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Public Release once again plunges into the deep well of dance music talent it's hometown of San Francisco has long fostered for Moon Replacement, the debut single by Anderson Chase, two originals wrapped around a couple remixes of its titular track.

Clocking in at over eight minutes, “Moon Replacement” is a tense, drawn-out affair. It coaxes you onto the dancefloor with hardedged drums that slap with a metallic clang, a steely bass throb that defines its backbone, and spindly synth noodles that creep around the crust on top. Chase’s previous life as a punk and metal drummer seeps through; this is a tenacious house boogie that trundles along at that Goldilocks BPM of 118, fast enough to snap you to attention, slow enough that you don’t lose stamina as you give into the groove.

Japanese house producer Gonno, known for his ability to graft scalpel-sharp minimal techno loops onto out-there, mindexpanding arrangements, puts his own spin on the song for the A2 slot.
He darkens the mood while zapping it with a static charge to quicken its pace. On the reverse is Mark E’s take, which goes in the opposite direction, applying some heat so the square structure’s joins start to melt, wiggle, wobble. The bottom is still stocky, a molten mass of heavy-duty bass energy, but the melody that dances around the top is airier and lighter, glints of sunshine through storm clouds.

And then “Between Us” arrives to stick the landing, get us back to where we started. Like “Moon Replacement,” it’s a blocky foot-stomper that directs you forward with its tireless rhythm section, though this time with an even longer shadow cast behind it.

Early Days maps out Nine Circles interpretation of Cold Wave and Minimal Synth. Unbelievably the tracks are mostly from a brief time period, ’80—’82. Alienation and uncertainty course through the 2LP with heavy Yamaha chords, metallic machine beats and brittle vocals.

Nine circles was formed in the early 80s by Peter Van Garderen and Lidia Fiala. In 1980 there was a band called Genetic Factor. This band split up when their three members got girlfriends and they started to make music together with their girls. So at that time there were 3 bands living together in one house.

One of the couples were Peter van Garderen and Lidia Fiala. Lidia had been writing lyrics since she was 15 years old. Nine Circles was born. Within 2 years they wrote about 60 songs.

Also living in the house was Richard Zeilstra, who had a job at the VPRO radio, hosting a show called „Spleen“ where he gave New Wave bands a chance to play. He asked bands to send tapes to him and the best bands had the opportunity to play live at the radio and also got the chance to be on the „Radio Nome“ compilation. Peter and Lidia sent their tape to him and were the only ones from this house to be on the show. Richard knew their music was special. Nine Circles never played a live show on stage, only one concert live at the radio which is also featured on this LP.

Two years later Peter and Lidia split up and Nine Circles disappeared. In 2009 Lidia’s son googled her name just for fun and found a lot about the band Nine Circles. Lidia was surprised, she never knew how popular Nine Circles have been over the years. She got herself on Facebook and since then she got in touch with many people and decided Nine Circles should come back! Peter was not able to join the band these days, he had a different life but he was supporting Lidia and liked that she enjoyed doing music again. Peter still had all the old recordings and sent Lidia a lot of the music they made together back in the days. The best tracks are collected on this 2LP.

Together with Per-Anders Kurenbach Lidia revived Nine Circles. They recorded new material (released on the album „Alice“) and played live until Lidia had to stop playing live for health reasons in 2016. Nevertheless they‘re working on a follow-up album called „Emerge“ which is planned to be released in 2020 and hopefully Lidia will be able to go on stage again soon.

We are pleased to welcome the New Jersey native, Joey Anderson to The Uzuri Recordings roster after his excellent remix for the maestro - Larry Heard back in 2018. All of Joey's usual trademarks are - acid swirls, melody, cinematic textures - music by a dancer for dancers .

Ism opens audaciously with the spiritual mic-check “You Are Free To Choose,” a track that features bassist Junius Paul alongside Vincent Davis (drums), Justin Dillard (piano), and Corey Wilkes (horns). This is by no accident. In many ways, “You Are Free To Choose” captures the spirit of Junius Paul’s artistic roots. Corey, Justin, and Vincent were among the multigenerational cadre of Chicago musicians present when Junius chose to follow his own path of creative discovery at the storied Velvet Lounge on the South Side of the city in 2002.

Though he began learning his craft playing in church, Junius’s creative voice really developed during jam sessions at clubs like The Velvet alongside members of the AACM. It was iron sharpening iron, the most natural form of knowledge transfer. He explained The Velvet’s vibe in 2018: “It’s like in Africa.... If you had this society of diviners or medicine people, or you know, sages… The Velvet stuff is not secret; but there are certain aspects of it… if you weren’t there, you weren’t there.” The Velvet Lounge closed in 2010. But, of course, the spirit of the Velvet Lounge is not dead. “Tune No. 6,” recorded live at the Co-Prosperity Sphere in Chicago, is a sweet interlude here to remind us that jazz is alive, bristling with what’s yet to come.

As Junius pushes forward as a creative musician, he is careful to carry with him the spirit and the knowledge he’s gathered from those who have come before him. He is very literally a bridge between generations of the Chicago vanguard, currently playing in a handful of combos with Makaya McCraven (who produced several of the tracks on Ism) as well as a few of Roscoe Mitchell’s working groups – most notably the Art Ensemble of Chicago – in addition to fronting his own band.

20 years of Pop Ambient. Already? One didn’t notice. It’s an anniversary which comes quietly. An anniversary with quiet tones.
In the spirit of the special restraint of pop-elegance, it has no reason to drawn attention to itself with a big „Tam-Tam“. Or better: „Bum-Bum“. The bass drum stays outside. Nevertheless, in fast-paced, overstimulated times of moving forward, it’s a joyful occasion to look back.
What strikes most by putting or listening to 20 years of pop ambient in a row is the central theme that holds together the dense aesthetic concept like the pearls of a necklace.
Floral beauty for digital naturalists. Music like flowers, that don’t wilt. Timeless. Ageless. But with all of the conceptual unity and resolution, Pop Ambient would not be Kompakt without the break, the friction, the expansion of musical boundaries in between tradition and innovation, in between conspiracy and the openness of the discourse.
Aestheticism, escapism, acting in the spirit of „nevertheless“. Swans drifting by, clouds pass over, everything is floating and: „Boredom is a stylistic device“ (Andy Warhol).

Pop Ambient Music is medicine against illnesses, that you don’t even suffer from. It’s giving everything, demanding nothing.
Musical lotus leafs, off which the virtual wastewater of our time is rolling like the reality is dripping off the matrix.


In this sense, we’re happy about the pop-ambient anniversary greetings from new and old companions like Thore Pfeiffer, Max Würden, Yui Onodera, Jörg Burger, Thomas Fehlmann, Morgen Wurde, Leandro Fresco aswell as contributions from T.Raumschmiere, Andrew Thomas and, after a long break, from friends from early days like Joachim Spieth, Markus Guentner und Klimek.

Pop Ambient 2020 is released digital, as CD and of course as a chic double vinyl. Also included in the package: The whole distinctive cover-series as an art book of 44 pages. And for all of the old and young fans and collectors there is the Pop Ambient 2001 in a overhauled original version out on vinyl for the very first time.



Breath in. Breath out. Thank you.



Wolfgang Voigt, September 2019.

