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2LP on crystal clear vinyl. In these trying times, where intimacy and closeness are fraught with danger, Dans Dans (Dance Dance) brings you the sound of connection, communication, passion and togetherness.

In these trying times, where intimacy and closeness are fraught with danger, Dans Dans (Dance Dance) brings you the sound of connection, communication, passion and togetherness.

Dans Dans unites the talents of three of Belgium's most prolific music makers in Bert Dockx (Flying Horseman), Fred 'Lyenn' Jacques (Lyenn, Lanegan band) and Steven Cassiers (Dez Mona, DAAU). An utterly unique musical collective, the trio are set to release new album 'Zink' on the 23rd April via Ghent based independent, Unday Records.
From jazz, psychedelic blues and ecstatic noir soundtracks to spacey rock 'n' roll, Dans Dans cut their teeth on the cool jazz cafe scene in Flanders, Brussels with their sensational live performances and have since gone on to become a mainstay on the flourishing Belgian musical landscape.

Releasing their self-produced, eponymous debut album back in 2012, their highly distinctive, intuitive mix of musical styles and their ever-imaginative live shows caught the attention of discerning music lovers, journalists and promoters. A relatively unknown tour de force outside the Benelux region, Dans Dans have built a solid fan base since their inception with limited edition runs of early releases becoming collector's items among vinyl enthusiasts.

Well-received appearances at Cactus Festival, North Sea Jazz and Pukkelpop, as well as Gent Jazz, Ljubljana Jazz and Jazz Middelheim have confirmed their reputation as one of the most unique and exciting bands to come out of Belgium. In recent years, the group has been touring throughout Europe, garnering enthusiastic reactions beyond the Belgian borders as well. There's a case to be made that Dans Dans even played a key role in breaking down the wall between the Belgian jazz scene and the pop/rock circuit (years before pop journalists began referring to a New Wave of Belgian Jazz).

Opening with the moody noir rhythms of 'Cinder Bay', Dans Dans look to construct their own musical universe across 'Zink'. 'Naiad' unfolds into a devastating explosion of heavy feedback and wild, crashing drums before subtle electronica and baroque art-rock collide on 'Anemone' giving a good indication of Dans Dans' eclecticism. There's unquestionably a deep, underlying filmic beauty to the music, an evolving darkness and a perpetual sense of dread and paranoia. Elsewhere, 'Ravine' is intoxicating, provocative and uncompromising while the beatific 'Shell Star' is an infectious exploration of hypnotic grooves, atmospheric sounds and mind-bending melodies.

Producer Christine Verschorren (Philippe Catherine, Ivan Paduart) accentuates the music's wondrous fluidity throughout 'Zink'; the intriguing interplay; the subtle ties; the deep layering. Musical styles and influences are being blended organically and sublimated into what can only be called Dans Dans-music. "This is no fusion, no rock or jazz or ambient. This is the sound of the searching, intuitive human; of a timeless, mysterious dream; of the heart, the gut and the soul," says Dockx.

Scottish producer Gavin Sutherland revives his Other Lands alias with a collection of tracks that were crafted between 1997 and 2012, and were transferred straight from the original cassette.

"What Year Is It? Who Is The President?", is Sutherlands' first full offering with PULP. After multiple remixes for the label (under his Fudge Fingas alias), the release schedule for the Other Lands guise has picked up in the last few months. This resurgence of previously unreleased material will add to Sutherland's elaborate catalog, and confirm that even bits that never saw a release at the time, are sounding relevant and superbly produced.

"What Year Is It? Who Is The President?" (PULP13) starts with "The Caged Bird", which is a synth laden, lush sounding cut that is built around a playful bass sound and beautifully orchestrated chords. The drums are swinging as ever, and the hypnotic character of the lead is present throughout.

"Kaleidoscope" is a venture into the otherworldly. Deep splashes of synth and fx come together effortlessly to create an almost meditative state. The musicality of it all is remarkable, and hard to capture in a few words. The rhythm section is always the backbone, but the fx are equally as important. Fans of Sutherland's work will surely recognize and appreciate the ambiance that is set in Kaleidoscope.

The flipside starts with "It's Something Else". The main lead is indeed something refreshing. In a sense, it's reminiscent of a guitar, but it's clearly not that. The dance floor nature of everything else is supporting the wildness of the lead. Altogether this is something to space out to. On a dance floor, at home or perhaps even during a run.

The final track on the B-side is called "Mind Like A Steel Trap". This sample heavy, hazy sounding piece of beauty is blending soulful flutes, drums and the catchphrase of the song - no more mind games - together with an astonishing ease

Marking Voitax's 25th release "Venice Pavillion", Farron delivers a beautiful blend of electronics that straddle the lines between jungle, IDM, electro, and techno. The A-Side kicks off with rough breaks, moody Reese basses, and fast footwork rhythms that crown the EP with its very own sparkling character - modern jungle topped with dystopian pads and pressing basslines are perfectly melted into the break-fuelled ride. The flip side doesn't cool things down - fluid drum patterns and hammering toms are continually chased by dramatic synths, with a constant weight brought to the table by the chunky low ends. The energy is maintained throughout, as jungle and electro live side by side in harmony in the track list before the release is brought to an emotional halt with a classy ambient piece.

A ground-breaking new collaboration for fans of African music (Ali Farka Touré, Oumou Sangaré) as well as contemporary orchestral music (Max Richter, Olafur Arnalds, the London Symphony Orchestra)

Kôrôlén is a very special collaboration between two titans in music: Toumani Diabaté, the Grammy-winning Malian kora virtuoso, and the London Symphony Orchestra, renowned worldwide for their performances of orchestral music on record, film and stage.

Diabaté, a griot whose musical lineage stretches back generations, is well known as one of the most creative musicians on the African continent, and is almost single-handedly responsible for bringing the iconic sound of the kora to worldwide audiences. No stranger to a genre-defying collaboration, he has recorded two Grammy-winning albums alongside desert blues pioneer Ali Farka Touré, as well as projects with Taj Mahal, Björk, Béla Fleck, Damon Albarn and Afrocubism.

Commissioned as a special project by the Barbican Centre in London and produced by World Circuit, these recordings feature Diabaté and his group of eminent Malian musicians (including Kasse Mady Diabaté and Lassana Diabaté), accompanied by the soaring presence of the LSO, in dedicated arrangements by Nico Muhly and Ian Gardiner and conducted by Clark Rundell.

The title bestowed by Diabaté on this unique and groundbreaking release, ‘Kôrôlén’, translates from the Mandinka language as ‘ancestral’ - a fitting theme for an album that brings together ancient griot melodies and Western orchestral arrangements, resulting in an achingly beautiful and fresh Afro-neo-classical sound that will appeal to admirers of African, traditional and new classical, and ambient music.

Alan Vega’s name is synonymous with unfettered, tireless creativity. Beginning in the late 1950s, when he was a fine art student at Brooklyn College, through his years playing in Suicide, and all the way up until his death in 2016, Vega was constantly creating. That

process naturally led to a wealth of material that didn’t see the light of day immediately when it was recorded, which came to be known as the Vega Vault. Mutator is the first in a series of archival releases from the Vault that will come out on Sacred Bones Records.

