less constant for years, but with every recording, it gets a little smoother, a little more perfect, inching a little closer to its ideal form.\u003c\/p\u003e\n\u003cp\u003eShepherd has cited Talk Talk as an inspiration, and you can hear the influence of albums like Laughing Stock on the porous fabric of \u003cem\u003eElaenia\u003c\/em\u003e. It's a record best heard loud, because the quiet parts can be very quiet, and its spirit lies less in melodies or even moods than in tiny details. With the exception of the cosmic jazz-leaning \"Silhouettes (1,11,111)\", you're left less with hummable themes than with small, passing moments: the burnished gleam of a lone Rhodes key hit hard, a faint scrap of radio static, soft notes that cling to each other like burrs.\u003c\/p\u003e\n\u003cp\u003eIn keeping with the transfiguration theme, the music seems to have no stable center at all. It moves like clouds in the sky, slowly and imperceptibly shape-shifting, and at any given moment, what's being played matters less than how we arrived at that point. The sense of an unbroken line is paramount, leading to the album's final thrill when it is suddenly yanked up at a 45-degree angle. In five minutes it goes from silence to jet-engine loud. Synthesizers snarl, the string section goes into overdrive, and the drum kit rolls on inexorably, explosion upon explosion. The song, \"Peroration Six\", is the only one where you feel Shepherd and company really letting loose.  It's a revelation and a rush, a full-on \"Fuck yeah!\" shouted into the coming storm. The last thing we hear sounds almost like a wrong note, and then it's all simply cut short. The silence is deafening; it feels like waking up from a very heavy dream. — (via \u003ca href=\"https:\/\/pitchfork.com\/reviews\/albums\/21110-floating-points-elaenia\/\"\u003ePitchfork\u003c\/a\u003e)\u003c\/p\u003e\n\u003cp\u003e\u003ciframe width=\"100%\" height=\"152\" style=\"border-radius: 12px;\" src=\"https:\/\/open.spotify.com\/embed\/album\/7rVCUeALk18LDSTP1X2msh?utm_source=generator\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003e↓\u003cbr\u003eLabel: Pluto\u003cbr\u003eFormat: Vinyl, LP, Album, Repress\u003cbr\u003eRepressed: 2021 \/ Original Release: 2015\u003cbr\u003eGenre: Electronic, Jazz\u003cbr\u003eStyle: Contemporary Jazz, House\u003c\/p\u003e\n\u003cp\u003eFile under: Leftfield\u003cbr\u003e⦿\u003c\/p\u003e","brand":"Pluto","offers":[{"title":"Default Title","offer_id":41456532226206,"sku":"5053760061182","price":48.0,"currency_code":"SGD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0584\/5434\/3838\/files\/Capture_c3645753-70d3-46ea-a8cd-28d306c6d482.jpg?v=1708958108"},{"product_id":"autechre-tri-repetae-2016-reissue","title":"Autechre ‎– Tri Repetae [Reissue]","description":"\u003cp\u003e\u003cstrong\u003e- A TAV Essential Listening Album -\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eWhile Autechre is remembered today as one of the vanguards on the bleeding edge of IDM during the mid-1990s, it’s important to note that their first two albums were rather conventional. Though excellent, Incunabula and Amber were rooted to the English duo’s techno and electro upbringing. In contrast, their third album \u003cem\u003eTri Repetae\u003c\/em\u003e presented a paradigm shift, signalling Rob Brown and Sean Booth’s transition into Warp’s pantheon of experimental trailblazers alongside Aphex Twin and Squarepusher. \u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eTri Repetae\u003c\/em\u003e found the production pairing diving deep into glitch and noise - complementing their ambient, breakbeat, and techno expertise with more intricate, minimal and spacious patterns. The result was a series of industrial soundscapes punctured by twisted metal and alien frequencies. \u003cem\u003eTri Repetae\u003c\/em\u003e is where Autechre’s legend truly begins, and it remains as revelatory today as it was in 1995. - The Analog Vault\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eTri Repetae\u003c\/em\u003e, the third album from Autechre finally made available again on vinyl, having been out of print on vinyl since 2001. On reflection, \u003cem\u003eTri Repeate\u003c\/em\u003e stands tall as one of the most out-there (and if you know what that means...) and boundary-pushing releases from Ae ever. Going back to the group's roots as b-boy's, \u003cem\u003eTri Repetae\u003c\/em\u003e features ten variations on street sounds from hip-hop and techno to industrial and jungle.\u003c\/p\u003e\n\u003cp\u003eReleased at a time when producers were ripe with ideas for cosmic breakbeat experimentation, \u003cem\u003eTri Repetae\u003c\/em\u003e mixed the glitchy twisted dynamics of EPs such as the criminal justice bill protest Anti and sculpted a long player that resembles some of the most 'floor friendly' Ae to ever grace a packed nightclub soundsystem. The ten tracks pulled influence from previous outings, from the glacial Amber chug of Overand to the Incunabula acid of Leterel. But the overall sound is one of mixing influence from the avant-garde of Iannis Xenakis, Edgard Varese \u0026amp; Tod Dockstar with the mid 90's post-hardcore sound of jungle. — (via \u003ca href=\"https:\/\/bleep.com\/release\/20864-autechre-tri-repetae\" target=\"_blank\" rel=\"noopener\"\u003eBleep\u003c\/a\u003e)\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ciframe width=\"300\" height=\"500\" src=\"https:\/\/embed.spotify.com\/?uri=spotify%3Aalbum%3A0ioIXXMV89w0qC39FpxYnL\" frameborder=\"0\" allowtransparency=\"true\"\u003e\u003c\/iframe\u003e\u003cbr\u003e\u003cbr\u003e↓\u003cbr\u003eLabel: Warp Records\u003cbr\u003eFormat: 2x Vinyl, LP, Album, Reissue, Repress\u003cbr\u003eCountry:    UK\u003cbr\u003eReissued: 2016 onwards (Original: 1995)\u003cbr\u003eGenre: Electronic\u003cbr\u003eStyle: Abstract, IDM, Ambient\u003cbr\u003e⦿\u003c\/p\u003e\n\u003cp\u003eFile under: Electronic \/ Leftfield\u003c\/p\u003e","brand":"Warp Records","offers":[{"title":"Default Title","offer_id":41456533438622,"sku":"801061803810","price":48.0,"currency_code":"SGD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0584\/5434\/3838\/files\/a3796515172_10.jpg?v=1705491097"},{"product_id":"moondog-moondog-rsd2017","title":"Moondog – Moondog","description":"\u003cp\u003e\u003cstrong\u003e— A TAV Essential Listening Album —\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eFrom the 1940s to 1960s, Louis Thomas Hardin, aka Moondog, was well-known in New York City as a vagrant busker performing in a viking costume. Yet somehow, he built a loyal fanbase that included Duke Ellington, Igor Stravinsky, Charlie Parker, Bob Dylan, Philip Glass and Steve Reich (who christened him “the godfather of minimalism”). In 1969, the wider world would also get to know the complex simplicity of his compositions through his self-titled album on Columbia Masterworks. Featuring pieces that Moondog had been constructing for over a decade, the eccentric record contained minisyms (short symphonies), canons, chaconnes, jazz and ballet music. Brought to life with the help of 50 musicians, Moondog’s oddly metered yet richly melodic third stream tour de force shook the music world, helping the minimalist master break out beyond the street corners of Manhattan.