Review: Double Consciousness is not just the name of the new collaborative album release between Oren Ambarchi and Eric Thielemans; it's also a term developed by revolutionary theorists such as Frantz Fanon and W.E.B. Du Bois to describe the cognitive dissonance/dual self-perception of oppressed groups in unjust, often colonial societies. With that in mind, we're not just going in blind here. A forty-minute, single-take epic album recorded live at the Werkplaats Walter theatre in Brussels, this is Ambarchi and Thielemans as we know them best, the former handling the guitar as usual, and the latter on drums and percussion. Many disparate movements ensue, the music seeming to represent the arc of psychic revelation; the roller-coaster ride of fulfilment; tyrants overthrown; and former double-consciousnesses unified.
Review: Oren Ambarchi and Eric Thielemans' latest collaboration emerges from a recorded performance in Poitiers, France, in November 2023, showcasing their extraordinary duo chemistry. The single continuous performance, spanning over 45 minutes, encapsulates their shared language and willingness to push boundaries, blending meditative calm with unexpected melodic and rhythmic moments. 'Kind Regards' (Beginning) opens with Thielemans' entrancing tom patterns, which provide a steady undercurrent for Ambarchi's guitar, transformed into swirling tones by a Leslie speaker. As the music unfolds, it moves between introspective calm and more forceful bursts of energy, with Ambarchi's guitar eventually taking on an electric organ-like quality, echoing the soulful depth of Alice Coltrane. Later, 'Kind Regards' (Conclusion) takes on a more jazz-oriented direction, as Thielemans' delicate rhythmic shifts showcase his mastery of accents and cymbal work. Ambarchi counters this with jittery delayed tones, and a more active use of his fretboard, weaving through dissonant harmonics before concluding with a massive, yet detailed, climax of distorted guitar and crashing cymbals. The performance, free from any flashy tricks or filler, draws power from the deep intuition between the two musicians, and their shared commitment to exploring the limits of their instruments.
Young Person's Guide To The Orchestra, Op 34 (17:12)
Review: This recording of the Philadelphia Orchestra performing Sergei Prokofiev's 1936 story and orchestral score Peter and the Wolf was recorded in 1977 and was originally released in 1978. The role of the narrator on the recording was initially offered to both Peter Ustinov and Alec Guinness who both turned it down, before David Bowie agreed to take on the role, supposedly as a Christmas present to his son. On the B-side is another equally as charming piece of recent classical history, Benjamin Britten's Young Person's Guide To The Orchestra as narrated by Hugh Downs.
Hollow Dream (feat Annie Barker & Joseph Shabason) (3:26)
Around The Fire (feat Nightlands) (2:51)
Corner Of The World (feat Nat Birchall & Thore Pfeiffer) (4:02)
Amazing (feat Nubo) (2:23)
Ancient Love (feat Jamael Dean, Nat Birchall & Sharananda) (3:50)
The Will Of The One (feat Jonas Knutsson, Laraaji & Oceananda) (4:27)
North Star (feat Green-House & Nubo) (3:08)
Understanding (feat Miguel Atwood-Ferguson) (4:07)
Review: The absorbing Crescendo album is the fruit of a collaboration between Swedish producers Emil Holmstrom and Peter Wikstrom of Ecovillage. They are joined by a talented ensemble of musicians who all share a passion for improvisation and experimentation. Recorded between 2019 and 2022 in Los Angeles and Umea in Sweden, the album explores a fusion of jazz and ambient and as it goes it aims to break new ground and challenge conventional ambient music. Featuring ten tracks, each of which offers a unique mood and style, Crescendo ranges from uplifting and energetic compositions to mellow and dreamy soundscapes. With vocals spanning soft whispers to powerful chants, the artists' creative vision and spirit is well reflected.
Review: Stockholm-based composer Isak Edberg's second release on XKatedral - arguably the finest contemporary classical label in the Swedish capital. This time round we're given two extended pieces, running towards 30-minutes each, both of which are instrumentals and focused largely on minimalist piano notes, meaning the use of space and emptiness is also prominent. The title track, which opens the package, sets the tone and pace well, with each key allowed to breathe, refrains hanging on by a thin echo fading into the deep expanse of nothingness that seems to sit behind the instrument itself. 'Vestiges' complements this perfectly, again ensuring there's plenty of what's not happening in between the staccato off-keys. Fully committing to a more experimental side of the new classical spectrum, it's one you'll want to keep revisiting again and again.
Review: Ludovico Einaudi returns with a deeply nostalgic new album that effortlessly captures the essence of childhood summers that are filled with freedom, discovery and fleeting moments of joy. Known for his evocative, minimalist compositions, Einaudi blends delicate piano melodies with rich and atmospheric textures here in a soundtrack for reflection and memory. The album's warm soundscapes evoke the golden light of late afternoons and the quiet serenity of nature - all things we can relate to even if we never actually lived them. Presented on eco-friendly FSC-certified materials, The Summer Portraits is both a tribute to the past and a celebration of timeless experiences and, as Einaudi expresses, "To our summers... endless memories."
