/
DE

Telephone Explosion Pop 7 Items

Hip Hop 1 Organic Grooves 15 Rock & Indie 15 Electronic & Dance 6 Pop 7 2020s 5
Hide Filter & Categories Show Filter & Categories
Filter Results
Format
Format
Vinyl
LP
12"
Close
Artist
Artist
Bernice
Blunt Chunks
Ingredient
Jahmal Padmore
Jane Inc.
Lee Paradise
Close
Label
Label
10 Records
4AD
679
7a
7A Records
a sexy
A&M
A&M Records
ABC Records
ABKCO
Absolutely Kosher
Ace
Acrobat
ADA
Alien Snatch
Allpoints
AMIGA
Analogue Productions
Anti
Apple
Apple Records
Ariola
Ariola Local
Arista
Art Of Vinyl
Artoffact
Asylum
Asylum Records
ATCO Records
Atlantic
Attic
Audiolith
B3SCI
Backseat
Barcl
Barclay
Barsuk
BCM Records
Bear Family
Beat Goes On
Beat Rocket
Beatrocket
Because
Because Music
Beggars Banquet
Believe
Believe Digital
Believe Digital Gmbh
Bell Records
Bella Union
Bellaphon
Big Machine
Big Scary Monsters
Blanco Y Negro
Blix Street
Blow Up
Blue Note
Blumfeld Tonträger
Bm Tunes
BMG
BMG Rights Management
Bongo Joe
Bordello A Parigi
Born Bad
Brainfeeder
Bronze
Buback
Buddah Records
Bungalow
Bureau B
Bureau B / Sky
Burnt Toast
Cable Car
Capitol
Capitol Records
Captured Tracks
Caroline
Carpark
Carrere
Casablanca
Catalog
CBS
CBS Associated Records
CBS/Sony
Charisma
Charly
Cherry Pop
Cherry Red
Chrysalis
Circa
City Slang
Cleopatra
Closing The Circle
Cloud 9
Cold Transmission Music
Columbia
Columbia International
Columbia Local
Concord
Cooking Vinyl
Counter
Craft
Crammed
Croatia
Crunchy Frog
Cult Legends
Culture Factory
Curation
Dais
Dance On The Beat
Dark Entries
Dead Oceans
Decca
Def Jam
Delivery
Demon
Denovali
Deutsche Grammophon
DFA
Diggers Factory
Dimple Discs
Disco Moda
Disko B
Disques Vogue
DJM Records
DMC
Dol
Domino
Don Giovanni
Dope Noir
Double Double Whammy
Drag City
Dramatico
Dream Catcher
Dreyfus
Dryland
Dualtone
Duchess Box
Dunhill
DWA
Earmusic
Earmusic Classics
Earth Libraries
EastWest
Eastworld
Edel
Electrola
Elefant
Elektra
Embassy Of Music
EMI
EMI America
EMI Electrola
EMI UK
Empire
Epic
Epic International
Epic/Sony
Epitaph
Erased Tapes
Europa
Express
Fabrika
Fat Possum
Fire
Fire Records
Fire Talk
Fish People
Fontana
Foreign Family Collective / Ninja Tune
Forever Living Originals
Four Flies
Four Music
Four Music Local
Frenchkiss
Friday Music
Friends Of Friends
Fulltime
Fun In The Church
Fysisk Format
Gamlestans Grammofonbolag
Gaphals
Geffen
Geffen Records
Gentle Threat
Glassnote
Glitterbeat
Glitterhouse
Glitterhouse Records
Global Records And Tapes
Gm & Publishing
Gmo The Label
Gondwana
Grand Hotel Van Cleef
Grönland
GSL
GTO
Hansa
Hanseplatte
Harvest
Heavenly
HFN Music
HMV Record Shop
Hoob
Hopeless
Hot Tracks
House Of Music
Humming
I Venti d'Azzurro
I.D. Limited
Infine
Innovative Leisure
Interscope
Island
Island Records
It Sounds
Italians Do It Better
Jagjaguwar
Jansen
Jet Records
Jet Set
Jippie! Industrie
Jive
Karaoke Kalk
Kernkrach
Kill Rock Stars
Kissing Fish
Kitchenware Records
Kitsuné Music
Kompakt
Kscope
Las Vegas
Laser Media
Last Gang
Last Night From Glasgow
Lastafroz
Late Night Tales
Lawson
Lawson Entertainment
Lawson Entertainment Inc.
Lawson Entertainment, Inc.
Le Chant Du Monde
Le Pop Musik
Leaf
Legacy
Legere
Lewis
Liberty
Light In The Attic
Lilith
Line Records
LITERA
Loma Vista
London
London Records
Long Branch
Lost Highway
Lotterlabel
Luminelle
Magnet
Mannequin
Mansions & Millions
Marina
Maschin
Matador
Mayway
MCA
MCA Records
Memphis Industries
Mercury
Merge
Metronome
Mexican Summer
MIG
Milan
Millaphon
Minimal Wave
Minty Fresh
Misitunes
Mobile Fidelity Sound Lab
Modern Harmonic
Modern Recordings
Monkeytown
Morr Music
Motor Entertainment
Motown
Mr Bongo
Mr. Disc
Muse Records
Music Brokers