Mutator was recorded alongside Vega’s longtime collaborator Liz Lamere at his NYC studio from 1995-1996, and it serves as a document of a particularly fertile time in his creative life. He had 11 full-length solo albums come out during the ’80s, ’90s and ’00s - plus numerous collaborations, and Suicide records A Way of Life and Why Be Blue. Mutator wasn’t shelved intentionally, but Vega’s back-to-thegrindstone M.O. meant that he had moved on to making his next record before this one was finished. Lamere and Vega’s friend and confidante Jared Artaud (The Vacant Lots) rediscovered the raw, unmixed recordings from the Mutator sessions in the Vault in 2019. Soon after, they mixed and produced them into the visionary album that was lurking within those tapes.

“Our primary purpose for going into the studio was to experiment with sound, not to ‘make records,’” Lamere recalls. “I was playing the machines with Alan manipulating sounds. I played riffs while Alan morphed the sounds being channeled through the machines.”

At the time of the Mutator sessions, Vega was massively inspired by what was happening in the streets of New York - not only the hip hop scenes that were exploding throughout the outer boroughs, but also the literal sounds of the streets, the traffic noise and industrial ambience of city living. That influence trickled into the sounds he and Lamere captured in those sessions. That sensibility, paired with Vega’s unmistakable voice and force of personality, is what made it the great album it is now. The final piece was the production job, completed by Lamere and Artaud 25 years after the songs were first captured.

Alan Vega’s name is synonymous with unfettered, tireless creativity. Beginning in the late 1950s, when he was a fine art student at Brooklyn College, through his years playing in Suicide, and all the way up until his death in 2016, Vega was constantly creating. That

process naturally led to a wealth of material that didn’t see the light of day immediately when it was recorded, which came to be known as the Vega Vault. Mutator is the first in a series of archival releases from the Vault that will come out on Sacred Bones Records.

Mutator was recorded alongside Vega’s longtime collaborator Liz Lamere at his NYC studio from 1995-1996, and it serves as a document of a particularly fertile time in his creative life. He had 11 full-length solo albums come out during the ’80s, ’90s and ’00s - plus numerous collaborations, and Suicide records A Way of Life and Why Be Blue. Mutator wasn’t shelved intentionally, but Vega’s back-to-thegrindstone M.O. meant that he had moved on to making his next record before this one was finished. Lamere and Vega’s friend and confidante Jared Artaud (The Vacant Lots) rediscovered the raw, unmixed recordings from the Mutator sessions in the Vault in 2019. Soon after, they mixed and produced them into the visionary album that was lurking within those tapes.

“Our primary purpose for going into the studio was to experiment with sound, not to ‘make records,’” Lamere recalls. “I was playing the machines with Alan manipulating sounds. I played riffs while Alan morphed the sounds being channeled through the machines.”

At the time of the Mutator sessions, Vega was massively inspired by what was happening in the streets of New York - not only the hip hop scenes that were exploding throughout the outer boroughs, but also the literal sounds of the streets, the traffic noise and industrial ambience of city living. That influence trickled into the sounds he and Lamere captured in those sessions. That sensibility, paired with Vega’s unmistakable voice and force of personality, is what made it the great album it is now. The final piece was the production job, completed by Lamere and Artaud 25 years after the songs were first captured.

Ian Nyquist is a composer currently based in Dublin, Ireland with a background of field recording and sound art. After very positive feedbacks on his first album on eilean rec. in 2019, his second LP release, a creative landscape between electronic, ambient and post-classical confirm a talented music artist who increases his musical range.

Best Of 50 Cent is a career-spanning chronicle of one of music's most compelling and influential artists. The compilation will be packaged as a 2LP, including classic cuts from his 2003-2009 albums, Get Rich or Die Tryin', The Massacre, Curtis, Before I Self Destruct, and the bonus cut 'How to Rob'. Release is Black vinyl, 180 gram, 2LP, Gatefold and comes with a Download Card

Deluxe 3LP mit 34 neu gemasterten Tracks und einem 60-seitigen Buch mit ausführlichen Linernotes, Interviews, bisher ungesehenen Archivphotos und den Texten (samt Übersetzung) in einem ,Tip On"-Schuber und drei ,Tip On"-Sleeves. Linernotes von Kevin ,Sipreano" Howes. Bisher fast nicht an die Öffentlichkeit gedrungen, kaum dokumentiert, aber im Kern ungeheuer revolutionär, nehmen die Aufnahmen verschiedenster Gemeinden amerikanischer Ureinwohner endlich in Form von ,Native North America (Vol. 1): Aboriginal Folk, Rock, and Country 1966-1985" den Platz ein, den sie verdienen. Eine Anthologie von Musik, die einst fast ausgestorben, aber nun für alle zu hören, ist ohne Frage eins der ambitioniertesten Projekte in der 12-järhigen Geschichte von Light In The Attic. ,Native Norht America (Vol. 1)" versammelt Musik der eingeborenen Völker Kanadas und der nördlichen USA, die in den turbulenten Jahrzehnten zwischen 1966 und 1985 aufgenommen wurde. Die Musik spiegelt die Zusammenführung globaler Popkultur und die Neuerweckung der eingeborenen Spiritualität und Ausdruckskraft wider. Der größte Teil dieses Materials war über Jahrzehnte lang durch fehlende Distributionskanäle und wenig Präsenz in den Massenmedien in Vergessenheit geraten - bis jetzt! Hier versammelt sich Garage Rock vom Polarkreis aus der Nunavik Region des nördlichen Quebec, melancholischer Yup'ik Folk aus Alaska und flüsternder Country Blues aus dem Wagmatcook First Nation Reservat in Nova Scotia. Man vernimmt Echos von NEIL YOUNG, VELVET UNDERGROUND, LEONARD COHEN, CREEDENCE CLEARWATER REVIVAL, JOHNNY CASH und anderen in den Songs, die jedoch mit eingeborenem Bewusstsein, Erzählkultur, Poesie, Geschichte und Zeremonie angereichert werden. Die Compilation ist gewidmet dem legendären Métis Singer/Songwriter und Dichter WILLIE DUNN, der auf der Anthologie auftritt, während der Zusammenstellung des Albums jedoch verstarb. ,Native North America (Vol. 1)" ist nur der Anfang; eine Zusammenstellung von Folk, Rock und Country aus den südlichen 48 Staaten der USA und Mexiko wird momentan in der Light In The Attic Goldmine ausgegraben.

The Badasonics mixes soul and funk together with Jamaican riddims and horns with the soulful rock and reggae voice of Caz Gardiner to deliver a pulsating party of soul steady beats. Caz has performed with the BandHouse Gigs, Newmeyer Fyler productions and The Beat Hotel. She was the lead singer for The Ambitions, a 60's influenced soul/rock band which in 2008 was nominated for a Wammie (Washington Area Music Association) in the best new band category; and the rock steady/reggae band Caz and The Day Laborers. In 2010, she was nominated for a Wammie in the best traditional blues/RnB vocalist category for her work with Caz and The Commotions. The Badasonics, consisting of former members of The Moon Invaders & The Caroloregians, were also known as the busiest backing band for Jamaican artists in Europe and have played with Lee 'Scratch' Perry, Ken Boothe, Alton Ellis, Dave & Ansel Collins, Rico Rodriguez, Doreen Shaffer, Pat Kelly, Derrick Harriott & many more.

