傀儡乐队2022全新专辑

The music stems from the curiosity of navigating states between wakefulness and dreaming.
Whether emerging from deep sleep, shallow sleep or an afternoon reverie, hypnopompic states can be liminal spaces where things might increasingly become more controlled or cerebral amongst receding personal or collective experiences and sensory distortion. One might encounter mysterious archetypal characters or projections which bring forth disorientation, ambiguity and perhaps illusion.
Beyond the psychological, this music embraces South Asian classical music’s nuanced polyrhythms and extended time cycles, refigured in the context of contemporary creative music, jazz and ambient music.

请进，陌生人。
这里有诡谲的配乐，扑朔迷离的故事，透过耳机为你呢喃。 欢迎来到 Mong Tong 的「怪谭」。
四位奇人，将带来四则故事，围绕著四个季节。

梦东的最新发行《怪谭之四季故事》再次结合了他们标志性的迷信音乐和对都市怪谈的生动诠释。这是一本有声书的低语——这些光怪陆离的故事恍若漂浮在耳机中，带领我们穿越到一个个既私密而又超现实的多重宇宙。

《怪谭之四季故事》的企划创意，起源于某一次梦东与朋友们开车出游的旅行经验。在开车途中，大伙一时兴起玩起了故事接龙。这群朋友不约而同的都对怪诞、令人不安的都市怪谭有著极大的创作热情。梦东便以此为契机，陆续在台中举办了两次实体活动「怪诞故事学」，并邀请了更多新朋友加入作者群，创作各式各样的都市怪谭。

无论以专辑架构或是题材而言，《怪谭之四季故事》都能够被视作为梦东的一段创作旅程。这张有声书专辑由四个故事组成—呼应著四季命题，跟随著四组神秘的讲者们一同穿越俗世与精神性之间的模糊地带。梦东的洪御和郡崎兄弟档将他们的怪诞合成器配乐与时而惊悚、时而荒谬幽默的人声叙事巧妙混制，让听众沉浸在魔幻写实的异度时空中。此专辑另有一个纯器乐演奏版的B面设定——非常适合想在梦东怪谭中的声音景观旅途中稍作停留、慢慢欣赏的游客们。

当我们与梦东聊到他们关于这个企划的未来目标时，兄弟二人都表示希望《怪谭之四季故事》未来能够发展为一个可持续的跨领域合作基础。梦东的迷信音乐招唤回了都市怪谭的古老叙事传统，让恐惧得以有了全新的血肉续命；再度为提升人类大脑刺激阀值做出了有价值的贡献。

曲目:
A-side 怪谭 The Tales
1.欢迎来到 by 红仙身
2.当归鸡汤 by 黄韦文
3.失屋记 by 金加菲
4.长河渐落 by 施阿莫
5.四季牛肉面 by 爸时髦
B-Side 器乐instrumental
1.当归鸡汤
2.失屋记
3.长河渐落
4.四季牛肉面

记 临暗2022 重新混音版
去年三月最后一天，永丰来到徐玉光的录音室，为「临暗」专辑补录口白。永丰迟到了十八年；当时生祥与三位乐手--锺玉凤、陆家骏及彭家熙，借用淡江大学文锱音乐厅以live方式录音，他被困在议会。
临暗是生祥与永丰困难的第三张。先是词曲嵌合煎熬年余，复以乐团新组，须耐心形成默契。录音后，囿于资金短缺，难以细磨后制。虽获金曲奖及乐评界慷慨肯定，但十数年后当重新混音的条件聚拢，原始音档却花了一年多才寻获。
再版的临暗专辑有三大特点。首先，除了永丰口白版本的”辗来辗去”，专辑收录了发展阶段中的重要录音--生祥与后来他拜师学艺的冲绳三线大师平安隆录制的”古锥仔”。再者，在声音的分辨率上，取样频率由44.1 KHz提升至88.2KHz。最后，经德国录音师Wolfgang的精雕慢琢，音场更立体，声音层次更佳，乐器间更表现出现场互动，总而显著提升了音乐性与声响乐趣。