- The Analog Vault\u003c\/p\u003e\n\u003cp\u003e—\u003c\/p\u003e\n\u003cp\u003eHe was born Louis Hardin, but the world knew him as Moondog—and his avant-garde compositions influenced a generation of minimalist composers like Philip Glass and Steve Reich. Now, Moondog, The Viking of 6th Avenue’s seminal 1969 album recorded with producer James William Guercio, will be reissued on white vinyl, its first pressing in over a decade. Featuring original symphonic and classically-inspired works (including material dedicated to Charlie Parker and Benny Goodman), Moondog is an album that must be heard to be believed. – \u003cu\u003e\u003ca href=\"http:\/\/recordstoreday.com\/SpecialRelease\/9523\" target=\"_blank\" rel=\"noopener noreferrer\"\u003ePress Release\u003c\/a\u003e\u003c\/u\u003e\u003c\/p\u003e\n\u003cp\u003e“Moondog, would feature compositions Moondog had been constructing for more than a decade, including two canons, two \"minisyms\" (short symphonic-styled pieces for miniature orchestras), three symphonic works, a chaconne memorializing the legendary saxophonist Charlie Parker (“Bird’s Lament”), and ballet music written with modern dance pioneer Martha Graham in mind (\"Witch of Endor\"). The collection would come to be known as a singular entry in the catalog of Third Stream music and possibly Moondog’s finest hour.\u003cbr\u003e\u003cbr\u003eThe music here could be described as minimalist; however, with its composer taking cues from the shrill car horns and rumbling subways of the Big Apple, it is by no means lacking power. Not unlike Borges and his fiction, Moondog encapsulates in six minutes or less the intrigue and magnificence of a larger-than-life symphony. The whirling “Minisym #1” bursts at the seams with menace and drive despite its stunted runtime, and the melodies woven throughout “Symphonique #3 (Ode to Venus)” boast a poignancy that could rival Elgar’s famed Cello Concerto in E minor, Op. 85. Jazz elements are just as prevalent and at their most in apparent in pieces like “Symphonique #6”, where clarinets croon with big band flair in apt tribute to the “King of Swing” himself.\u003cbr\u003e\u003cbr\u003eMoondog’s disdain for convention and his knack for genre fusion are intoxicating, but the album’s standout is his flawless integration of unusual percussion and odd meter, or what he called snaketime, into his distinct amalgam of modern classical elements and jazz leanings. Instruments of Moondog’s own design punctuate the record’s introductory “Theme” with peculiar rhythms before seguing into the equally serpentine snare and timpani work of “Stamping Ground”. It’s a fitting opening statement for a man who would “not die in 4\/4 time”.\u003cbr\u003e\u003cbr\u003eQuirks notwithstanding, this collection is arguably less \"experimental\" than some of Moondog's other works. The music is surprisingly accessible given its origins, yet its ambitiousness and creativity is none the worse for wear. The Viking may have been blind, but his vision was crystalline. Moondog is a career highlight of an unlikely hero, who amidst the clatter of a busy street corner forged a path all his own. For someone who had the stones to criticize J.S. Bach for his counterpoint “mistakes”, it must have seemed like the only way to go.” – \u003cu\u003e\u003ca href=\"http:\/\/www.sputnikmusic.com\/review\/68740\/Moondog-Moondog\/\" target=\"_blank\" rel=\"noopener noreferrer\"\u003eSputnik Music\u003c\/a\u003e\u003c\/u\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist:\u003c\/strong\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003e\"Theme\" – 2:34\u003c\/li\u003e\n\u003cli\u003e\"Stamping Ground\" – 2:36\u003c\/li\u003e\n\u003cli\u003e\"Symphonique #3 (Ode to Venus)\" – 5:48\u003c\/li\u003e\n\u003cli\u003e\"Symphonique #6 (Good for Goodie)\" – 2:44\u003c\/li\u003e\n\u003cli\u003e\"Minisym #1: i - Allegro, ii - Andante Adagio, iii - Vivace\" – 5:42\u003c\/li\u003e\n\u003cli\u003e\"Lament 1 (Bird's Lament)\" – 1:41\u003c\/li\u003e\n\u003cli\u003e\"Witch of Endor: i - Dance, ii - Trio: (a) Adagio (The Prophecy), (b) - Andante (The Battle), (c) - Agitato (Saul's Death'), iii - Dance (reprise)\" – 6:27\u003c\/li\u003e\n\u003cli\u003e\"Symphonique #1 (Portrait of a Monarch)\" – 2:34\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e\u003ciframe width=\"560\" height=\"315\" src=\"https:\/\/www.youtube.com\/embed\/8SD87q_A9cQ\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003e↓\u003cbr\u003eLabel: Columbia Masterworks \/ Legacy\u003cbr\u003eFormat: Vinyl, LP, Album, Reissue, White \u003cbr\u003eReissued: 2017\u003cbr\u003eGenre: Jazz, Classical\u003cbr\u003eStyle: Big Band, Contemporary\u003c\/p\u003e\n\u003cp\u003eFile under: TAV Essential Listening\u003cbr\u003eFile under: Jazz\u003cbr\u003e⦿\u003c\/p\u003e","brand":"Columbia","offers":[{"title":"Default Title","offer_id":41456542449822,"sku":"MoondogMooDefaultTitle","price":45.0,"currency_code":"SGD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0584\/5434\/3838\/products\/Moondog.jpg?v=1646743423"},{"product_id":"cigarettes-after-sex-i","title":"Cigarettes After Sex – I.","description":"\u003cp\u003e\u003cspan\u003eWistful Brooklyn band with an EP of melancholic, androgynous pop noir set in smoke-filled darkness.\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eInspired by the Trinity Session, Cocteau Twins, Red House Painters, Mazzy Star and the sound of early ’60s records like \u003c\/span\u003e\u003ci\u003eI Love You How You Love Me\u003c\/i\u003e\u003cspan\u003e by the Paris Sisters, they recorded their first proper EP, \u003c\/span\u003e\u003ci\u003eI\u003c\/i\u003e\u003cspan\u003e., live over the course of a single night in the stairway of a four story building.