Ambient

Гипнотические суфийские песни, амбиентные индейские чанты, экзотические напевы из марокканской пустыни и африканской саванны - все это разнообразие создает атмосферу этно - чиллаута, сладкий вкус тайны и красоты, где традиционные - табла, кора, дотар, думбек, дилруба, гайда органично смешиваются с современными музыкальными инструментами.

Artist: ANCIENT OCEAN Label: Beyond Beyond Is

Artist: Andrew Heath Label: Disco Gecko Recordings

Artist: Shpongle Label: Twisted Records

Artist: ANCIENT OCEAN Label: Beyond Beyond Is

Artist: OLIVER SCHEFFNER Label: ANOME

Downloadcode.Julian Maier-Hauff, analogous electronic, playfully acoustic and above all: LIVE. As one of the few within the electronic music scene, Julian Maier-Hauff’s sounds are exclusively improvised and every audible tone is produced in the moment. Maier-Hauff, studied jazz trumpet, is a cross entrant in the field of electronic music. With his background in improvized arts, he transfers the system of the free play into electronic instrumentations. His sound is genuine, handmade, thrilling, distinct, versatile and always has a driving groove. Without computers and preprepared tracks, he turns the sensations of the moment straightly into deep beats, which are enriched by the vibrant sound of real instruments. Trumpet, saxophone, trombone and rhodes create contrast to analog electronic and fit in perfectly to the overall sound. Julian Maier-Hauff plays with depth of fictitious rooms, combined extensively elements with stimulating grooves, crystalline noises with smooth melodies. His sound picture moves without interruption from one theme to another as soon as he begin to play. Cooperations with: SAMY DELUXE (GER), PARI SAN (GER), R0T0M0D (GER), JUNGE NORDDEUTSCHE PHILHARMONIE (GER), MSOKE (CH), IRIE RÉVOLTÉS (GER), MANU CHAO (F). Record Label: Springstoff Style: Electronic / Ambient

Spiritual research and constant need for inner transformation. These are the key elements in the compositional style of Dubit, Pier Alfeo's moniker, the Apulian countryside-based electronic musician and producer whose Backwards is proud to issue "Vitriol", his second full length.This ten-track album, which resumes the Backwards' CD-series started in 2013 with Fabio Orsi's "Endless Autumn", has taken more than one year of work, using both analogue instruments (such as Spring Reverb, pedals, [D]ronin, Moog etc ...) and digital synthesis techniques. For its realization, Dubit also built by himself acoustic instruments composed of metal elements, strips, strings, barrels, amphorae as resonance boxes, and used prepared pianos, traditional Spanish instruments, didgeridoo, harmonica, snare drums and cymbals. As in an alchemical process made of sounds, "Vitriol" blends in with powerful dark ambient, post-industrial music, some elements from techno and field recordings, drawing distopic landscapes in the sky. It's as if Raison d'être met Shackleton in the recording room to create a soundtrack for the end of the world. "Vitriol" comes in an edition of 500 CDs. Matt-varnished ecopack. Artwork by Italian illustrator Master Easter. Record Label: Backwards Style: Electronic/Ambient

Представляем мультиплатиновый альбом 1995 года "Songs of Sanctuary" Карла Дженкинса (Nucleus, Soft Machine) и его проекта Adiemus. На виниле альбом издается впервые! Стиль Adiemus очень сложно определить и катализировать, так как он включает в себя элементы классики, оперу и даже этнику, поэтому наиболее удобней говорить, что это New Age или Progressive. Основной вокал на трех альбомах принадлежит сопрано англичанки южноафриканского происхождения Мириам Стокли (Miriam Stockly), работавшей бэк-вокалисткой у Фрэдди Меркьюри, Брайана Мэя, Johny Hates Jazz, Тины Тернер, Клиффа Ричарда, Джорджа Майкла, Гэри Барлоу и Eternal. Ей помогает альто коренной англичанки Мэри Кэреуи (Mary Carewe), чей отец — известный дирижер, мать поет, а сестра профессионально играет на виолончели. Карл Дженкинс, естественно, является главным композитором и к тому же дирижером. А дирижирует он знаменитым Лондонским филармоническим оркестром, который неизменно помогает Adiemus создавать прекрасную музыку. В альбомах Adiemus собраны звуки всей Земли, что обеспечило его произведениям хорошее восприятие у разных народов и материков. И география его звуковой палитры постоянно расширяется. Уже сейчас в его музыке есть что-то африканское, арабское, индийское, китайское, кельтское и даже австралийское. К тому же практически на 80-90 процентов Карл использует «живые» инструменты (за исключением перкуссии и еще кое-чего), что превращает Adiemus не только в студийный проект, но и в подвижный живой организм. Но больше всего Дженкинса радует мысль, что его композиции универсальны и могут исполняться любым оркестром с неопределенным количеством женских голосов различной тональности. Альбом "Songs of Sanctuary", изначально выпущенный на CD в 1995 году, прошел специальный мартеринг для винила (посредством аналоговой обработки для добавления в звук тепла и большего эффекта присутствия) в знаменитой лондонской студии AIR Studios и будет выпущен на 140-граммовом голубом виниле.