Review: The album offers a tender reflection on childhood summers, weaving piano, symphonic melodies and orchestral strings into a heartfelt tapestry of nostalgia. Recorded in an intimate home studio and the iconic Abbey Road, it blends simplicity with grandeur, capturing the essence of freedom, adventure and living fully in the moment. Some of our favourite tracks include the evocative 'Jay', with its eastern-inspired motifs, and 'Punta Bianca', a swelling composition that feels expansive and deeply personal. 'Pathos' uplifts with its soaring melodies, while 'Rose Bay' takes on a meditative quality, inspired by family history and a story of resilience. Here, strings delicately accompany a piano chord progression that mimics sunlight shimmering on water, creating a serene yet emotionally charged atmosphere. Painting vivid scenes of childhood wonder and the bittersweet beauty of memory, it's a poignant celebration of life's fleeting joys.
Review: Lo-fi, droning ambience from Turkish producer Ekin Uzeltuzenci aka. Ekin Fil here. 'Rosewood Untitled' is themed after the resistance of nature, drawing a hard line between concepts of the manmade and natural - by sonically presenting the latter as pure, slowly restless, and laden in a deep, almost unrecoverable texture. For Ekin, the inspiration behind the album came after witnessing huge forest fires in Turkey, which occurred at the same time as the COVID pandemic. What follows is a mournful reminiscence on fatal natural processes, through looping sonic envelopes and distant melodies.
Review: It's hard to keep up with superhero movie franchises, at least in terms of timeline, but those who have seen the 2002 Spider-Man, which arrived early on in the comic book-screen explosion, will attest to the fact it's a great blockbuster deserving of the attention it received at the time. And box office results. No big screen bonanza is ever complete without an accompanying score, of course, and Elfman's offering more than sets to mood.
Known for his regular work with the likes of Tim Burton, Sam Raimi, and Gus Van Sant, the US muso - who, incidentally, earned his stripes as part of the 1980s new wavers Oingo Boingo - marries relatively traditional bombast orchestral arrangements with slightly leftfield compositions, drawing electronic elements into the mix while never forgetting the power of a huge string crescendo.
A Phone Call/The Wrong Kiss/Peter's Birthday (2:05)
The Bank/Saving May (4:28)
The Mugging/Peter's Turmoil (3:17)
Doc Ock's Machine (1:44)
He's Back! (1:43)
Train/Appreciation (4:02)
Aunt May Packs (4:44)
Armageddon/A Really Big Web! (3:49)
The Goblin Returns (3:57)
At Long Last, Love (2:56)
Review: The golden age of superhero movies, spearheaded by Sam Raimi's Spider-Man films, was unparalleled, setting the stage for every Marvel movie that followed. These films introduced us to Tobey Maguire as Peter Parker, Kirsten Dunst as MJ, and formidable villains like the Green Goblin (Willem Dafoe) and Doc Ock (Alfred Molina), shaping the blockbuster summers of the past two decades. Who else could score such an important film odyssey than the one and only Danny Elfman?! To celebrate the 20th anniversary, the soundtrack to Spider-Man 2 arrives on vinyl. The score's legendary themes continue to inspire. Witnessing Elfman perform these themes live at Coachella was an unforgettable experience, with a live orchestra captivating the audience. Enjoy one of the most important soundtracks in the superhero genre now on beautiful vinyl.
Review: We don't need to tell you why Tim Burton's musical masterpiece 'The Nightmare Before Christmas' is good, but what makes the soundtrack even better? Why, the inclusion of Sir Patrick Stewart's cut epilogue on track two of course! Celebrating the cross-seasonal classic's 30th birthday is this double zoetrope record package, featuring iconic scenes from the stop-motion flick. The star of the show (sorry Patrick) is, of course, soundtrack legend Danny Elfman, who has seemingly gotten OST production down to an art form even to this very day. The Oingo Boingo singer-cum-producer has scored every movie you can think of: 'The Avengers', the 'Fifty Shades' franchise, 'Mission: Impossible' just to name a small handful. What newer fans may not know is that Elfman cracks out the vocals for this musical album, acting as the singing voice for main character Jack Skellington - yes, unfortunately, it's not Chris Sarandon's beautiful voice you're hearing, as great as that would be. It's never too late to get into a timeless classic like this, go out and spread the good word.
Donna Summer - "MacArthur Park" (single version) (3:54)
Bee Gees - "Tragedy" (4:53)
Alfie Davis & The Sylvia Young Theatre School Choir - "Day-O" (2:51)
Tess Parks - "Somedays" (2:30)
Scott Weiland - "Where's The Man" (5:06)
Richard Max - "Right Here Waiting" (4:24)
Sigur Ros - "Svefn-g-englar" (9:00)
Richard Harris - "MacArthur Park" (7:24)
Pino Donaggio - "Main Title From Carrie" (2:50)
Danny Elfman - "Main Title Theme" (3:21)
Danny Elfman - "End Titles" (4:35)
Review: Iconic movie classic Beetlejuice is back and we for one have enjoyed its return. Tim Burton's 1988 cult classic has been reimagined for modern audiences in 2014 and came complete with a new soundtrack. The original score, composed by the legendary Danny Elfman, blends whimsical melodies with eerie undertones, perfectly capturing the film's quirky and haunting vibe. Highlights of the original include Elfman's iconic main titles, which have become synonymous with Burton's gothic style. The new soundtrack also features standout tracks like Alfie Davis & The Sylvia Young Theatre School Choir's rendition of 'Day-O' and Richard Marx's "Right Here Waiting," adding fresh dimensions to this timeless, offbeat classic.
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