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\"Cigarettes After Sex is an ambient pop collective led by songwriter Greg Gonzalez \u0026amp; is currently based out of Brooklyn, NY. In a feature for Noisey by Vice, Christina Cacouris describes Cigarettes After Sex as \"elemental, hazy and romantic, but with a noir edge underneath Gonzalez’s androgynous voice\" as well as \"sweet and sentimental\". \"As the band’s name suggests, it’s reminiscent of lying in bed, but its ambient qualities don’t prevent it from being music you can dance to.\" Gonzalez cites Françoise Hardy as his favorite singer and Miles Davis as having great impact. The band also includes The Cowboy Junkies' album The Trinity Session, Julee Cruise and Cocteau Twins as influential. The music blog Eardrums Music describes the band as \"slow, dreamy and beautiful with gorgeous, tender vocals and very good lyrics.\" and compares it to Mazzy Star and early Red House Painters. Music bloggers behind Swell Tone describe Cigarettes After Sex as a band producing \"melancholy, slow pop that will sweetly rock any listener into a listless stupor.\" – \u003ca href=\"https:\/\/en.wikipedia.org\/wiki\/Cigarettes_After_Sex\" target=\"_blank\" rel=\"noopener noreferrer\"\u003e\u003cu\u003eWiki\u003c\/u\u003e\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ciframe width=\"300\" height=\"380\" src=\"https:\/\/open.spotify.com\/embed\/album\/5fzwP4FRJjFQBBmhKJwpWn\" allowtransparency=\"true\" frameborder=\"0\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eItem description:\u003c\/strong\u003e\u003c\/p\u003e\n\u003ctable width=\"498\"\u003e\n\u003ctbody\u003e\n\u003ctr\u003e\n\u003ctd style=\"width: 148.014px;\"\u003e\n\u003cp\u003e\u003cstrong\u003eArtist:\u003c\/strong\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd style=\"width: 321.432px;\"\u003e\n\u003cp\u003e\u003ca href=\"https:\/\/theanalogvault.com\/search?q=%22Cigarettes+After+Sex%22\"\u003eCigarettes After Sex\u003c\/a\u003e ‎\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd style=\"width: 148.014px;\"\u003e\n\u003cp\u003e\u003cstrong\u003eTitle:\u003c\/strong\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd style=\"width: 321.432px;\"\u003e\n\u003cp\u003eI.\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd style=\"width: 148.014px;\"\u003e\n\u003cp\u003e\u003cstrong\u003eLabel:\u003c\/strong\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd style=\"width: 321.432px;\"\u003e\n\u003cp\u003e\u003ca href=\"https:\/\/theanalogvault.com\/search?q=%22Spanish+Prayers%22\"\u003eSpanish Prayers\u003c\/a\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd style=\"width: 148.014px;\"\u003e\n\u003cp\u003e\u003cstrong\u003eFormat:\u003c\/strong\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd style=\"width: 321.432px;\"\u003e\n\u003cp\u003eVinyl, 12\", 33 ⅓ RPM, EP\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd style=\"width: 148.014px;\"\u003e\n\u003cp\u003e\u003cstrong\u003eRelease Date:\u003c\/strong\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd style=\"width: 321.432px;\"\u003e\n\u003cp\u003e2017 (Originally recorded: 2012)\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd style=\"width: 148.014px;\"\u003e\n\u003cp\u003e\u003cstrong\u003eGenre:\u003c\/strong\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd style=\"width: 321.432px;\"\u003e\n\u003cp\u003eRock, Indie, Pop\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd style=\"width: 148.014px;\"\u003e\n\u003cp\u003e\u003cstrong\u003eStyle:\u003c\/strong\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd style=\"width: 321.432px;\"\u003e\n\u003cp\u003eRock Indie, Indie Pop, Male Vocals\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\n\u003c\/table\u003e","brand":"Spanish Prayers","offers":[{"title":"Default Title","offer_id":41456544481438,"sku":"655003842340","price":38.0,"currency_code":"SGD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0584\/5434\/3838\/products\/1a0884071f249ccb613c3be7aaf8435437d6667a.jpg?v=1646291876"},{"product_id":"patrick-cowley-afternooners","title":"Patrick Cowley - Afternooners | Dark Entries Records","description":"\u003cp\u003e\u003cspan\u003eDark Entries and Honey Soundsystem Records have teamed up once more to release the final volume of gay porn soundtracks by San Francisco-based musician and producer, Patrick Cowley. One of the most revolutionary and influential figures in the canon of disco, Cowley created his own brand of Hi-NRG dance music, “The San Francisco Sound.” Born in Buffalo, NY on October 19, 1950, Patrick moved to San Francisco in 1971 to study at the City College of San Francisco. He founded the Electronic Music Lab at the school, where he would make experimental soundtracks by blending various types of music and adapting them to the synthesizer.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eFeaturing 70 minutes of music never before released on vinyl. All songs have been remastered by George Horn at Fantasy Studios in Berkeley, CA. The vinyl is housed in a gatefold jacket designed by Berlin-based artist Gwenael Rattke, featuring black and white photos of Patrick in his studio that opens to a full color array of x-rated scenes from the Fox Studio vaults. Included is a fold-out poster featuring a handmade collage using photography and xeroxed graphics of classic gay porn imagery and an essay from Drew Daniel of Matmos. For Patrick’s 67th birthday, Dark Entries and Honey Soundsystem Records present a glimpse into the futuristic world of a young genius. These recordings shed a new light on the experimental side of a disco legend who was taken too soon. – \u003ca href=\"https:\/\/patrickcowley.bandcamp.com\/album\/afternooners\" target=\"_blank\" rel=\"noopener noreferrer\"\u003eBandcamp\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e“There's your average gay porn music, and then there's the stuff that Patrick Cowley made. He was a musical pioneer whose achievements rippled throughout queer culture and beyond into the disco mainstream, and his work soundtracking gay porn was as visionary and fun as anything else he did.” – \u003ca href=\"https:\/\/www.residentadvisor.net\/reviews\/21615\" target=\"_blank\" rel=\"noopener noreferrer\"\u003eResident Advisor\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e“Afternooners is a super-charged strut through smut and steam. A final testament to a producer who, amongst his other more pioneering accolades, was the carnal incarnate to the very last.” – \u003ca href=\"https:\/\/crackmagazine.net\/article\/album-reviews\/patrick-cowley-afternooners\/\" target=\"_blank\" rel=\"noopener noreferrer\"\u003eCRACK\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ciframe width=\"300\" height=\"380\" src=\"https:\/\/open.spotify.com\/embed\/album\/1qLqr2Fs2ACB6FAwmlapdY\" frameborder=\"0\" allowtransparency=\"true\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003e↓\u003cbr\u003eLabel: Dark Entries\u003cbr\u003eFormat: 2 × Vinyl, LP, Album, Compilation, Remastered\u003cbr\u003eRelease Date: 2017\u003cbr\u003eGenre: Electronic\u003cbr\u003eStyle: Disco, Ambient, Synth-pop\u003cbr\u003e⦿\u003c\/p\u003e","brand":"Dark Entries","offers":[{"title":"Default Title","offer_id":41456566075550,"sku":"PatrickCowleyDefaultTitle","price":48.0,"currency_code":"SGD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0584\/5434\/3838\/products\/pATRICK.jpg?v=1654867113"},{"product_id":"m-e-s-h-hesaitix","title":"M.E.S.H. – Hesaitix","description":"\u003cp\u003e\u003cspan\u003eWith \u003c\/span\u003e\u003cem\u003eHesaitix\u003c\/em\u003e\u003cspan\u003e, the Berlin-based DJ and producer has built a strange world that lives and breathes. It’s a catchy, fascinating electronic album that lives in a lucid unreality. “For me, music is a different place,” said DJ and producer M.E.S.H. in a 2016 interview. As a resident with the Berlin collective Janus, James Whipple—aka M.E.S.H.—has been instrumental in developing the splintered, genre-bending sound for which Janus’ club nights (and its members’ productions) have come to be known. Though engaged with club tropes, his own productions stray outside the formal bounds of dance music, developing oblique narratives that circle around the weird underbelly of life with technology. His second full-length \u003cem\u003eHesaitix\u003c\/em\u003e offers a loamy sonic futurism that breaks from the digitized universes we’ve come to expect of these kinds of projects.\u003cbr\u003e\u003cbr\u003eElsewhere, ideas assume a more tumultuous pace, held together by sharply designed percussion that’s made to physically engage the listener. With Janus, Whipple and his associates find links between sounds beyond genre or BPM. In their arrangements, they speak to a kind of contemporary listening that’s delocalized in appetite, but still somehow hyper-\u003cem\u003elocated\u003c\/em\u003e in the enthusiasm it digests. Those omnivorous tendencies motivate this collection of tracks, and where previous M.E.S.H. releases might have had a deconstructed aesthetic, here it feels slippery but solid. The claustrophobic “Coercer” offers a mutant take on drum ‘n’ bass, hissing and sputtering as textures rub against one another; “Search. Reveal.” paints synthesizer impasto over a galloping dry rattle (and its melodic refrain proves as sticky as that of Whipple’s 2014 “Imperial Sewers,”). When \u003cem\u003eHesaitix\u003c\/em\u003e’s pace picks up, an urgent kind of heaviness envelops the listener, mooring you to M.E.S.H.’s world. — (via Pitchfork)\u003cbr\u003e\u003c\/span\u003e\u003cbr\u003e\u003ciframe style=\"border: 0; width: 100%; height: 120px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=4203833790\/size=large\/bgcol=ffffff\/linkcol=0687f5\/tracklist=false\/artwork=small\/transparent=true\/\" seamless=\"\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003e↓\u003cbr\u003eLabel: Pan\u003cbr\u003eFormat: Vinyl, LP, Album\u003cbr\u003eCountry: Europe\u003cbr\u003eReleased: 2017\u003cbr\u003eGenre: Electronic\u003cbr\u003eStyle: Experimental\u003c\/p\u003e\n\u003cp\u003eFile under: Leftfield\u003cbr\u003e⦿\u003c\/p\u003e","brand":"PAN","offers":[{"title":"Default Title","offer_id":41456567550110,"sku":"5060165483259","price":38.0,"currency_code":"SGD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0584\/5434\/3838\/files\/a2330912445_10.jpg?v=1728456336"},{"product_id":"various-artists-we-out-here","title":"Various Artists ‎– We Out Here","description":"\u003cp\u003e\u003cstrong\u003eA TAV Curator's Pick.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e“A primer on London’s bright-burning young jazz scene, this new compilation brings together a collection of some of its sharpest talents. A set of nine newly-recorded tracks, We Out Here captures a moment where genre markers matter less than raw, focused energy. Surveying the album’s running order, it could easily serve as a name-checking exercise for some of London’s most-tipped and hardworking bands of the past couple of years. Recorded across three long, fruitful days in a North West London studio, the results speak for themselves: they’re a window into the wide-eyed future of London’s musical underground.” – \u003ca href=\"https:\/\/weouthere.bandcamp.com\/\" target=\"_blank\" rel=\"noopener noreferrer\"\u003e\u003cu\u003eBandcamp\u003c\/u\u003e\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e“The question of who will \"save\" jazz – a music that celebrated a century on record in 2017 – is one that gets a new answer every few years. The cycle goes like this: A flashy award, a pop cosign, a high-profile collaboration or some intangible sense of \"relevance\" suddenly brings an artist like Esperanza Spalding, Robert Glasper or Kamasi Washington to the attention of the mainstream. All while conventional mass media – La La Land, Drew Brees' FedEx commercial – continues to paint the music as difficult or alienating…\u003c\/p\u003e\n\u003cp\u003e… All of these artists – and much of the other improvised music coming out of the U.K. – share a sense of urgency, spontaneity and, frankly, fun that sets their music apart from crossover-ready jazz stateside. In London, musicians have created a jazz community that offers access and support to anyone who can blow, regardless of their background. And as it turns out, the music is that much better as a result.” – \u003cu\u003e\u003ca href=\"https:\/\/www.rollingstone.com\/music\/albumreviews\/review-we-out-here-and-more-of-uks-new-jazz-vanguard-w516707\" target=\"_blank\" rel=\"noopener noreferrer\"\u003eRollingStone\u003c\/a\u003e\u003c\/u\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003ciframe width=\"300\" height=\"380\" src=\"https:\/\/open.spotify.com\/embed\/album\/02RrqvEv45gBBqOOtBX78p\" allowtransparency=\"true\" frameborder=\"0\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eItem description:\u003c\/strong\u003e\u003c\/p\u003e\n\u003ctable width=\"0\"\u003e\n\u003ctbody\u003e\n\u003ctr\u003e\n\u003ctd\u003e\n\u003cp\u003e\u003cstrong\u003eArtist:\u003c\/strong\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd\u003e\n\u003cp\u003eVarious\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\n\u003cp\u003e\u003cstrong\u003eTitle:\u003c\/strong\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd\u003e\n\u003cp\u003eWe Out Here\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\n\u003cp\u003e\u003cstrong\u003eLabel:\u003c\/strong\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd\u003e\n\u003cp\u003eBrownswood