就在一瞬間，時光流逝，生命來去，時代變遷，物換星移，和平戰爭，喜怒無常。一樣的基本元素，不同的排列組合，幻化為多重宇宙，多元人生。
「後搖先鋒」昆蟲白2011年首張專輯《自然人》，不同于甜梅號的安靜內斂，如同火焰燃燒炙熱青春。隨著時間沉澱，歷經人生不同插曲，褪去猖狂張牙性格，多了甜蜜與柔軟，不變的是熟悉的吉他tone。乍聽以為青春不曾遠去，但一瞬間才發覺「自然人」已長成現在斜杠的自己，歷經過程全濃縮於相隔11年的《瞬間》。
收錄9首昆蟲白創作，融合甜梅號與《自然人》90年代搖滾精神，打造兩種折衷音樂類型，譜出自我觀察的《瞬間》，由昆蟲白擔任製作，攜手體熊專科包子、白目樂隊小光、929嘟嘟合力操刀，共同詮釋多樣聲音表情，投射昆蟲白內心世界的浪漫與情懷，也回應外在世界的現實。
2022年世界依舊巨變，疫情尚未停歇，戰爭近在眼前，流連的唱片行夷為平地，然而無論城市如何運轉，我們仍穿梭照常過活。回顧這些消失、錯過、恐懼的種種，隨著社群的快速與便利，流覽無常已是人們的日常。昆蟲白帶著凝視過往而沉澱後的心情，收集失落的夢境，重組散落的瞬間，轉化為9首有詞或無詞的心靈血肉之歌。

三年过去，还是没能成为一个厉害的大人。Chinese Football也没能成为一个摇滚天团。
游戏一旦开始就注定会有一个结局。
胜利或失败。
每个人都想成为赢家，用胜利的喜悦去回报付出的时间。
日复一日，已经开始接受失败的自己，接受有些梦想注定无法实现的事实。学会了自我安慰：拥有的是过程，努力过就好，收获在别处，至少已战胜了自己。
然后庆幸自己头脑清醒。没有迷失在与他人较量后的虚荣中，也没有迷恋于与自己较劲后的感动中。
只是偶尔还会发梦，梦到还未走向最终的结局。在某个结局里，我最终成为一个厉害的大人，Chinese Football也成为了中国摇滚传奇。（文/徐波）
《Win&Lose》作为游戏三部曲的最后一部，延续在《Here Comes a New Challenger！（新的挑战）》和《Continue？！（游戏继续）》之后。游戏会有终章，但是青春的游戏还会继续。
这是一张诞生于纠结和茫然时期的专辑，我们既对未来充满希望，又不知道明天将何去何从。三年的时间说长不长，但重量却无与伦比。我们在经历了痛苦，努力，挣扎和一丝绝望之后，似乎又看到一切可以重新开始。那么，胜利和失败，究竟应该如何定义呢？
也许就像专辑中的《游戏胜利》，将音频波形倒转就变成另一曲《游戏失败》，反之亦然。胜利和失败注定是一枚硬币的正反面，如影随形。
这张专辑本应在一年前就和大家见面，但世事难料，很多事情就是无法如期望般实现。但现在这个时间恰恰正好，三年前的这个时候我们的世界和过去一分为二，三年后的今天我们似乎又要回到之前的世界了。三年前暂停的旅程，又应该继续下去了，发出这张专辑，接受胜利和失败，再继续前往下一个篇章吧。
发行厂牌：野生唱片
发行编号：WILD-022
录音师：骷髅，李珂
录音棚：光合录音室，VOX STUDIO
混音/母带：骷髅
制作：Chinese Football（徐波/王博/李立鑫/郑紫莉）
封面插画：史悲
【特别感谢】
《武汉》
萨克斯：王威
小号：桂洲
长号：张硕
《人间失格》
手风琴：郭雨潇