20 Jahre Pop Ambient. Schon? Hat man gar nicht gemerkt. Ein Jubiläum auf leisen Sohlen. Ein Jubiläum der leisen Töne. Und ganz im Sinne pop-eleganter Zurückhaltung, kein Grund, großes Tam-Tam zu machen. Oder besser gesagt: Bum-Bum. Denn die Bassdrum bleibt ja draußen. Dennoch freudiger Anlass genug, in reizüberfluteten, schnelllebigen Zeiten auf dem Weg nach vorne einen Blick zurück zu werfen. Wenn man 20 Jahre Pop Ambient Platten hintereinander legt / hört, sticht einem zunächst der sprichwörtliche rote Faden ins Auge und ins Ohr. Der Faden, der das dichte, ästhetische Konzept zusammenhält wie die Glieder einer Perlenkette. Florale Schönheit für digitale Naturalisten. Musik wie Blumen, die nicht welken. Zeitlos. Alterslos. Aber Pop Ambient wäre nicht Kompakt, wenn nicht bei aller konzeptionellen Ge- und Entschlossenheit, auch der Bruch, die Reibung, das Ausweiten musikalischer Genregrenzen zwischen Tradition und Innovation, zwischen Konspiration und Diskursoffenheit, inkludiert wäre. Ästhetizismus, Trotzdemismus, Eskapismus. Schwäne treiben, Wolken ziehen, alles fließt – und: »Langeweile ist ein Stilmittel« (Andy Warhol).

Pop Ambient Musik ist Medizin gegen Krankheiten, die man gar nicht hat. Gibt alles und verlangt nichts. Musikalische Lotusblätter, an denen das virtuelle Schmutzwasser der Zeit abperlt, wie die Realität an der Matrix.

In diesem Sinne freuen wir uns über pop-ambiente Jubiläumsgrüße von neuen und alten Weggefährten wie Thore Pfeiffer, Max Würden, Yui Onodera, Jörg Burger, Thomas Fehlmann, Morgen Wurde, Leandro Fresco sowie Beiträge von T.Raumschmiere, Andrew Thomas und nach langer Pause, von Freunden aus frühen Tagen wie Joachim Spieth, Markus Guentner und Klimek.

Pop Ambient 2020 erscheint Digital, als CD und natürlich als schickes Doppelvinyl. Mit im Paket: Die gesamte unverwechselbaren Cover-Serie als 20-seitiges Kunstbuch. Und für alle neuen und alten Fans und Sammler, erscheint zeitgleich Pop Ambient 2001 erstmalig auch auf Vinyl, in generalüberholter Originalversion. Das Ganze gibt es zudem im schicken Jubiläumsschuber in limitierter Auflage und farbigem Vinyl, exklusiv erhältlich nur auf kompakt.fm …

Einatmen. Ausatmen. Danke.

Wolfgang Voigt, September 2019

Trentemøller returns with his fifth studio album 'Obverse' in September 2019! Anders Trentemøller is a well-known multi-instrumentalist, but perhaps the one he’s most adept at is the studio itself. 'Obverse' is the result of him expanding that skill even further. 'Obverse' often feels like an instrumental album because it started life as one, the driving philosophy being “what if the pressure of having to perform these songs live is removed entirely?” Granting yourself the freedom to chase down every idea a studio offers comes with privileges. What happens when you reverse a synth part mid-verse? Why not send an entire track through a faulty distortion pedal? Inspiration reveals itself in a variety of forms and, before long, a simple chord progression contorts into something entirely new. It’s a work method that yielded great results for the legendary German Kosmiche/Motorik experimentalists of the 1970’s. Intentional or not, 'Obverse' embodies more than a little of that spirit without even a hint of pastiche.

So it only makes sense that 'Obverse' would stray from its original roadmap. In due time, half of the nascent compositions featured singers, including Lina Tullgren, Lisbet Fritze, and jennylee, of Warpaint, another band deeply influenced by dream pop. While 'Obverse' was born from a different work ethic than previous efforts, it also continues an arc that started in 2006. Each successive effort has represented a logical next step beyond the album before, and 'Obverse' absolutely picks up where Fixion left off.

For the past decade Trentemøller has been perfecting this form of sonic chiaroscuro to conjure up images of severe landscapes, and to mirror the Scandinavian climate, where half the year the sun barely sets, and the other it barely tops the horizon. While there has been a film noir element in his previous work, 'Obverse' is the first time each song has felt like a collection of pocket soundtracks.

By fusing together a love of dream pop, dark synth-based music, film scores, and a deep connection with the stark Nordic panoramas, Anders has created an inimitable language. Ultimately 'Obverse' resides in a genre all its own.

FETISH features legendary POISON IDEA members Steve “Thee Slayer Hippy” Hanford and Eric “Vegetable” Olson, and later-era Poison Idea guitarist Brandon Bentley.
Engineered by legendary producer Billy Anderson (Melvins, Neurosis, Cattle Decapitation, Sick of it All, High on Fire, etc.)
It also includes 3 of the members of the Portland punk rock machine that is LONG KNIFE, Colin Jarrell, Scott Goto, and Chris Reid.
With a single already out and a vicious onslaught of new material put together, we here at Blackhouse are honored to be putting out their debut full length album, “WORLD EATER” in its entirety in physical form.

Rolf Hansen, who as a guitarist is originally rooted in jazz, has been one of the most in-demand studio and session musician in the Danish rock, pop, and folk scene. Between 2010 and 2017, he toured under the name Il Tempo Gigante as a solo artist and released two albums: »Lost Something Good« (Speed of Sound, 2010) and »Watch It Watch« (Resonans, 2014). With subsequent tours throughout Europe, he made a name for himself in the alternative folk scene.

After a phase of reorientation, he now releases his first purely instrumental record under his real name through the Berlin-based Karaoke Kalk label in September. On his third album »Elektrisk Guitar«, the many different influences Hansen has gathered as a composer, solo performer, session musician and producer shine through.

The concept of limitation - an album composed for and played with solo guitar - is being mirrored in the conception of the album itself. Not only does Hansen resolutely constrain himself to a sole instrument, he also eschews traditional composition techniques and follows an experimental approach.

»Elektrisk Guitar« is an album that enters into a dialogue with its conscious and attentive listener. Pieces whose melancholy is carefully weighed meet complex musical structures that again and again provide new challenges. In just 43 minutes, »Elektrisk Guitar« offers a plethora of ideas, impressions, details, and inspiration. And even more so, it opens up a room for its listeners to explore, precisely because its minimalistic compositions create a lot of space in which to get accommodated in.

Apart from his solo projects, Rolf Hansen has for several years been connected to Donna Regina as well as Anders Mathiasen (formerly Murder, now Vessel, DK) and Henriette Sennenvaldt (formerly Under Byen, DK) through close collaborations.

Master of ambient spaces and far out places, long-time Finnish producer Sasu Ripatti (aka Vladislav Delay) blesses us once again with another release, this from his 'Visa' period of unreleased tracks.

The first track out of the gate is a recognizable Vladislav Delay piece, but instead of gently flowing rivers of sound, instead we have a series of stiff, machine-like rhythms applied to his classic infinitely deep pads and ambient environmental sounds.
It just continues to pile in more elements until becoming almost indistinguishable from his natural, organic flow.
From there we move into somewhat more familiar territory but still unusually stripped down and mechanical for a Vladislav Delay joint.