Recording\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\n\u003cp\u003e\u003cstrong\u003eFormat:\u003c\/strong\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd\u003e\n\u003cp\u003e2x Vinyl, LP, Compilation\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\n\u003cp\u003e\u003cstrong\u003ePressing:\u003c\/strong\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd\u003e\n\u003cp\u003eUK\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\n\u003cp\u003e\u003cstrong\u003eRelease Date:\u003c\/strong\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd\u003e\n\u003cp\u003eOriginal – 2018\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\n\u003cp\u003e\u003cstrong\u003eGenre:\u003c\/strong\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd\u003e\n\u003cp\u003eJazz\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\n\u003cp\u003e\u003cstrong\u003eStyle:\u003c\/strong\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd\u003e\n\u003cp\u003eContemporary Jazz\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\n\u003cp\u003e\u003cstrong\u003eCatalog No:\u003c\/strong\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd\u003e\n\u003cp\u003eBWOOD0175LP\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\n\u003cp\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd\u003e\n\u003cp\u003eNew\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\n\u003c\/table\u003e\n\u003cp\u003e\u003cspan\u003e \u003c\/span\u003e\u003c\/p\u003e","brand":"Brownswood Recordings","offers":[{"title":"Default Title","offer_id":41456568959134,"sku":"VariousArtistsDefaultTitle","price":48.0,"currency_code":"SGD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0584\/5434\/3838\/products\/c8f68f808416d774b35b243c63d11e4190ceac96.jpg?v=1646292323"},{"product_id":"ryo-fukui-scenery-we-release-jazz","title":"Ryo Fukui – Scenery (We Release Jazz Reissue)","description":"\u003cp\u003e\u003cstrong\u003e— The Analog Vault \/\/ Essential Listening —\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eThe debut album of pianist Ryo Fukui is undoubtedly one of the most important Japanese jazz records ever created. Marked by the characteristic dexterity of the self-taught prodigy, Fukui combined modal, post-bop and cool jazz influences to craft a smooth jazz masterpiece that Bill Evans would be proud of.\u003c\/p\u003e\n\u003cp\u003eFeaturing refreshing interpretations of old standards such as “Willow Weep For Me,” “Autumn Leaves” and “I Want To Talk About You”, alongside a bevy of brilliant original arrangements, \u003cem\u003eScenery\u003c\/em\u003e is a majestic showcase for the Fukui trio’s technical virtuosity and compositional elegance. As underappreciated as this tasteful and textured album has been since its 1977 release, those in the know revere \u003cem\u003eScenery\u003c\/em\u003e as a monumental triumph. A quintessential release for all Ryo Fukui fans. — \u003ca href=\"https:\/\/theanalogvault.com\/\" target=\"_blank\" rel=\"noopener\"\u003eThe Analog Vault\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003eUnquestionably one of the most important Japanese jazz albums ever recorded, \u003cem\u003eScenery\u003c\/em\u003e reveals Ryo Fukui as a miraculously brilliant self-taught pianist fusing modal, bop, and cool jazz influences for a very personal, dexterous and game-changing take on classic standards made famous by Bing Crosby and John Coltrane among others. From \"It Could Happen To You\" and its serene and calm intro which magically flows into a jubilant and upbeat piece, to the out-of-this-world piano solo of \"Early Summer\", or the incredible teamwork of \"Autumn Leaves\" where Fukui leads Satoshi Denpo (bass) and Yoshinori Fukui (drums) into groove heaven, every single note on the album oozes precision, confidence and flair and every single section slides seamlessly into one another, creating a supreme and elegant blend of jazz. Often compared to McCoy Tyner or Bill Evans, Ryo Fukui was a genius in his own right, a true master of his craft whose perfectionism gave birth to some of the greatest music ever recorded. Scenery is his magnum opus and an absolute must-have.\u003c\/p\u003e\n\u003cp\u003eThe Hokkaido wizard-pianist followed \u003cem\u003eScenery\u003c\/em\u003e with the soulful gem Mellow Dream (also available on We Release Jazz) in 1977. He then focused on improving his live skills, often performing at Sapporo’s Slowboat Jazz Club (which he co-founded with his wife Yasuko Fukui) and releasing 2 live albums. Ryo Fukui sadly passed away in March 2016, leaving behind a legacy of works that is sure to captivate jazz lovers for generations to come.  — (via \u003ca href=\"https:\/\/wereleasewhateverthefuckwewantrecords.bandcamp.com\/album\/scenery\" target=\"_blank\" rel=\"noopener\"\u003eLabel\u003c\/a\u003e)\u003c\/p\u003e\n\u003cp\u003eJapanese jazz, casually known as Jap-Jazz, has had a very interesting history. The genre arrived to the nation due to WWII when American forces stationed in Japan brought and introduced said music from overseas. After a few decades, it evolved like it did in the West with slight differences. The main difference was Jap-Jazz was not as developed as American jazz. Artists like Miles Davis were already pushing the sound of fusion in the early 70s while Magical Power Mako started doing so later in the decade with a more dissonant, bare style. As a matter of fact, he and a few others started the now-signature avant-garde Japanese movement, which would explain why so much experimental music comes out of the country. The problem with the newborn experimental style of music at the time, however, was that it didn't show how to truly embrace jazz as an art form.\u003c\/p\u003e\n\u003cp\u003eBecause of Jap-Jazz’s confused identity, one the genre’s most important albums was Ryo Fukui’s \u003cem\u003eScenery\u003c\/em\u003e. While other artists were busy getting to know the textures of music, self-taught pianist Ryo, accompanied by a drummer and a bass player, decided to give his own spin on American jazz. He borrowed elements of post-bop, cool jazz, and even blues to create something unique, something unheard of before: a jazz album that prioritized composition rather than improvisation. The six song album continuously proves that Ryo is the complete master at his craft. Every section flows seamlessly into one another whilst providing tasteful and rich musicality. All notes seem relevant, and decisions feel like they are taken purposefully. This leads to a very pleasing sound in which the trio perfectly complements each other. Their sound is so full, they may not even strike the listener as a three piece group initially.