Out last year via SCI+TEC, Nagaya's 'Dream Interpretation' was an immersive masterclass inritualistic simplicity. Floating in a cloud of billowing ambiance, it's nine tracks inviting thelistener to traverse a broad spectrum of spirit. Now, almost exactly a year later, the Tokyo master returns, this time drafting in an impressivearray of names to reinterpret the very same tracks. First up SCI+TEC head honcho Dubfiredelivers a wonderfully atmospheric and glitchy rework of 'Thanatos,' before EVS (the designerand owner of LA jewelry brand Parts of Four,) brings things down a level with a dark andhypnotic version of 'Mother Wading In The River.' Elsewhere German producer VRIL presents adistorted techno remix of 'Heathen,' the prolific Steve Rachmad puts his own unique spin on onthe same track, and Argentinian master Flug showcases his magic with two sublime offerings.

In the blistering Los Angeles Summer of 2019, a chance encounter occurred between pals Yu Su and FIO, whilst both dishevelled and on their own separate journeys to overcome immigration bureaucracy. In the midst of filling out forms and enduring long waiting periods (pre pandemic) the pair managed to spend some time in the studio, two afternoons to be exact. The result; YUF-O. Four tracks that comprise of a charming and characteristic blend of both artists' personalities, yet totally unexpected in the best possible way. A mixture of absurd house, blissful ambient, accidental trance and some totally weird and wonderful other stuff.

Top-Kollaborationsalbum des französischen Produzenten Rone mit zahlreichen befreundeten Vokalisten. Basierend auf unveröffentlichtem Material, Alternative-Versionen seines 2020er Albums "Room With A View" sowie seines "La Nuit Venue" Soundtracks (nominiert für den César Award 2021 als Beste Filmmusik), entstanden 12 Tracks mit französischen und internationalen Vertretern des modernen Pop wie der Britin Georgia, Casper Clausen (Efterklang), Jenny Beth (Savages), der iranischstämmigen Archive-Vokalistin Roya Arab, der französischen Ambient-Produzentin Malibu, sowie den französischen Interpret:innen Yael Naim, Dominique A und Flavien Berger. Ein Livekonzert mit allen Beteilgten im Pariser Chatelet Theatre wird im April von ARTE TV weltweit übertragen.

A metaphor about diversity and passion for athletics. Looking for inspiration in our environment, as diverse as quality electronics, as extensive as a marathon. Biome Laps wants to take a lot of laps within the IDM universe, electro and the most evocative ambient. This new Madrid electronic music label of José Merinero, which in 2021 celebrates 20 years in music, 15 since he launched his �rst references on his own labels such as City Archives or Ultrix Records and 10 since the creation of .Àrtico Netlabel, his pretty girl, which has allowed him to move in the national underground, and in festivals like L.E.V. and what has been your home to look for that diversity, to �nd that electronics without labels under the name of JM. Here, in addition, it has been able to count on the collaboration of great spanish producers in some references. Passion for electronics speaking of José, he falls short, so he decides to create Biome Laps, where we will �nd timeless music, on vinyl and digital, and above all local music, made with a lot of passion. A veteran who debuts with his own name, showing himself without more, with a single objective, to give back to the music he believes in, everything he has received in return…

Elusive UK producer Kilig brings a six-track EP spanning the British sound palette - forward, complex, with inflections of jungle and garage - to the new Shall Not Fade Classic Cuts imprint. Off the back of releases for Scuffed and Origins in 2020, kilig pairs their intimate knowledge of London's rave scene with more minimalist tinges for What My Mind Needs EP, a simmering club record soaked deep in ambience.

Taking sombre organic vocal samples and delicately placing them over a sharp two-step rhythm, opening track "Closer" is intangible, fantasy-like - the memory of music in your ears after you've left the club. There are echoes of Burial's seminal Untrue across the EP. Kilig aptly reflects the certain melancholy of British club music in the gritty "Overthinking" and mournful "Without You", an ensemble of distorted vocals and dramatic droning synth.

The rest of the record pushes into a more euphoric atmosphere - the title track is a soaring rave number while "Clocking In", a wild beast of a track, glitches and confuses. "I Wanted To Call & Tell You" swells in waves of breakbeat, bringing together the emotional core of the record, fading to gentle keys, the dream of raves to come in 2021.

Zaumne's new album titled Élévation is a multifaceted yet subtle work, an abstract collage that is equally entrancing and immersive. Quoting passages from Baudelaire’s “Flowers of Evil”, the Polish musician promises to elevate the soul and consciousness “Beyond the sun / Beyond the ether”. Yet simultaneously, the artist wants us to stay where we are and focus on the immediate surroundings in search of our personal attachment to the world.

Initially recorded for the WET (Weird Erotic Tension) online community the four pieces are an exploration of erotic aspects of the environment and uncanny intimacy with other beings and objects that dwell in our nearest proximity. Just like on previous releases for labels like Czaszka Rec. or Perfect Aesthetics, on Élévation Zaumne maintains his interest in emotional aspects of sound and internet culture – he builds his compositions from fragments of ASMR-whispered poetry, samples of natural phenomena and field recordings from his family home and its environ.

What starts as an escapist exercise driven by uneasiness and ennui becomes an individual healing process, in which the subject rediscovers the strangely intimate relationship with the world and opens up to almost magical methods of communicating with other beings. ASMR samples and sounds of the artist touching, playing with and exciting different objects are an experiment in establishing contact with the non-human realm and a method of attuning the body and the mind to the reality in which everything is interconnected.

Zaumne tests Einstein’s “spooky action at a distance” through radical, sensual intimacy with what’s near, finding a glimpse of the absolute in his own room, again quoting Baudelaire: “To a child who is fond of maps and engravings / The universe is the size of his immense hunger”.

Zaumne is the moniker of Polish musician Mateusz Olszewski. In the past few years, he has released music on labels like Magia, Perfect Aesthetics, BAS or Czaszka Rec. Élévation, released by Mondoj and initially commissioned by WET, is his first vinyl release. Blending elements of genres like ambient, dub, minimalism and tape music with ASMR samples, field recordings and spoken word, he creates work with deep emotional focus and impact.

Flashcore speedcore to, sometime, Ambient IDM sound... A very big surprise from UPR !!

Fantastic music !

Surrender is the debut full length from DJ, producer, and songwriter Endgame. Stepping out for the first time as a vocalist, and lyricist, Surrender is his most ambitious and vulnerable work to date; a striking statement of intent, with moments of beauty and brutality. Endgame has carved an iconoclastic niche in club culture. Breaking into the scene as co-founder of the legendary collective Bala Club, and resident of the radical club-night Endless. Whilst continuing almost a decade hosting his infamous NTS radio show (and now label) Precious Metals, he has forged a path against the tide of formulaic club music. A visionary DJ and producer, Surrender sees Endgame continue this trajectory, with a project that both amplifies the ferocious club constructions he's known for, whilst making space to open up wounded memories and with sombre unfeigned requiems. Having previously released records on Hyperdub, PTP, Golden Mist and Infinite Machine, Endgame's first release on his own Precious Metals imprint, is him at his most reflective. Surrender is a deeply personal record, about loss and finding meaning in despair. Death is a prevailing theme, with the passing of his father a totemic subject. The recollection of his father's torturous final moments leaves him to mournfully contemplate temporality. Using this sense of anguish, he blurs reality-creating a world where angels and demons are among us in a decaying cityscape; akin to the work of Todd McFarlane. The opener Faithless, propels us into this world, with the slow build of industrial precision amidst the sombre build of harsh melodic synths. We descend deeper into this vision with Barbed Heart, featuring a defining vocal from scene staple and long time collaborator Yayoyanoh, as 808's and skittering hi hats ricochet off one another beneath his bass driven vocal. No Heroes continues our journey into the unknown with a chaotic rush of acidic riffs, pounding percussion, and a reference to the brutalist anthem from hardcore punk band Converge (where the track borrows its name). Requiem acts as the turning point of the record as Endgame steps into the foreground as a vocalist. As the name suggests, this lament is a sombre reflection of grief; its minimalist instrumental allows Endgame's haunted verse to rise into the foreground, like an apparition amidst the smoke in the depths of a dimly lit club. The dark clouds fade into the distance in Exhumed, as the elegant melancholic vocal of Bala Club affiliate and gifted vocalist Organ Tapes reflects off Endgame's sanguine verses bringing hope into the heartfelt instrumental filled with melodic flourishes and bass-bin rattling subs. The thematic haze thickens in Abyss, as the pulsating and doom laden instrumental interweaves with Endgame's sepulchral vocal. Like a message from the void, his words act as an agnostic hymn that pulls apart his sense of self. The contrast of his plaintive verse with the intensity of the instrumental creates a contrast that is symbolic of the record itself, a duality that presents moments of soft reflection against a severe sonic palette to create moments of transcendence.

