“Late contender for the best of the year lists...brilliantly unusual, unexpected tracks, you never know what
she`s going to do next” - LAUREN LAVERNE, BBC 6Music

“I really really like that...we`ll be having more of Rachael on the show” - GUY GARVEY, BBC 6Music

“Bold art folk...accomplished fusion of words, acoustic strumming and wild percussive textures.” - UNCUT
7/10

“brims with ideas…refreshingly original…endlessly rewarding…a warm yet progressive addition to the alt.folk catalogue” ROCK`N`REEL 4/5

“Experimental folk multi-instrumentalist Dadd is one of the quirkiest singer songwriters on earth but
she`s also one of the best....a richly eclectic sonic treat.” - HIFI NEWS 9/10

“Boasting a vocal which echoes Beth Orton and a melody which reminds of Rotary Connection’s ‘I Am the
Black Gold of the Sun.” - THE LIST 4/5

“We Resonate is a wonderful quiet treat full of memory and kindness.” - DRUNKEN WEREWOLF

“Breaks the conventions of pop to reassemble a sound of raw, jagged beauty.” - AESTHETICA

“Whistful and wonderful, We Resonate emphasizes how magical freak folk can be.” - DIVA

“Rachael Dadd is a musician and textile artist who creates surprisingly accessible poly-rhythmic, acoustic
art-pop; utilising voice, ukulele, prepared piano, clarinet, and a plethora of percussive objects both musical
and mundane. An intriguing and really rather lovely record.” - fROOTS

“Rachael Dadd is our most celebrated female artist on Folk Radio UK.” - FRUK

“Rachael Dadd’s 4th LP sees her revelling in untrodden ground alongside fellow leftfield folk guests as
she combines pop with experimentation bringing both excitement and surprise.” - FRUK - Album Review

“An undoubtedly interesting, intriguing and entirely charming track, from a musician who is only going to
continue gaining momentum.” - CULTURED VULTURES [SINGLE OF THE WEEK]

“Creating a truly unique sound is no mean feat, but Rachael Dadd is someone who is managing it
beautifully.” GOLDFLAKEPAINT

Strike Our Scythes

▶ LP / CD / Digital
▶ LP available in-store: 18th April 2015 (List of stores TBA)
▶ Official release for all formats: 24th May
▶ Album Launch Event: 29th-30th May (Details TBA) 

PRE-ORDER NOW:
http://www.kitchen-label.com/ki016-hanging-up-the-moon-immaterial/

Sean: Vox, Guitar
Leslie: Vox, Guitar
Alexius: Guitar, Vox
Victor: Bass, Effects, Vox
Dean: Drums, Vox

Karen Lee: Violin
Zhong Ren: Cello

Written by Hanging Up The Moon
Mixed by Victor Low at Affixen
Produced by Victor Low & Hanging Up The Moon
Mastered by James Plotkin

Released & distributed by Kitchen. Label
Ⓟ & © 2015 Kitchen. Label
© 2015 Hanging Up The Moon

Hanging Up The Moon : http://www.hangingupthemoon.com
Kitchen. Label : http://www.kitchen-label.com

Hanging up the moon - The Divers (Immaterial, 2015)

Fábio Caramuru - tico-tico

dakota suite & quentin sirjacq
wintersong

12.16.2016 release.(worldwide)

wintersong

wintersong - dakota suite & quentin sirjacq

Taken from the album ‘Hikari' by haruka nakamura PIANO ENSEMBLE. To be released worldwide on 8 August, 2017 on KITCHEN. LABEL.

Pre-order (ENG): http://www.kitchen-label.com/ki020-haruka-nakamura-piano-ensemble-hikari/
Pre-order (JP): http://www.inpartmaint.com/site/21239/

KITCHEN. LABEL presents haruka nakamura PIANO ENSEMBLE’s new album entitled “Hikari” in a special 2CD box set edition to be released on 8th August 2017. “Hikari” is the final set of the trilogy of albums (Ongaku No Aru Fuukei and CURTAIN CALL) to feature the current PIANO ENSEMBLE lineup before they go on a indefinite hiatus after their last show at the grand St Mary’s Cathedral in Tokyo on 21st July 2017.