\u003c\/p\u003e\n\u003cp\u003eEven though Ryo prioritizes composition, he still manages to show his virtuosity. His unbelievable playing displays dexterity and skill but also exhibits melodic and rhythmic awareness. On\u003cem\u003e Scenery\u003c\/em\u003e, the piano directed the band’s harmonic focus as it also added a cool, vocal-esque layer on top. A perfect example is “Early Summer,” in which Ryo crafts beautiful melodies and soon plays one of the greatest piano solos in all of jazz. However, he somehow leaves room for his group to show off as well. This is clearly seen by the fantastic drum solo later in the aforementioned song and on “Autumn Leaves.” Towards the last third of the latter, every instrument lays back to make way to an exquisite bass driven section. Clearly, all musicians shine, but the pianist’s unmistakable playing steals the show.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eScenery\u003c\/em\u003e marks the evolution of Jap-Jazz from experimentalism to a fully fleshed-out form of expression. Ryo’s decision to acknowledge what's already done and build on top of the shoulders of giants only took the quality of Japanese music to a level never seen before. Upon its release, it received massive praise and deeply influenced Japan’s music: to this day, people cite it as an undeniable game changer. Looking back at the lovely scenery, it's hard to disagree. - \u003ca href=\"https:\/\/www.sputnikmusic.com\/review\/74418\/Ryo-Fukui-Scenery\/\" target=\"_blank\" rel=\"noopener\"\u003eSputnik Music\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ciframe width=\"100%\" height=\"152\" style=\"border-radius: 12px;\" src=\"https:\/\/open.spotify.com\/embed\/album\/5Uny0mkKiVGDat7H6SNDyS?utm_source=generator\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003e↓\u003cbr\u003eLabel: We Release Jazz\u003cbr\u003eFormat: Vinyl, LP, Album, Reissue, Half Speed Cut\u003cbr\u003eReissued: 2018 \/ Original Release: 1976\u003cbr\u003eGenre: Jazz\u003cbr\u003eStyle: Bop, Modal, Cool Jazz\u003c\/p\u003e\n\u003cp\u003eFile under: Japanese Jazz\u003cbr\u003e⦿\u003c\/p\u003e","brand":"We Release Jazz","offers":[{"title":"Default Title","offer_id":41456570597534,"sku":"4260544825095","price":48.0,"currency_code":"SGD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0584\/5434\/3838\/files\/ryo-fukui-scenery-2.jpg?v=1787294733"},{"product_id":"kimiko-kasai-herbie-hancock-butterfly","title":"Kimiko Kasai \u0026 Herbie Hancock - Butterfly","description":"\u003cp class=\"p1\"\u003e\u003cstrong\u003e— The Analog Vault \/\/ Essential Listening —\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eOrginally intended as a Japan-only release in 1979, this beautiful album initially went unnoticed outside the county - until word of mouth justifiably made\u003cem\u003e Butterfly\u003c\/em\u003e one of the most coveted rarities in the world in subsequent decades. Fortunately Kimiko Kasai's legendary collaboration with Herble Hancock was reissued by Be With Records in 2018, ensuring this LP receives the wider recognition it deserves. \u003cbr\u003e\u003cbr\u003eRecorded in Tokyo, \u003cem\u003eButterfly\u003c\/em\u003e showcases the lauded Japanese chanteuse leading six vocal versions of the jazz-funk pioneer's compositions, punctuated by highlights such as a fantastic cover of Stevie Wonder's \"As\". Featuring drummer Alphonse Mouzon, organist Webster Lewis and guitarist Ray Obiedo - alongside the Headhunters Bennie Maupin on saxophones, Paul Jackson on bass, Bill Summers on peroussion, and Hancock himself on keyboards, synthesiser and vocoder - \u003cem\u003eButterfly\u003c\/em\u003e is a classy subliminal listen. — \u003ca href=\"https:\/\/theanalogvault.com\/\" target=\"_blank\" rel=\"noopener\"\u003eThe Analog Vault\u003c\/a\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eFirst ever official reissue of the positively sublime and very rare \u003cem\u003eButterfly \u003c\/em\u003eLP, recorded in Tokyo in 1979 by Japanese songstress Kimiko Kasai and jazz legend Herbie Hancock.\u003c\/p\u003e\n\u003cp\u003eDue to its super-rare status as a Japan-only release, this exquisite collection of covers never got the recognition it deserved at the time, despite incredibly inspired performances from Kimiko, Herbie and the supremely talented musicians assembled for the project. From heavenly drummer Alphonse Mouzon and renowned organist Webster Lewis to bassist Paul Jackson, reedman Bennie Maupin and the master percussionist Bill Summers, the legendary performers crafted amazingly good vocal versions of Herbie \/ Headhunters jazz-funk. Unsurprisingly, it has been heavily in demand for many years.\u003c\/p\u003e\n\u003cp\u003eThe LP opens with Kimiko’s highly desirable version of “I Thought It Was You”, an elegant take on Herbie’s own anthem. Other superb re-workings include the delicately soulful “Butterfly”, jazzy groover “Sunlight”, the smooth and sexy “Tell Me A Bedtime Story” and the beautiful ballads “Maiden Voyage” and “Harvest Time”. A wonderful example of perfectly understated and masterful jazz-funk soul fusion that shouldn’t be missed, the set closes with a jaw-dropping version of Stevie Wonder’s “As”.\u003c\/p\u003e\n\u003cp\u003eThis lovingly curated reissue enables a long overdue reappraisal of this hitherto unavailable masterpiece. The stunning artwork which adorned the original jacket - complete with OBI strip and sumptuous 4 page folded insert - has been faithfully restored. Simon Francis’ sensitive mastering elevates the sound throughout and, as ever, it has been pressed at a reassuringly weighty 180g. Essential. — (via \u003ca href=\"https:\/\/www.bewithrecords.com\/products\/kimiko-kasai-with-herbie-hancock-butterfly-lp\" target=\"_blank\" rel=\"noopener\"\u003eBe With Records\u003c\/a\u003e)\u003c\/p\u003e\n\u003cp\u003eReissues from Herbie Hancock's jazz-funk catalogue are always welcome, and few more so than Be With Records's vinyl-only edition of this long-neglected beauty. Recorded in Tokyo in 1979, it is comprised in the main of vocal versions of six Hancock originals and was singer Kimoko Kasai's fourth CBS-enabled collaboration with a leading US jazz musician—following Satin Doll with Gil Evans in 1972, In Person with Oliver Nelson in 1974 and Kimoko Is Here with Cedar Walton in 1975. The line-up includes Hancock on keyboards and synthesisers (and the era's signature vocoder), and the Headhunters's Bennie Maupin on saxophones, Paul Jackson on bass and Bill Summers on percussion.