First Word Records is very proud to bring you a brand new mini-album from Takuya Kuroda!
Takuya Kuroda is a highly respected trumpeter and arranger born in Kobe, Japan and based in New York City. 'Midnight Crisp' is Takuya's seventh studio album, entirely self-produced and following 2020's highly acclaimed 'Fly Moon Die Soon', also released on UK label First Word (winner of the Worldwide Award's Label of the Year in 2019). Consisting of six new tracks, this once again sees Takuya displaying his unique hybrid sound, blending soulful jazz, funk, post-bop, fusion and hip hop.
After following the footsteps of his trombonist brother playing in big bands, he relocated to New York to study jazz & contemporary music at The New School in Union Square; a course he graduated from in the mid-noughties. It was here that Takuya met vocalist José James, with whom he worked on the 'Blackmagic' and 'No Beginning No End' projects.
Following graduation, Takuya established himself further in the NYC jazz scene, performing with the likes of Akoya Afrobeat and in recent years with DJ Premier's BADDER band (also including acclaimed bass player, Brady Watt). Premier said "The BADDER Band project was put together by my manager, and an agent I've known since the beginning of my Gang Starr career. He said, 'What if you put a band together that revolved around a trumpet player from Japan named Takuya Kuroda? He's got a hip-hop perspective and respect in the jazz field…"
Takuya Kuroda is already incredibly prolific, releasing six albums in the past decade and fortifying a solid reputation in the global jazz scene. 2011 saw the release of Takuya's independently-produced debut album, 'Edge', followed by 'Bitter and High' the following year and 'Six Aces' on P-Vine in 2013. Takuya was signed to the legendary Blue Note Records in 2014 for his album 'Rising Son', as well as appearing on their 2019 cover versions project, 'Blue Note Voyage'. He released his 5th album 'Zigzagger' on Concord in 2016, which also featured Antibalas on a reimagining of the Donald Byrd classic 'Think Twice'.
His last album was the afore-mentioned 'Fly Moon Die Soon' on First Word, which received plays and support from the likes of Pitchfork, Earmilk, Bandcamp Weekly, Worldwide FM, All About Jazz, Apple Music, Tidal, Stereogum, Treble, Brooklyn Vegan, FIP (France), Tony Minvielle, Jazz FM, Huey Morgan (BBC 6 Music), BBC Radio 3, Novena Carmel, KCRW and tons more DJs, tastemakers, selectors, radio stations, bloggers & magazines.
credits
released October 21, 2022