Music On Vinyl
Musikkoperatore
Mute
MVKA
Naive
Nar
Needle Mythology
Needlejuice
Nettwerk
Neue Meister
New Platform
New West
Ninja Tune
Nippon Columbia
NNA Tapes
No Format
Nocut
Nonesuch
Norske Albumklassikere
Not Now
Not On Label
Now
Nude Club
Numero Group
Numero Uno
Odeon
One Little Independent
One Little Indian
Optic Nerve
ORG Music
P-Vine
Pampa
Parachute
Parlophone
Parlophone Label Group (Plg)
Pathé
Pdu Music & Production Sa
Pepita
Philips
Pias
Play It Again Sam
Pnk Slm
Polskie Nagrania Muza
Polydor
Polydor / Island
Polystar
Pony Canyon
Portrait
Premium
Pressing Line
Private Records
Private Stock
Probe
Proper
Prophecy
PRT
Public Possession
Pye Records
Quinlan Road
Radicalis
RCA
RCA International
Rca Local
RCA Victor
Real Gone
Real Gone Music
Record Makers
RecordJet
Red House
Reel To Reel
Rekord Music Publishing
Renaissance
Repertoire
Reprise
Reprise Records
Republic
Revolver
RhIno
Rhino
RHINO
Rhino (Pure)
Rhino Records
Rhino Warner
Rocket Girl
Rough Trade
Roxborough Music Broadcasts
RSO
Rykodisc
Sacred Bones
Sad Disco
Sammel-Label (Sonstige)
Scotti Bros. Records
Second
Secret
Secretly Canadian
Seven Seas
Ship To Shore
Silva Screen
Sinnbus
Sire
Skingraft
Slumberland
Smi Col
Software Recording Co.
Solid Brass
Sony
Sony Legacy
Sony Music
Sony Music Catalog
Sony Music Cmg
Soul Jazz
Speakers Corner
Spittle
Spkr Media
Springstoff
Staatsakt
Stars By Edel
Startracks
Stiff Records
Stockholm
Stones Throw
Strange Ways
Stunt
Sturm & Klang
Sub Pop
Sugar
Sunday Best
Sunday Service
Sundazed
Sundazed Music Inc.
Supraphon
Svart
Synthetic Shadows
T-Palette Records
Tamla
Tapete
Tapete Records
Tattica
TELAMO
Teldec
Telefunken
Telephone Explosion
The Rocket Record Company
The Saifam Group
Think Zik!
Third Man
Thrill Jockey
Time In The Special Practice Of Relativity
Time In The Special Practiceofrelativity
Tokuma Japan
Tommy Boy
Tonefloat
Tonproduktion
Top Shelf
Topshelf
Transgressive
Trikont
Trisol Music Group
Two-Piers
Ultimix
Ultra-Vybe
UMC
Una Music
Unday
Unique
United Artists Records
Universal
Universal Japan
Universal Music
Universal Music Japan
Urban
Urban Discos
V2
Vertigo
Vertigo Berlin
Verve
Victor
Victor Entertainment
Vinyl Passion
Virgin
Virgin Music
Virgin Music Las
Wagram
Walk Don't Walk
Warner
Warner Bros.
Warner Bros. Records
Warner Music
Warner Music International
Warner Music Japan
Warp
Waxwork
We Love Music
WEA
Westpark
Wewantsounds
Wichita
Wienerworld
Woodworm
X2
XL Recordings
Xo
Yep Roc
Yotanka
Young Turks
ZYX
ZYX Music
ZYX Records
[Pias] Le Label
Балкантон
Close
Country
Country
US
Other Countries
Close
Year
Year
2024
2022
2021
Close
Price
Price
15 – 30 €
30 – 50 €
Close
New In Stock
New In Stock
30 Days
60 Days
90 Days
180 Days
365 Days
Close
Back In Stock
Back In Stock
30 Days
60 Days
90 Days
180 Days
365 Days
Close
Telephone Explosion
Lee Paradise - Lee Paradise & Co
Lee Paradise
Lee Paradise & Co
LP | 2022 | CA | Original (Telephone Explosion)
21,99 €*
Release: 2022 / CA – Original
Genre: Pop
Add to Cart Coming Soon Sold out Currently not available Not Enough Coins
Toronto’s Dan Lee steps out of the spotlight and into the producer’s chair on the new collaborative Lee Paradise LP, Lee Paradise & Co., due October 28 2022 on Telephone Explosion. Lee Paradise & Co. follows 2020’s critically acclaimed The Fink LP, and finds Lee flipping the shadowy nihilism of the project’s previous releases upward into a sort of cybernetic universality. This is Dan Lee in producer mode, veering away from the pursuit of a singular musical direction rooted in personal vision, towards of a process rich in collaboration, emotional expansion and tonal exploration.

