取一个假乐队名，为一部压根不存在的西部电影做原声？是的，这是The Molds又一次唐吉坷德式的小玩笑，他们当然希望有这样的能力，或许等着他们的是又一次事与愿违。可谁又不是呢？你不可能总是得到你想要的。
于是，乐队在准备告别演出的1个月间见缝插针，完成了4首主题概念作品的创作和录音。随后，听从宿命四散而去，隔海相望。这会是西城最后的沙龙么？

With that mentality in mind, it’s no surprise that his talents have trickled over into fashion, producing original compositions for the Louis Vuitton Foundation x MoMa Archive film (2017) and most recently scoring the Men's Dunhill Paris Fashion shows in both 2018 and 2019. A double MOBO & Jazz FM Award winner, Boyd’s live and studio collaborations have been as varied as they have been prolific, from touring with Sampha & Kelsey Lu, to drumming on Sons of Kemet’s Mercury-nominated album, to his recent collaboration with South African Gqom king DJ Lag, which made its way onto Beyonce’s official soundtrack for The Lion King. He produced Zara McFarlane 's 2017 full-length, Arise, in its entirety, for Gilles Peterson’s Brownswood label, and released several acclaimed solo projects though his Exodus record label. Boyd has produced original scores for major Paris fashion shows, and with saxophonist Binker Golding, he’s co-leader and co-producer of the ferocious semi-free group Binker and Moses.

名為「龐克」的框架中，SADOG 絕對會是最孤僻、最固執的那個，如果渾厚的菸嗓是利器，那⾃怨⾃艾的詞句也會是軟如⾖腐般卻緩緩滑溜⽽下的不妥協。
由主唱 陳融 擔綱樂團創作主腦，演過⼀些演出、發⾏了⼀張專輯，並在這之間獲得了 桃園鐵玫瑰熱⾳賞 第⼆名、貢寮國際海洋⾳樂季 海洋獨立⾳樂⼤賞前⼗強。
在歷經幾度團員更替下逐漸步上軌道，並於⾸張專輯「⼈間」發⾏計畫中同步⾃導⾃製了4⽀ MV 作品，奠下 SADOG ⾳樂和影像密不可分的基礎。
發⾏介紹 /
「硬幹總有累的⼀天，承受世界對我的⼀陣亂拳後，倒臥⾎泊中依然會點起⼀根菸。」
「我最後的反抗。」
如果有天無法喊了那就彈吧，不能彈了那就寫吧，到了氣⼒放盡的那時候，希望我還能⽤⼒思考滷⾁飯要不要加顆滷蛋。
今天睡了 20 ⼩時的我，只為了不要感到肚⼦餓。現在有股衝動，我只想聽 SADOG。
本次發⾏《奧少年 Shabby Boy》，取⾃台語俗稱的「不堪⼀擊、什麼都很弱的年輕⼈」，⾃嘲中也顯露了 SADOG 即便願與失敗共處，卻清楚知道⾃⼰所追求的，之所以「奧」、也是因為對⾃⾝價值的堅信和固執。
在《奧少年 Shabby Boy》作品之中，SADOG 再度挑戰更緊密的將⾳樂和影像結合、將本次收錄的三⾸歌曲的巧妙串連，詼諧呈現懷抱理想⽽後落空的劇情，不斷倒敘的夢和情境，讓原本並無新意的故事更顯荒謬，也格外真實。
歌曲介紹 與 推薦 /
曲⽬介紹：
1. 有情飲⽔飽 Platonic Love
『當我以柏拉圖式的愛去深愛⼀個⼈，這個愛的地位就像葡萄醣⼀樣稀鬆平常⼜不可或缺，不⽤證明也不⽤想像他的存在，我總是知道我擁有著他。』
2. ⼗八天 Eighteen Days
『藥物、酒精、⾎腥、暴⼒，在⼗八天裡的墮落與懺悔間，⼀天⼀層，走向地獄。』
3. 奧少年 Shabby Boyz
『我是⼀個沒路⽤的奧少年，裝作不在意的⽤充滿⽭盾的字句⾃娛娛⼈，他們都笑了，我也笑了，但各⾃回到⼀個⼈的房間，吶喊的反抗，才是真的。』
4. ⼀往情深 Eternal Sunshine
『夢沒有出⼝，是多情的錯，⾃⽢墮落，⼀無所有，是無⼼之過；等著你回來，我就站在原地，嘴上⼀句：「等著你回來」』
影像推薦：
1. 索拉⼒影像 - 香菇
關於愛情關於⼈⽣關於搖滾樂的神話從妄想到現實，那張⽀撐夢境的床，也像⼿中的那把電吉它，是⾶往⾃由的⼀張魔毯！
2. 導演 - 劉立
現實更多是隱忍的苦笑，精神隨著吐出的煙消散，⼀天天、⼀點⼀點地持續流失著什麼好像很重要的東⻄但你早就忘了或是不敢回想。
⾳樂推薦：
1. 八⼗八顆芭樂籽 - 阿強
我我很喜歡這張EP的氛圍，曲序安排很棒，這張的吉他表現也很優秀。
同時也展現了他們駕馭不同曲風的能⼒和可能性。
⼀⾸⼀⾸聽下來就會不⾃覺的進入了那些歌曲裡描述的場景。
編曲和上⼀張比起來少了很多的刻意或是蠻幹的奧少年氣息，很⾼興製作⼈把他們沒那麼準卻充滿情感的樂器演奏留了下來，沒有因為商業或是潮流考量剪過準⽽喪失了應該要表現出美感。
2. 非⼈物種 - 阿顯
傷⼼的⼈在衝撞
不如意的⽣活
傷⼼的狗
不知去向
想作亂的衝動
想把⼈⽣變成⼀場派對
留下愛和存在的證據
在酒醒之後
實體收錄內容 /
本次《奧少年 Shabby Boy》實體作品中，除了收錄四⾸歌曲外，也將收錄 三⽀ MV 作品、並將其結合為長片。
更於內⾴中放置 MV 拍攝分鏡圖、道具 ... 等，精彩的創作過程⼤公開！

