This marks the 20th Øresund Space Collective release. The music was recorded by a very special group of musicians from Sweden and Norway (plus Dr Space-Denmark) at the Black Tornado studio in Copenhagen. The members are from a wide variety of bands including Tangle Edge, Agusa, Camper von Beethoven, My brother the Wind, and Ex-Siena Root. The mixture of pedal steel, sitar, violin, mandolin, and theremin, presents a new and exciting sound and energy ranging from high energy space rock like Ride to Valhalla to very laid back country space blues with Jam for Jerry G and Indian space trance of the Digestive Raga…
Extensive set exploring the space rock and free festival scene, 1978-1998. Compiled with the legendary Dave Brock, frontman of Hawkwind, figurehead of the scene and inspiration for counteless like-minded heads.
efore her well-known collaborations with Meat Loaf producer Jim Steinman, Welsh-born singer Bonnie Tyler (born Gaynor Hopkins) performed off and on in her homeland with the R&B band Mumbles; nodules on her vocal cords prevented her from singing full-time until 1976, when she underwent an operation to have them removed. The surgery left her with a raspy, husky voice that proved an effective instrument and drew notice from writer/producers Ronnie Scott and Steve Wolfe, who became her managers…
When one thinks of pairing vibraphonist Gary Burton with another soloist, Chick Corea comes foremost to mind. Burton’s work with guitarist Ralph Towner could hardly be more different, for where the former configuration funnels into a colorful storm of activity, in the latter we find far more intimate gestures articulated in monochrome. Case in point: “Maelstrom,” which starts us on the inside, spinning on its edge like a coin teetering at the promise of rest. Towner is as delicate as ever, fitting his harmonic staircases into Burton’s Escherian architecture with ease. This piece also highlights Towner’s compositional talents, which make up eight of the album’s nine tracks (the only exception being the slice of sonic apple pie that is “Blue In Green”).
Memories — places, vacancies, allusions — are fundamental characters in Mary Lattimore's evocative craft. Inside her music, wordless narratives, indefinite travelogues, and braided events skew into something enchantingly new. The Los Angeles-based harpist recorded her breakout 2016 album, At The Dam, during stops along a road trip across America, letting the serene landscapes of Joshua Tree and Marfa, Texas color her compositions. In 2017, she presented Collected Pieces, a tape compiling sounds from her past life in Philadelphia: odes to the east coast, burning motels, and beach town convenience stores. In 2018, from a restorative station — a redwood barn, nestled in the hills above San Francisco's Golden Gate Bridge — emanates Hundreds of Days, her second full-length LP with Ghostly International. The record sojourns between silences and speech, between microcosmic daily scenes and macrocosmic universal understandings, between being alien in promising new places and feeling torn from old native havens. It's an expansive new chapter in Lattimore's story, and an expression of mystified gratitude. A study in how ordinary components helix together to create an extraordinary world.