ollowing the demise of emo band Mineral in 1997, singer/guitarist Chris Simpson (Mineral/ Zookeeper/ Mountain Time) and bassist Jeremy Gomez reunited to form The Gloria Record. Taking an acoustic and more organic approach than their previous work, The Gloria Record (with the addition of guitarist Brian Hubbard, drummer Matt Hammon, later replaced by Brian Malone and Ben Houtman on the keys, organs and synthesisers) were unarguably the logical progression from Mineral’s emo throes - quieter, delicate and fervently impassioned. Heralded as a “band with big visions and bombastic sounds”, the quintet fostered their admiration for artists with similar arena sized visions ( Radiohead, REM, U2) to produce a sound that was reminiscent of their British contemporaries and American indies. In 1998 the band released their self-titled EP, followed by the intricate offering of 2000’s A Lull In Traffic and 2002’s full length effort Start Here, before disbanding after extensive US tours in 2004. Start Here, the brilliant debut album from The Gloria Record is back on vinyl at long last. Originally released in April 2002, the ten songs are bolstered with four bonus tracks including rarity The Dead Brother, a live version of L’Anniversaire Triste and demos of I Was Born In Omaha and My Funeral Party. Start Here will be released on black double vinyl in a gatefold sleeve on April 16th. The Gloria Record in the press: “…stacked to the gills with nuances that pay back repeat listens in a big way.” - Austin Chronicle “Where their earlier works were true emotional explorations -- singer Chris Simpson's heart fully on sleeve -- The Gloria Record abandons their emo roots for an indie rock growl” - Popmatters “Simpson’s work in Mineral and the dream-pop act The Gloria Record had long established him as a formidable songwriter…”

Hexvessel and Svart Records celebrate the 10 year anniversary of Hexvessel’s debut album Dawnbearer with a set of reissues, including CD, double vinyl. “Dawnbearer is a very important album for us, being our first album but also the first original album release for Svart Records. It’s also a very special record for our fans, and one that’s particularly close to my heart, in a world of its own when compared to the other records we have made. Considering that it’s been out of print now for some time, I’m delighted to be able to oversee a reissue of this album, together with original demos and out-takes, and liner notes showing the making of this album which carries the initial DNA of Hexvessel’s musical and spiritual journey”, says band leader Mat McNerney, “We haven’t touched a thing on the original layout, but added some bonus material for the limited edition, should you wish to own a luxury edition of this, our now classic debut.” Hexvessel band was founded by English singer/songwriter Mat McNerney (Beastmilk, Grave Pleasures, Carpenter Brut etc) after he moved to Finland in 2009. Their style of music has been referred to as “forest folk” or as Noisey/Vice puts it: “Weaving English folk, lilting Americana, and mushroom-induced psychedelia”. Their debut album 'Dawnbearer' was released worldwide in 2011 on Svart Records and is considered to be an influential classic record of the modern Occult Rock revival. Highly popular with Hexvessel fans and unique in their catalogue, featuring guitars by Andrew McIvor (Code), violin work of Daniel Pioro (who works on Paul Thomas Anderson’s soundtracks with Jonny Greenwood from Radiohead), the early production work of Jaime Gomez Arellano (Ghost, Paradise Lost), and guest vocals from Carl Michael Eide (Virus, Ved Buens Ende, Aura Noir). “Think Woven Hand, haunted ’60s/’70s pastoral folk, or a darker riff on Midlake. McNerney covers Clive Palmer’s post-Incredible String Band crew C.O.B. and successfully transforms and darkens Paul Simon’s “Diamonds On The Soles Of Her Shoes.” He quotes Crowley, Truman Capote, Isaac Babel, etc. Unlike black metal-ready folk, this is folk by a talented, ambitious black metal musician. But the energy’s there. As is the atmosphere.” - Stereogum “(Part of) a new wave of bands who share many of the original occult bands' musical and philosophical characteristics, spearheaded by Ghost, from Sweden, and the Devil's Blood, from Holland – have begun to lure in a new generation of fans, predominantly from the metal scene, their names alone – Ancient VVisdom, Hexvessel, Blood Ceremony– point to a focused step back to the age of Wheatley and Hammer. ” - The Guardian (2011)

A bit of tenderness in this brutal world... Dub Ambient pearl !

Instead of archiving early works from the 1980s, Wah-Wah Whispers focuses on Banabilas more recent output.

It is a collection of works showcasing many facets of his music: a journey visiting the minimal and cinematic sample scape in the opener Take Me There, a robotic reggae-like rhythm (Tic Tac), contemplative ambient / fourth world scenes evolving into a downright funky beat (Hidden Story), the synth version of Secunde, and more. The album ends with a kaleidoscope of atmospheres gradually building up to a noise climax in Narita (the only collaboration track on the album, with Rutger Zuydervelt / Machinefabriek). No single compilation album could really do justice to the massive scope of Banabilas output since 1983, but with Wah-Wah Whispers, Bureau B did a wonderful job to facilitate a view into his more recent work (2013- 2020, with the exception of Tic Tac, which is from 2001). This album is an invitation that may lead to explore Banabilas back catalogue and dive deeper into the work of one of Hollands most creative independent artists.

The sound of MARTIN MERZ is a scenario of gloomy soundscapes and analogue bass figures, paired with elements from Industrial and EBM which takes the listener into the abyss of an urban future.
For his electronic compositions MARTIN MERZ isn’t only fishing in technowaters as he also lets his listeners glide through ambient landscapes which transform into pumping organic shapes of groove and synth melodies.
It’s those bubbly basslines making love to space-filling spheric sounds and tribal drums that turn everything into a timeless and dancy work of art.

