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Search Result for Label KARAOKE KALK
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CD
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KK 067CD
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This is the second full-length album by Swedish group De La Mancha. At the core of the band are two childhood friends Jerker Lund and Dag Rosenqvist, who founded the project back in 2003. A shared admiration for groups like Red House Painters, Sigur Rós, Led Zeppelin and My Bloody Valentine set out a general direction for the duo. And the band has stayed true to this tradition of leftfield pop-rock as The End Of Music demonstrates most perfectly. The album dives in at the deep end with a brief intro, "Golden Bells," which flows seamlessly into the straight-up rocking number, "Ursa Minor." "Under A Leaden Sky" is an epic orchestral ballad with strong dynamics. Again, De La Mancha whose first release was an EP on Crying Bob Records in 2005, show their tremendous musical versatility on "Hidden Mountains," which quickly melts into a symphonic drone midway before tightening the reigns again at the very end, returning to the main refrain of the song. "Willow Lane" features a stripped-down arrangement of piano, vocals and organ -- as powerful as any rock number. Equally fragile in its beauty is the somber composition, "Erase." The song also relies, for the most part, on a very sparse instrumentation, but puts this to great effect. "At Lands End" clocks in at over 9 minutes -- the longest track on the album. The End Of Music is an album full of contrast and beauty. Each track has a clear identity and both the song-writing process as well as the production have been meticulously executed by Lund and Rosenqvist.
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KK 067LP
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LP version. This is the second full-length album by Swedish group De La Mancha. At the core of the band are two childhood friends Jerker Lund and Dag Rosenqvist, who founded the project back in 2003. A shared admiration for groups like Red House Painters, Sigur Rós, Led Zeppelin and My Bloody Valentine set out a general direction for the duo. And the band has stayed true to this tradition of leftfield pop-rock as The End Of Music demonstrates most perfectly. The album dives in at the deep end with a brief intro, "Golden Bells," which flows seamlessly into the straight-up rocking number, "Ursa Minor." "Under A Leaden Sky" is an epic orchestral ballad with strong dynamics. Again, De La Mancha whose first release was an EP on Crying Bob Records in 2005, show their tremendous musical versatility on "Hidden Mountains," which quickly melts into a symphonic drone midway before tightening the reigns again at the very end, returning to the main refrain of the song. "Willow Lane" features a stripped-down arrangement of piano, vocals and organ -- as powerful as any rock number. Equally fragile in its beauty is the somber composition, "Erase." The song also relies, for the most part, on a very sparse instrumentation, but puts this to great effect. "At Lands End" clocks in at over 9 minutes -- the longest track on the album. The End Of Music is an album full of contrast and beauty. Each track has a clear identity and both the song-writing process as well as the production have been meticulously executed by Lund and Rosenqvist.
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KK 066CD
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This is the third album by Detlef Weinrich aka Tolouse Low Trax. Weinrich is a member of the Düsseldorf group Kreidler. He's already got three EPs and two albums under his belt. Jeidem Fall sounds like music brought down to earth from the heavens; however, it's a dark cosmos in which there are only fleeting glimpses of light. All eight tracks were composed in a short space of time over the period of just a few months and fit together perfectly atmospherically. With a musical expressiveness that undoubtedly twists your emotions, Jeidem Fall attacks the subconscious and clouds the mind. Alongside the constant tapping of drumsticks are melodic arpeggios dancing dark and dirty. At times, longing vocals drift abstractly through the room, as on "Sa Seline" or "Geo Scan," without telling any obvious story. Jeidem Fall really doesn't sound like anything that has gone before: you could compare the dark minimal timbre of the drum computer aesthetic with Craig Leon's first reductive album Nommos. There is also a hint of the minimalist industrial of the Spanish band Esplendor Geometrico in the bubbly textures. But Tolouse Low Trax is still looking from the present into the future and filters all his personal preferences through his MPC and his small synth set-up to make them come alive here and now in a new way. He has created a truly mysteriously vibrating drum computer music which offers hypnotic magic for the shadowy dance floor. Ideal for a journey at the end of the night and for all those non-places where longing sleeps and the last romantics dance while getting drunk.