Black Country, New Road return with the news that their second album, “Ants From Up There”, will land on February 4th on Ninja Tune. Following on almost exactly a year to the day from the release of their acclaimed debut “For the first time”, the band have harnessed the momentum from that record and run full pelt into their second, with “Ants From Up There” managing to strike a skilful balance between feeling like a bold stylistic overhaul of what came before, as well as a natural progression.
Released alongside the announcement the band (Lewis Evans, May Kershaw, Charlie Wayne, Luke Mark, Isaac Wood, Tyler Hyde and Georgia Ellery) have also today shared the first single from the album, ‘Chaos Space Marine’, a track that has already become a live favourite with fans since its first public airings earlier this year - combining sprightly violin, rhythmic piano, and stabs of saxophone to create something infectiously fluid that builds to a rousing crescendo. It’s a track that frontman Isaac Wood calls “the best song we’ve ever written.” It’s a chaotic yet coherent creation that ricochets around unpredictably but also seamlessly. “We threw in every idea anyone had with that song,” says Wood. “So the making of it was a really fast, whimsical approach - like throwing all the shit at the wall... and just letting everything stick.”
Their debut “For the first time” is a certain 2021 Album of the Year, having received ecstatic reviews from critics and fans alike as well as being shortlisted for the prestigious Mercury Music Prize. Released in February to extensive, global, critical support - perhaps best summed up by The Times who wrote in their 5/5 review that they were "the most exciting band of 2021" and The Observer who called their record "one of the best albums of the year" - the album made a significant dent on the UK Albums Chart where it landed at #4 in its first week, a remarkable achievement for a largely experimental debut record. The album also reached #1 on Any Decent Music, #2 at Album Of The Year and sat at #1 on Rate Your Music for several weeks, remaining the record to generate the most fan reviews and site discussion there this year. Black Country, New Road were also declared Artist Of The Week and Album Of The Week by The Observer, The Line Of Best Fit and Stereogum, and saw features, including covers and reviews, from the likes of Mojo, NPR, CRACK, Uncut, The Quietus, Pitchfork, The FADER, Loud & Quiet, The Face, Paste, The Needle Drop, DIY, NME, CLASH, So Young, Dork and more.
With “For the first time” the band melded klezmer, post-rock, indie and an often intense spoken word delivery. On “Ants From Up There” they have expanded on this unique concoction to create a singular sonic middle ground that traverses classical minimalism, indie-folk, pop, alt rock and a distinct tone that is already unique to the band.
Recorded at Chale Abbey Studios, Isle Of Wight, across the summer with the band’s long-term live engineer Sergio Maschetzko, it’s also an album that comes loaded with a deep-rooted conviction in the end result. “We were just so hyped the whole time,” says Hyde. “It was such a pleasure to make. I've kind of accepted that this might be the best thing that I'm ever part of for the rest of my life. And that's fine.”
Black Country, New Road's live performances have already gained legendary status from fans and has seen them labelled "one of the UK's best live bands" by The Guardian. After the success of their livestream direct from London’s Queen Elizabeth Hall, Southbank Centre, stand-out performances at SXSW and the BBC 6 Music Festival, and following a sold-out UK tour this summer, high-profile festival appearances, and a 43 date UK & EU tour to follow in the Autumn with sold out US dates next year, the London-based seven-piece today announce further UK & IE dates in support of the album for April 2022, preceded by their biggest London headliner to date at The Roundhouse in February.
Black Country, New Road Live at the Queen Elizabeth Hall, mastered by Christian Wright at Abbey Road, will be available as part of the Deluxe LP and CD versions of ‘Ants From Up There’.
Fans who pre-order any format of ‘Ants From Up There’ from the Black Country, New Road store, their Bandcamp page and the Ninja Tune shop, will be able to gain access to the pre-sale for the 2022 UK headline tour dates.
The full set of dates are as follows:
22/10/2021 - Rotondes, Luxembourg
23/10/2021 - Bumann & Sohn, Cologne – DE (SOLD OUT)
24/10/2021 - Botanique Orangerie, Belgium – BE (SOLD OUT)
25/10/2021 - Le Trabendo, Paris - FR
27/10/2021 - Le Grand Mix, Tourcoing - FR
28/10/2021 - Lieu Unique, Nantes - FR
29/10/2021 - Rockschool Barbey, Bordeaux - FR
1/11/2021 - Teatro Duse, Bologna - IT
2/11/2021 - Auditorium Della Mole, Ancona - IT
05/11/2021 - Circolo della Musica, Turin - IT
06/11/2021 - Bogen F, Zürich - CH (SOLD OUT)
08/11/2021 - Underdogs', Prague - CZ (SOLD OUT)
09/11/2021 - Frannz Club, Berlin - DE (SOLD OUT)
10/11/2021 - Hydrozagadka, Warsaw - PL (SOLD OUT)
11/11/2021 - Transcentury Update Warm Up @ UT Connewitz Leipzig - DE
12/11/2021 - Bahnhof Pauli, Hamburg - DE
14/11/2021 - Le Guess Who? Festival, Utrecht - NL
16/11/2021 - Paradiso Noord, Amsterdam - NL (SOLD OUT)
20/11/2021 - Super Bock En Stock, Lisbon - PT
21/11/2021 - ZDB, Lisbon - PT (SOLD OUT)
29/11/2021 - Chalk, Brighton - UK (SOLD OUT) *
30/11/2021 - Junction 1, Cambridge - UK (SOLD OUT) *
01/12/2021 - 1865, Southampton - UK *
03/12/2021 - Arts Club, Liverpool - UK (SOLD OUT) *
04/12/2021 - Irish Centre, Leeds - UK (SOLD OUT) *
06/12/2021 - O2 Ritz Manchester, Manchester – UK * (SOLD OUT)
07/12/2021 - Newcastle University Student Union, Newcastle Upon Tyne - UK *
08/12/2021 - SWG3, Glasgow - UK *
09/12/2021 - The Mill, Birmingham - UK * (SOLD OUT)
10/12/2021 - The Waterfront, Norwich - UK *
12/12/2021 – Marble Factory, Bristol – UK (SOLD OUT) *
13/12/2021 - Y Plas, Cardiff - UK *
15/12/2021 - Whelan's, Dublin - IE (SOLD OUT) *
08/02/2022 - Roundhouse, London - UK
18/02/2022 – DC9 Nightclub, Washington, DC – US (SOLD OUT)
19/02/2022 – The Sinclair, Cambridge, MA – US (SOLD OUT)
22/02/2022 – Sultan Room, Turk’s Inn, Brooklyn, NY – US (SOLD OUT)
23/02/2022 – Elsewhere, Brooklyn, NY – US
25/02/2022 – Johnny Brenda’s, Philadelphia, PA – US (SOLD OUT)
26/02/2022 – Bar Le Ritz, Montreal, QC – CAN
28/02/2022 – Third Man Records, Detroit, MI – US
01/03/2022 – Lincoln Hall, Chicago, IL – US
03/03/2022 – Barboza, Seattle, WA – US (SOLD OUT)
04/03/2022 – Polaris Hall, Portland, OR – US
05/03/2022 – The Miniplex, Richard’s Goat Tavern, Arcata, CA – US
06/03/2022 – Great American Music Hall, San Francisco, CA – US
08/03/2022 – Zebulon, Los Angeles, CA – US (SOLD OUT)
09/03/2022 – Regent Theater, Los Angeles, CA – US
06/04/2022 - The Foundry, Sheffield - UK
07/04/2022 - O2 Academy, Oxford - UK
09/04/2022 - Liquid Room, Edinburgh - UK
10/04/2022 - The Empire, Belfast - UK
11/04/2022 - 3Olympia, Dublin - IE
13/04/2022 - Albert Hall, Manchester - UK
14/04/2022 - Rock City, Nottingham - UK
16/04/2022 - Concorde 2, Brighton - UK
17/04/2022 - O2 Academy, Bristol - UK
02/06/2022 – Primavera Sound Festival, Barcelona - ES
08/07/2022 - Pohoda Festival, Trencin – SK
* - with Ethan P. Flynn
Pre-sale to The Roundhouse show and April 2022 UK / IE dates available from Tuesday 19th October at 9am BST. Tickets go on general sale on Friday 22nd October at 9am BST.