Since the release of “Ongaku No Aru Fuukei” in 2014, haruka nakamura PIANO ENSEMBLE has held a tour with 17 concerts in Japan and 4 around Asia, with high profile and sold-out concerts at venues such at Memorial Cathedral of World Peace in Hiroshima, Meguro Persimmon Hall in Tokyo and Hyogo Performing Arts Center in Kobe among others. Recorded in late 2016 and early 2017, “Hikari” includes a new suite of pieces from evolved and fully-formed versions of the group’s favourites and also previously unrecorded items from its concert programs. The album’s repertoire is the ensemble’s most complete yet and documented at the peak of the ensemble’s form.

Part one of “Hikari” begins with music recorded once again at the acoustically profound sonorium hall in Tokyo. As ever, haruka nakamura’s attention to the purity and precision of each and every note is matched by counterparts ARAKI Shin (Saxophone and Flute), Akira Uchida (Saxophone), Rie Nemoto (Violin) and Isao Saito (Drums). haruka nakamura’s piano melodies might appear uncomplicated, but this transparency of sound creates a mesmerising cumulative effect with “SIN” representing the ensemble at its most buoyant.

Part two and the centrepiece of the album features 3 extended tracks recorded at Meguro Persimmon Hall (Tokyo), Waseda Scott Hall (Tokyo) and Lutheran Church (Fukuoka). 9-piece female choir group CANTUS, baobab and 14 year old vocalist Urara all took part in these recordings where the pieces “CURTAIN CALL” and title-track “Hikari” showcase the album’s collection of sacred hymns and spiritual high points. The ensemble is also joined by long time associate AOKI,Hayoto (Guitars & Harmonica) along with Hiroki Chiba (Contrabass), Sakanoshita Norimasa (Guitar) and Ami Misawa (Cello). The album ender and new piece “Todai”, thereby closing a divine circuit with its concluding distances. If music is meant to be a transporting experience, then the album “Hikari” is haruka nakamura PIANO ENSEMBLE at their transcendent and luminescent best.

This album is recorded by Katsunori Fukuoka (Flysound) and is mixed and mastered by Gen Tanabe (studio camel house). “Hikari” is packaged in a hardcase box and features a 36 page book containing exclusive photos, liner and composer’s notes (In Japanese). The album also includes a digital download for 2 bonus tracks Hajimari No Sanbika (Waseda Scott Hall) and Yuube No Inori (sonorium). Total runtime: 85 mins.

Tracklist
1-1 nowhere (sonorium – Mar 11, 2017)
1-2 SIN (sonorium – Mar 11, 2017)
1-3 四月の装丁 (sonorium – Mar 11, 2017)
1-4 音楽のある風景 (sonorium – Mar 11, 2017)
2-1 光 (Meguro Persimmon Hall – Dec 11, 2016)
2-2 CURTAIN CALL (Waseda Scott Hall – Dec 23, 2016)
2-3 灯台 (Lutheran Church – Jun 18, 2016)
Bonus Track 1 – はじまりの賛美歌 (Waseda Scott Hall – Dec 23, 2016)
Bonus Track 2 – 夕べの祈り (sonorium – Mar 11, 2017)

Released by KITCHEN. LABEL
Ⓟ & © 2017 KITCHEN. LABEL

MORE INFO:
www.kitchen-label.com

haruka nakamura PIANO ENSEMBLE - 光 (光, 2017) - preview

Remix be Takeo Toyama artwork by Aaron Sewards

Connected to the Rock remix by Takeo Toyama

Scenes of Scapes

01 Early Summer

new duo by berlin based Henning Schmiedt and Marie Séférian

NOUS - O Heya

Pre-order: https://www.kitchen-label.com/store/no-24-kotonoha-ironomi/

“kotonoha” is ironomi’s 8th album and first ever release on vinyl. A tonal portrait of microscopic nuances particular of a Japanese midsummer saunter through deep emerald green forests and tranquil fields, transcribed into a meditative pastoral reverie created with crystalline piano playing, lute acoustics and real-time processing.