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KK 066LP
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LP version. This is the third album by Detlef Weinrich aka Tolouse Low Trax. Weinrich is a member of the Düsseldorf group Kreidler. He's already got three EPs and two albums under his belt. Jeidem Fall sounds like music brought down to earth from the heavens; however, it's a dark cosmos in which there are only fleeting glimpses of light. All eight tracks were composed in a short space of time over the period of just a few months and fit together perfectly atmospherically. With a musical expressiveness that undoubtedly twists your emotions, Jeidem Fall attacks the subconscious and clouds the mind. Alongside the constant tapping of drumsticks are melodic arpeggios dancing dark and dirty. At times, longing vocals drift abstractly through the room, as on "Sa Seline" or "Geo Scan," without telling any obvious story. Jeidem Fall really doesn't sound like anything that has gone before: you could compare the dark minimal timbre of the drum computer aesthetic with Craig Leon's first reductive album Nommos. There is also a hint of the minimalist industrial of the Spanish band Esplendor Geometrico in the bubbly textures. But Tolouse Low Trax is still looking from the present into the future and filters all his personal preferences through his MPC and his small synth set-up to make them come alive here and now in a new way. He has created a truly mysteriously vibrating drum computer music which offers hypnotic magic for the shadowy dance floor. Ideal for a journey at the end of the night and for all those non-places where longing sleeps and the last romantics dance while getting drunk.
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KK 065LP
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LP version. Karaoke Kalk introduces another exciting new artist to their roster. J.R.Plankton is a collaborative project by Jens Strüver and Robert Ohm. Strüver also manages the M=minimal label. His first collaboration with studio-nerd and multi-instrumentalist Robert Ohm was an hour-long radio-play/sound collage about the legendary composer Moondog, repeatedly broadcasted on German radio nationwide. Now, their own pure musical work Neon is nothing less than a tour de force. From the word go, the album sets an incredibly high standard. Opener "Musique Electronique" is, without a doubt, a nod to the founding fathers of German electronic music, Kraftwerk. The highly-charged electro style laid down on this opening track sets the pace for what follows over the remaining 37 minutes of the album. Clocking in at a massive 8 minutes, "City Jungle" is epic. Musically, the track switches down a gear though entering a more atmospheric world of ambient oscillations and arpeggiated synth sounds, while the tune moves towards a more driving, industrial feel towards the end. "Sundance" kicks in with a throbbing slap bass part, soon to be followed by wah-wahed guitars, all of which make for a surprise disco-funk track on this otherwise electro-oriented album. This is clearly a feel-good track and is sure to have any room jumping in seconds. The penultimate track "Nakamura" starts as another downbeat foray into ambient but again builds to reach a powerful, minimal crescendo. The track makes powerful use of textures to paint a sonic landscape which is a world unto itself. And this superb album draws to a close with "Regen" (trans. "Rain"), which is another masterpiece of arpeggio action. The tune teasingly implies that it might kick off at any moment, but the beat remains absent, creating instead a hypnotic tension. Neon has all the elements one might wish for from a modern electronic record. The experimental nature of some of the more protracted interludes should appeal to fans of Kraut and electronica: these moments are ideal for losing oneself in the trance-inducing intimacy of one's headphones. At the same time, there's plenty on the album to interest all you DJs out there who would do well to drop some of the more uptempo tracks on Neon. Debut albums don't come any stronger than this.
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KK 065CD
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Karaoke Kalk introduces another exciting new artist to their roster. J.R.Plankton is a collaborative project by Jens Strüver and Robert Ohm. Strüver also manages the M=minimal label. His first collaboration with studio-nerd and multi-instrumentalist Robert Ohm was an hour-long radio-play/sound collage about the legendary composer Moondog, repeatedly broadcasted on German radio nationwide. Now, their own pure musical work Neon is nothing less than a tour de force. From the word go, the album sets an incredibly high standard. Opener "Musique Electronique" is, without a doubt, a nod to the founding fathers of German electronic music, Kraftwerk. The highly-charged electro style laid down on this opening track sets the pace for what follows over the remaining 37 minutes of the album. Clocking in at a massive 8 minutes, "City Jungle" is epic. Musically, the track switches down a gear though entering a more atmospheric world of ambient oscillations and arpeggiated synth sounds, while the tune moves towards a more driving, industrial feel towards the end. "Sundance" kicks in with a throbbing slap bass part, soon to be followed by wah-wahed guitars, all of which make for a surprise disco-funk track on this otherwise electro-oriented album. This is clearly a feel-good track and is sure to have any room jumping in seconds. The penultimate track "Nakamura" starts as another downbeat foray into ambient but again builds to reach a powerful, minimal crescendo. The track makes powerful use of textures to paint a sonic landscape which is a world unto itself. And this superb album draws to a close with "Regen" (trans. "Rain"), which is another masterpiece of arpeggio action. The tune teasingly implies that it might kick off at any moment, but the beat remains absent, creating instead a hypnotic tension. Neon has all the elements one might wish for from a modern electronic record. The experimental nature of some of the more protracted interludes should appeal to fans of Kraut and electronica: these moments are ideal for losing oneself in the trance-inducing intimacy of one's headphones. At the same time, there's plenty on the album to interest all you DJs out there who would do well to drop some of the more uptempo tracks on Neon. Debut albums don't come any stronger than this.