The first release from Evans' new group Being & Becoming, featuring some of the leading lights from the next generation of creative musicians: Joel Ross, Nick Joziwak, and Savannah Harris. This debut album features a set of new compositions from Evans, moving between notated chamber music textures, free improvisations, deep grooves and telepathic ensemble playing.
Being & Becoming represents a new chapter in Evans' commitment to composition and improvisation in a small-group format. After working with a variety of ensembles that feature electronics, Being & Becoming is a totally acoustic venture. Like Evans, all three of his new bandmates move effortlessly from very traditional musical contexts to the most forward-thinking. The group has been slowly refining its concept in NYC since 2017. The quartet's 2020 self-titled record on Evans' More is More Records marks another point of evolution in his commitment to composing for creative musicians.
Peter Evans - trumpet, piccolo trumpet
Joel Ross- vibraphone
Nick Jozwiak - bass
Savannah Harris - drums and percussion
All compositions by Peter Evans
Recorded by Jason LaFarge at Seizure's Palace, April 15 2019
Mixed by Jason LaFarge
Mastered by Weasel Walter
Cover art: "Circles in a Circle", Wassily Kandinsky 1923

Inspired by digital and analog, jazz and hip hop, composition and improvisation BOBBY RAUSCH is the sound of young Berlin. Their concerts lead audiences through deep bass valleys, through pulsing groovescapes and the urban night. Drawing influences from electronic beats and rockvinyls alike, BOBBY RAUSCH plays the soundtrack for those tired of compromise. Handmade in Berlin!

Producer/Composer: 南洋派對 N.Y.P.D.
Artwork: Leo Su
Mixer: Paul McLean @ Sunset Studio
Distribution: Alpha Pup
Label: Silk Road Sounds

Tracks listed sequentially on the release.