The title “kotonoha” (琹の葉) comes from a poetic anachronistic metaphor, combining form of leaves (葉 ha) and plucked string instruments (琹 koto) depicted in classical antiquity. With a distinctive sound that matches the sonic architecture of Japanese aesthetics, ironomi adds “koto no ha” into their extensive catalog already defined by its uniquely committed minimalism and serenity.

“kotonoha” was originally built on a sequence of four continuous scenes that makes up one long-form composition. The titles of these improvisational pieces (shioribi, namisora, ayumikaze, hagoromo) invoke a literal kind of sensuous, fleeting phenomena. The beauty and charm of these tracks lie in their impressionist fusion with Japanese nature and sensibilities. ironomi’s pieces rarely build and despite their sparse acoustic density, they have a presence that cuts sweetly into the listener’s reality. ironomi created their very own brand of “environmental music”, the literal translation of the Japanese term kankyo ongaku (環境音楽) - music designed to harmonise with, rather than dominate, its natural surroundings. In the specific spatial context of “kotonha”, the record heals the aural sense away from our jangling cities and restless daily environments.

The album includes two additional compositions “tsukishirube” and “maigo”, the latter being regularly featured as the concluding passage that brings ironomi’s live performances to an end. The expanded cadence remained a firm fan-favourite since 2010 and now documented in recording for the first time.

ironomi releases “kotonoha” on 30 August 2019 via KITCHEN. LABEL worldwide. Available on limited edition translucent green vinyl LP (Estimated shipping: 29 Sep 2019), CD and digital formats, with artwork by Tokyo-based photographer Yoichi Onoda. This record is mastered by Gen Tanabe at Studio Camel House in Yamanashi, Japan.

Tracklist
1. 栞日 shioribi
2. 波空 namisora
3. 歩風 ayumikaze
4. 葉衣 hagoromo
5. 月導 tsukishirube
6. 舞子 maigo

Released by KITCHEN. LABEL
Ⓟ & © 2019 KITCHEN. LABEL

琹の葉 kotonoha

ironomi - 舞子 maigo (琹の葉 kotonoha, 2019) - preview

French composer Sylvain Chauveau’s new album Life Without Machines, a set ofshort compositions using Barnett Newman’s series of abstract painting The Stations of the Cross as visual scores, is set for release on 17th April 2020 through FLAU.

Known for very minimal compositions for acoustic instruments, electronics andsometimes vocals, with a focus on quietness and slowness; Sylvain has released records on labels such as FatCat, Sub Rosa, Type, Les Disques du Soleil et del’Acier, Brocoli and performed live across Europe, Canada and USA, Russia and Asia.

The title of his new album, Life Without Machines, expresses the fact that ourlives are entirely assisted by machines (for everything we eat, wear, transport,build, watch, listen…) which require a permanent, colossal use of energy – mostlyfossil fuels, whose combustion constantly sends CO to the atmosphere. The title₂suggests that this can’t last forever: living with less (and finally without)machines may have to become a collective decision in the future or (moreprobably) a consequence of a combination of crisis (both energetic, economicaland ecological).

Composed by Sylvain and performed by french pianist Melaine Dalibert, thereare a total of 15 pieces, yet only 14 will appear on the tracklist (one hidden track ishearable after a period of silence at the end of track 14). This mirrors the stonegarden of Ryoanji in Kyoto, where there are 15 stones but from any point of viewone can only see a maximum of 14 at the same time.

Sylvain Chauveau -        e

song from most recent album Bite The Mountain which I recorded in Japan

Connected to the Rock remix by Takeo Toyama

RachaelDadd