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KK 060CD
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Static is Berlin-based musician and producer Hanno Leichtmann. Besides his work as a member of the trio Groupshow along with Jan Jelinek and Andrew Pekler, and Denseland with David Moss and Hannes Strobl, Static is his main solo project. While thinking of how to follow up his 2005 release Re: Talking About Memories (CCO 031CD/LP), Leichtmann kept busy with his many other projects. Then, during a festival for improvised music in Berlin, he struck upon the idea of working with free improvising musicians, but to deploy them in a pop context. The main collaborators for the production of Freedom Of Noise were harpist Clare Cooper, the trumpet player Axel Dörner and the saxophonist Tobias Delius. In this way, Leichtmann was able to perfectly combine Static's loop-based methodology with the additional expressive possibilities of having all those great musicians involved. So Static was able to move freely between arrangements and improvised passages. Leichtmann also brought the following players on board to enrich the compositions: Nicholas Bussmann on cello, Zoe Irvine on electronics, Magda Mayas on organ, David Moss on voice, Andrea Neumann on inside piano, Gert-Jan Prins on analog devices, Maura Rougieux on background vocals, Clayton Thomas on double bass, Kassian Troyer on table guitar and Sabine Vogel on flutes. All these musicians help to bring the vibrancy of a full live band to the album to make for a richly detailed tapestry of sound. On top of all these talented instrumentalists Leichtmann invited the vocalists Falko Teichmann from Berlin and Yanira Castro from Madrid to sing on a number of tunes, adding to the pop element of the album. The result of Static recruiting such a diverse host of other musicians is striking. Musically, the record is extremely multifaceted, ranging from moments of eclectic pop, to experimental periods of neo-folk ambient and cut-up electronica. No doubt, Leichtmann has succeeded in his goal of creating a new direction for Static. Freedom Of Noise is a refreshing and adventurous musical journey.
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KK 064LP
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LP version. Static is Berlin-based musician and producer Hanno Leichtmann. Besides his work as a member of the trio Groupshow along with Jan Jelinek and Andrew Pekler, and Denseland with David Moss and Hannes Strobl, Static is his main solo project. While thinking of how to follow up his 2005 release Re: Talking About Memories (CCO 031CD/LP), Leichtmann kept busy with his many other projects. Then, during a festival for improvised music in Berlin, he struck upon the idea of working with free improvising musicians, but to deploy them in a pop context. The main collaborators for the production of Freedom Of Noise were harpist Clare Cooper, the trumpet player Axel Dörner and the saxophonist Tobias Delius. In this way, Leichtmann was able to perfectly combine Static's loop-based methodology with the additional expressive possibilities of having all those great musicians involved. So Static was able to move freely between arrangements and improvised passages. Leichtmann also brought the following players on board to enrich the compositions: Nicholas Bussmann on cello, Zoe Irvine on electronics, Magda Mayas on organ, David Moss on voice, Andrea Neumann on inside piano, Gert-Jan Prins on analog devices, Maura Rougieux on background vocals, Clayton Thomas on double bass, Kassian Troyer on table guitar and Sabine Vogel on flutes. All these musicians help to bring the vibrancy of a full live band to the album to make for a richly detailed tapestry of sound. On top of all these talented instrumentalists Leichtmann invited the vocalists Falko Teichmann from Berlin and Yanira Castro from Madrid to sing on a number of tunes, adding to the pop element of the album. The result of Static recruiting such a diverse host of other musicians is striking. Musically, the record is extremely multifaceted, ranging from moments of eclectic pop, to experimental periods of neo-folk ambient and cut-up electronica. No doubt, Leichtmann has succeeded in his goal of creating a new direction for Static. Freedom Of Noise is a refreshing and adventurous musical journey.