It’s fascinating to see such an intricate songwriting process laid bare in such a way, often exposing each individual, nearly bottomless sound in isolation.
Deeper into the album, things veer into decidedly more abrasive and synthetic territory, at times becoming an almost unrecognizable artist for a moment, only to be eventually subsumed under layers of shifting ambience that could only be Sasu.

This austere minimalism makes these tracks some of the most hypnotic since the early 90s excursions, but at the same time seems to have left its organic, analog roots and melded with the harsh gridlocked modern sequencer. ~Clint Anderson

Unstable Signal is a new record label focused on quality Electronic music founded by Michalis Vassiliou in early 2018. The label’s vision is to support the underground music culture, through the pressing of records, as well as pushing for quality curations at the events/concerts of the label.
In less than a year of activity it has managed to associate its name with very strong events such as the debut party at About Blank in Berlin, the follow up in Athens with Ancient Methods and the one with SHXCXCHCXSH at Temple Athens.
Also the long awaited EP of Celldöd under the name Myndighetsförakt is finaly available by the label in 12-inch vinyl and digital format.
Celldöd Is the Stockholm based producer Anders Karlsson. Anders has been active in the music scene for some time working on different musical projects, always with a strong DIY ethic.
Celldöd has built a reputation as a strong live act through gigs at Berghain, About Blank and Griessmühle in Berlin, Joy in Moscow, Femur Club in Madrid as well as live performances as far away as the Epizode festival in Vietnam.
His music has been played and supported by DJs such as Ancient Methods, Beta Evers, Alienata and The Hacker.
His EP on Unstable Signal is the debut release for the label.

Aethers Spring is proud to announce its next release “WATER: Esper”, an exciting three track EP spanning Dream Acid, Disembodied House and Swirl Hop. A rousing flux dissolving whilst growing, falling as it rises, exploring the interplay between Light and Heavy.

Shout-outs to Jigme Lingpa, Karma Lingpa and the other Tertöns.
Mastered by Matt Colton.
Illustrations by Frederick E. Woodward and Denis Chapon. Sleeve design by Aethers Spring and Anders Gerning.

New Fly-Lo.. First outing since 5 years!

Drawing the lines between the galaxies of hip-hop, funk, soul, jazz, global dance music, tribal poly-rhythms, IDM and the beat scene of his hometown L.A, Lotus creates a universe that is uniquely his own. Calling on an all-star cast from the cosmos, Anderson .Paak, George Clinton, Little Dragon, Tierra Whack, Denzel Curry, David Lynch, Shabazz Palaces, Thundercat, Toro y Moi and Solange; Lotus takes these artists on an astral plane to explore his world of fire.

Sein letztes Werk "You're Dead" (2014) bescherte ihm eine Grammy-Nominierung, sein Brainfeeder-Label ist zu einem der innovativsten Klanglabors der Welt avanciert, er co-produzierte Kendrick Lamars mit fünf Grammies ausgezeichnetes Meisterwerk "To Pimp A Butterfly" (2015). Nun veröffentlicht Flying Lotus sein neues Album für Warp: "Flamagra" greift alle kreativen Quantensprünge und innovativen Elemente aus 12 Jahren FlyLo-Karriere auf und denkt sie weiter, größer, epischer und universeller: Hip-Hop, Funk, Soul, Jazz, Electro, IDM, die Ansätze der befreundeten Beatmaker aus L.A., Tribal-Elemente, Polyrhythmen. Aber selbst diese Liste reicht nicht aus, um "Flamagra" auch nur ansatzweise zu verorten, weil es immer wieder ausbricht aus diesem Koordinatensystem. Die Gästeliste liest sich wie ein Traum: Anderson .Paak, George Clinton, Little Dragon, Solange, Tierra Whack, Denzel Curry, Ishmael Butler (Shabazz Palaces), Toro Y Moi, sein musikalischer Stammesbruder Thundercat, ja selbst David Lynch ist zu hören. Der legendäre Regisseur steuert ein paar schaurige Worte bei, eine düstere Erzählpassage, mit der er uns eindringlich warnt: "Fire is coming". "Flamagra" ist die Essenz des letzten Jahrhunderts im Bereich der afroamerikanischen Musik, vollkommen neu und weitergedacht, kollektiv gefiltert und feingeschliffen. Auch wenn Flying Lotus ein Nachkomme seiner ehrwürdigen Großtante Alice Coltrane ist, die mit John verheiratet war (wobei auch Miles und Madlib, Dilla und DOOM als seine Vorfahren gelten dürfen), hat er inzwischen seinen eigenen Kult geschaffen: Eine Gefolgschaft, die alles Geniale aus der Vergangenheit absorbiert und in Bereiche überführt, die sich die genannten Vorfahren nicht mal im Traum hätten ausmalen können. Flying Lotus ist zurück. Fire is coming.

'The Loop' is the new LP by Los Angeles based polymath Shafiq Husayn, an epic project which saw its inception in 2012 through a series of studio sessions at Shafiq's home, including collaborations with the likes of Thundercat, Erykah Badu, Flying Lotus, Bilal and Anderson Paak. Amongst a close knit circle of friends and family the golden tones of The Loop were created, deeply rooted in ideas of song, story, history, guidance and spirituality. The album bumps, jumps and jangles through progressions in jazz, hip hop, soul and funk, following on from his debut album 'Shafiq En' A-Free-Ka' and adding further to his rich history of timeless, unique music. On The Loop past, present and future are brought together through a psychedelic concoction of time traveling drum machines, celestial string sections and trails of synthesizer vapour. Inflections of Sly Stone, Pharaoh Sanders and Earth Wind And Fire traverse with Marley Marl and Dilla-esqe drums making for an organic yet LA-trifying experience.

Shafiq has brought together an impressive array of LA's musical royalty, enlisting the likes of Thundercat, Miguel Atwood-Ferguson, Kamasi Washington, Chris 'Daddy' Dave, Eric Rico, Coultrain, Computer Jay, Jimetta Rose, Om'Mas Keith, Kelsey Gonzalez, I-Ced and more to provide the backbone to his recording sessions. Drawing in features from an international cast of performers and artists like Erykah Badu, Robert Glasper, Hiatus Kaiyote, Fatima and Karen Be amongst others. Now complete and finally ready for release in 2019 The Loop is truly something to behold. The records is accompanied by a series of paintings by acclaimed Japanese visual artist Tokio Aoyama, who worked in tandem with Shafiq to create a painting for each song on the record.