11001 Records is a Berlin-based record label focused on techno, ambient, experimental and other forms of abstract visions. Co-founder of Teufelsberg Domecast, a sound installation podcast series with ambient experimental live performances using the dome at the top of Teufelsberg as a natural parabolic reverb. In ‘Dimensional Perception’, each song revolves around an object in outer space: A1 RYUGU Ryugu is the name of an asteroid. In June 2018, a Japanese spacecraft called ‘Hayabusa2’ landed on it, took some measurements and samples. After a long journey it landed successfully in the desert of Australia early December 2020. The goal is to discover what asteroids carry with them across the universe. If they carry water this could explain how life is spreading in the cosmos. A2 QUASAR A Quasar also known as a quasi-stellar object, is an extremely luminous active galactic nucleus, in which a supermassive black hole with mass ranging from millions to billions of times the mass of the Sun is surrounded by a gaseous accretion disk. They are capable of emitting hundreds or even thousands of times the entire energy output of our galaxy, making them some of the most luminous and energetic objects in the entire universe. B1 SEDNA Sedna is a large planetoid and possible dwarf planet in the outer reaches of our solar system. Its surface is one of the reddest among Solar System objects. It is a possible dwarf planet. It has an exceptionally long and elongated orbit, taking approximately 11,400 years to complete and a distant point of closest approach to the Sun at 76 AU. Understanding its unusual orbit is likely to yield valuable information regarding the origin and early evolution of the Solar System. Scientists continue speculations on its origins of this trans-Neptunian object. B2 NAMAKA Namaka is the smaller, inner moon of the dwarf planet Haumea at a distance of 25,600 kilometres. It takes 18 Earth-days for the moon to complete one orbit around the dwarf planet. Discovered on 30 June 2005 it was named after Nāmaka, the goddess of the sea in Hawaiian mythology and one of the daughters of Haumea. Photometric observations indicate that its surface is made of water ice.

Chris Liebing and Mathew Jonson remix Marco Faraone on ‘No Filter Remixes (Part I)’, landing March on Rekids.

Marking the first remix package from Marco Faraone’s 2020 ‘No Filter’ LP, Radio Slave recruits fellow dance music titans Chris Liebing and Mathew Jonson for a pair of remixes on one of dance music’s most essential imprints. Liebing steps up for the A-side, delivering a knockout take on the original. Creeping ambience and deep bass weight bubble throughout the track as additional percussion and synthesis unravel towards a climactic finish.

On the flip, Jonson turns in a distinctively delicate version, clocking in just shy of twelve minutes. Fluttering percussion swirl around off-kilter chords and vocals to craft a hypnotic, dream-like atmosphere.

After making a name for itself through acclaimed reissues of forgotten gems, Lyon’s Tunnel Vision Records is back, this time with a previously unreleased cult EP from the Serbian underground: InnVision’s Lake produced by Welljam aka Velja Mijanović, one of the pioneers of electronic music in Serbia and host of the legendary “Liquid” show on Yu Radio.

While it is fairly common these days for tracks to reach cult status after being uploaded to Youtube and picked up by its recommendation algorithm, the story of the Lake EP is truly unique.

Picture this: it’s the summer of 94 in Serbia and despite US sanctions, something was going on in the country’s musical underground with open-air parties on lakesides and other natural locations, fuelled by a feeling of freedom and creativity. At the time, InnVision was a 26-year-old producer inspired by the likes of The Orb, Brian Eno, Underworld, and Spooky. Unconcerned with adhering to trends or finding ways to make commercially-viable music, he created the tracks on this EP with Cubase running on an Atari computer and several synths fairly common at the time.

But the result was beyond anything common or ordinary. Described by its creator as “organic (ambient) house, but you can call it trance”, LAKE is rapture in its highest form. Pure enthusiasm seems to be driving this uplifting track, with an abundance of heavenly arpeggios and positive energy, along with masterful arrangements that make it even more grandiose, while retaining a light and dreamy quality (perhaps it is no coincidence that Lake in Serbian evokes weightlessness). It is one of those rare tracks that have a deep impact on body, mind, and soul and for which the repeat button was created. While adhering to a central theme, it never feels stale and this is explained by the fact that it was arranged live, with InnVision muting and tweaking everything in one go, which makes this track a “deskmix”, to use dub terminology. In fact, the producer remembers jumping around and shedding occasional tears while he recorded the final take.

On the flipside is another previously unreleased track, the forward-thinking NIGHTY. By no means filler, this is a timeless track with a subaquatic feel. With lush pads and elements doused in delay and reverb, you’d think this is a purely ambient cut, but it’s much more than that. Subtle melodic and rhythmic elements are engaged in a dialogue, and distant breakbeat samples can be detected in the background, enough to induce movement but never overtaking the vibe carefully created by InnVision. The result is a track that is at the same time featherlight and impossible to listen to without some sort of movement. Once again, truly unique music that transcends time and place.

Making Covid-19-references when writing about popular culture can feel tiresome, living in the midst of it but let “Taken From A Fixed Point” by In Fields console you in this age of pandemic. This album pierces through you like sunbeams through the blinders of your quarantine-ridden apartments’ windows.

This isn’t In Fields first appearance on the label. In 2019 the artist released a collaboration with Golden bug and the exiting dynamics of that album resounds in this one. Though a little easier on the disco influences and a turn towards ambient, In Fields’ music is still “tension and release” dance music produced to perfection. In Fields characteristic sound contain contrasting elements where soft airy synth pads meet more frightening sounds dug up from somewhere deep and dark like in “Ghostnights”.

The tracks are dynamic where growing crescendos fast and suddenly fades out and you realize your mind have been focusing on a completely different part of the sound. Underneath those surprising elements sits a skeleton of well-sounding bones keeping the songs together tight and steady.

“Taken From A Fixed Point” is dance music for a dance floor in your head and triggers the muscle memory in quarantinenauts tired of hard lock-down. Though produced in a dark place, this album gives a somewhat positive vision of the future and life on the other side.

A maelstrom, the chaos, a vortex, a turmoil. These are appropriate words to describe the hard work of the prolific French producer.

With a cryptic history incorporating nearly two decades of aliases and side projects born out of free parties in warehouses, fields and basements, it is under this moniker that the artist has truly come into his own.

His skill and vision spanning from 135 bpm wave powerful to a pensive and subtle ambient track, Maelstrom's sonic universe is both precise and limitless, described better by feeling ('approaching storm over river/horse with the bit in its teeth/sliver of moon') than genre. Maelstrom cofounded the label RAAR in 2015 with frequent collaborator Louisahhh where he released his debut album «Her Empty Eyes» in 2017. Throughout the next 2 years, he has delivered exciting collaborations with cutting edge electro imprints such as CPU and Cultivated Electronics in the UK, Private Persons in Moscow, or Mechatronica in Berlin, while playing an all electro live set in clubs and raves, from Paris to London or Tokyo.

2021 will see the release of his second album, Rhizome, with a focus on the concepts of interdependence and creative ecosystems

The first Azu Tiwaline's album, after been acclaimed by DJs like Lena Willikens, upsammy, Shanti Celeste and a bunch of electronic medias (Bandcamp, RA, Crack), is now remixed by a Lyon-Bristol-Berlin trifecta of similarly minded rhythmic innovators - twisting and warping her work into new shapes, featuring Don't DJ, Laksa & Flore reinterpretations.

Nothing happens overnight. Behind every emergence, there’s years of work, thought and preparation - both intentional and unconscious - that’s gone unseen.

So the past year might have been a ‘breakout’ year for Azu Tiwaline, but it was really built over two decades of experimentation, soul-searching - both creative and personal - and exploration. “A new name for a new spirit” as she likes to say, but with an unmistakable identity rooted in her history and ancestry.

On her debut album as Azu Tiwaline, Draw Me A Silence, a record released in two parts with her family at I.O.T. , she fused together two halves of her own heritage, inspired by a new home in the desert. Personal history collided with family heritage: half step rhythms from a career in bass music met the warm winds and wide open silence of El Djerid in Tunisia.