Eight years after his last album Seltsam erscheint unsere Lage [Our Situation Seems Strange], Michael Rodach is now releasing his sixth solo album with a title just as poetic. A picture that shimmers, that tells of rising up and rounding off, of departure and completion. On the one hand time seems to be a wellrounded matter that lacks nothing and where nothing is missed, but on the other hand also seems cyclic in the sense that it always lets us return to the beginning. Exactly this slight discrepancy suits Rodach well. “I like this certain vagueness; it creates space for the illogical, for the antithetic,” he says. “Of course I don’t know if time is round, but I’ve always liked the round dials on clocks for example. They perfectly express the circle that closes again and again and doesn’t represent an end, but rather goes into the next round over and over. When we celebrate our birthdays, we count how often we have circled the sun with our planet.” Often we associate time with impermanence, talk about how it passes, elapses, trickles away and how intangible it is. Especially farewells let us realize that. In the past years Michael Rodach experienced the decease of his parents; an experience that deeply influenced his understanding of time. “When the long and throughout pleasant life of my parents ended, all of us involved felt the phenomenon of time; the time that still remains and the time that had passed. It was an almost peaceful understanding of something coming to an end. Regarding their lives we realized: that was a well-rounded success. If it goes into the next round in this case, nobody can say.” On his solo albums Michael Rodach was always a multi-instrumentalist, sound explorer, tinkerer, developed his own samples, listened deeply into everything and was a fascinated discoverer of everything that creates sound. Especially the numerous audio dramas, for which he developed and composed sound and music, show this love for adventure. It suits him to immerse himself in a subject matter, to dive into depth for finding new sounds and atmospheres. With his new album, he now returns to his starting point in a very extraordinary way. Like none of his albums before Die Zeit ist rund is a guitar album and explores the countless tone qualities and facets of this “marvelously imperfect instrument,” as Rodach describes it. “That is what makes it perfect to me. I love the guitar. Already in the process of tuning, I turn the machine head and over a gearwheel and a shaft I change the tension on the string, which then oscillates faster or slower over a certain timeframe. Playing the guitar also means that I need to move my hands or fingers from one point on the guitar to another within a certain timeframe. If I swing my arms around now, they will make nothing but circles, because they’re obviously attached at the shoulders. The same principle applies to the hands and fingers. That means that I produce nothing but circular shapes with my fingers and hands while playing guitar. Since we’re talking about music here, these circular motions are also closely linked to time. In particularly wide-awake, conscious moments, when everything flows together with everything, …then time is round.” Rodach perceives it as great fortune to have grown up in a world, in which he had access to music from all kinds of genres. In Hitchcock movies he was fascinated by the fabulous music of Bernhard Hermann, later Nino Rota and Brian Eno enthralled him. On the other hand the blues of John Lee Hooker was kind of a staple food for him. Thus, all kinds of musical styles were inspiration to him and in no way disturbed each other, but rather got along well for the most part. “Now, after many years I notice that when I compose, without the intention to do so, I often mix elements of the blues with musical styles that would not necessarily be associated with the blues. In this sense, Die Zeit ist rund almost became a blues album. ‘Musical storytelling’ is a trait of the blues to me and very often the basis of my compositions,” Rodach says, not lastly because most of his compositions were written for audio dramas and theatre pieces: so for stories essentially. Storytelling counters impermanence. Loss is always also a loss of history and stories. Who was present? Whom can we ask? Who can report what happened? As long as stories are told, memories stays alive. Rodach enchants this storytelling, joins the volatile, brittle with the iridescent and whatever he touches and whatever touches him turns into sound. A very well-rounded affair. Record Label: Traumton Style: Electronic / Ambient