Starting off as a set of mood-focusedinstrumental sketches drafted by Dan on his own, the compositions began coloringthemselves in after he started sending the tracks out to collaborators, asking them to contribute without much in the way of direction or intention. With help from an ensemble cast of artists including Carlyn Bezic (Jane Inc.), Jonathan Pappo (Scott Hardware, No Frills, Ducks Ltd), Scott Hardware, Isla Craig, Victoria Cheong (New Chance), Jay Anderson, Charise Aragoza & Lukas Cheung (Mother Tongues) and Daniel Woodhead (Moon King), nearly every aspect of this album’s creation eventually became open to collaboration, from musical performances, lyric writing, and vocals all the way through to mixing and mastering.

Sonically, the record is still unmistakably Lee Paradise: a widescreen polyrhythmic psychedelia that melts, bubbles, whirrs and klanks; the sound of the human and the machine grooving in accordance towards new futures. The album’s sonic palette is at once synthetic, warm and extraterrestrial. Arpeggiated square wave melodies dance in lockstep with crunching hi-hats, digital bells and chimes fall like crystal rain in stereo above plush pads and gurgling bass figures. Used to finishing the records on his own, Lee mixed this album with Montreal’s Asher Gould-Murtagh and the results are spacious, dusty and dubbed out. “Carnival” sets the scene with it’s stuttering, busted funk groove and ribbons of aqueous vocal harmony from New Chance’s Victoria Cheong. “Raffles”(featuring one of Daniel’s two vocal performances on the record) radiates a mellow optimism in its solar-warped balearic bliss. The album’s final track, “Youngish” is a gliding, melancholic downtempo instrumental thumper saturated in a kaleidoscopic array of lysergic tones. As always, the record anchors itself to the dancefloor with the screwed-down electro of “Cement”, the swinging midnight afterglow of “Leaving” and “CS2X”’s fluttering rave arpeggios.