When music is sincere and honest, it tends to reverberate more widely, and deeply. The tracks written for the Magnetic Service EP were sent to one label and one label only, Livity Sound, who picked it up instantly. Something about the spacious, yet dense sonics - crafted with the help of percussionist Cinna Peyghamy - resonated with listeners starved of both the community of the dancefloor and the space of the outside world. The EP became one of the Bristol label’s most heralded releases of 2020, featuring in end of year coverage from Bandcamp to Resident Advisor.

Beneath the calm of her productions, a restless spirit inhabits Azu, born out of months and years spent on the road. In 2020, it was her music that took her places. She put together a series of podcast mixes that echoed the percussive, rhythmic curves of her own productions, for Boiler Room, Dekmantel and Crack Mag. She distilled Fazer Drums’ percussive experiments into dubby downtempo with a remix, and contributed her most rooted track yet - Violet Curves with Cinna Peyghamy - to On the Corner’s Door to The Cosmos compilation.

This will be followed by the Extended version of the album with a gorgeous ambient bonus track “Eyes of the Wind”, accompanied by a video clip directed by Azu Tiwaline, shot in her desert lands. This track will be appearing in a digital reupload reunifying Draw Me A Silence Part.I and II. As a sort of final chapter of this debut album.

As for the rest? We’ll see what 2021 has to offer for both the world and Azu Tiwaline. In the meantime, take inspiration from her music: keep the tempo steady, let some light in, and listen for the silence.

After a long hiatus, Romain Azzaro is reactivating his Rouge Mécanique Musique imprint with an exciting collaborative project, exploring new musical territories.

As the world started to flip on its head early in 2020, a quintet of musicians formed in Berlin : Paul Behnam (guitar), Sacha Hladiy (grand piano), Nicolai Johannsen (vibrating metal plates), Ruth Mogrovejo (viola), and Azzaro himself (zither) recorded their first album over 3 months in Azzaro’s living room, studio and basement. In Hladiy’s words, “a magical musical circus”. The collision of these different personalities and sensibilities makes Colours Of Now a singular, spontaneous and inimitable object, exploring neoclassical, ambient and experimental music.

“Romain had a wide open vision for a brand new project, connecting musicians from different horizons,” says Paul Benham, “a lot of different processes and beautiful vibrations were shared at this moment in his place.”

Nicolai Johannsen adds: “Colours Of Now is a portrait of a time which was and wasn’t; an alternation between existence and its opposite. The album is a collective formation, realized through different energies drawn to the same centre.”

“This album has become a compilation of people,situations and emotions to me,” explains Ruth Mogrojevo. “2020, the year in which we all met, has been an orderly metamorphosis from which we cannot exclude our professional activities. We all met playing music and deep down we knew that the whole project could be something great and actually meaningful.”

« Colours of Now » is a quintet that formed in early 2020 during quarantine in Berlin. The self-titled album, produced and mixed by Romain Azzaro, explores the different shades of sound in a time where uncertainty leads to the present moment.

Carl Craig has announced Detroit native and hotlytipped selector DJ Holographic is next in-line for his prestigious 'Detroit Love' mix compilation series dropping on Planet E Communications. Following in the footsteps of predecessors like Stacey Pullen and Wajeed, being invited to mix vol.05 of the series is testament to DJ Holographic being one of Detroit's most anticipated breakthrough DJ's. Born and raised in the Motor City's deep musical legacy, Ariel Corley aka DJ Holographic is an ambassador for Detroit through and through. Having cut her teeth as a DJ in the local scene over the past decade DJ Holographic is admired for her versatility, eclecticism, and impeccable taste. Ariel has firmly established herself as a staple of Detroit's modern underground scene, a core member of the city's LGBQT+ community and a devoted activist for local humanitarian causes - love for Detroit underpins every element of Ariel Corley's life. Released 16th April via Planet E and K7!, Detroit Love Vol. 05 is packed to the brim with exclusive tracks handpicked by DJ Holographic who takes the listener through a vibrant and flawlessly-mixed showcase of breakthrough artists, ones to watch, and longestablished artists Ariel has a personal affiliation to. The mix was curated by DJ Holographic at the artist creative hub below Submerge Records in Detroit - home to labels such as Underground Resistance, Transmat, Red Planet, and Distorted Soul.

London-based record label Wisdom Teeth kicks off 2021 with something close to home: Blush - the playful, dynamic debut LP by label co-founder, Facta. Recorded unusually quickly over a short stint in early 2020, the record is the product of a period of refreshed and unfussy creativity. It’s an innovative and distinctly contemporary album that moves a good few steps beyond the artist’s work to date - loosely rooted in UK dance music but taking added influence from ambient, modern classical, dreampop, Balearic, folk music and beyond. The result is a lush, ornate record populated by aqueous pads, bleeping arps, wandering melodies and sparse broken rhythms; acoustic instruments that play out alongside FM synths, all processed with a pristine UV sheen inherited from modern pop music. The record opens with ‘Sistine (Plucks)’ - a crystalline synth piece with a stumbling, shifting metre revolving around an odd-ended MIDI harp loop, coloured through with washed-out pads and snatches of found sound. This breezy mood follows through to ‘On Deck’, where an FM vibraphone rings out on top of woozy, warping chords and a subby soca groove. Moving forward the record moves cohesively through a range of shifting moods and hues. The machine jazz of ‘Brushes’ is tense and coiled, with nods towards Burnt Friedman, Photek and Eli Keszler. ‘Iso Stream’ sees a rich, colourful sprawl of arpeggiated synths and dissociated vocal chops unspool slowly to form pooling, lowlit melodies. Title track ‘Blush’ is a forlorn Autonomic love song built from clicks-n-cuts - like dBridge & Instra:mental reduced and reinterpreted by SND. Throughout, bold, broad melodies take centre stage, and the tracks build like compositions rather than loops or club tools. There are echoes of the dancefloor - particularly in the slo-mo bruk of ‘Verge’ and the glacial subs underpinning ‘Diving Birds’ (a collaboration with friend and Trilogy Tapes regular Parris) - however the end results find us somewhere far off. ‘Blush’ is the second long-form release to come from Wisdom Teeth following K-LONE’s 2020 debut album, ‘Cape Cira’, which was widely ranked as one the best LPs of 2020.

“This is the time. And this is the record of the time.”

Laurie Anderson’s 1982 debut album, Big Science, will return to vinyl for the first time in 30 years with a new red vinyl edition on Nonesuch Records. The release includes the re-mastered original album first released on CD for the 25thanniversary in 2007.

In the early 1980s, Laurie Anderson was already respected as a conceptual artist and composer, adept at employing gear both high-tech and homemade in her often violin-based pieces, and she was a familiar figure in the cross-pollinating, Lower Manhattan music-visual art-performance circles from which Philip Glass and David Byrne also emerged. While working on her now-legendary seven-hour performance art/theater piece United States, Part I–IV, she cut the spare ‘O Superman (For Massenet)’, an electronic-age update of 19th century French operatic composer Jules Massenet’s aria ‘O Souverain’, for the tiny New York City indie label 110 Records. In the UK, DJ John Peel picked up a copy of this very limited-edition 33⅓ RPM 7” and spun the eight-minute-plus track on BBC Radio 1. The exposure resulted in an unlikely #2 hit, lots of attention in the press, and a worldwide deal with Warner Bros. Records.

’Cause when love is gone, there's always justice.
And when justice is gone, there's always force.
And when force is gone, there's always Mom. Hi Mom!