Alt-rock icon Josephine Wiggs is best known as bassist in The Breeders, rising to superstardom in the '90s and continuing to draw crowds and critical acclaim in the wake of their 2018 album All Nerve.
But over the years, Wiggs has released several of her own albums, all of which delightfully defy genre. Her new solo record, We Fall, is both a departure and a distillation of an enduring personal aesthetic: moody and spare but also melodic, at once contemporary and nostalgic.
Some influences are clear: We Fall is reminiscent of the experimentalism of Brian Eno's Another Green World and recalls the delicate, languid minimalism of Harold Budd. The album's classical inflections, sharpened by a dialog with electronic elements, evoke Alva Noto and Ryuichi Sakamoto. This is an album of juxtapositions: minimalist at moments, richly layered in others; ambient while also sharply focused; melancholy yet resolute.
There's something both dreamy and scientific about We Fall. Wiggs, an enthusiastic amateur mycologist, has an impressive collection of mushrooms she's photographed in her travels. We Fall could be the soundtrack to what can't be captured in a single photo—the growth and decay of miraculous creatures that a less astute and sensitive eye might overlook entirely.
Composed, performed and recorded by Wiggs, with drums and electronics by her longtime friend and collaborator Jon Mattock (Spacemen 3, Spirit , We Fall is a lyrical, bucolic album with an undercurrent of disquiet. Think of a wintertime walk in the woods as dusk falls too soon. True to the classic album form, the 10 almost entirely instrumental tracks on We Fall form a compelling whole: a crystalline meditation on paths not taken and words unspoken, an elegy for moments lost and last embraces.
JOSEPHINE WIGGS BIO
Josephine Wiggs grew up in an unconventional family north of London. Returning home from a summer holiday with a donkey riding in the back of the family's 1927 Rolls Royce was not considered at all bizarre. Wiggs studied cello as a child, segued from college in London to undertake a master's degree in Philosophy, and then, in a move few would have predicted, joined a rock band.
After making three albums with The Perfect Disaster (1987-1990), Wiggs left to join Kim Deal (Pixies), Tanya Donelly (Throwing Muses), and Britt Walford (Slint) in forming indie supergroup The Breeders, whose debut album Pod came out in 1990. Following a shift in line-up—with Kelley Deal on guitar and new drummer Jim Macpherson—The Breeders released Last Splash in 1993; with its hit single 'Cannonball' and 'Divine Hammer,' they became alternative rock superstars.
During the same period, Wiggs released two lower-key albums with Jon Mattock (Spacemen 3, Spiritualized): Nude Nudes (1992) under the name Honey Tongue, and Bon Bon Lifestyle (1996) using the moniker The Josephine Wiggs Experience. She also recorded and produced Klassics with a K (1996), the beloved and only album by the Kostars (Luscious Jackson's Jill Cunniff and Vivian Trimble). During a brief run of shows, Wiggs joined the band on drums, showing her range of musical ability.
In the late '90s Wiggs collaborated with Vivian Trimble as Dusty Trails, whose eponymous 2000 album is an homage to neo-noir soundtracks, spaghetti westerns, and Gallic pop. Time Out described it as 'one of the most subtly suggestive, understatedly elegant...things likely to have caressed your cochlea in years.'
Allusions in Dusty Trails to film music foreshadowed the next stage of Wiggs's career, writing scores for feature and documentary films—from Happy Accidents by Brad Anderson in 1999 to Appropriate Behaviour by Desiree Akhavan in 2014. Her new album We Fall began as a suite of short pieces for the documentary film Built on Narrow Land. Wiggs has also composed and recorded music to accompany live performance and short films by the acclaimed Brazilian choreographers chameckilerner.
In 2013, following the 20th anniversary of Last Splash, the classic lineup of The Breeders reunited for a world tour. Five years later in 2018 they released All Nerve, with Wiggs co-writing two songs and singing lead on the standout track 'Metagoth.' We Fall, Josephine Wiggs' third album of her own design and ninth album in a career spanning three decades, will be released on vinyl and available for download and streaming on April 12, 2019 by Sound of Sinners.

The latest addition to the James Holden archive is an album of solo synth work originally written to accompany the critically-acclaimed documentary 'A Cambodian Spring': fourteen tracks of pulsing melancholy, foreboding drone and even the occasional burst of beatless trance in the form of the uplifting arpeggios of surefire album highlight 'Solidarity Theme'.

Picking up where his classic 2013 album 'The Inheritors' left off (and giving album closer 'Self-Playing Schmaltz' a new cinematic airing) Holden's debut soundtrack project combines the sound palette of his beloved Prophet 600 with a cranky old Hammond organ to showcase the full breadth of his musical tastes across the epic documentary format.

Includes download code and sleeve notes by 'Imaginary Cities' author Darran Anderson.

Bobby Sparks II ist vielen ein Begriff. Sei es als Keyboarder bei Snarky Puppy, Marcus Miller, Prince oder Liz Wright, Bobby hat überall markante musikalische Spuren hinterlassen. Und nun ist es endlich soweit: Mit "Schizophrenia - The Yang Project" steht Bobby Sparks Debutalbum (2CD Set) zur Veröffentlichung bei LEOPARD an. Es hat gedauert, um diese außergewöhnliche Sammlung unterschiedlichster Songs zu produziern. Aber es hat sich mehr als gelohnt: zeigt sich darin doch das breite musikalische Vokabular und der schier unerschöpfliche Schaffensdrang des Keyboarders. Vom slammenden Funk bis zu langsamen, groovigen Soul-Balladen und Streifzügen in die Genres Straight-ahead-Jazz, Fusion, Orchester- und Weltmusik: das sehr passend betitelte Album "Schizophrenia - The Yang Project" vereinigt eine Vielzahl verschiedener Musikstile in sich, ohne dabei das Gesamtbild aus den Augen zu lassen. Mit an Bord auf dieser außergewöhnlichen musikalischen Reise sind eine Reihe seiner alten Freunde aus Dallas, sowie viele Stars des Genres - etwa die Bassisten Marcus Miller, Pino Palladino, MonoNeon und Hadrien Feraud, der Trompeter Roy Hargrove, die Sänger Frank McComb und James - J. Rob' Robinson, Snarky Puppys Michael League und Jason - JT' Thomas, die Gitarristen Lucky Peterson und Eric Gales sowie die Drummer Mark Simmons, Brannen Temple und John - Li'l John' Roberts.

GREY Area is the new album from Little Simz, her third to date following

mixtapes/EPs and two critically acclaimed albums.



Simbi Ajikawo, crowned Little Simz, lets her work do the talking - and her prolific releases and

boundary-breaking achievements clearly tell a story of a pioneering Hip Hop artist who leads the

way on her own terms. Giving lauded, energetic performances, critically acclaimed albums, sold-out

headline shows around the world, and international tours with the likes of Gorillaz, Anderson .Paak and

Ab-Soul, this visionary 24 year old woman from North London is living out her childhood dreams to heights of

excellence - and inspiring her generation to do the same.

'Listen To The Music' is the fourth star-studded 'Songs Around The World' album and video series from the world-renowned Playing For Change organization. It features audio recordings of hit rock and world-beat songs, along with a compelling series of performance videos in which Playing For Change's unique recording process is documented to great effect. each song is multi-track recorded and videotaped in multiple picturesque locations around the world by visionary producer and hilanthropist Mark Johnson. The full 12 song project features more than 200 Artists and was recorded in 25 different countries. Featured stars include The Doobie Brothers, Ellis Hall, Jack Johnson, Dr. John, Warren Haynes, Cyril and Ivan Neville, John Cruz, Preservation Hall Jazz Band (New Orleans), TP OK Jazz Band from Congo
(Kinshasa), John Densmore, Bombino, Buddy Guy, Waddy Wachtel, Roots Gospel Voices of Mississippi, James Gadson, Reggie McBride, Karl Denson,Roberto Carcasses, Mamadou Diabate, Lee Oskar,Anders Osborne and Pancho Amat.
Now available on vinyl.