Lee Paradise & Co. is the sound of an expert producer and sound sculptor conceding to the elusive flows of inspiration, knocking genre conventions askew and hopscotching between a variety of styles, musical identities and sound worlds with absolute panache.
Ingredient - Ingredient
Ingredient
Ingredient
LP | 2022 | CA | Original (Telephone Explosion)
33,99 €*
Release: 2022 / CA – Original
Genre: Pop
Add to Cart Coming Soon Sold out Currently not available Not Enough Coins
Ingredient is the elegant collaboration of Toronto poets, composers, producers and dear friends Ian Daniel Kehoe and Luka Kuplowsky. Their self-titled release is an enigmatic electronic avant-pop record attuned to the micro and macro perspectives of the natural world. Ingredient is an album whose lyrics are more poem than lyric, and whose songs exist in a merger of house music, philosophically-minded lyricism and contemporary R&B. One might recall electronic and art-pop luminaries such as Yukihiro Takahashi, The Blue Nile, and Arthur Russell, or connect it to contemporaries like Nite Jewel, Westerman and Blood Orange. A distinct world of dance, of questions, of secrecy and ultimate softness.

Eight years of friendship forges strange telepathy.

In the summer of 2020, Ian Daniel Kehoe was entrenched in a new feeling of heaviness; psychosomatic symptoms had started to proliferate; stress made new pores across the body, bending sensitivity into pain. His days were met with confusion, detachment, sleeplessness and pain without causation. Disfigured, he felt that what had been central and centering was blown out to the periphery of things. In a moment of self-preservation he reached out to his dear friend Luka Kuplowsky to make an album together. For Kehoe, it was an instinctual grasp for the anchoring truthfulness of deep friendship and the potential for a dedicated creative collaboration. Kuplowsky’s presence was light, supportful and curious, eager to explore musically the sounds they were mutually drawn to: house music, ambient pop, dub. The duality between Kuplowsky and Kehoe – between the Aflight and the Unmoored – is a portrait of a friendship whose exchanges came easy and produced an outpouring of song. Creation and therapy crisscross. In email correspondence that catalogs their process of collaboration, affection abounds: “feels bare without the Luka Licks”, or “Love you so much”, or “Kinda just overwhelmed with deadliness coming in at all angles.” When their voices first come in together on “Wolf,” that harmony arrives in a dramatic avant-pop sound that is bold and wondrous.

Kuplowsky and Kehoe both arrive at Ingredient as established artists whose works are committed to language’s propensity to provoke and mystify. Kuplowsky’s 2020 album Stardust is an idiosyncratic and otherworldly blend of pop and jazz romanticism grounded by Cohen-esque vocals and a stirring philosophical curiosity. Kehoe’s entrance into the new decade has hatched four records of pop experimentation, most recently 2022’s Yes Very So, a euphoric and bold album of poetic synth-pop and meditative ambient instrumentals. Kuplowsky and Kehoe’s union as Ingredient is a beautiful and unusual chemistry that integrates their distinct approaches while bringing forth a newness: a sound that alternates between cinematic technicolor and dubbed out fogginess; a lyricism that exchanges their lucid and clear poetics for a playful and obtuse verse. The album intuitively taps into the opposing emotional states of Kuplowsky and Kehoe during the conception of the record, contrasting the buoyancy of trumpeting keyboards (“Resurface”), angelic synthesized voices (“Come”), and rolling bass (“Photo”) with the record’s underlying darkness of whirring buzzsaw textures (“Transmission”), whooping sirens (“Wolf”) and murky ambience (“Illumination”). Lyrically, this duality arises in the record’s flux between openness (“Variation”, “Raindrop”) and existential dread (“Wolf”). “Illumination” most clearly crystalizes this opposition, reconciling the verses’ neurotic yearning for enlightenment with the chorus’ liberating doctrine of negation: “no more devotion… no more delusion”. Amidst the gradations of light and dark, Kuplowsky and Kehoe trade indelible, lush melodies as though their voices are made of a substance that melts easily one into the other. The harmony of poetry, sound, and texture cuts through your brain fog like a wet diamond.