At the time of its original release, the NME wrote of Big Science, ‘There’s a dream-like, subconscious quality about her songs which helps them work at deeper, secret levels of the psyche.’ With instrumentation ranging from tape loops to found sounds to bag pipes, Big Science anticipated the tech-savvy beats, anything-goes instrumentation and sample-based nature of much contemporary electronic and dance music. On the album’s 25th anniversary, Uncut noted, ‘The broader themes of alienation and disconnection still resonate, while Anderson’s use of loops and traditional/synthesized instrumentation is prescient.’

“In the ’70s I travelled a lot,” Anderson recounts. “I worked on a tobacco farm in Kentucky, hitchhiked to the North Pole, lived in a yurt in Chiapas, and worked on a media commune. I had my own romantic vision of the road. My plan was to make a portrait of the country. Big Science, the first part of the puzzle, eventually became part two of United States I–IV (Transportation, Politics, Money, Love). My goal was to be not just the narrator but also the outsider, the stranger. Although I wasfascinated by the United States, this portrait was also about how the country looked from a distance. I was performing a lot in Europe, where American culture was simultaneously booed and cheered. But the portrait was also a picture of a culture inventing a digital world and learning to live in it. Big Science was about technology, size, industrialization,shifting attitudes toward authority, and individuality. It was sometimes alarmist, picturing the country as a burning building, a plane crash. Alongside the techno was the apocalyptic. The absurd. The everyday. It was also a series of short stories about odd characters – hatcheck clerks and pilots, preachers, drifters and strangers. There was something about Massenet’s aria ‘O Souverain’ – which inspired ‘O Superman’ – that almost stopped my heart. The pauses, the melody. “O souverain, ô juge, ô père” (O Lord, o judge, o father). A prayer about empire, ambition, and loss.”

Laurie Anderson is one of America's most renowned – and daring – creative pioneers. Her work, which encompasses music, visual art, poetry, film, and photography, has challenged and delighted audiences around the world for over 40 years. Anderson released her first album with Nonesuch Records in 2001, the critically lauded Life on a String. Her subsequent releases on the label include Live in New York (2002), Homeland (2010), the soundtrack to Anderson’s acclaimed film Heart of a Dog (2015), and her Grammy-winning collaboration with Kronos Quartet, Landfall (2018). Additionally, Anderson’s virtual-reality film La Camera Insabbiata, with Hsin-Chien Huang, won the 2017 Venice Film Festival Award for Best VR Experience, and, in 2018, Skira Rizzoli published her book All the Things I Lost in the Flood: Essays on Pictures, Language and Code, the most comprehensive collection of her artwork to date.

Harry Wolfman has been a staple member of the Dirt Crew family since his debut collaboration with Loz Goddard in 2016. We’ve since seen considerable growth with EPs on Phonica’s “Karakul”, “Omena” and “Outplay” all lending a hand to the development of his signature sound into its now established lo-fi style, delving into a range of genres... ethereal ambience, electro and left-field rhythms, and of course deep, often break beat laden house grooves.
This new EP is no exception, Harry drops some irresistible dance tunes with “Walk With Me” and the banging title track “Sly Contrast” but also explores the boundaries of his palette with the vocal interludes “A21z” and the majestic “Courage” featuring the voice of “Mona Vale”, dipping a toe into the floaty world of lo-fi pop.
We also find ambient and Jazz elements cleverly combined in “Fhloston Paradise”. And the closing drum break joint “Wokit Shep” loops live drums, strings, piano and brass elements, twirling towards a majestic finale reminiscing dusty jazzy Trip Hop and instrumental Hip Hop pieces.
This record offers hope for better times... we are really glad to have Harry back with these strong tunes and can’t wait to hear these out again on a juicy sound system. Enjoy!

Sed Blava is the Barcelona-based solo project of Daniel Boix, well known as Dj.Simplexia or also Ciutat Solitud, his ambient-industrial project. “Nit Sublim” is his first album as producer and without a doubt, this release is a mind-blowing and genuine composition which at first listen, may evoke the dark sounds from Valencia in the 80’s. But if you dive deeper, you will uncover a trove of intricate details elaborated with Sed’s touch. Ranging from catchy tunes and emotive passages to powerful dance-floor tracks, his vast music background and his long-time membership to the underground music scene should be highlighted. Both of these elements give rise to a broad spectrum of genres and influences in his music, bringing together a timeless mixture of old-school Electronic Body Music, New-Beat, Electro, Synth-Wave and even Ambient.

Perth’s DJ/producer Charlie Bucket drops his second EP "One Life". It is a melting pot of sounds and Influences featuring guest appearances from all over the globe such as SLIMKID3 (The Pharcyde), Detroit natives Guilty Simpson and Boog Brown, UK Hip Hop artist TY, Raashan Ahmad (Crown City Rockers), Ghanian MC Blitz The Ambassador and Australia’s own NFA Jones.

Fusing together the sounds of Afrobeat, Samba, Jazz, Soul and Funk music "One Life" presents a more organic approach to Hip Hop.

For Böser Herbst, Thomas Fehlmann returns to the sediment of ages, drawing from a similar lexicon of sounds to that used on 2018’s ‘1929 – Das Jahr Babylon’. Like that album, Böser Herbst was produced as the soundtrack to a documentary made by Volker Heise, ‘Herbst 1929, Schatten Über Babylon’, which offers historical insight to the third season of the television series Babylon Berlin. It adds yet another string to the bow of this most forward-thinking and creative artist, whose history takes in NDW (Palais Schaumburg), techno (3MB) and psychedelic ambience (The Orb), plus a clutch of gorgeous solo albums that explore wide terrain, from the dancefloor through supine home listening to compelling soundtrack work. Fehlmann’s approach here was to ‘capture’ samples of contemporaneous music, “picking up the dirt and dust of original 1920s archive sound and music excerpts and shaping the essence into this selection of tunes,” he recalls. After delivering the material to the editing room, Fehlmann “threw all the pieces up in the air, deliberately lost the overview in consequence, researched the atmospheric thread and assembled it for this album.” That explains the singular nature of the material here, and its ability to sit together so neatly and discretely, as its own entity. For Böser Herbst is a music box of possibilities, shadowed by its historical provenance, but never crudely beholden to it, rather “keeping the references only as a distant nod, a scent.”

It’s certainly an evocative listen, a cornucopia of textural pleasure and sensual, tactile assemblage. The spiralling, psychedelic cycle of “Karnickel” winds its way between the ears like thread to the needle; “Mit Ausblick” immerses the listener in deep, gaseous tones, only to be lifted into the air by the glassy drones of “Umarmt”. “Wunschwechsler” crackles with the unpredictability of weather systems while a guitar-like loop unspools across the horizon. Throughout, you can catch tiny tastes of the source material, but they’re pressed into greater service, Fehlmann using these sources for their evocative capacity and then saturating them with grain and rumble, abstracting outwards. It’s a music of temporal disjuncture and clairvoyant resonance, “speaking with the past – alert, distant and quixotic.”

Für “Böser Herbst“ schürft Thomas Fehlmann tief in den Sedimenten der Zeit und schöpft dabei aus ganz ähnlichen Klangquellen wie auf dem 2018 erschienenen Album “1929 - Das Jahr Babylon“. Auch “Böser Herbst“ wurde als Soundtrack zu der von Volker Heise gedrehten Dokumentation “Herbst 1929, Schatten über Babylon“ produziert, die den historischen Background der dritte Staffel der deutschen Fernsehserie “Babylon Berlin“ beleuchtet und dabei Archivmaterial mit Stimmen unterschiedlichster Zeitzeugen verknüpft. Das neue Album fügt eine weitere Saite zum Bogen dieses überaus voraus denkenden und kreativen Künstlers hinzu, dessen Geschichte NDW (Palais Schaumburg), Techno (3MB) und psychedelischen Ambient (The Orb) umfasst, plus eine Reihe von großartigen Soloalben, die ein weites Terrain erkunden, von der Tanzfläche über entspanntes Hören bis hin zu Soundtracks.

