Suche:vent

Hailing from Tain in the Highlands, Laura Jane Wilkie has a unique style which has roots in the Highland fiddle traditions but is influenced by an eclectic range of music from all genres.

Vent is centered around ancient women's work songs - waulking songs. Laura studied these to adapt them for the fiddle, immersing herself in the Scottish archives as well as having them passed on from friend, tradition bearer and one- woman- ceilidh: Rona Lightfoot. The album explores the melodies of these ancient waulking songs and how they have individually and communally provided a sense of safety, shared knowledge, power, love, humour and freedom to not only rural working women's communities but to Laura as a non Gaelic speaker.

Vent features an array of amazing talent including: Ian Carr on guitars/ harmonium; Sarah Hayes on keys/flute/ vocals; Joe Rattray on bass; Rachel Sermanni on vocals; Hannah Read on electric guitar; and Alice Allen on cello as well a improvised vocal samples by Pippa Blundell, Hannah Findlay, Gillian Fleetwood, Rona Lightfoot and Imogen Macleod.

Hailing from Tain in the Highlands, Laura Jane Wilkie has a unique style which has roots in the Highland fiddle traditions but is influenced by an eclectic range of music from all genres.

Vent is centered around ancient women's work songs - waulking songs. Laura studied these to adapt them for the fiddle, immersing herself in the Scottish archives as well as having them passed on from friend, tradition bearer and one- woman- ceilidh: Rona Lightfoot. The album explores the melodies of these ancient waulking songs and how they have individually and communally provided a sense of safety, shared knowledge, power, love, humour and freedom to not only rural working women's communities but to Laura as a non Gaelic speaker.

Vent features an array of amazing talent including: Ian Carr on guitars/ harmonium; Sarah Hayes on keys/flute/ vocals; Joe Rattray on bass; Rachel Sermanni on vocals; Hannah Read on electric guitar; and Alice Allen on cello as well a improvised vocal samples by Pippa Blundell, Hannah Findlay, Gillian Fleetwood, Rona Lightfoot and Imogen Macleod.

VENT’s 21st release, a remix EP edition of 120 copies all hand numbered with a risograph printed cover, sees the collaborative works of 2019’s Kına LP by MAYa & Tolga Baklacioglu (VENT017) being reinterpreted through the lens of four prolific remixers. Each has brought their own perspectives and experiences to the table, challenging and redefining the original versions in their own way. Palestinian producer Muqata’a, for instance, has taken the track “Jyoti”, a track dedicated to Jyoti Sing, who was gang raped and murdered in India, reconstructing it so as to emphasize the continuous violence against women, whereas Martial Canterel has universalized the notions of yearning for a homeland in his remix. As a release featuring a broad range of bold and uncompromising remixes in different styles, the themes of nostalgia and yearning helps each remix highlight the qualities of the others. As keys to decrypt each remix more carefully, the artists have provided their brief comments, below:

Silent Servant (legendary dj/producer):

"I tried to give this remix a different approach than what has been my usual. Something based on perceived nostalgia but mixed in a modern way. I wanted it to feel like a lost RMX for the Hacienda from 1984 but hit in a modern club standard.”

Martial Canterel (cult poster boy for 21st century minimal synth):

"In approaching the work of my very dear and old friend, Maya, and her collaborator, Tolga Baklacioglu I wanted to situate differently the atmosphere and longing, to word it entirely otherwise. I wanted to dramatize this yearning for home and homeland, what the Welsh call Hiraeth. I want to place her plaintive strivings for home and tranquility in a festival of upbeat rhythms and releases."

Muqata’a (Palestinian beatmaker):

"It was very interesting remixing this powerful piece, working with the concept and different elements of the track, 'Jyoti', creating a more loop-based structure in an attempt to represent repeated violence against women."

Decimus (uncompromising esoteric artist):

"What I find amazing about the original version of this track is how colossally monolithic it is. It shifts and morphs over its 13 minutes but it never relents in its intensity and density. It feels epic and gigantic. I chose it to remix because I saw it as a challenge to carve something quieter and perhaps more narrative, in form, out of it while trying to stay true to the intensity of the original."