Anderson .Paak's new album, Oxnard, is a nod to the Southern California city where Anderson grew up. It is the Grammy-nominated artist's 3rd studio album and the first to be released on Dr. Dre's label Aftermath Entertainment. Oxnard will include his latest single, 'Tints' featuring Kendrick Lamar along with album features from J. Cole, Pusha T and many more. Earlier this year, Anderson .Paak shared with Rolling Stone that "... this is the album (he) dreamed of making in high school, when (he) was listening to (Jay-Z)'s The Blueprint, The Game's The Documentary, and (Kanye West)'s The College Dropout."

Lance Ferguson's Raregroove Spectrum is a collection of newly recorded versions of classic funk, soul, jazz and latin vinyl rarities, which features some of Melbourne's finest musicians across the album, including past and present members of The Bamboos, The Putbacks and Hiatus Kaiyote.

As the man at the helm of many musical projects over the years including Cookin' On 3 Burners, Menagerie & his solo project Lanu, Lance is no stranger to the art of imaginative musical re-interpretation, be the material soul, funk and jazz based or the works of James Blake, Roxy Music and Prefab Sprout.

For Raregroove Spectrum, Lance explains that much of the inspiration for the re-works comes from his experience as a DJ, "Some of these versions can almost be looked at as DJ re-edits, sometimes we're extending what may be a really short track into something longer, or teasing out the elements in a song that really make it work on a dance-floor. It's essentially what someone does with a club re-edit, except we went the extra step and re-recorded the whole thing with a live band".

In other cases, top-shelf classics have been re-imagined in different guises: James Mason's 'Sweet Power, Your Embrace' as a sun-drenched Samba, or Anderson Paak's sure shot tune 'Am I Wrong' given an 1980's style Boogie/Jazz Funk makeover. Stir into this musical gumbo stew the raw Deep Funk of 'Egg Roll', the swinging Mod R&B of Googie Rene's 'Smoky Joe's La La' to the epic, widescreen Jazz-Funk of Pleasure's 'Joyous' - Rare Groove Spectrum provides new perspectives on the obscure to the well-loved, from old-school to new sounds - this is rare grooves re-grooved... beautifully.

First ever experimental Tuareg guitar soundtrack. Original soundtrack recording to the film Zerzura, the first ever Saharan acid Western, telling the story of a nomad's search for a magic city of gold. Evoking the desert journey with free form guitar improvisations, the soundtrack is a meditation on the mysteries of the Sahara. Composed by writer and actor Ahmoudou Madassane, the instrumental score takes the familiar Tuareg guitar tradition into new directions, transforming desert blues into ambient soundscapes. Recorded in studio while watching footage from the film, the score was recorded in live and spontaneous takes. Heavily based around the electric guitar, Madassane also plays a handful of other in-studio instrumentation (prepared piano, Moog, Timpani) and is joined by a number of collaborators, including guitarist Marisa Anderson. A prolific and backing artist in a number of groups (Mdou Moctar, Les Filles de Illighadad), Madassane is well versed in Tuareg guitar folk and draws inspiration from this tradition before veering off into uncharted territory. Pieces fluctuate in timing and break free from standard rhythm, moving from melancholic serenity to blurry psychedelic fury. An experimental foray for Tuareg guitar, Zerzura is the first of its kind.

"Master of ambient spaces and far out places, long-time Finnish producer Sasu Ripatti (aka Vladislav Delay) blesses us once again with another release, this from his 'Visa' period of unreleased tracks.


The first track out of the gate is a recognizable Vladislav Delay piece, but instead of gently flowing rivers of sound, instead we have a series of stiff, machine-like rhythms applied to his classic infinitely deep pads and ambient environmental sounds. It just continues to pile in more elements until becoming almost indistinguishable from his natural, organic flow. From there we move into somewhat more familiar territory but still unusually stripped down and mechanical for a Vladislav Delay joint. It’s fascinating to see such an intricate songwriting process laid bare in such a way, often exposing each individual, nearly bottomless sound in isolation.


Deeper into the album, things veer into decidedly more abrasive and synthetic territory, at times becoming an almost unrecognizable artist for a moment, only to be eventually subsumed under layers of shifting ambience that could only be Sasu.


This austere minimalism makes these tracks some of the most hypnotic since the early 90s excursions, but at the same time seems to have left its organic, analog roots and melded with the harsh gridlocked modern sequencer. ~Clint Anderson

'1929 - Das Jahr Babylon" marks Thomas Fehlmann's third full length release of 2018 and presents what appears to be a creative peak in his career that spans beyond his solo career to his early days in Palais Schaumburg, collaborating with Moritz von Oswald as 3MB to his long time work with The Orb. Having left The Orb in late 2017 has set free unforeseen energies in Fehlmann's studio.

A departure from his recent dance floor-friendly album "Los Lagos" (KOM388, KOMCD148) released in September on Kompakt, Thomas Fehlmann's '1929 - Das Jahr Babylon" is a film soundtrack from the documentary that aired on ARD network on September 30, 2018 and is now available as a podcast series.

To compliment the internationally lauded TV series "Berlin Babylon", German director Volker Heise has created a documentary about 1929, the fateful year during Germany's "Weimarer Republik" in which "Berlin Babylon" is settled. Heise's stirring documentary portrays Germany's sizzling capital that is faced with radical changes by the dark forces whom are about to toss the world into the abyss we know as World War II.

This marks the second time that Fehlmann is partnering up with Volker Heise after 2010's marathon documentary "24 Stunden Berlin" which was released as "Gute Luft" (KOM211, KOMCD81) in the same year. Fehlmann's composition for "1929" consists of sample material taken from the era and thwarts the exaggerated lust for life with threatening undertones that anticipate the dawn of mankind's darkest chapter so far. Although all the sounds breathe yesterday's atmosphere this soundtrack bursts with modernity. Fehlmann accomplished the daring feat to musically render the unsettling resemblance between the political situation 90 years ago and our current time.

We at KOMPAKT feel that Fehlmann's score has turned out spectacular enough to give it proper release on limited vinyl and CD as well as on all digital platforms.

Mit '1929 - Das Jahr Babylon" legt Thomas Fehlmann schon seinen zweiter Longplayer innerhalb eines halben Jahres vor und dokumentiert damit eine kreative Hochphase seiner überaus stattlichen Musikerkarriere. Die Trennung von The Orb scheint bei ihm ungeahnte Energien freizusetzen.

Anders als auf dem cluborientierten "Los Lagos" tritt Thomas Fehlmann auf "1929" musikalisch einen Schritt zur Seite. Und das aus gutem Grund: Analog zur international gefeierten Fernsehserie "Babylon Berlin" entstand unter der Regie von Volker Heise der Dokumentarfilm "1929 - Das Jahr Babylon" - ein ergreifendes Sittengemäde Berlins während des Schicksalsjahrs der Weimarer Republik. Wie schon zu Volker Heises vorangegangener Berlin-Doku "24 Stunden Berlin" (2010 erschienen als das Album "Gute Luft" auf KOMPAKT) hat Thomas Fehlmann auch diesmal den kongenialen Soundtrack beigesteuert. Basierend auf Klangmaterial des Jahres 1929 hat Fehlmann eine beeindruckende Musik geschaffen, in der manchmal die übertriebene Lebensfreude und Dekandenz jener Zeit aufflackert. Eine Musik, deren Stimmung jedoch unterwandert ist von den bedrohlichen Strömungen, die Deutschland kurz darauf in seine dunkelste Epoche stossen werden.