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eButterfly\u003c\/em\u003e was originally released in Japan only. In the less well-connected world of the late 1970s and early 1980s, this meant the album slipped unnoticed past most listeners in Europe and the US. But it is on radar now. And better late than never, for the performances are as classy as the set list.\u003c\/p\u003e\n\u003cp\u003eThis is not revolutionary jazz-funk, as Hancock's own Head Hunters (CBS, 1973) was and Future Shock (CBS, 1983) would be. It is music with which to soothe a furrowed brow or two. There are elegant contributions from Hancock, Maupin on soprano and tenor saxophones and Webster Lewis on organ and acoustic piano. The trio float over sumptuous grooves laid down by Jackson, Summers, guitarist Ray Obiedo and drummer Alphonse Mouzon. Along with the Hancock originals, some with lyrics written by Hancock's sister Jean, the album includes Stevie Wonder's \"As\" and Graselli \u0026amp; Malanet's \"Head In The Clouds.\"\u003c\/p\u003e\n\u003cp\u003eThere is not one dud on the album. Highlights include the soulful title track and \"Sunlight,\" the ballads \"Maiden Voyage\" and \"Harvest Time,\" and Wonder's \"As.\" — (via \u003ca href=\"https:\/\/www.allaboutjazz.com\/butterfly-kimoko-kasai-with-herbie-hancock-be-with-records-review-by-chris-may\" target=\"_blank\" rel=\"noopener\"\u003eAll About Jazz\u003c\/a\u003e)\u003c\/p\u003e\n\u003cp\u003e\u003ciframe width=\"100%\" height=\"600\" style=\"border-radius: 12px;\" src=\"https:\/\/open.spotify.com\/embed\/album\/2xbDI0ItU5LUmk2HvFKUcw?utm_source=generator\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\"\u003e\u003c\/iframe\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eVinyl tracklist:\u003cbr\u003eA1 I Thought It Was You \/\/ Written-By – H. Hancock, J. Cohen, M. Ragin\u003cbr\u003eA2 Tell Me A Bedtime Story \/\/ Written-By – H. Hancock, J. Hancock\u003cbr\u003eA3 Head In The Clouds \/\/ Written-By – D. Graselli, M. Malanet\u003cbr\u003eA4 Maiden Voyage \/\/ Written-By – H. Hancock, J. Hancock\u003cbr\u003eB1 Harvest Time \/\/ Written-By – H. Hancock, J. Hancock\u003cbr\u003eB2 Sunlight \/\/ Written-By – H. Hancock\u003cbr\u003eB3 Butterfly \/\/ Written-By – H. Hancock, J. Burvick\u003cbr\u003eB4 As \/\/ Written-By – S. Wonder\u003c\/p\u003e\n\u003cp\u003e↓\u003cbr\u003eLabel: Be With Records\u003cbr\u003eFormat: Vinyl, LP, Album, Limited Edition, Reissue, Remastered\u003cbr\u003eReissued: 2018 \/ Original Release: 1979\u003cbr\u003eGenre: Jazz, Funk \/ Soul\u003cbr\u003eStyle: Soul-Jazz, Female Vocals\u003c\/p\u003e\n\u003cp\u003eFile under: TAV Essential Listening\u003cbr\u003eFile under:  Jazz \/\/ Japanese Jazz\u003cbr\u003e⦿\u003c\/p\u003e","brand":"Be With Records","offers":[{"title":"Default Title","offer_id":41456570859678,"sku":"5050580687448","price":60.0,"currency_code":"SGD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0584\/5434\/3838\/products\/0f2bbddc1dbcf15b24abcae65e2aef9c7ebafe0e.jpg?v=1646292375"},{"product_id":"joe-armon-jones-starting-today","title":"Joe Armon Jones - Starting Today","description":"\u003cp\u003e\"Mixing jazz with hip-hop and dub production influences, the album features a band including Nubya Garcia (whose new solo EP Armon-Jones plays on), Moses Boyd, Oscar Jerome, and Maxwell Owin...\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e...Starting Today\u003c\/em\u003e  follows Armon-Jones’ \u003cem\u003eIdiom\u003c\/em\u003e EP with Owin – one of our favourite 12″s of 2017, collaborations on Brownswood’s stellar \u003cem\u003eWe Out Here\u003c\/em\u003e compilation and Ezra Collective’s \u003cem\u003eJuan Pablo: The Philosopher \u003c\/em\u003eLP\u003cem\u003e.\" - \u003c\/em\u003e\u003ca href=\"https:\/\/thevinylfactory.com\/news\/joe-armon-jones-brownswood-starting-today\/\" target=\"_blank\" rel=\"noopener noreferrer\"\u003eThe Vinyl Factory\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e\"A 100% proof blend of jazz, fusion, hip hop and dub, the album showcases Armon-Jones's breathtaking sonic-wizardry. It also reveals him to be a composer of note. His lyrics are perhaps a tad perfunctory, but no matter—he writes great tunes and interesting arrangements. And he brings a seemingly inexhaustible bag of timbral tricks to the Wurlitzer. The band, drawn in the main from the \u003cem\u003eWe Out Here\u003c\/em\u003e family, is top ranking, too, with a killer rhythm section and strong frontline-contributions from Garcia and trumpeter \u003cspan\u003eDylan Jones\u003c\/span\u003e. Armon-Jones is the main solo voice, however...\u003cbr\u003e \u003cbr\u003e...Brownswood, the label formed by London club DJ and BBC Radio 6 Music broadcaster Gilles Peterson in 2006, figures large in this spring 2018 musical high-tide. Peterson's previous label, the jazz dance and acid jazz-centric Talkin' Loud, defined one corner of the London jazz world in the 1990s. Brownswood is doing something similar right now. It is the sort of outfit that gives monopolies a good name.\" - \u003ca href=\"https:\/\/www.allaboutjazz.com\/starting-today-joe-armon-jones-brownswood-recordings-review-by-chris-may.php\" target=\"_blank\" rel=\"noopener noreferrer\"\u003eAll About Jazz\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e\"On \u003cem\u003eStarting Today,\u003c\/em\u003e Armon-Jones takes a modern-jazz journey from the discrete influences on that eclectic London sound to its thrillingly diverse present—and stakes his claim as one of the scene’s most promising voices.\" - \u003ca href=\"https:\/\/pitchfork.com\/reviews\/albums\/joe-armon-jones-starting-today\/\" target=\"_blank\" rel=\"noopener noreferrer\"\u003ePitchfork\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ciframe width=\"560\" height=\"315\" src=\"https:\/\/www.youtube.com\/embed\/InxSwzqSGWU\" frameborder=\"0\" allow=\"autoplay; encrypted-media\" allowfullscreen=\"allowfullscreen\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003eItem Description:\u003c\/p\u003e\n\u003ctable width=\"0\"\u003e\n\u003ctbody\u003e\n\u003ctr\u003e\n\u003ctd\u003e\n\u003cp\u003e\u003cstrong\u003eArtist:\u003c\/strong\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd\u003e\n\u003cp\u003eJoe Armon-Jones\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\n\u003cp\u003e\u003cstrong\u003eTitle:\u003c\/strong\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd\u003e\n\u003cp\u003eStarting Today\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\n\u003cp\u003e\u003cstrong\u003eLabel:\u003c\/strong\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd\u003e\n\u003cp\u003e\u003ca