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KK 063LP
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LP version. Following the release of The End Of Trying (KK 046CD) on Karaoke Kalk in 2008 and 2009's The Night Just Keeps Coming In (KK 051CD), Dakota Suite are back with a new album of equally mesmerizing beauty. The band are led by Chris Hooson and completed by David Buxton and previously also Richard Formby. They released their first album in 1998 and The Hearts Of Empty marks the significant milestone of being the band's 10th full-length studio album. All the compositions on The Hearts Of Empty are performed by David Buxton with a perfectly sparse instrumentation. This sublimely minimal combination of piano, double-bass and percussive brushes makes for a truly captivating sound. David really exhibits a mastery both in the concise nature of the arrangements as well as in their precise delivery. Every note sounds as if it is played with directed emotion, carefully placed and skillfully executed. Of course, it's a cliché from the jazz scene, "it's the notes you don't play..." but the grain of truth within this generalization certainly applies to Dakota Suite. Their music is at times sombre, meditative and withdrawn, but never is it forced or over-cluttered. Every melodic and rhythmic change seems to flow naturally with the result that the music creates a wonderfully relaxed listening environment. Indeed, jazz has a strong musical influence on the style of the songs; most noticeable in the lilting piano refrain of "Eskimo Nebula" and the impeccable rim-shot and brushes drum work on "Vermont Canyon Road." And while this rich, organic acoustic timbre pervades the entire album, there are a few exceptions, such as the scientifically-titled interlude "M-Theory" and the entrancing ambient tune "The Ladder," which see a brief excursion into the more digital world of experimental electronics through the use of synths and looping. The energy of the recordings conveys a well-defined mood, such as on the title track, which is reserved yet uplifting at the same time. Although Dakota Suite may be inspired by jazz, they have taken it in an entirely different direction. The Hearts Of Empty goes way beyond the traditional concept of a jazz trio, foraying into fields such as new music, experimental and neo-classical, amongst other new terrains. Includes a free download coupon.
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KK 059CD
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Following the release of The End Of Trying (KK 046CD) on Karaoke Kalk in 2008 and 2009's The Night Just Keeps Coming In (KK 051CD), Dakota Suite are back with a new album of equally mesmerizing beauty. The band are led by Chris Hooson and completed by David Buxton and previously also Richard Formby. They released their first album in 1998 and The Hearts Of Empty marks the significant milestone of being the band's 10th full-length studio album. All the compositions on The Hearts Of Empty are performed by David Buxton with a perfectly sparse instrumentation. This sublimely minimal combination of piano, double-bass and percussive brushes makes for a truly captivating sound. David really exhibits a mastery both in the concise nature of the arrangements as well as in their precise delivery. Every note sounds as if it is played with directed emotion, carefully placed and skillfully executed. Of course, it's a cliché from the jazz scene, "it's the notes you don't play..." but the grain of truth within this generalization certainly applies to Dakota Suite. Their music is at times sombre, meditative and withdrawn, but never is it forced or over-cluttered. Every melodic and rhythmic change seems to flow naturally with the result that the music creates a wonderfully relaxed listening environment. Indeed, jazz has a strong musical influence on the style of the songs; most noticeable in the lilting piano refrain of "Eskimo Nebula" and the impeccable rim-shot and brushes drum work on "Vermont Canyon Road." And while this rich, organic acoustic timbre pervades the entire album, there are a few exceptions, such as the scientifically-titled interlude "M-Theory" and the entrancing ambient tune "The Ladder," which see a brief excursion into the more digital world of experimental electronics through the use of synths and looping. The energy of the recordings conveys a well-defined mood, such as on the title track, which is reserved yet uplifting at the same time. Although Dakota Suite may be inspired by jazz, they have taken it in an entirely different direction. The Hearts Of Empty goes way beyond the traditional concept of a jazz trio, foraying into fields such as new music, experimental and neo-classical, amongst other new terrains.
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