After spreading several music videos and EPs all year long, Jumo starts the decade with a first much anticipated album. More than a compilation of his past works, “Et le vent?” extends the artist’s experiments and add new colors to his palette.
Featuring Léonie Pernet, Pénélope Antena, Hyacinthe.
Staying on the line traced by the previous tracks, “Et le vent?” perpetuates Jumo’s taste for narration with all its forms.
Six years ago Clément Leveau gave birth to Jumo a musical avatar with whom he asserted a singular identity characterized by a sophisticated production of heady melodies and a cinematographic atmosphere allowing him to give free rein to his passion for the image. The release of the Radio Nova hit 'Aléa' marked the beginning of a fruitful collaboration with the Parisian label Nowadays Records (Fakear, La Fine Equipe, Clément Bazin, Leska). As a graphic designer Clément makes Jumo a true transdisciplinary project in which sound and video feed off each other, putting his collective Cela at the service of a dark and arty visual universe that perfectly matches the contours of his music.
After spreading several music videos and EPs all year long, Jumo starts the decade with a first much anticipated album. More than a compilation of his past works, “Et le vent?” extends the artist’s experiments and add new colors to his palette.
Staying on the line traced by the previous tracks, “Et le vent?” perpetuates Jumo’s taste for narration with all its forms. “L’exode”, first single of the album, is a perfect example. It gives the album’s tone and also dives us into Jumo’s powerful aesthetic thanks to the music video.
“Steve (Ft. Léonie Pernet), is a tribute to Steve Maia Caniçot, young man who dramatically died during a police charge on Nantes docks on June 21st, 2019. A track on which Jumo confronts with Léonie Pernet’s grunge intonations, an unexpected collaboration sounding like an evidence.
Another main track of the album is “Une Belle Personne (Ft. Oré)” where the producer’s synths converse with the French singer and offer us an original and efficient pop song.
The great Awir Leon, the French rapper Hyacinthe, Hier Soir (Jumo’s side project) and Penelope Antena complete the cast of an album that goes from the calm contemplation of the world to the underground clubs filled with energy.

For VENT’s 20th release, VENT is visited by Eastel, who delivers her signature straight- forward dark techno. Industrial aggression at its finest. Tolga Baklacioglu reinterprets “The Day After” in a remix vibrating in the same frequency as Eastel’s original, whilst adding melodic timbres with its haunting synthline of ecstasy frozen into despair. Not much further ado is needed; tracks like these make words superfluous.

For VENT’s 19th release, Tolga Baklacioglu has collaborated with Ezgi Irem Mutlu and received remix support from both Julia Govor and Anastasia Kristensen, which has resulted in a rich and diverse EP that is full of currents and counter currents - drawing on each contributor’s vision and interpretation of the themes created by Tolga and Ezgi. The two have previously collaborated, and it is perhaps this that has allowed both artists to stretch the limits of their own personal expressions whilst remaining in touch and correspondence with the other. Tolga’s vortexes and knots of rhythms and textures are as disorienting and entrancing, as Ezgi’s diverse and intuitive range of vocalistic expression is mysterious yet straightforward. Julia Govor’s remix masterfully opens up the original mix of “Repentless” into a dramatic vista propelled forward by pulses of momentum coming from the bassline, while Anastasia Kristensen’s “Bir Vars” remix focuses on the suggestive elements of Ezgi’s vocals and reconfigures the dreamy and paradoxical original track into a dark and intense new experience. As a digital bonus track, Tolga and Ezgi offer a third collaboration, “A Very Slow Goodbye”, which together with “Repentless” and “Bir Vars” forms a triad of quizzical and dreamy tracks. It sits nicely between the two tracks and functions as a key to understanding the other two as the respective explorations of the outermost ends of the creators’ joint spectrum of collaboration.

Following the release of Tolga Baklacioglu & Dee Grinski’s album “Your Secret Face”, VENT presents a remix package featuring Samuel Kerridge, Svreca, Ryo Murakami, and Isabella, who are some of the artists who have most inspired and supported the duo’s music. These exceptional artists’ interpretations refract the industrial rhythms and harrowing vocalisations of the original tracks into caleidoscopic tunnel visions with each remixer's individualistic expression.

Eagerly awaited debut album from oft-cited UK's most out-there band, features in the works with The Quietus and Wire already.

180GM PRESSING - 500 COPIES ONLY.

Difficult times required difficult music, my Yarns, that's why we had Guttersnipe; with its own sort of energy-kind there then.Reiner: A singular yield, a singular yield now.Barns: A whot
Reiner: A singular yield mate! Rich guitar strang, flow motive pounding underneath.Vox like Death come winding through the fields. Barns:  Hell of a way to describe a vocal style.
Me: Nah but for real my Donny, Have you read a presser 1 sheet lately It's the most

They say the PR era, circa late 80's killed the golden age of music journalism:
They say Guttersnipe have continuously melted all the forms that they come up against. They are right.  Because Guttersnipe is not part of a tradition we know well. You will identify the departure from it though, immediately, upon hearing My Mother The Vent. This LP, the promotional version of which, likely sits in your hands (disk, whatever). The innovation here is a FIRM commitment to the flowmotive polyrhythm underwriting the seared, nay fried, tonal rainbow and de-reasoned vox.