Growing up in Taiwan in the 90’s, the brothers listen to 電子琴音樂 which they describe as “relaxing Chinese synth pop” along with video game soundtracks, psychedelic music, doom metal and sound collage/library music. On “Mystery 秘神”these inspirations combine with the dark humour of Taiwanese folklore and a love of conspiracy theories to form what they describe as “a psychedelic journey to the east.”
Recorded in their home studio in Taipei, “Mystery 秘神”is a psychedelic journey into Taiwanese folklore combined with the 80’s media obsession with the supernatural. It’s a record that manages to combine nostalgia and tradition with humour and an underlying intrinsic earthiness to create something unlike anything else out there.

Party Dozen are a duo from Sydney made up of Kirsty Tickle (saxophone) and Jonathan Boulet (percussion and sampler). Since forming in 2017, they have become renowned in Australia for their incendiary live shows, touring and playing with acts such as Liars, Tropical Fuck Storm and Viagra Boys. Exactly what Party Dozen are is completely up to the listener. Doom. Jazz. Hardcore. Psychedelic. No-wave. Industrial. Although largely instrumental, their sets are punctuated by Kirsty’s unique “singing” style, screaming into the bell of her saxophone which itself goes through a bevy of effects pedals. Intensely independent in everything they do, the duo write, perform and record everything themselves.

If You Listen Carefully The Music Is Yours by Gard Nilssen´s Supersonic Orchestra,
Fasten your seat belt, please. Get ready for the full tilt, barely tamed, beautiful monster that is Gard Nilssen’s sixteen-piece Supersonic Orchestra. Audacious and experimentalist, like everything the Norwegian drummer and composer touches, Supersonic flouts convention and, in particular, realigns the longstanding relationship between pre-composition and improvisation in orchestral jazz. If You Listen Carefully The Music Is Yours, its debut, was recorded live at the adventurous Molde International Jazz Festival in 2019, where Nilssen was Artist in Residence. The band’s uniquely configured, all-star lineup features three drummers, three double bassists and ten horn players, most of them saxophonists. It is a big band, Jim, but not as we know it.
Extraordinarily prolific, Nilssen has since 2007 recorded over seventy albums, most of them with small groups such as the trios Acoustic Unity, Bushman’s Revenge and Amgala Temple. A handful have been made with big bands: three with the acclaimed Trondheim Jazz Orchestra (Happy Endlings, Savages and Lion), one with Zanussi Thirteen (Live).
Nilssen started playing drums practically before he was able to talk, and despite the dominance of small groups in his discography, his formative listening and performing experiences were with larger ensembles.
“I began drumming when I was two,” says Nilssen. “My father, grandfather, uncle and two cousins played drums. There were drums everywhere. It was a jazz-loving family and I grew up listening to the classic big-band format with Count Basie. I’ve always loved the sound of a big band.” Jo Jones, drummer with the Basie orchestra from 1934 – 1948, is still one of Nilssen’s favourite musicians.
“When I was eight,” says Nilssen, “I started playing in a marching band in my hometown [the seaport Skien], along with my best friend, the trumpeter Thomas Johansson [a member of Supersonic]. Later, when we were teenagers, we also played in a couple of big bands, one at high school and another in town.”
Nilssen is attracted by the scale of instrumental combinations offered by extended lineups. “You can get so many different sounds and textures and constellations inside a big band, it’s practically infinite,” he says. “And if the musicians are as fantastic as those in Supersonic, your arrangements can be dynamic rather than rigid - the music can be wilder and more spontaneous than is standard in big bands. In Supersonic there is plenty of room for the musicians to improvise and be free in the music. That is what we’re best at after all.”
Nilssen composed and arranged If You Listen Carefully The Music Is Yours with Acoustic Unity’s saxophonist, André Roligheten. “André is a genius,” says Nilssen. “He took this project to another level. Making music with him is always pure pleasure.” Nilssen and Roligheten’s approach is sweepingly original but there are reminders, conscious or otherwise, of jazz history within it. The album opens with a feral uproar in which Sun Ra-esque space chords punctuate free-blowing ensemble eruptions, twin devices Ra used to kick off Arkestra performances. Later there are echoes of the eighteen-piece band John Coltrane put together for 1961’s Africa/Brass and with Charles Mingus’ mid-sized Jazz Workshop ensembles: the tumult generated by those lineups is mirrored by Supersonic’s horn section, in which reed instruments, in a reversal of big-band convention, decisively outnumber brass.
If You Listen Carefully The Music Is Yours shifts between carefully scored orchestral passages and looser small-group breakouts, between collective hullaballoo and intimate dialogue, between dissonance and melodicism, between passion and reflection. It is shot through with twists and turns. Sixty years ago, The New Yorker magazine’s renowned jazz critic, Whitney Balliett, defined jazz as “the sound of surprise.” Supersonic’s performance overflows with it. Among other modern big bands, perhaps only those led by the Japanese pianist and composer Satoko Fujii deliver the unexpected so satisfyingly.
Supersonic benefits substantially from its scaled-up bass and drum sections, and not simply in terms of volume or traction. “Having three drummers gives each one of us more space to play around the beat,” says Nilssen. “We can go in and out of it, be more creative and add colours to the music. It means Håkon [Johansen], Hans [Hulbækmo] and I don’t have to be timekeepers all the time, which we never wanted to be in the first place. You don’t really need much timekeeping with this band anyay. You just press play and go.” The same broadening of vistas extends to the bass section. (The other big band to use three double basses so effectively in 2019 was the Art Ensemble of Chicago on We Are On The Edge).
If You Listen Carefully The Music Is Yours also carries resonances of music from beyond the American tradition. The album concludes with the storming “Bytta Bort Kua Fikk Fela Igjen,” whose Afrobeat-inflected backstory is winningly foregrounded at various points (most explicitly at 5:00, 11:51, 12:20 and 13:17). Nilssen is a longtime fan of Fela Kuti’s music.
Along the way, the album revisits some of Nilssen and Roligheten’s compositions for Acoustic Unity, with orchestral interpretations of “Bøtteknott,” “Elastic Circle” and “Jack.”
Few things in jazz are as exciting as the sound of a big band in full flight. Supersonic was a sensation at Molde and it deserves to be toured. But economics mean that any further performances are likely to be strictly local. If You Listen Carefully The Music Is Yours, however, makes sixty-six minutes of maybe one-off live magic available to everyone. Remember your seat belt, please.
Chris May / January 2020