明天的盐第二张全长专辑，独立制作发行
大部分歌曲发生在2021年冬
去过再多世界，还是要回到房间
41分55秒，只是黑暗中一次短促的回声
2022年4月录制于杭州巢场
混音：黎忘年
母带：李平
设计：王姝喆

2022年5月，武权与王晓芳的新组合“武王晓芳”乐队首张专辑《东经116°71， 北纬39°72》，在BADHEAD厂牌出版。该专辑以CD及透明LP两种介质发行，均为限量编号版，其中CD发行400张，LP发行240张。
武权和王晓芳这两位老将相识二十多年，终于灵犀相通，成就天作之合。
1996年，眼镜蛇去美国参加音乐节演出并在著名的朋克圣地CBGB做专场演出——那时候在纽约的武权在那与王晓芳相识。2007年9月，武权、王晓芳、窦唯、文智湧一起参加了在澳门举办“HUSH!! FULL BAND 马拉松摇滚音乐节。直至2019年，在北京MAO LIVEHOUSE王晓芳《游离》专辑首发演出上，二人再次相遇，萌生合作念头。2020年年底，武权把他和李增辉所作的德国电影《大都会》默片配乐现场记录发给了王晓芳，二人由此明确合作，随后组建了“武王晓芳”。
这张《东经116°71， 北纬39°72》全长49分，收录有五首作品，命名为：《东一》《南二》《西三》《北四》《中五》，专辑的名字则是来自武权曾经生活工作二十年的一处所在，它看似明确，却又莫可名状，隐约地表达着对所谓主题和意义的弃绝……
专辑中二人各司其职，武权负责电子、合成器及采样，王晓芳则担任扬琴、空灵鼓、中国鼓。扬琴是“武王晓芳”音乐的出发点，或者说圆心。有别于她在摇滚乐作品中的扬琴运用，王晓芳的扬琴演奏更贴近声音的本体，而非其外在变现，打破了结构和调式的套路，她恣意独奏不同形制的形形色色的扬琴——有的经过她的改制——绘制出斑驳迷离的扬琴线条和织体，武权则反复聆听王晓芳的各色演奏录音，在浩瀚的扬琴海洋中游弋，捕捉灵光，开拓航线。作为中国当代非学院派实验音乐的代表，武权延续了他将抽象声音和音乐性元素相融合的手法，软、硬件兼施，大开大合，动静相宜，疏密有致，绘制出一片广袤的音簇星丛，其中采样的运用充满妙手偶得的机趣：鸟鸣、钟声、诵经……《北四》中的诵经采样来自2018年终南山净业寺的晚课，摄人心魂。
《东经116°71，北纬39°72》是一张难以定义的专辑，东方民乐实验+噪音即兴氛围？武权戏称它是“无门无派、欲言又止、王冠上镶嵌的宝石”。而王晓芳认为，“它呈现出一个多维度的空间，在这个空间里，有着不破不立的兴奋与冲动”。
绘画也是武权和王晓芳的共同语言。一个是音乐人出身去画画，一个则是画家出身做音乐，形成了另一种互补。王晓芳的个人专辑用了自己的画，而《东经116°71，北纬39°72》专辑的封面则用了武权的画——“名注”系列作品之“飞鸟集”。“名注”系列的命名来自“名著”的同音字，画面上鸽子脚趾的站立点符合一个空间的坐标，但脚趾下则是虚构的图像世界而非现实，它在视觉上契合了专辑名字的内涵——它看似明确，却又莫可名状！
“武王晓芳”第一张专辑出版的同时，第二张专辑也接近完成，令人期待。而“武王晓芳”的首场演出也在筹划中。
武权
武权毕业于中央工艺美院，并曾在北京工艺美校任教（注：这所学校孕育过不少乐队如清醒、超级市场、新裤子，而沈黎晖就曾是武权的学生）。1994年武权辞职成为自由艺术家，广泛涉足影像、绘画、音乐等领域。武权参与过窦唯主持的“不一定”和“不一样”两个自由即兴团体，与颜峻组过“铁观音”组合、与冯昊、李增辉、柿子组建过“没谱四重奏”，与李增辉组过“武李取闹”组合。
王晓芳
王晓芳自少学扬琴出身，八十年代便以“鼓手歌星”风格成名于流行歌坛。1989年，王晓芳参与组建了中国第一支全女子摇滚乐队眼镜蛇，担任主唱兼鼓手。2003年，王晓芳与窦唯、文宾合作了新民乐专辑《暮良文王》，这是民乐自由即兴的非凡实验，由窦唯策划的“暮良文王”，和王晓芳合作的唱片，迄今为止已有六张专辑一张EP。2019年，王晓芳在BADHEAD厂牌出版了个人专辑《游离》，堪称“摇滚扬琴”第一人。