Not Nate Nelson, nor John the masseuse dude from Sightings but TIPULA CONFUSA.  Don't want to put the captain obvious pants on so tight I can't jump around the yard because why waste a good yard hang. I'll put on my blighty nighty instead. UROCERAS GIGAS has bridged so many gaps, finally unlocked the AxeWeld CODE and is really playing the thing. Not to mention bringing forth a world-view so utterly unique.  Good luck finding anything like it.

Finally some REAL disjunction in the music; clear and intended. In an age when most computer music composers use stochastic systems and still manage to drop some linear pathground shit, the brawler drums and slanky guitar constructions on My Mother The Vent are a genuine treat.  I've spent too much of my adult life so far hearing too much of this shit to not recognize REAL GAME. And here it crawls out of the grey shadows of ol' BLIGHTY.

Our post-music age: after the fine human endeavour known as music, the result of letting the cybernetic run ITS horrible game on us. I'm not waxing confusingly in a rarefied tone here. Nor running the boring sci-fi script. I really think that is were we is.  We left the human-music-on-a-human-scale behind and much to our detriment. Here we sit in our crumbling reality. But Guttersnipe come paleo, like the rhapsodes with long ass memories rattling off Homeric verse well into the age of manuscript culture, but here, with future tones.  Luckily. Otherwise, me and the record label here wouldn't be wasting our time and yours with a 1 sheet for My Mother The Vent.

So a proper first time on wax for these amazing creatures is a welcome addition to the world of things.  These drums and these guit-lines are so cranké, as they say here in my odd neighborhood.  These voices are so utterly expressive without even the damn language at hand ; like the great horns. We'll rinse this record out, I'll put on my old blighty nighty and go dance in the street.  Alex Moskos, Montreal, August 2018Guttersnipe is:UROCERAS GIGAS - Guitar, Analog Synth, VoxTIPULA CONFUSA - Drums, Drum Synth, Vox

Chemistry between individuals is an amorphous and elusive notion. It is usually seen as something that occurs between two people who are sharing a physical space, with access to each other's body language and energy. However, modern technology has provided many other opportunities for chemistry to blossom and be explored and this record is just one example of that: Vent is proud to present Kina, a double LP of musical collaborations between MAYa and Tolga Baklacioglu.

Tolga Baklacioglu is an associate professor in aeronautical engineering. He is also a musician. For several years, he has been steadily building a body of work that explores the outer boundaries where techno and abstract textures merge and blur. In 2014, Tolga created a label, VENT, as a platform for his explorations and those of likeminded travelers within this sonic realm.

MAYa Hardinge works in film. She is also a musician. She has collaborated with numerous artists. Beginning in 2008, She released 4 EPs under her solo guise MAYa. Considering her background in film, it comes as no surprise that her work has a strong visual element. Pre- dating Beyonce´'s Lemonade by many years, her last two EPs were visual albums made in

collaboration with various directors.

It makes total sense that MAYa and Tolga should have made an album together. Their interests and backgrounds overlap and diverge meaningfully in a way that has all the hallmarks of good musical chemistry. There is however one unusual element to their collaboration: they have never met. Tolga lives in Eskisehir (Turkey) and MAYa lives in New York City.



Always on the look out for inspiration and new collaborators, Tolga stumbled across MAYa's videos online. What he saw and heard inspired him to reach out and contact her. After some correspondence they decided to experiment with the prospect of making music together. Perhaps deprived of the traditional notions of chemistry defined by proximity, they found inspiration across time and space in the name of exploration and discovery. Tolga began by sending MAYa files of beats and ambiance. Upon finding the ones that spoke to her, MAYa went to work disassembling, adding, subtracting and rearranging. MAYa's work would then go back to Tolga, a world away, for further input and then back again. In this way each track was painstakingly constructed and a true chemistry was born. One built on sensitivity, support and honest artistic communication. In a word: LISTENING.

The songs cover a broad spectrum of topics, from the deeply personal feelings and experiences, to world events, and the fundamental aspects of life and death. Kina is a document of two artists from different backgrounds and their shared visions of the interplay

between one's private microcosm and the global macrocosm of our time; a testament to the fact that, for all its vastness and diversity, this world offers inspiration and potential collaboration around every corner. The music contained within has traveled around the world many times before reaching your ears. As MAYa and Tolga have done before, it is now your turn to LISTEN.

Mental acid and minimal textures of potential Dancefloormusical mental douns... Thinlaces of neuronal connections.

VENT is when you say all is fine with ash in your mouth, is when the surface is all, is when the years lead nowhere, is when effort is loss, is when the rulers have defeated themselves, is when you scream with your smile, is when the surface absorbs the space and when you do not say it, is when the body contradicts the surface, is when it is said, is when the dialectics of the voice has been defeated by the synthesis. Wallis is when Tolga Baklacioglu presents two experimental cuts, and two cuts of abrasive stripped down techno.