Ingredient’s self-titled record was assembled by Kuplowsky and Kehoe over the course of six months in a home studio they frequented daily. Amidst synthesizers and drum machines they composed, re-composed, and workshopped a wide array of music, ultimately focusing on a set of eight songs that lived in a shared musical and philosophical world. Recording days often ended in basketball games at a local court or a rooftop commune over a pot of tulsi tea and a crossword puzzle. Kuplowsky brought in the Blue Cliff Record – the classic anthology of Chan Buddhism – whose inscrutable and sublime insights remained constant throughout the recording process as an activator of reorientation and reflection. While Kehoe was frequently rendered physically immobile by bouts of anxiety, a patience and mutual caring governed the pace of their creation; rest, stretching and meditation became equally important as the act of arrangement. Invited into their intimate circle of composition was Thom Gill, whose heavenly voice uplifts “Variation” and “Raindrop,” and Karen Ng, whose alto sax simmers and dances around the funky strut of “Raindrop.”

The lyrics on Ingredient reflect the persistence of change, the infinite variability of nature where randomness and divergence are no accidents. In Daoism, duality, in the form of Yin and Yang, is not contradictory as it is in Western idealist philosophy, but rather composes the eternal and lived paradox of our changeless-changing universe: changeless because all is change, and changing because the dynamism of the Dao makes each moment transformational. Kuplowsky and Kehoe refract this way of seeing the world, as in Variation: “Variation in the natural world / there it is.” Ingredient is an experience of the manifold ways of saying there it is of the transformational world, and there it is, unfolding. Elsewhere, change and ephemerality is addressed through the record’s preoccupation with non-human perspectives, reorienting the listener to the wolf, the mouse, the emerald frog, the centipede, the bird, the fly in the lamp. The album cover visualizes this fascination with the striking image of a reddish-orange frog atop a defamiliarized landscape of dark green leaves. Mirroring the exploratory process of the record’s collaboration, the frog also signals the amphibian’s natural inclination to leap into boundless potential. Kuplowsky and Kehoe’s lyrics manifest philosopher and ecologist Timothy Morton’s concept of “the mesh,” drawing attention to the “vast, entangled web” of interconnectedness that connects all life forms and interweaving the songwriters’ shared wonder into the Animal’s unknowability. As Luka narrates in the breakdown of the dance-floor ready “Photo,” “the closer we observe things, the further they retreat into abstraction.” In Ingredient’s ecosystem, perception is a reversible fractal where the world’s minutest details mirror the shape of the cosmos.

According to the Dao, the path to healing starts by reorienting perception away from the self and toward the self’s subsumption in Totality. For Kehoe, collaborating with Kuplowsky became the reorientation necessary for the self-preservation he was seeking, opening up a shared creative practice to navigate and soften the complexity of his psychological shattering. The album begins with Kuplowsky intoning “colossal faith” which bounces around the stereo field in a cloud of echo, and it is the enormity of “faith” that centers both Kuplowsky and Kehoe’s collaboration and their inquisitiveness in the vast mysteries of our very being. Truth in Ingredient is not an essential nugget, but a bending of the light – it is the equivocal entanglement of how we are in nature as nature, but with a plea or prayer under our breath that marks our felt distance from what we are a part of: “carry me towards the mountains of my birth / returning to the nest / the silence of the earth.”
Jane Inc. - Faster Than I Can Take
Jane Inc.
Faster Than I Can Take
12" | 2022 | CA | Original (Telephone Explosion)
21,99 €*
Release: 2022 / CA – Original
Genre: Pop
Add to Cart Coming Soon Sold out Currently not available Not Enough Coins
"Feels like I'm made of glass," Carlyn Bezic sings over a tumbling, harmonic guitar riff on "Pummelled Into Sand," the closing song of Faster Than I Can Take. "Like I could cut you, or you could break me in half." It's a double-edged statement about the power that comes from inhabiting your vulnerability, a complicated truth expressed so beautifully it seems almost simple.