Thomas Fehlmann ist damit ein wahres Kunststück gelungen. So sehr die Produktion den Geist einer vergangenen Zeit atmet, so modern mutet sie an. "1929 - Original Filmmusik" klingt somit wie die zu Musik geronnene Erkenntnis, dass sich Gestern und Heute auf erschreckende Weise ähneln.

Wir bei Kompakt sind der Ansicht, dass Thomas Fehlmanns Filmmusik zu "1929 - Das Jahr Babylon' so spektakulär geraten ist, dass wir sie nun als limitierte CD und Vinyl-Auflage, sowie auf allen digitalen Plattformen verfügbar machen.

Anders Trentemøller's career is a travel-heavy one, with his touring schedule taking him pretty much all over the world. But it's his home port that's inspired his latest project, the sprawling, stunning compilation mix 'Harbour Boat Trips Vol. 02: Copenhagen'. Clocking in at just over an hour long, the compilation sees Trentemøller curate and craft sixteen songs into a heavy, hazy mix that ranges from shoegaze to electronica, featuring both familiar and celebrated artists like A Place to Bury Strangers (with a new Trentemøller remix) and Slowdive to more obscure finds, as well as Trentemøller's own tracks and remixes, most notably a brand new Trentemøller cover of Neil Young's classic 'Transformer Man'. The mix sees him pick up a thread he left off earlier in his career. In 2009 he put together 'Harbour Boat Trips - 01: Copenhagen', a compilation mix comprised of his favourite music, both Danish and international, from across four decades, loosely inspired by the motion and movement of Copenhagen's busy harbour. Closing in on a decade later, we're getting the second edition, with 'Harbour Boat Trips - 02' arriving this November.

The new album from Danish electronic trio System is a special kind of collaborative effort with piano magician Nils Frahm. His purpose-built improvisations on synth, organ and piano served as source material for the members of System (Thomas Knak, Anders Remmer & Jesper Skaaning), who merged his warm acoustic tones with their minimalist digitalism and set out to translate their distinctive clicks 'n' cuts electronics into vivid soundscapes. Over two years in the making, the resulting nine tracks are as sonically intriguing as they are touching. Ranging from the mellow bliss of the title track to echoes of 90's and 2000's electronica and ambient sequences frequented by mesmerizing movements and sounds. The blending of piano and digital tones and noises into emotive pieces might instantly recall the work of Alva Noto and Ryuichi Sakamoto, though System and Frahm come to quite different results.

Thomas Knak met Nils Frahm at one of his concerts in Copenhagen. They stayed in touch, exchanging thoughts and ideas. Two years later, Anders Remmer was also introduced to Nils. From then serious ideas for a collaboration formed. As Nils was a fan of System's self-titled debut album (released in 2002 via Pole's Scape label) their talks centred around Dub and minimalism, elements that constitute most of System's music as well as their side and solo projects. This in mind, System began producing sketches and brought them to Nils´ Durton Studio in Berlin in December 2015, where they recorded ten hours of him playing keys and effects to their drafts. Back in Copenhagen, they decided to change direction. - As Nils had told us about his fascination with our debut album, we tried to rediscover this minimal clicks 'n' cuts era. But hearing Nils playing to our rhythmic beds, we felt the need to scrap those beats and instead head in a more cinematic direction.'

So they started building new pieces from the Durton recordings, maintaining some of the minimal and static quality while new layers of synth sounds and noises created a richer and more organic quality compared to older System albums. The solo projects of Thomas (Opiate), Anders (Dub Tractor) and Jesper (Acustic) always relied on steady beats or rhythmic material, so the productions of 'Plus' with their focus on acoustic and melodic elements, ambient layers and cinematic moods, sees them pushing forward into new areas.

This way, the trio avoided copying what they had already done years ago, when they built a reputation as Denmark's prime originators within electronic music in the 90's and 2000's. 'Plus' is a triumphant example of collaborative experimentation and may be the dawn of a new era for System: - For us it was really satisfying to focus more on actual sound rather than rhythmic aspects. There is a lot of potential in this field, so it would only be natural for us to pursue this, maybe as a series of collaborations with other people who's music we admire.'

Lance Ferguson's Raregroove Spectrum is a collection of newly recorded versions of classic funk, soul, jazz and latin vinyl rarities, which features some of Melbourne's finest musicians across the album, including past and present members of The Bamboos, The Putbacks and Hiatus Kaiyote.

This 2 track single provides just a hint of what delights the full Raregroove Spectrum album contains - Lance explains that much of the inspiration for the re-works comes from his experience as a DJ; "Some of these versions can almost be looked at as DJ re-edits, sometimes we're extending what may be a really short track into something longer, or teasing out the elements in a song that really make it work on a dance-floor. It's essentially what someone does with a club re-edit, except we went the extra step and re-recorded the whole thing with a live band".

First up is a reinterpretation of a super obscure deep funk acetate 45 released by Keb Darge, Egg Roll - the follow on track is Lance's take on The Soul Vibrations The Dump.
The forthcoming album reaches further - and includes James Mason's 'Sweet Power, Your Embrace' as a sun-drenched Samba, or Anderson Paak's sure shot tune 'Am I Wrong' given an 1980's style Boogie/Jazz Funk makeover to the epic, widescreen Jazz-Funk of Pleasure's 'Joyous' - Rare Groove Spectrum provides new perspectives on the obscure to the well-loved, from old-school to new sounds - this is rare grooves re-grooved... beautifully.

The artwork recreates the cover of the band's 1977 debut album with modern fashion icons Duckie Thot and Jazzelle Zanaughtti

'I've had the great privilege of producing some of the greatest artists in the world so when it came time to collaborating for my own record the barometer was shall we say pretty high' explains Nile. 'Nao, Mura Masa and Cosha were important to me and to be able to debut the songs we wrote live with them on Later . . . With Jools before we've even put out recorded versions makes it even more special.'

Nao shares: 'We all grew up on CHIC! No matter who you are or where you're from, they're one of those bands that have sound tracked at least one part of your life. So to now be part of that story and playing in the band - albeit temporarily - is just wild. We've had such great fun making records and playing together, it's been a joy. I'm so glad they're back, the world - especially right now - needs more CHIC!'

'BOOGIE ALL NIGHT' ft Nao is lifted from the long anticipated 10th studio album 'It's About Time'.
Coming this September though Virgin EMI, it's the group's first album in 25 years!!

Inspired by talent, multiple Grammy-winning composer, producer, arranger and guitarist Nile Rodgers is always collaborating, working with musical superstars and breaking artists alike. He amplifies his legacy by constantly traversing new musical terrain and successfully expanding the boundaries of popular music. The new record sees the UK's Nao, Mura Masa, Stefflon Don, Cosha and Craig David share in the journey alongside the likes of California's Anderson .Paak and Chicagoan Vic Mensa, with many more exciting collaborations to be announced.

The album's cover revisits a strong sense of conceptual aesthetics that have run through the bands career since the very start. The artwork of their debut self-titled album (inspired partly by Roxy Music album covers such as 'Stranded' and 'Country Life') featured Valentine Monnier and Alva Chinn, and personified the band's unique style and intent. The 'It's About Time' cover features models Duckie Thot and Jazzelle Zanaughtti. Shot by Britt Lloyd and directed by Greg Foley, co-founder of V Magazine, Duckie and Jazzelle are not only modern fashion icons, but also activists making huge strides for women of colour in fashion.