Almost 4 years after their second, Yuri Gagarin return with a brand new studio album! You certainly cannot accuse the Swedish space-rockers for being over-productive, neither can you for shape-shifting in the name of publicity... Based on their fundamental "Space Ritual-era-Hawkwind" template, Yuri Gagarin stay firm on their path while getting more versatile in the ideas, more evocative in their soundscapes and, most importantly, richer in their melodic approach; unlike many of their contemporaries, Yuri Gagarin, except for their ambient mastery, rely on their innate sense for melody and, almost cinematic, approach to drama. On "The Outskirts Of Reality" Yuri Gagarin present five new songs! Maybe with no lyrics, but still, these are songs, with the entire human feelings' part lying in the details; as if stuck in a never-ending spacetime continuum loop, trying to fabricate small changes each time, looking for a hole leading to eternity... On this, their third lifetime, their riffs are...more bad-ass, their rhythms more punishing, their themes irresistible. Wish they never find this hole!

Blue Note debut by cornetist and composer Ron Miles, this is the follow-up to his widely acclaimed 2017 album I Am A Man, featuring the same remarkable collaborations. Miles wrote most of the music in Summer 2018 as his father was passing away; it's both a loving dedication and a riveting spiritual document that scores the journey from Earth to eternal peace. "Rainbows deal with renewal. Sometimes, our limitations can inform what we can see."