Making the impossible look easy has always been Bezic's musical M.O. Faster Than I Can Take is her sophomore album as Jane Inc., a solo project forged after years of building her bona fides in the Toronto music scene with groups like U.S. Girls, Darlene Shrugg and acclaimed dance-pop duo Ice Cream. Pitchfork called Jane Inc's first album, 2020's Number One, "dazzling... [Bezic] proves herself a musical Swiss Army knife, capable of anything and revelling in her multiplicity." On Faster Than I Can Take, she uses all the tools at her disposal - a Prince-like ability to shred harmonic guitar riffs over deep, danceable grooves, an eagerness to experiment with form, and lyricism that seamlessly links the personal and the political - to focus the multifaceted energy of Number One into something completely singular. A disco-inflected, danceable meditation on the permeable boundaries between our interior and exterior worlds, Faster Than I Can Take is an album that you can listen to at a party or alone in your apartment - but no matter where you listen, it will make you dance.

On lead single "Contortionists," Bezic's voice floats over a landscape of spare, warping synths and ethereal backing vocals from Dorothea Paas (U.S. Girls, Badge Epoque Ensemble), seeming at first to sketch out a familiar pandemic scene: "The laws of time have changed / months pass in minutes, hours feel like days." But as the melody begins to swirl and bend back over itself, a deeper theme creeps in. “At first I thought I was making a record about time," Bezic explains, "but I was actually making a record about how, in moments of intense anxiety, you're living in the past, present and future at the same time. A million moments existing at once, real and imagined." By the time the song drops into a ticking groove, you know exactly what she means.

Many of the songs on Faster Than I Can Take work this way - taking concepts that feel intimately interior and expanding them into something universal. Songs like the moody, bass-heavy title track, or the bright, searing "Pummelled Into Sand," where a Hendrix-like guitar solo runs under Bezic's voice like a third rail, deal with what Bezic calls "the pain of change and growth." "Human Being" and "Dancing With You" (whose bridge features the catchiest meditation break you've ever heard in a dance-pop song), explore the psychedelic melding of individual and collective worlds that can come from fantasizing about performance while alone in your house, or connecting to a group of strangers through your computer screen.

In "An Ordinary Thing," Bezic contemplates the complexities of wanting to create anything - art, or even a family - against the backdrop of the Anthropocene. "Someone please take this from me / this feeling, this need," she sings, the tension audible in her voice. But in the next track, the irresistibly danceable "2120," that anxiety turns into powerful resolve: "I'll pour my grief into this plastic crucible / Forge a new infinite fuel made of anger, and hope, and refusal," she sings against a driving, determined beat.

That determination is what makes Faster Than I Can Take unlike anything else you've heard this year - a work of art that refuses to either wallow in the difficulties of contemporary life or ignore them in favour of escapist fantasy. As Jane Inc., Bezic takes on the complexities of living in the world - alone, and with others - with playfulness, honesty, openness and love, and turns all that complication into something that will move you.
Bernice - Eau De Bonjourno
Bernice
Eau De Bonjourno
LP | 2021 | US | Original (Telephone Explosion)
25,99 €*
Release: 2021 / US – Original
Genre: Organic Grooves, Pop
Add to Cart Coming Soon Sold out Currently not available Not Enough Coins
New release by Canadian sweethearts referred to in the press as “Toronto’s ever-evolving backing band”
This LP “openly plays with the shape of a pop song,” drawing on the band members’ backgrounds in jazz, subverting rhythmic formulas, and resting in grooves that sit just outside of
The album’s sound is experimental in its truest definition, chopped up like musique concrete and then delicately placed back together with the loving touch of a scrapbook collagist

Bernice is the experimental pop vessel of musician/songwriter Robin Dann and her longtime collaborators Thom Gill (keyboards, guitar), Philippe Melanson (e-percussion and drums), Daniel Fortin (bass) and Felicity Williams (voice). Together and apart, they have performed with Martha Wainwright, Andy Shauf, Lido Pimienta, Bahamas, Knower, and Beverly Glenn Copeland among many others, which led to them being referred to in the press as “Toronto’s ever-evolving backing band.”