'When I first came up with the concept for the first CHIC album cover more than 40 years ago it was a deliberate statement that we could all be abundant, we could all be with the beautiful people, we could all be included, we could all have good times. Looking at the world today for the release of 'It's About Time' I felt that it was important to make those statements again for a new generation' Nile explains.

As the co-founder of CHIC, Rodgers pioneered a new musical language with chart-topping hits like 'Le Freak,' (the biggest selling single in the history of Atlantic Records!) and 'Everybody Dance', even sparking the advent of hip-hop with 'Good Times'.

His work in CHIC and his production work for artists like David Bowie, Diana Ross, and Madonna have sold over 500 million albums and 75 million singles worldwide while his innovative, trendsetting collaborations with Daft Punk, Avicii, Sigala, Disclosure, and Sam Smith have kept him in the vanguard of contemporary music.

Nile Rodgers & CHIC have already confirmed several festival performances across the UK this summer, including Isle of Wight and Wilderness, full list of dates below.

Rodgers transcends all styles of music with a catalogue of work that's garnered him plaudits from the Rock & Roll Hall of Fame (2017) and the Songwriters Hall of Fame (2016). More recently, he was appointed as the first ever Chief Creative Advisor for Abbey Road Studios to cap off a year that included 'festival best' performances at both Glastonbury and Coachella and a BBC Music Awards nomination as 'Best Live Performance Of 2017'.

New EP by Joey Anderson & DJ Qu

Danach haben sich die Fans gesehnt: Nach langer Abstinenz kehren Muff Potter 2019 für eine Deutschland-Tour auf die Konzertbühnen zurück. Im Zuge dessen legt das Label Grand Hotel van Cleef vier Alben der Jahre 2000 bis 2007 auf Vinyl noch einmal auf. "Heute wird gewonnen, bitte" kam 2003 auf den Markt und katapultierte die Band mit raffinierten lyrischen Geschichten, Melodien zum Verlieben und einem kraftvollen, elaborierten und durchdachten Punkrocksound in die erste deutsche Indie-Liga. Während der Albumaufnahmen und der anschließenden Tour wurde Muff Potter von Jule März als Backgroundsängerin unterstützt. Sie verlieh den Songs, in die auch mal ein Glockenspiel oder Mellotron eingebunden wurde, eine völlig neue Note. Anders ausgedrückt: Die Tage der rotzigen jugendlichen Punkkapelle waren eindeutig gezählt. Passend dazu veröffentlichten die Münsteraner mit "Placebo Domingo" ihre allererste CD-Single. Gleichzeitig gab es mit dem ersten Videoclip eine weitere Premiere für die Gruppe zu feiern.

A wide range of artists remixing tracks from Mr. Fingers latest album 'Cerebral Hemispheres' on this three part remix ep series. Remix duties on the second installment go to Mr. Fingers himself, Joey Anderson, Kode 9 and Upsammy. Part 2 of 3!

Compilation of the works by MJ Lallo, weird harmonizing mantras layered with drummachine rhythms.. Very psychedelic compositions where she uses her voice to create all kinds of sound(scapes)
.
Take Me With You is a revelatory voyage through the captivating universe of voice artist and poet MJ Lallo. The works on this 2LP compilation were all recorded in her home studio between 1982 and 1997, primarily using drum computer, synth and her own voice processed through a Yamaha SPX 90 digital effects unit. They range from wordless harmonizer mantras and primitive drum computer meditations, to psychedelic latin dance-floor anthems and synth-drenched end-of-the-nighters. Lallo has created her own inimitable galaxy of sound where the human voice, liberated from the constraints of language and abstracted using digital technology, is able to explore the outer realms of human expression, like Joan La Barbara with an Eventide and a new-age sensibility. Although Lallo's flight path is distinctly her own, her journey converges with other travellers as diverse as Jon Hassell, Laraaji, Stereolab, William Aura, Laurie Anderson, Meredith Monk, Gertrude Stein and even Terry Gilliam (whose film Brazil was a big influence on Lallo). Like something beamed in from another planet, Lallo's work is both fascinatingly strange and strangely familiar, and will leave a lasting impression for lightyears to come. Double gatefold LP, remastered DDM pressing.






[E B1 | Midnight in the Sky

Soundway present something completely different, they are pleased to announce another Dutch artist to their roster, Felbm.

Having previously released more electronic music under the moniker Falco Benz, the multi-instrumentalist Eelco Topper moves towards a more acoustic, instrumental and sketch-like approach with the Felbm project.

The two-part project is being released as 2 separate digital EPs ("Tape 1" and "Tape 2"), the first of which will be released on 21 September. The second digital EP "Tape 2" will be released on the same date as the vinyl, 26 October.

Recorded direct to two cassettes, which comprise each side of the vinyl album, the cover art also reflects this - with both sides of the sleeve acting as separate front covers.

After years of working as a graphic artist, designer, and creative director, Pilar Zeta will release her debut album Moments of Reality on Ultramajic Records on October 5th, 2018.

Inspired by Japanese post-modern art from the 1980s and produced using synthesizers from the 1990s, the new age album of nine electronic pieces is ambient and cinematic with an off-world feeling.

Her sound draws on the style of bands like Art of Noise and Steve Roach that she was exposed to early in her life and evokes the work of Yasuaki Shimizu, Yello, and Laurie Anderson. Each of the nine tracks will feature a cover with different objects in absurdist settings. Much the same way Zetas visuals seem to be artifacts from a parallel universe, Zetas ethereal and melodic compositions sound like a coded language transmitting from a neighboring galaxy.

I feel privileged to be able to translate my visual world into sound, the unknown was the most fun and fascinating aspect of it

Fueled by a lifelong love of the paranormal, Zetas metaphysical iconography and music exist in futuristic, surreal, and elegant spaces. Her visual and sonic works function as a form of practical magic in a machine-centric world, connecting different mediums through a singular, transcendent vision.

Die Beta Band war eine britische Musikgruppe, die ihren
eigenen Stil als Folktronic bezeichnete, was eine Mischung aus
Folk, Rock 'n' Roll, Trip Hop und hemmungslos
experimentellem Jammen darstellt.
Die Beta Band wurde 1996 in der Nähe von Edinburgh von
den Musikern Steve Mason (Gesang, Gitarre) und Gordon
Anderson gegründet. Als sie gemeinsam Songs für ihre Debüt-
EP Champion Versions verfassten, stießen mit Robin Jones
(Schlagzeug) und John MacLean (DJ, Sampler, Keyboard-
Pianist) noch zwei weitere Mitglieder hinzu. Im Juli 1997
veröffentlichten sie die von Nick McCabe produzierte EP
Champion Versions, die von Kritikern vor allem aufgrund des
innovativen "Cut'n'Paste"- Sample-Konzepts umjubelt wurde.
Zwei ähnliche EPs folgten bald darauf: The Patty Patty Sound
im März des folgenden Jahres und Los Amigos del Beta
Bandidos im Juli. Alle drei erschienen im September 1998
unter dem passend gewählten Titel The Three EP's in einer
Kollektion.