Третье коллекционное издание выйдет 29-го сентября 2017 года в нескольких версиях: на CD, на виниле и в цифровом варианте. Бокс-сет будет включать ремиксированный Тони Висконти альбом LODGER. Parlophone Records с гордостью представляют третье коллекционное издание A NEW CAREER IN ANEW TOWN (1977 – 1982) из серии бокс-сетов охватывающее все творчество Дэвида Боуи с 1969 года. Вслед за получившими признания критиков релизами DAVID BOWIE FIVE YEARS (1969 – 1973) иDAVID BOWIE WHO CAN I BE NOW? (1974 – 1976), третье делюкс-издание выйдет 29-го сентября. Бокс-сет будет содержать абсолютно новый ремикс альбома 1979-го года LODGER в исполнении продюсера и аккомпаниатора Боуи Тони Висконти. Коробки из одиннадцати CD дисков и тринадцати виниловых пластинок будут включать весь материал официально изданный Боуи с 1977 по 1982 годы. Среди него так называемая «берлинская трилогия», которую Боуи создавал вместе сВисконти и Брайаном Эно, мини-альбом BAAL EP, который впервые выйдет на CD, и пластинка SCARY MONSTERS (And Super Creeps). Издание, названное в честь одного из треков с первого альбома из так называемой «берлинской трилогии», включает в себя студийные и концертные пластинки: LOW, HEROES, STAGE(оригинальная и версия 2017 года), LODGER,LODGER (Tony Visconti 2017 Mix), SCARY MONSTERS(And Super Creeps) и RE:CALL 3 (актуальные сингловые версии песен, не вошедшие в альбом треки, би-сайды синглов и композиции из саундтреков к фильмам). Кроме того, в бокс-сет войдет HEROES EP – эксклюзивная компиляция, выпущенная в честь сорокалетия песни, которая впервые объединит в себе «немецкий» и «французский» варианты альбома и версии трека, выходившие на синглах. Оригинальная версияSTAGE будет выпущена на желтом виниле, дублируя свое первое ограниченное английское издание, а версия 2017 года этой же пластинки будет содержать два неизданных ранее трека. Эксклюзивным материалом всех версий коллекционных изданий является ремиксированный альбом LODGER (ремикс Тони Висконти 2017). Работа над ремиксом началась с благословения Дэвида еще до его смерти в январе 2016 года. Тони Висконти переработал оригинальные треки на студии Human Studios и сделал ремикс альбома, задействовав современные технологии, чтобы дополнительно подчеркнуть все нюансы альбома. У этой версии альбома будет новое «ремиксированное» оформление, созданное с помощью неопубликованных фото из архива фотографа Даффи, созданных во время фотосессии для дизайна пластинки. Также эксклюзивно во всех версиях издания появится новый сборник Re:Call 3, включающий в себя ремастированные версии синглов, неальбомные синглы, би-сайды и композиции из саундтреков к фильмам. Обложка представляет собой фото, сделанное Кристианом Симонпьетрина Hansa Studios в Берлине во время сессий Heroesв 1977. «Baal» EP впервые выйдет на CD, а песниBeauty And The Beast (extended version) и BreakingGlass (версия австралийского сингла) будут впервые выпущены на CD и в цифровом формате. ТрекBeauty And The Beast ранее издавался только на редком 12-дюймовом виниловом издании в США и на лимитированном 12-дюмовом виниловом издании в Испании. Коллекционное издание будет включать в себя 128 страничную книгу в CD варианте бокс-сета и 84 страничную книгу в виниловой версии бокс-сета. В книгах можно будет увидеть ранее неизданные фото, сделанных такими фотографами как Антон Корбихин, Гельмут Ньютон, Эндрю Кент, Стив Шапиро, Даффи и многими другими, а также обзоры прессы того времени и технические заметки об альбомах, сделанные Тони Висконти. В CD бокс-сет войдут точно воспроизведенные версии оригинальных альбомов, сделанные в виде мини виниловых пластинок, а сами диски будут окрашены в золотой, а не привычный серебряный цвет. На виниловом сете будет представлен тот же контент, что и на CD. Сет будет выпущен именно на тяжелом 180-граммовом виниле. Artist: David Bowie Label: Rhino/Parlophone