Fehlmanns Herangehensweise auf diesem Album war es, Samples aus jener Zeit "einzufangen", "den Schmutz und Staub der originalen 1920er Archiv-, Sound- und Musikaufnahmen zu sammeln und als Essenz in die einzelnen Tracks einfließen zu lassen", erinnert er sich. Nachdem Fehlmann das Material im Schnittraum abgegeben hatte, "warf er alle Teile in die Luft, verlor dabei absichtlich den Überblick, suchte sich dann einen atmosphärischen roten Faden und setzte alles wieder zusammen." Das erklärt die Einzigartigkeit des vorliegenden Materials und dessen Eigenschaft, sich fein säuberlich und gänzlich unangestrengt zu einer Einheit zusammenzufügen. “Böser Herbst“ ist eine Spieldose voll unbegrenzter musikalischer Möglichkeiten, umspielt von düsteren historischen Quellen ohne darin zu ertrinken – Fehlmann ging es stattdessen darum, "die Referenzen nur wie eine flüchtige Geste, wie eine Ahnung von etwas zu behandeln."

“Böser Herbst“ löst eine Vielzahl an unterschiedlichen Vorstellungen beim Hörer aus, es ist ein wahres Füllhorn an lustvollen Texturen und sinnlicher, taktiler Assemblage. Der spiralförmige, psychedelische Kreisel von "Karnickel" dreht sich in die Ohren wie ein Faden ins Nadelöhr; "Mit Ausblick" lässt den Hörer in tiefe, gasförmige Töne eintauchen, um anschließend von den transparenten Drones von "Umarmt" in die Luft gehoben zu werden. "Wunschwechsler" knistert mit der Unberechenbarkeit eines aufziehenden Unwetters, während sich ein gitarrenartiger Loop am Horizont abzeichnet. Überall kann man winzige Spurenelemente des Ausgangsmaterials erhaschen, aber sie werden in einen größeren Kontext gesetzt; Fehlmann benutzt seine Quellen nur als Mittel zum Zweck, um eine bestimmte Wirkung hervorzurufen, die einzelnen Teilchen werden angereichert mit Struktur und Körper und schließlich abstrahiert wieder ins Außen gesendet. Es ist Musik, an der die Zeit sich bricht und in die Zukunft schaut wie in einen Resonanzraum: Musik, "die mit der Vergangenheit spricht - hellwach, mit aller gebotenen Distanz und voller Rätsel".

Death Waltz Recording Company & Mondo are proud to present the mind-melting score to Umberto Lenzi’s 1980 contaminated zombie(?) film, Incubo Sulla Citta Contaminata (a.k.a. Nightmare City)! Composed and conducted by Stelvio Cipriani, the record you are holding in your hands is another stellar work by the late Italian maestro.

Pursued by the most ambitious, well-armed, and over/radioactive mutant zombies on film, the film’s protagonist, American news reporter Dean Miller (portrayed by Mexploitation star Hugo Stiglitz), makes it his mission to alert the public about the impending doom, but the powers that be are preventing him from doing so. Utilizing driving baselines, drums, percussion, and topped with a layer of intense keys, Cipriani delivers the perfect score to complement the mayhem unfolding on screen. Will our hero save humanity? Well, with maestro Cipriani at the helm, it doesn’t matter — the soundtrack sounds quite radiating.

On July 4th Kase Avila is set to raise the bar even higher with his latest effort ‘Minerva’ via Low Key Source. The Filipino-Australian producer is set to delve deeper into his artistry and penchant for the experimental with 14 new tracks.

When Covid-19 turned the world upside down, Kase sent himself into self-isolation. Confined to the studio, the Sydney beatmaker faced this tumultuous time with his love for producing music. Kase explored his love of 90’s boom bap, neo-soul, and the Soulquarians, while playing with the crisp sounds of electronic music to strengthen his perseverance and resolve. Taking its name from the Roman goddess of music, poetry, medicine and wisdom, ‘Minerva’ is a celebration of the resilience found in creativity when faced with uncertainty. The record envisions a sonic landscape that is as intimate as it is expansive. Lush chords pervade Kase’s signature hard hitting drum lines and smooth melodies like an evergreen being traced with graceful footsteps. The result is a sound that is regal in its confidence and joyous in it’s expressiveness. The lead single ‘Magic Birds’ strikes a harmonious balance between the sample-driven beats that have made Kase a fan favourite amongst the lo-fi hip-hop community, and ethereal synth flourishes that give the track a seamless fluidity.

Kase has long been a cornerstone of the Sydney music scene; his brand of ebullient and soulful beats have been filling dancefloors and bedrooms of hip-hop heads for the better part of a decade. In 2019 he released his first ever LP ‘Soul Calibre’, a project that also marked his debut on renowned label Low Key Source. ‘Minerva’ signifies Kase’s continuing ambition to preserve the purism of hip-hop while simultaneously pushing its boundaries with one kick, snare, and key at a time.

Entwickelt über einen Zeitraum von zwei Jahren, in den auch die Veröffentlichung des 2019 erschienenen Albums ,Stray Fantasies" fiel, liefert das Ehepaar Hollie und Keith Kenniff mit ,In A Deep And Dreamless Sleep" nun ein deutlich schemenhafteres Kapitel ihres Technicolor-Pop-Projekts MINT JULEP ab. Wo das erste Album ein kristallines Gitterwerk definierter Pop-Strukturen trug, stumpft das zweite diese Schärfe ab und macht den Glanz weicher, indem es ein Gleichgewicht zwischen Songkunst und Hollies Solomaterial sowie Keiths Output als Goldmund herstellt. ,In A Deep And Dreamless Sleep" nimmt eine luftigere Form an und verströmt einen schweren Nebel von Shoegaze-Sensibilität, obwohl das ansteckende Pop-Know-How seines Vorgängers fest intakt bleibt. Im Gegensatz zu seinem Titel ist ,In A Deep And Dreamless Sleep" voll von Traumwelt-Neigungen, in denen Wachen und Schlafen, Lieben und Verlassen, Leben und Sterben austauschbar sind. Das Album ist durchdrungen von der sanften Betäubung der aufkommenden Liebe - oder vielleicht ist es die Trauer einer Liebe in ihrem Zwielicht. Oder es ist das Gefühl eines Ehepaares, das seine Liebe vor dem Hintergrund seines geschäftigen Lebens pflegt. ,In A Deep And Dreamless Sleep" ist ein Fenster in eine berauschend romantische Parallelwelt, die die Kenniffs aus analogen Synthesizern, meisterhaftem Sounddesign, nektargetränkten Hooks und luftigen Vocals, die weit in ein Meer von Texturen hinauswaten, erschaffen haben. Sie haben es geschafft, den Wert jahrelanger Rendezvous-Nächte in eine 46-minütige Sammlung von phosphoreszierendem Ambient-Pop zu verwandeln, der ein Gefühl von gekonnter Konsistenz vermittelt, das die beiläufige Entstehung des Albums widerlegt.