Brett Anderson believes that Suede's debut album, winner of the Mercury Music Prize in 1993, probably has
more cultural resonance than any of their other albums, as a pre-cursor to Britpop and a supplanter of grunge. It is
also home to four ground-breaking singles.
The album included those four singles 'The Drowners', 'Metal Mickey', 'Animal Nitrate' and 'So Young', but
none of the nine b-sides. These are now included on a second LP, along with a cover version of 'Brass in Pocket'.
Housed in a gatefold sleeve, the inner sleeves features all the lyrics.

ALEX is a dark, haunting and brooding synthwave record that sets the night on fire, taking you from darkness all the way to the shining lights of Broadway. With hints of cyberpunk, outrun and other 80's inspired retrowave influences, ALEX has developed a true signature sound that is funky, groovy and totally rocking. X takes you on a futuristic, electronic music trip that's filled with nostalgia and suspense. Artist bio: In the last few years, Ireland's Bart Graft has been releasing healthy amount of great music. His signature sound of pastel coloured and retro inspired synth music is stellar synthwave from the top of the shelve. Along with bigger names in the genre such as Mitch Murder, Waveshaper, The Midnight, and others, he truly is holding up the genre's current producer flame high. Inspired by the works of Talking Heads, Laurie Anderson, Talk Talk, Brian Eno, Pink Floyd, Tear For Fears, The Ward Brothers, Peter Gabriel, Frank Zappa, INXS, and many more... Nostalgic synth stabs accompanied by pulsating guitar licks, energetic drums roll around yet a bunch of track are plain chill. This album is a trip to the rooftops of 80s and 90s culture. From the fast-paced rock track, to ambient vaporwave, the balance is just right as 'Modern Life' cements Bart Graft as a force to be reckoned with.

'A love project' from the heart and mind of UK broken beat stalwart and iconic keyboard maestro Kaidi Tatham, alongside an outstanding group of Danish musicians led by percussionist Peter Stenbæk.

12 Senses debuts with the Movement EP, a record drawing on jazz-funk, broken beat and disco, laced with the distinctive melodic progressions and boogie touches Kaidi Tatham is known for. Recorded over an intensely productive three-day session, which produced 20 plus songs, this EP is a first taste of what's to come from this creative gathering.

With recent records on First Word, Sound Signature and 2000Black, plus a brand new solo album 'It's A World Before You' it appears there is no letup in Kaidi Tatham's prolific output spanning a 2 decade long career, that has seen him work with artists such as Bugz In The Attic, 4Hero, Slum Village, Jazzy Jeff & Will Smith, Amy Winehouse, Leroy Burgess, Moonchild, Soull II Soul, Amp Fiddler, Mr Scruff and Dego, to name but a few.
Touch starts with the heavily syncopated rhythms of drummer Anders Meinhardt, accompanied by a bed of airy Rhodes, synths and guitar on top of a ruthless, disco-tinged bassline. Life evolves on a spiritual and hypnotic tip with a driving lick that just keeps on building, sprinkled with beautiful intertwining organ, piano and synth solos by Kaidi and pianist Poul Reimann. Movement slows the mood to a soul-tinged stepper with soothing choir and deft touches from the trumpet of Rasmus Juel. Kaidi changes up the pace on his remix with a smooth boom bap vibe before hitting the halfway point and switching up to his signature, breakneck latin bruk funk.12 Senses evolved from yearly marathon concerts at the Copenhagen Jazz Festival, arranged by percussionist Peter Stenbæk, who simply e-met Kaidi Tatham and insisted on him coming to Denmark to share the festival stage. Over the course of five years the friendship and musicianship between the two has gone from strength to strength, reinforced by the skilled musicians around them; drummer Anders Meinhardt, guitarist David Rosenkilde, bassist Andreas Hatholt, trumpeter Rasmus Juel and pianist Poul Reimann. The record was brought to life by Morten Trust (aka. Soulmagic), who kindly contributed his heart, studio and mixing skills to Movement.

Lucrecia Dalt's Anticlines is a volume of bodily and geological substrates within poetic theory and sound. It is a place where skins and minerals dissolve and commingle, where gaseous subterranean leaks inflate lungs, where brain cavities echo interplanetary waves bent from passing through atmospheres.

A former geotechnical engineer from Colombia currently residing in Berlin, Dalt's concern with boundaries and edges shape the lyrics and music of Anticlines, her sixth album. Paying careful attention to pace, breath, and texture, Dalt microtonally shifts the distance between speech and song while using traditional South American rhythms to support her contemporary electronic composition.

Lucrecia arrived at the atmosphere of Anticlines after several months of studying and creating new patches for the Clavia Nord Modular, forming a rhythmic feedback flow with it, a Moogerfooger MuRF, and her voice. The overall effect of cavernous space backdroping Dalt's intimate vocal phrasing rewards contemplation, supported in the physical formats of Anticlines by a lyric booklet documenting Lucrecia's collaboration with Australian artist Henry Andersen.

The album opens with Edge,' bordering on a pathological circlusion of self upon other. The lyrics depart from the Colombian myth of El Boraro, an Amazonian monster who turns its victims insides to pulp before sucking them dry and inflating their bodies like balloons to lifelessly float away. Tar' ponders human dependence on earth at the boundary of the heliopause, where to inhale might be like breathing tar. Dalt's distant and obscured vocals end with, we touched only as atmospheres touch.'

The sonic rise and fall of Analogue Mountains' is inspired by martian traces found in Antarctica embedded by meteorite ALH84001, suggesting that we might well be living in mountains transferred from Mars.' The steadily winding music on Concentric Nothings' descends with the lyrical exercise of dissolution let my touch be indistinct and instinctive.'

Interspersed with the lyrical pieces of Anticlines are instrumental interstitials that demonstrate preceding concepts — as if to say, this is what antiforms sound like, and this is what the universe's indifference sounds like.' Dalt's ongoing experiments with visual artist Regina de Miguel support these ideas, their practice allowing the objects of their attention to slip in and out of being.

Mystic of matter, Lucrecia Dalt has previously performed and worked with Julia Holter and Gudrun Gut, her slippery spoken word and performative nature recalling the work of Laurie Anderson, Robert Ashley, Asmus Tietchens, or Lena Platonos. While touching stones, The Thing by Dylan Trigg, Cascade Experiment by Alice Fulton, and Wretched of the Screen by Hito Steyerl are but a few formative scripts that support Dalt's exploration of the betwixt and between.

In preparing a live set for Anticlines, Dalt plans to stage an uninterrupted configuration, like a kind of alienated lecture, aiming for gestures that create tensions with non-existent objects.' Dalt intends to provide meaning and a place for the listener to meditate or relate to the concerns and ideas' she presents.

- Lucrecia Dalt is a Colombian recording artist, songwriter, and producer.
- After studying civil engineering in Colombia, Dalt worked at a geo-technical company for two years and has since lived in Barcelona and Berlin, where she currently resides.
- She has released five solo albums and has collaborated with musicians Julia Holter, Laurel Halo and Rashad Becker, to name a few.
- Dalt has composed for sound design installations and performance pieces for institutions such as the Santa Monica Art Centre, Reina Sofia Museum and the Maisterravalbuena gallery of Madrid, in collaboration with visual artist Regina de Miguel.
- Anticlines is Dalt's sixth solo record, and her first on RVNG Intl., following the release of 2015's Ou.
- Anticlines explores the boundaries and limitations of human consciousness. The album's poetic lyrics were written collaboratively between Dalt and Henry Andersen during a weekend in Brussels, Belgium.