Artist: Graham Reynolds Label: Fire Soundtracks / Lakeshore

Artist: BARRECA / LEIMER Label: Palace of Lights

Limited Heavyweight Turquoise Vinyl with Poster and Download. Over the course of their lush, fiercely original sophomore album Althaea, London based duo Trailer Trash Tracys condense a number of disparate styles into music that thrillingly broaches the void between figuration and abstraction. While undeniably beautiful and quite often infectious in parts, this is certainly not pop music by any traditional definition; rather, it appeals to the more intuitive of mind and wild at heart. More than simply becoming a philosophical exercise however, the result is their most ambitious and idiosyncratic body of work to date, one which operates at the very limits of what pop music can be. Their debut, Ester, released in 2012, manifested the band’s approach to making music as a fine balance between chaos and order, laying out a dense and dreamlike ecosystem of Sufi poetry, Solfeggio scales and, floating above it all, Susanne Aztoria’s otherworldly yet emotionally charged vocals. Early singles such as Strangling Good Guys and You Wish You Were Red proved to be outliers - rather than simply making lo-fi dream pop, the band were instead aiming for something far more subconscious and esoteric, extracting the essence of a perfect pop song and recasting it in a different light entirely. “It cemented what we are about musically: diverse, cinematic and with a pop curiosity”, the band muse now. “Making it was a very important process for us – Althaea sounding more mature like it does probably wouldn’t have happened if it wasn’t for Ester’s mistakes and beauty. Initially conceived as a soundtrack for a film by esteemed cult Filipino director Raya Martin, Althaea, sees the band continue their investigations into the farther flung reaches of pop music, with stunning results. If Ester was adventurous and exploratory in nature, Althaea is its grown up and sophisticated older sister: having embarked on their singular artistic course, with the new album Trailer Trash Tracys consolidate their strikingly unique language and tonal style. Spanning 10 deeply esoteric tracks, Althaea sees the band drift futher afield from traditional song structures to create a new aural lexicon of their own, one as influenced by Filipino carnival music and Latin rhythms as it was by Japanese tropical music from the 80s. The songs demonstrate a characteristic fusion of melody and dissonance, but this time round, they are more amorphous in the way they occupy space, neatly colliding the elegance of modernism with sharply futuristic structures. Much like the ambiguous, seemingly random song titles – Singdrome, Money for Moondogs nothing in Althaea's world is quite what it seems. Songs like Smoked Silver chase each other in an opulent haze of seesawing synths and stuttering beats, stubbornly refusing to resolve themselves, while others, like Betty’s Cavatina, seem to heve been built on structures so intricate and fragile they seem in perpetual danger of collapsing in on themselves at any given moment. Even at their most outwardly pop – the pristine Eden Machine for instance, or the swooning Kalesa, there is a baroque splendour, and heightened sensuality, stemming from Jimmy Lee’s resolutely off-kilter instrumentation and the fact that quite often Aztoria seems to be singing in an alien language entirely of her own creation. The interplay of light and dark, the foreign and the familiar, brings forth an album with manifold pleasures, one which rewards repeated listening and further exploration. And even though with Althaea Trailer Trash Tracys seek to disorient and upend traditional strictures of pop, they have, in their own way, delivered a modern classic anyway. “When people hear the record we want them to be transported to a place that’s romantic, exotic, unfamiliar but real and welcoming”, they muse. “Someone also mentioned that our album could have been the soundtrack for a film like Wong Kar Wai’s Days of Being Wild or Ishamel Bernal. If people feel like this when listening to our music then that’s more than we have ever anticipated”. Vinyl, LP, Album, Limited Edition, Coloured

Artist: Craig Pruess Label: CD Baby