Gondwana Records sign LA bassist and composer Seth Ford-Young’s Phi-Psonics project and announce a remastered deluxe-edition of The Cradle featuring bonus material
Phi-Psonics is a meditative, immersive instrumental group from Los Angeles, led by bassist Seth Ford-Young and featuring Sylvain Carton on woodwinds, Mitchell Yoshida on electric piano, and Josh Collazo on drums. Their deeply soulful music draws on jazz and classical influences together with Ford-Young’s own musical experiences, relationships, and his introduction to spirituality, yoga and philosophy at a young age, to create something uniquely its own. Phi-Psonics’ name and ultimate aim is to find ‘Phi’ – the golden mean – in art, nature and self. Ford-Young explains:
“It's a bit of a cliché, but music saved my life many times and instilled in me a belief in the great power of healing through art. It is my hope and intention that this music provides healing to someone somewhere.“
Originally from Washington DC area, Ford-Young moved to California in the early 90s and fell in love with the deep sounds of the upright bass and the music of Charles Mingus, John and Alice Coltrane, and Duke Ellington along with Bach, Chopin, Pärt, and Satie. He immersed himself deeply in music and keen to learn combined intense personal study with collaborations, tours, and recordings with artists such as Tom Waits, Beats Antique, and John Vanderslice. In 2010 he moved from the San-Francisco Bay area to the Los Angeles hills and continued his explorations. But great music is rarely just about music and Ford-Young’s meditative, soulful music draws on more than just the twin wellsprings of jazz and classical music:
“My mother was a yoga teacher from the early 70's until recently and taught me yoga and meditation at an early age, my stepfather is an Aikido instructor and student of the teachings of Gurdjieff. Those were all early areas of study that I came back to many times throughout my life. Phi-Psonics has been a project that unapologetically synthesizes some of these ideas into our music”.
It’s this mixture of influences, musical and extramusical, that gives the music of Phi-Psonics it’s immersive quality and quiet power. Revealingly the music that would become The Cradle, wasn’t written specifically for an album, originally Ford-Young was just writing down what was coming through. As time went by and the album began to take shape, the world situation seemed to be getting darker and his compositions aim to offer hope as a response to the negative influences that abound today. Remarkably for such a beautiful sounding record, it was recorded at the composer’s home, rather than in a studio, but the relaxed nature of this process gives the music an airy lightness that propels the music to some magical spaces.
Originally self-released on vinyl in a limited run just as the world went into lockdown, The Cradle reached Matthew Halsall (founder of Gondwana Records) when he aws looking for music for his Worldwide FM show and he was blown away, hearing a kindred spirit at work. Halsall explains:
“Phi-Psonics make beautiful, humble and honest music, it’s not showy, but it has a deep vibe that will elevate your mind and soul if you let it. When we heard The Cradle we reached out and are really super delighted to welcome Seth and his band to our label”. Whereas for Ford Young: “Connecting with Matthew and the Gondwana records family has been a light in the darkness of the last years - to have my music make connections even as we are more isolated.”
Ford-Young is currently putting the finishing touches to the second Phi-Psonics record, but aware that only a select few had heard The Cradle, let alone had the chance to buy a copy, and entranced by its deceptive simplicity and elevating energy, Halsall suggested that Gondwana present the album as a remastered ‘deluxe edition’ with an extended running time featuring extra tracks and new artwork from Daniel Halsall.
The Cradle starts with First Step, perfectly setting the tone for the whole album, it is a beautiful, soulful slice of musical calm gently propelled by Ford-Young’s resonant bass and elevated by sublime flute and Wurlitzer electric piano solos. The seductive title track The Cradle was written way back in 2011 during a time of great personal change that led the composer to a feeling of newness and nurture. The magical, winsome Desert Ride is inspired by many rides through the grandly cinematic Mojave Desert. You can experience how incredibly full of life it’s harsh landscape is if you slow down to its tempo. The gentle, sublime Mama is a tribute to mothers of all kinds, beautiful and heroic. Drum Talk was largely improvised, Ford-Young and the band agreed on a topic and recorded their conversation. Choosing their notes based on how Josh's drums were tuned. Like Glass is named for the special properties of Glass. Like some music, glass is delicate, yet has structure. The first of the two bonus tracks Still Dancing was written during the early days of 2020 in response to the challenges we all were facing then. It's a reminder that the figurative dance continues and that real dancing is essential. And the second, The Searcher, also written as a response to 2020, is a gently hypnotic song about the introspection and growth that can spring from a difficult situation.
This then is The Cradle, a quiet self-contained masterpiece, life-affirming and elevating in equal measure and the first offering from a wonderful new voice in spiritual jazz and the latest members of the global Gondwana Records family.