VENT forges new alliances, as Dee Grinski and Tolga Baklacioglu joins forces to explore musical synergies on a collaborative LP release of drone alchemy, eternal rhythms and harrowing vocalisations, which explores the lightless mazes of subconscious voids, teasing at barely understood taboos. Tolga's past explorations of unrelenting industrial sounds are further refined, and enforced with Dee's vocal talent that covers a wide range of expression - from commanding and authoritative to harrowing howls of disembodied despair. They invite us to come with on a journey towards the lightless fringes of cognisance.

VENT present the next step in Tolga's journey to explore the peripheral edges of consciousness and experience - a mental expedition beyond the fringes of reason into dark borderlands of cognisance. Swedish black metal band Totenwelt contributed to 'Illa Ki' providing vocals for the track. Our wish for this release is to help guide the listener to a stripped down state of being, free from thoughts and emotions, alone with nothing but one's living breath.

VENT is proud to house Cindy's debut ep, which is a no-nonsense message of grime and salt that we never hesitated even for a second to release. Cindy's raw knuckle approach to production has a haunting beauty to it, and we look forward to being able to say: 'remember where you heard it first'.

2022 Repress

A brand new selection of unreleased musics composed by the great Alain Goraguer (working with Serge Gainsbourg & Boris Vian, as well as having released on the great "Cosmic Machine" Compilation and known for his Cult Soundtrack "The Fantastic Planet. ".

Today we present his works

for movies from the golden age of french pornography, brought together on a collector vinyl, object of all desires.

To stress the Cult Status of this, MCX was previously released only through a crowfuding campaign in july 2018 - which reached 700% of ist initial goal

Eight never released before tracks composed by Alain Goraguer, orchestrator and composer of an impressive number of monumental french pop songs, from Boris Vian to Serge Gainsbourg, and well known by hip-hop fans and sampling lovers for his cult soundtrack for The Fantastic Planet.

Tracks saved from oblivion and fully restored, from the soundtracks of these evocative titles : Swinging Couple Cruise, Private Nurses, Right of the First Night and A Foreign Girl in Paris

Comes with a 12 pages color X-Rated Excercise book, with the classics : coloring, points to link and carvings, with a gallery of characters to carve and to layout of the included locations, to elaborate your own orgy, with any outside help ! Designed by famous french illustrateor Erwann Terrier.

Xao returns to Astral Black with his new eight-track LP, Eternal Care Unit. Created after relocating to Germany and distanced from the UK sounds and scenes that had influenced his previous work, ECU sees Xao further explore the ethereal futurism displayed on 2017's Alloys EP. In keeping with the title (Eternal Care Unit is a medical slang term for the morgue), the release soundtracks the transcendental shift from the physical to the spiritual realm.

Over the course of the record's thirty minute running time, Xao traverses through the hauntingly beautiful soundscapes of tracks like the opening 'Embryno' to the sonic brutalism of 'Corvid Tendencies' and 'Vent Jockey', interspersed with the driving off-kilter rhythms found on the likes of 'Bernet Franca' and 'Blades//Savants'.

The physical release comes with full colour sleeve artwork from fast rising designer Patrick Savile, whose has previously done work for the likes of Bokeh Versions, Warp, WGSN and more.

Hardfloor acid tribe to Acidcore... A dancefloor weapon, newborn label from Underground Techno's Narkotek familly, annoncing a newskool acid tribe sound ! Big ! Notice the last track witch is a the Acid Doom frontier... rare style.

Art is a matter of different phases and influence. The artists' core reaches out like heat waves. And very rarely do these artists' core merge like Brigitte Fontaine and Arseki Belkacem have. Their Saravah Era lasted ten years (1969 to 1979), ten years of "folle sagesse" (crazy wisdom), above all genres and song limitation.

"Le plaisir secret que donne une chanson, dessin à la craie sur le mur de tes sons" (the personal delight within song, a chalk drawing on your wall of sounds) whispers Areski, right after Brigitte's voice on the penultimate song of the double album "Vous et nous". Released in 1977, this free flowing record contains 33 songs, it's their 6th album after "Comme à la radio", "Brigitte 4", "Je ne connais pas cet homme", "L'incendie" and "Le bonheur", and it continues to spread the wide and generous spectrum of the couple fully blossoming talent. Electronic experiments, North African trance, refined acoustics and medieval drones gracefully blend with the acid and candid tongues of the singers, surprising us each step along the way. The making of this record was also full of twists and turns. It started out as a solo effort by Areski at Jean-Pierre Chambard's studio. Little by little, as Areski was filling tapes with poems and improvised skits, Brigitte would sneak into the studio at nightfall, adding her voice here and there, her whispers then became screams, giving fuel to the fire in a total blaze, a surreal blaze. The solitary work ("je") thrived to become us ("nous") and you ("vous") ...