href=\"https:\/\/www.discogs.com\/label\/62136-Brownswood-Recordings\"\u003eBrownswood Recordings\u003c\/a\u003e \u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\n\u003cp\u003e\u003cstrong\u003eFormat:\u003c\/strong\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd\u003e\n\u003cp\u003e\u003ca href=\"https:\/\/www.discogs.com\/search\/?format_exact=Vinyl\"\u003eVinyl\u003c\/a\u003e, LP, Album, \u003cem\u003eGatefold\u003c\/em\u003e \u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\n\u003cp\u003e\u003cstrong\u003ePressing:\u003c\/strong\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd\u003e\n\u003cp\u003e\u003cbr\u003e UK\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\n\u003cp\u003e\u003cstrong\u003eRelease Date:\u003c\/strong\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd\u003e\n\u003cp\u003e\u003ca href=\"https:\/\/www.discogs.com\/search\/?decade=2010\u0026amp;year=2018\"\u003e04 May 2018\u003c\/a\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\n\u003cp\u003e\u003cstrong\u003eGenre:\u003c\/strong\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd\u003e\n\u003cp\u003e\u003cbr\u003e \u003ca href=\"https:\/\/www.discogs.com\/genre\/electronic\"\u003eElectronic\u003c\/a\u003e, \u003ca href=\"https:\/\/www.discogs.com\/genre\/jazz\"\u003eJazz\u003c\/a\u003e, \u003ca href=\"https:\/\/www.discogs.com\/genre\/funk+%2F+soul\"\u003eFunk \/ Soul\u003c\/a\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\n\u003cp\u003e\u003cstrong\u003eStyle:\u003c\/strong\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd\u003e\n\u003cp\u003eBroken Beat\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\n\u003cp\u003e\u003cstrong\u003eCatalog No:\u003c\/strong\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd\u003e\n\u003cp\u003eBWOOD0177LP\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\n\u003cp\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd\u003e\n\u003cp\u003eNew\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\n\u003c\/table\u003e\n\u003cp\u003e \u003c\/p\u003e","brand":"Brownswood Recordings","offers":[{"title":"Default Title","offer_id":41456571416734,"sku":"JoeArmonJonesDefaultTitle","price":48.0,"currency_code":"SGD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0584\/5434\/3838\/products\/f433915f1c12ea0e026dba97b1716b5949b99913.jpg?v=1646292388"},{"product_id":"ziq-challenge-me-foolish","title":"µ—Ziq - Challenge Me Foolish","description":"\u003cp\u003e\u003cem\u003eChallenge Me Foolish\u003c\/em\u003e is the third compendium of \"lost\" µ-Ziq material to surface on Planet Mu in the last three years—the fourth if we're including Expert Knob Twiddlers, the reissue of Paradinas' collaborative album with Aphex Twin. It compiles music written between 1998 and '99, and serves as a retrospective primer for the orchestral pop leanings of Royal Astronomy, Paradinas' fifth µ-Ziq album.\u003c\/p\u003e\n\u003cp\u003eBoth \u003cem\u003eRoyal Astronomy\u003c\/em\u003e and \u003cem\u003eChallenge Me Foolish\u003c\/em\u003e feature tracks with the Japanese vocalist Kazumi. \"Goodbye, Goodbye\" was the former album's sentimental closer, while the twee pop of \"The Fear\" gave Royal Astronomy its gooey centre. On Challenge Me Foolish we are, perhaps, treated to the ones that didn't make the cut. The tracks range from the saccharine drum \u0026amp; bass of \"Sad Inlay\" to the naff kookiness of \"Durian,\" neither of which have aged particularly well. The album's breezy title track is the best of these, though it would've been even better without the carnivalesque melody lines in the second half. Without these whimsical flourishes, though, it wouldn't be µ-Ziq. Unlike his more somber IDM peers, Paradinas was never afraid to sound cheerful.” — (via Resident Advisor)\u003c\/p\u003e\n\u003cp\u003e\u003ciframe width=\"100%\" height=\"152\" style=\"border-radius: 12px;\" src=\"https:\/\/open.spotify.com\/embed\/album\/72jmRkIZRLQtn9GpB6sMl2?utm_source=generator\u0026amp;theme=0\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003e↓\u003cbr\u003eLabel: Planet Mu\u003cbr\u003eFormat: 2 x Vinyl, LP, Album\u003cbr\u003eCountry: Europe\u003cbr\u003eReleased: 2018\u003cbr\u003eGenre: Electronic, Experimental\u003cbr\u003eStyle: IDM\u003c\/p\u003e\n\u003cp\u003eFile under: Leftfield\u003cbr\u003e⦿\u003c\/p\u003e","brand":"Planet Mu","offers":[{"title":"Default Title","offer_id":41456573874334,"sku":"5055300392749","price":45.0,"currency_code":"SGD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0584\/5434\/3838\/products\/C2_B5-Ziq-_20Challenge_20Me_20Foolish.jpg?v=1669275649"},{"product_id":"nik-bartschs-ronin-awase","title":"Nik Bärtsch's Ronin – Awase","description":"\u003cp\u003eIn 2016, after a decade-long silence, pianist and composer Nik Bärtsch resurrected his groundbreaking Mobile unit for Continuum. \u003cem\u003eAwase\u003c\/em\u003e sees the musician reconvening Ronin -- the band that drew the attention of ECM's Manfred Eicher and released four stellar albums between 2006 and 2012 -after a six-year break. The lineup has been trimmed from a quintet to a quartet, consisting of veterans Sha on bass clarinet and alto saxophone, drummer Kaspar Rast, and newcomer Thomi Jordy on electric bass. Continuing to compose in his modular system where interlocking rhythms meet contrapuntal, minimal grooves that Bärtsch defines as \"Zen funk,\" he delivers new works as well as expanded and revisioned takes on earlier pieces as a way of extending the band's reach to embrace and integrate some of the concepts offered on Continuum.” — (via AllMusic)\u003c\/p\u003e\n\u003cp\u003e\u003ciframe width=\"100%\" height=\"152\" style=\"border-radius: 12px;\" src=\"https:\/\/open.spotify.com\/embed\/album\/3qxMkn8mxeVai2ThaI4Uvg?utm_source=generator\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003e↓\u003cbr\u003eLabel: ECM Records\u003cbr\u003eSeries: Ritual Groove Music – 12\u003cbr\u003eFormat: Vinyl, LP, Album, 180g\u003cbr\u003eCountry: Germany\u003cbr\u003eReleased: 2018\u003cbr\u003eGenre: Jazz\u003cbr\u003eStyle: Avant-garde Jazz\u003c\/p\u003e\n\u003cp\u003eFile under: ECM Records\u003cbr\u003e⦿\u003c\/p\u003e","brand":"ECM Records","offers":[{"title":"Default Title","offer_id":41456574398622,"sku":"602567358695","price":48.0,"currency_code":"SGD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0584\/5434\/3838\/files\/cover_1000_c0235db6-7026-4a90-8e94-3405913980da.webp?v=1728458758"}],"url":"https:\/\/theanalogvault.com\/collections\/all-products.oembed?page=62","provider":"The Analog Vault","version":"1.0","type":"link"}