The planets have aligned, and space itself has opened up to grace us with the heavy roll of Black Elephant's Seven Swords. The Italian fuzzmongers mark 10 years of cooperative corporeal existence in 2020 and last checked in from their native Savona in Summer 2018 with the aptly-titled Cosmic Blues, and two years and an entire lifetime later they're back with another collection of classic-minded heavy groovers, picking the best the '70s, '90s and '10s had to offer in riffery and melding spacey blowouts with desert-hued hooks.
Seven Swords is the second LP Black Elephant have issued in league with Detroit-based imprint Small Stone Records, and whether it's the scorching leads of "Yayoi Kusama" or the conscious wink-and-nod of "Red Sun and Blues Sun" a short time later -- just ahead of the bluesy "Seppuku" and the near-nine-minute stretch of closer "Govinda" -- the four-piece bring their finest work to-date in an efficient seven-track/33-minute stretch, building not only on what they accomplished on Cosmic Blues, but also what their prior two full-lengths, 2014ís Bifolchi Inside and 2012ís Spaghetti Cowboys, were building toward. This is a band coming into their own, wasting neither their time or yours in the process.
Fuzz pedals preach on, the sky cracks, and the riffs themselves seem to lock bellies in sumo battles, so what the hell? The world's ending anyway. You might as well have some fun with it.released August 21, 2020

Black Elephant is:
Alessio Caravelli: guitar and vocals
Massimiliano Giacosa: guitar
Marcello Destefanis: bass
Simone Brunzu: drums
Recorded and mixed by Giulio Farinelli.
Recorded at Green Fog Studio, Genoa, Italy.
Mixed by Giulio Farinelli at Everybody On The Shore studio, Milan, Italy.
Mastered by Chris Goosman at Baseline Audio Labs, Ann Arbor, MI.
Cover and Design by Robin Gnista.
Published by Small Stone Records (ASCAP).

西海岸制作人、爵士音乐人Terrace Martin、融合爵士音乐人Robert Glasper，爵士音乐人Kamasi Washington以及说唱制作人9th Wonder宣布成立超级组合Dinner Party！组合的首张同名专辑将在7月10号正式发行。

The twelfth show of the Nighttime Stories tour took place at the Grog Shop, a venue that has played host to many, many memorable Pelican shows over our nearly 20 year tenure. This night was no exception, as we were joined by our great friends Bloodiest and Six Kills Nine. Moreover, this leg of the tour - four shows in the Midwest over the course of a long weekend - kicked off with Trevor crushing a fingertip on his left hand while loading amps into the practice room two days before hitting the road.
For this jaunt we enlisted the talents of our longtime friend and erstwhile live sound collaborator Matt Hannigan, who has a habit of recording multitrack audio of the shows he mixes. On listening back to the recordings, we were particularly into this one: it seems to really capture the excitement and energy of the night (and tour, overall).
We'd been planning to share a recording from this tour at some point and now just seems the moment - with the next leg of live dates postponed and no definitive sense of when we'll be able to perform together again, we felt compelled to share. We hope we can revisit these songs in front of audiences again soon. Until then, please take care of yourselves; stay safe, stay healthy.
credits
released April 15, 2020
Performed in Cleveland OH @ The Grog Shop on September 15th 2019 by:
-Larry Herweg
-Bryan Herweg
-Trevor Shelley De Brauw
-Dallas Thomas
Recorded/FOH by Matt Hannigan
Mixed and Mastered by Dallas Thomas
Cover Photo by Matt Darcy

スリーピースロックバンド 羊文学のメジャーデビューアルバム完成。
唯一無二の音楽性とそのオリジンなスタイルで、音楽のみならずファッション、アート、カルチャー・シーンから、今、絶大な支持と共感を得ている羊文学が、満を持してのF.C.L.S.からデビュー1stアルバムをリリース。これまでにキャッチしたファンのみならず、新規リスナーを惹き込み続ける3人。2020年8月に配信リリースされた「砂漠のきみへ/Girls」、2019年年末に数量限定販売したCDが即完し話題を呼んだロングヒット曲「1999」を含む、強さと優しさをもった全12曲を収録。DVDには2020年8月のオンラインツアー"優しさについて"の映像を収録。公演ごとに羊文学と縁のある都内3箇所ライブハウスから配信し、セットリストだけでなく監督・スタッフと作りあげた映像とCDとをセットに1つの作品としてリリースします。