In their own right, however, they have repeatedly proved to be far more than the sum of their considerable parts. Bernice’s Polaris Prize-nominated 2018 LP 'Puff: In The Air Without A Shape' received major international attention, described as an “analytical, self-dissecting monument to ephemerality” by The New York Times, and “a fascinating musical conversation” that blends pop and R&B influences with C86 aesthetics by Pitchfork, alongside high praise from outlets like NPR, Fader, and Stereogum, and many more.

Nearly three years on from that release (for Bernice a rapid turnaround by comparison to the seven-year gap between their 2011 debut and Puff), the band return with their third full-length, Eau de Bonjourno, out March 5th from Telephone Explosion and figureeight records. It marks their first collaboration with producer Shahzad Ismaily, the acclaimed multi-instrumentalist who has worked with artists as varied as Laurie Anderson, Lou Reed, Elvis Costello, Iggy Pop, John Zorn, and Bonnie ‘Prince’ Billy. While their genre reconstruction remains distinctly Bernice, Dann’s lyrics bring a newfound focus to storytelling in the present moment, compassionately meeting ourselves where we are, and finding joy in spaces that are familiar but ever changing.

Eau de Bonjourno, according to Dann, “openly plays with the shape of a pop song,” drawing on the band members’ backgrounds in jazz, subverting rhythmic formulas, and resting in grooves that sit just outside of predictable. Instead of letting instruments take extended solos, the tone is set on opener “Groove Elation” with brief blurts of synthesized sax, patient passages of space, or clusters of beats, tenderly held together by Dann and Williams’ intimate vocals. The album’s sound is experimental in its truest definition, chopped up like musique concrete and then delicately placed back together with the loving touch of a scrapbook collagist.
Blunt Chunks - The Butterfly Myth
Blunt Chunks
The Butterfly Myth
LP | 2024 | Original (Telephone Explosion)
33,99 €*
Release: 2024 / Original
Genre: Pop
Add to Cart Coming Soon Sold out Currently not available Not Enough Coins
Jahmal Padmore - The Whooz Black Vinyl Edition
Jahmal Padmore
The Whooz Black Vinyl Edition
LP | 2024 | US | Original (Telephone Explosion)
31,99 €*
Release: 2024 / US – Original
Genre: Organic Grooves, Pop
Add to Cart Coming Soon Sold out Currently not available Not Enough Coins
Jahmal Padmore, a Toronto-based singer-songwriter and drummer, is a master of introspection and musical innovation. Having begun his career as a punk rock duo with The Carps, Jahmal's solo artistry has since flourished, earning him critical acclaim for his contemplative R&B ballads. In 2022, he released his latest album, Esparonto, a testament to his unyielding commitment to artistic expression. Jahmal has graced the stages of Pop Montreal and delivered a mesmerising sold-out performance for his album release, cementing his place as a rising star in the industry. Set to tour Europe and the U.S. throughout 2023 and 2024, Jahmal's genre-blurring sound, which includes R&B, punk rock, and calypso, is a powerful meditation on love, relationships, and the human experience.
Jahmal Padmore - The Whooz White Vinyl Edition
Jahmal Padmore
The Whooz White Vinyl Edition
LP | 2024 | US | Original (Telephone Explosion)
31,99 €*
Release: 2024 / US – Original
Genre: Organic Grooves, Pop
Add to Cart Coming Soon Sold out Currently not available Not Enough Coins
Jahmal Padmore, a Toronto-based singer-songwriter and drummer, is a master of introspection and musical innovation. Having begun his career as a punk rock duo with The Carps, Jahmal's solo artistry has since flourished, earning him critical acclaim for his contemplative R&B ballads. In 2022, he released his latest album, Esparonto, a testament to his unyielding commitment to artistic expression. Jahmal has graced the stages of Pop Montreal and delivered a mesmerising sold-out performance for his album release, cementing his place as a rising star in the industry. Set to tour Europe and the U.S. throughout 2023 and 2024, Jahmal's genre-blurring sound, which includes R&B, punk rock, and calypso, is a powerful meditation on love, relationships, and the human experience.
Back To Top