Benjamin Barouh, June 2018

Tape / Cassette
This is Essential Tremor's second and final album of all time. The band broke up after the recording of this record but still managed to play one final show before fully breaking up. The show was one of the most brutal things Nashville, TN has ever witnessed and lead singer Cole K was banished from Nashville forever following the performance. Essential Tremor's work never quite fit in with the rest of what was occurring in Nashville around the time these tracks were recorded, but we're sure that this tape will fit right in with the rest of your collection.

LP Maxime Daoud, a much sought after musician accompanying Forever Pavot and his brother Adrien Soleiman, has released under the alias Ojard a first album of soft and delicate instrumental vignettes. If '' Euphonie '' calls for cinematographic comparisons (Vladimir Cosma, Basil Kirchin), the minimalism of the arrangements, the simplicity of the melodies conjure up to Erik Satie's '' furniture music '' and Brian Eno's 'thinking music.

Hailing from Paris, Mikado featured singer Pascale Borel and instrumentalist Gregori Czerkinsky. As well as cult debut single Par Hasard, issued by Crepuscule in October 1982, the remastered collection includes subsequent singles Naufrage en Hiver, Carnaval and La Fille du Soleil as well as debut album Mikado from 1985, executive produced by Haruomi Hosono of Yellow Magic Orchestra.

Bonus tracks include b-sides, jungles, and several demo songs for an unfinished second album. There is also an English language version of Par Hasard (Romance), Christmas album track Noel Sous le Soleil, plus a previous unreleased cover version of the theme from Night of the Hunter.

Cover photography is by Pierre et Gilles, the famous French artists celebrated for creating a world where painting and photography meet. The 2xCD edition is housed in a 6 panel digipack with a 12 page booklet. The double vinyl set comes in a gatefold sleeve and includes a free digital copy.

A collection that balances soulful vibes with modern an edge. Saison's "Can't Get Through" opens with deep textures and a classic house swing, while Piem, Saison & Kid Enigma's "Don't Stop" injects vocal fire and raw energy into the A-side. Flipping over, Matt Gillespie's "Need You Now" layers warmth and urgency into his take on the classic garage sound. Closing the record, Scott Diaz & Miss Yankey's "Intergalactic (Alternate Rub)" ventures into more garage territory with its atmospheric pull and soulful chords. A versatile package that brings together established names and rising voices in perfect balance.

2026 Repress

Deadbeat & Tikiman's occasional collaborative performances have since blown the minds of many audiences

Deadbeat. Tikiman. Infinity. Dub. A quadrangle of such obvious statement and perfect musical inference may very well never have been uttered for those of the wholly weeded out persuasion. Indeed, when the great book of Dub music is written the names Scott Monteith and Paul St Hilaire will undoubtedly figure highly in its chapters devoted to recent years. Monteith, the last great prodigal son of the doctrine handed down from the Blue Mount of Lord Scratch and King Tubby, St Hilaire the undisputed voice of a generation, those fanatical warrior monks, followers of the most Holy House of Ernestus and Von Oswald incarnate.

Having developed a fast friendship from their very first meeting in Montreal at the premier Micro Mutek event a decade ago, Deadbeat and Tikiman's occasional collaborative performances have since blown the minds of audiences from Berlin to Tokyo and many points in between. No great surprise then that their first album length venture is a Tour de Force of Dub music of the highest order.

Nearly a year in the making, the genetic code of Deadbeat's Infinity Dubs series gets shot through with a Dreader than Dread Kingstonian logic, hi hats dropping back from the three to the one, Tikiman at his most militant, poetic, fierce, and flowing. These are the recordings of two lions uncaged, and none who bare witness shall escape their fiery judgement.

If music is truly eternal, here be two voices which shall echo in infinity with all the weight, reverence, and dire power unleashed with every tectonic bass hit, and every whimsical turn of phrase. And if these eight burnt offerings are any indication of what happens when these two sit down for a session of smoke and reasoning, here's hoping they choose to do it frequently. Dub without end. Ad Infinitum.

Inperimental is a bold return from Lithuanian electronic pioneers Plasma, presenting a meticulously crafted double LP that explores the intersections of techno, ambient, and forward-thinking electronic sound. Every element — sound, structure, and visual identity — is
intentional. This is not a collection of experiments, but a fully realized sonic architecture shaped by decades of experience and analog mastery. This vinyl edition is more than just an audio release — it's a multi-sensory experience.

The gatefold cover and packaging feature hidden artwork that can only be revealed using included red-lens glasses. This visual element isn’t just a gimmick — it reflects the same intentionality that defines the music. With no room for improvisation or trend-chasing, Inperimental is a precisely executed statement in both sound and form. The album blends ambient tones, analogue warmth, and dancefloor rhythms. It demonstrates a refined sound palette: humid techno grooves, cosmic textures, and cinematic depth.