Long on style and perpetually short on cash, bounty hunters Spike, Jet and Faye trawl the solar system looking for jobs. As the crew of the Bebop, they make up a ragtag team that chases down the galaxy's most dangerous criminals. They'll save the world... For the right price!
Yes, Cowboy Bebop (Soundtrack from the Netflix Original Series) is now available on vinyl! Yoko Kanno and the band SEATBELTS, the artists behind the music in the original anime series of Cowboy Bebop, have returned to bring their signature dynamic, jazzy sound to the Netflix live action show. The resulting compositions are characters themselves - constant companions to the crew of the Bebop and brimming with just as much personality.
Cowboy Bebop (Soundtrack from the Netflix Original Series) is a treat for Bebop fans in an additional way - it features over twenty new tracks only available on vinyl! This wide release is pressed on red/orange marble vinyl discs in a gatefold jacket with printed inner sleeves.

credits：
Bass – Yuji Ito
Drums – Kazuhiro Odagiri
Tenor Saxophone – Tomoaki Baba
Tenor Saxophone, Soprano Saxophone – Akihiro Nishiguchi
（2021年11月15日 東京録音）
演奏者
馬場智章　　tenor sax
西口明宏　　tenor & soprano sax
伊藤勇司　　bass
小田桐和寛　drums

This sophisticated second album from the five instrumentalists could just see them cross over to the big league

Clap Clap! The Joyful Noise is an unreleased 1974 studio album by Cox with a host of Detroit luminaries including the CJQ's Charles Moore (who played flügelhorn, co-produced, and engineered these sessions), guitarists Ron English and Skeets Curry, saxophonist Buzzy Jones, and drummers Vic Reeves and Ron Johnsons.
This set not only adds dimension to Cox's musical persona, it shines a light on a little-known aspect of Detroit music.