Inperimental is described by the artist as a voyage where technology meets pure emotion — “a realm where warmth intertwines with technology, dreams blur into reality, and pure, authentic sound reigns supreme”. A digital download card is also included with each vinyl copy.

Brånd is one weird/post black metal act from the Upper Austrian town of Linz.

Started off in 2015 as a solo act by Vritra (also in Kringa and Weathered Crest) with the need for a form of expression free from perfection or boundaries, over the past ten years the ever-evolving project ventured into various soundscapes, from crude black metal to lo-fi ambient and from ferocious post-punk to psych downer rock, all while splitting releases with extreme underground torchbearers like Absolute Key, Calvary and Rosa Nebel.

Joined by musicians to evolve old and new ideas, Brånd debut full-length album grew from 4-track demos gathered over the last decade to become an album of richly arranged songs from all over the fields of interest, breaking from their lo-fi tradition to new horizons.

To describe thoroughly “Tåg & Nåcht” is possibly the hardest task to do, given all the influences that are skilfully intertwined and perfectly balanced. In this witches’ brew the most schooled listeners will hear some angular post-punk à la Gang Of Four sustaining pagan declamations in the vein of Fenriz folk metal excursus Isengard. Straight forward dark anarcho punk assaults are mitigated by almost new age juxtapositions. Traces of 70’s German krautrock like La Düsseldorf are melted into a heavy metal cast, while wind instrument raids that are equally James Chance and Death In June seem to drop when least expected.

The sound is crunchy and surprisingly warm, contrary to what one might expect of a band emerging from a black metal background. But right now, Brånd is so much more than this: they can master a wide range of sounds that span from 70’s space rock, passing through 80’s post-punk and UK82, reaching 90’s black metal and 2000’s blackgaze, all in one incredibly coherent album. If this sounds too good to be true, suit yourself and press Play.
Split released with Tour De Garde in US/CA.

Philip Glass, the great American composer, was already in his mid-30s before his first album appeared, and then only because he produced the double LP himself. Music With Changing Parts was the inaugural release on his own Chatham Square imprint in 1971.

At this point, Einstein on the Beach, Glass' first opera, was still five years away. Yet in Changing Parts, one can already hear much of his vocabulary in full bloom: the buoyant arpeggios, the melding of electronic and acoustic instruments, the elongated drones of human voice, the primary emphasis on pulse (an interest he shared with fellow composer Steve Reich) and the ecstatic potential inherent in repetition.

The album features the original Philip Glass Ensemble – the composer himself, along with Jon Gibson, Dickie Landry, Art Murphy, Steve Chambers and Robert Prado – playing Farfisa organs and woodwinds as well as Barbara Benary on electric violin.

As Glass describes in his memoir Words Without Music, he secured a $500 interest-free loan for the recordings' initial release from the Hebrew Free Loan Society – an organization intended to help immigrants from the Old World upon arrival in the US. Though Glass was merely the grandson of immigrants, the venture wasn't far off the society's charter as Changing Parts helped usher in a new world of sound that would become known as Minimalism.

Chatham Square went on to release albums by other composers in Glass' circle, including Gibson and Landry. The label was named after the Manhattan intersection where Landry had a studio and the ensemble rehearsed.

Born in Baltimore in 1937, Glass first moved to New York to attend Juilliard at just nineteen, having already graduated from the University of Chicago. A staple of the Downtown scene, he can perhaps be appreciated as akin to the likes of sculptor Richard Serra or filmmaker Jim Jarmusch: mavericks who became major cultural figures entirely on their own terms.

This first-time vinyl reissue reproduces the original side-breaks and gatefold sleeve.

Extinction Burst! is the new invocation in album-form by Guttersnipe, Leeds’ premier and pre-eminent XFCER (XFCER: Xenofeminist crisis-energy rock)* duo. Slamming at full speed to multi-dimensional oblivion, Extinction Burst! is the most full, hidefinition lurid dream-mare yet spewed out by Uroceras Gigas & Tipula Confusa. Engineered and mixed by Ross Halden at Hohm Studio in Bradford and mastered by Rashad Becker, Extinction Burst! follows 2018’s My Mother The Vent, which garnered universal critical adoration. Nevertheless, this long-awaited follow up is more extreme: it is wildness beyond reason, splitting new tears in the reality gauze, ultimate hallucination through sound ecstasy. 2026’s Guttersnipe are evolved, mutated by 8 years of touring together and with the labyrinthine network of groups both Guttersnipe members are involved with - Tristwch Y Fenywod, Nape Neck, Petronn Sphene, Yexxen to name a few. On Extinction Burst!, as with previous material, the duo are heavily augmented with technology. Tipula Confusa's drum kit triggers chasm-causing synth pulses with thumping low end attack.. Strafing from all over the stereo field the constant shatter of the cymbals and toms feel like Sunny Murray or Rashied Ali in full flight during a John Coltrane session in 1967. Uroceras Gigas’s guitar + synth storm is by-now similarly an instantly recognised tool kit in underground music. Switching from screeching guitar atonality to intricate riffs from the black metal/Voivod hinterland to ultra-distorted synth meltdown, it’s an utterly overwhelming, essential and vital pouring-out of the full emotional spectrum. Both artists vocalise, ecstatic and primal, drawn out or yelped in pain or pleasure or panic. Alive On Tuesday begins with some of the only space on Extinction Burst! Digital crackles and tight-delays blow out into a fullthrottled death-dive into sweet opaqueness, offset by the duo’s vocals. There’s a popular believe that Guttersnipe is chaos, but over 9 mins here the group are clinical in their control of the simulated entropy. Mincing while the Maelstrom Churns’s guitar is modulated into jagged atonal atonement, duetting with the virtuoso drum patterns before it thuds into gear at quadruple the speed. Threads Of Radical Unaliveness veers close to the extreme Metal influences with blast beats and guttural vocalisations until the track exhausts itself into unaliveness. Keep Honking summons a demonic digital panic, with the duo reincarnating in real time as haunted versions of themselves, almost translating the lurid, ultra vivid, simultaneous hell+heaven of being alive in this dimension. Primordial Invagination harnesses No Wave’s dissension of normality before the structured collapse of Skra¨ckblandad Fo¨rtjusning, in which Tipula Confusa’s accelerating drums simulate a bouncing barrel of brimstone descending into a primordial gunky ooze, a respite in the middle before the record splutters to a stuttering finale, both members’ vocals out there in the neon realness, alive with crisis energy. There is nothing on this cursed earth like Guttersnipe. For over 10 years they have whirled in a wiggliness both woebegone and wonderstruck on a mission of radical mutant exaltation using rock music weaponry loaded with a queer hysterical ammunition to rupture the fabric of the known Rock universe and unleash a tendril-soft hallucinatory violence; thrumming with the bracing vividness of insect bodies, crazed with alien synaesthetic emotions, harnessing jagged excoriating illogic as a face meltingly snazzy affront to redundant macho mediocrity with the hope to break minds, squeeze hearts, explode pelvises and maybe even reset the parameters of reality. Addendum: xenofeminist : proposing and creating a world defined not only by sexual/gender equality, queer empowerment and the toppling of the racist heteropatriarchal hegemony and it’s tyranny of phallogocentric signifiers, but a philosophy of radical queerness that explodes the basic notion of embodied existence itself beyond even the human, where we see bacteria, invertebrates, reptiles, marine life, animalia in general, inanimate objects, quantum phenomena and as yet inarticulated bodies and minds as social and political equals that may inspire and inform our concepts of self, feeling and meaning as we labour to build a collective reality that doesn’t completely suck!! crisis energy : a term borrowed from the weird fiction author china mieville to describe a type of extreme concentration of power which emerges when a system or organism is pushed to it’s absolute limit; the point of rupture, chaos, entropic overload, just before it all breaks apart. rock : Rock ’n’ Roll, rock music, the devil’s music, sex, guitar, drums, voice, rhythm, riffs!

The second release from the legendary Celluloid label since its rebirth after 35 years of silence, Honk Gong is a brand-new trip-hop / no wave duo built around the wild, dreamlike sampling of Paul Ramon(Pleasure Principle, Bryan"s Magic Tears) and the contagiously laid-back flow of the San Francisco"s MC & Producer,Robin Jiro Margerin (Salopecia, There"s Ifs, Marginal Tow). Conceived as the diary of a chemical wreck, Dissociate drifts somewhere between the intelligence of an A Tribe Called Quest track and a YouTubecollage. Recorded by Paul Rannaud (Fat White Family, Insecure Men)and mixed by Maxime Maurel (Departure Kids,Ventre de Biche), this debut track kicks off a series of concerts and showcases ahead of the release of a first album, "Eau de Low", due in spring 2026. "Dissociate" is released in partnership with agnès b.

Obsidian rock is igneous, frequently dark, yet opaque. Hard edged and brittle, it’s often been used both for weaponry and alchemical pursuits. Therefore when Lorena Quintanilla – the Mexican-based artist from the group ‘Lorelle Meets The Obsolete’ and also known as J. Zunz – was searching for psychic inspiration for her next musical venture, she need have looked no further. “Once I chose the title, everything I read, saw, listened to, and thought about began to interconnect” she relates. “Obsidian became like a magnetic field.”
“In Mesoamerican cultures, it was used in many different ways – obsidian mirrors, for example, were tools for divination and spiritual vision". Thereafter, Lorena set about creating an album entirely on her own terms. Driven by both the ghost and the heart of the machine, ‘Obsidiana’ open up a portal whereby forbidding drone, ethereal ambience and insistent repetition intertwine elegantly to form a seamless whole.
A study in balance, its emotional charge remains strong and intact whether on the eerie, almost Radiophonic ambience of ‘Imago’ or the dancefloor-adjacent, Chris & Cosey-esque ‘Osiris’. Lyrically meanwhile, ‘Obsidiana’ intersects deep personal explorations with the conflicts and contradictions of life in the unforgiving realm of 2026 – as Lorena says; “he process behind ‘Obsidiana’ was very abstract, yet I wanted the lyrics to stay grounded in the present and in reality".
Ultimately however, ‘Obsidiana’, in all its sharp yet amorphous glory, is catharsis manifest. “Each song carries a clear and deliberate intention” Lorena emphasises. “To conjure, to exorcise, to strip away fear, to rediscover myself, to heal inherited sadness, and to reclaim the night that was taken from us.”

'This compilation Pas Un Pas Sans… The Boleros of O.K. Jazz 1957-77 is a selection of songs from what is one of the most unique and passionate music genres on earth, the Congolese bolero.
'Of all Congolese bands venturing into the bolero, the O.K. Jazz orchestra is by far the king of this musical style which originated in the late 19th century in Cuba. In its nearly forty years of existence, the illustrious band released dozens of boleros, with beautiful compositions, mainly by Franco and Vicky, and occasionally from Kwamy, Edo, Simaro and Mujos among others. The slow form of the bolero allowed Franco, who said in various interviews that he loved all forms of ‘slow music’, to express his most profound soul stirrings and create a style of his own. With the suave voice of Vicky and the breathtaking and dramatic guitar touch of Franco, O.K. Jazz was able to capture the true essence of the bolero.
'The favorite theme in the bolero songs of O.K. Jazz was, without doubt, the joy and pain of love, but it also touches on friendship, city life in Kinshasa, laments, politics and even advertising for a shoe brand like the remarkable song ‘Pas Un Pas Sans Bata’ featured on this compilation.
'All of the songs, except one, were restored and remastered from the original 45 rpm or 78 rpm release. The selection chronologically presented here consists – as always – for a good part of songs never reproduced after their original release.'

Superb recital of acid and mental. Mystical and spiritual ambiance, in a threatening acid growing sound... Not acidcore, more like a bath of liquid 303... Dub ?

A reissue of Volumes 1 and 2, originally released on the Rephlex label in 2007. This time, both volumes are brought together in a superb gatefold sleeve 4LP, taking you on a journey through the very best of Andy Jenkinson's work: Cool music, a blend of such quintessentially British culture that swings from gabba to IDM, from rough techno to electro to acid and analogue sounds - all packed into over two hours of madness. Here we go again!

Mimose, Parra for Cuvas new, fourth studio album, is set to be released in spring 2024. The album continues the musicians avid exploration of sound in a surprising and sensitive journey that unites haunting vocals, choir-singing, groovy basslines, trance-inducing shakers and many exciting collaborations.

Multi-coloured vinyl LP or CD. For fans of Nektar, Van Der Graaf Generator and Progressive Rock! Formed in Germany in 1969, Nektar favoured extended compositions and concept albums over the constraints of pop. They were among the progenitors of the progressive rock movement of the 1970s as well as the jam-band scene that arose in the late 1990s. Their sound travelled well to the States, where they enjoyed Top 40 success with "A Tab in the Ocean" (1972) and "Remember the Future" (1973). Nearly 20 albums and a half-century later, the band's artistic and personal charisma has earned them masses of devoted fans. Now Nektar is broadening their horizons with the first in the "Mission To Mars" trilogy. Their first to feature new drummer Jay Dittamo, alongside longtime members Ryche Chlanda (guitars),Kendall Scott(keyboards), and original members Derek "Mo" Moore(bass) and Mick Brockett (visual environment).From the rocking title track "Mission To Mars" to the beautiful "I'll Let You In", Nektar covers all of the prog rock bases while venturing into some new melodic territories. Track listing: Mission To Mars; Long Lost Sunday; One Day Hi One Day Lo; I'll Let You In

For the 61st outing, Klasse Wrecks heads north once again to Sheffield to the People's Republic of Soyo. The South Yorkshire city has churned out some benchmarks in electronic music over the years and the tradition seems to be continuing, judging by the new 'Altec 1138' EP by producers DJ Steve and Kwake. While the purple bleep lineage can be traced in the 4 tracker, it is not ever classic or pastiche. The spacious dancefloor stompers hit more of an old U.K. Techno vibe and sometimes even venture towards John Carpenter soundtracks in mood and atmosphere. It's classic Wrecks in that it's not classic at all, unconventional genre placement advised