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Tristesse Contemporaine. Act III, Scene 1. After the first album (self-titled "Tristesse Contemporaine") a form of a declaration of independence and the second ("Stay Golden") rising above the rest, their third, "Stop and Start" will come to close the existing trilogy, and begin a new cycle.

The trio at the head of this veritable voyage through time and space, is a motley crew that found each other in Paris: Narumi from Japan, Maik from England via Jamaican roots, and Leo from Sweden. The essence of what they play as Tristesse Contemporaine is two chords, minimal instrumentation, all mixed with maximum reverb. This is a particular idea of "less is more" which is more applicable to pop music. Abandoning "the middle of the road" the band focused on ten tracks where they put their cards on the table and the petal to the metal.

After cutting his teeth in the late '70s no wave scene with bands Theoretical Girls and The Static, Glenn Branca made his first solo statement, Lesson No. 1, in 1980. The inaugural release on legendary post-punk / dance label 99 Records, Lesson No. 1 unveiled Branca's visionary guitar concepts with two monstrous, side-long compositions that helped forge NYC's downtown art-punk sound and acted as a massive influence on countless young groups, including Sonic Youth and Swans.
The title track is easily Branca's most accessible moment, its driving beat and interlocking patterns resemble German pioneers Neu! playing Phillip Glass. Never before (or since) has minimalism sounded so euphoric. Dissonance' is the A-side's polar opposite. Dark, skittish and unhinged, Branca leads his band (guitar, keyboard, bass, drums and sledgehammer) through block after block of industrial terror, leaving listeners drained in the process.
Soon after the release of Lesson No. 1, Branca began to work on ambitious, long-form symphonies. Bad Smells,' included here as a single-sided bonus 12-inch, was commissioned in 1982 as a dance piece for choreographer Twyler Tharp and originally released on a split LP with John Giorno. Featuring Sonic Youth guitarists Lee Ranaldo and Thurston Moore, Bad Smells' is a thrilling multi-section guitar assault that foretells much of Branca, Ranaldo and Moore's work for the next decade.

The album was produced by John Congleton (Blondie, Sigur Ros), Greg Saunier of Deerhoof and Xiu Xiu's own Angela Seo.

It features guest appearances by fabled minimalist composer Charlemagne Palestine, L.A. Banjee Ball superstar commentator Enyce Smith, Swans guitar virtuoso Kristof Hahn and legendary drag artist and personal hero of Xiu Xiu, Vaginal Davis.

FORGET was recorded during a period of epic productivity for Xiu Xiu. While writing FORGET, they released the lauded Plays the Music of Twin Peaks, collaborated with Mitski on a song for an upcoming John Cameron Mitchell film, composed music for art installations by Danh Vo, recorded an album with Merzbow and scored an experimental reworking of the Mozart opera, The Magic Flute. All of this frantic, external activity lead to a softly damaged dreaminess and broadened intent that has not been heard before in other Xiu Xiu works.

Standout track, Wondering' is one of the catchiest boogie pop gems in the Xiu Xiu catalog, but like much of FORGET, it still bears an underlying tension that manifests differently in each piece. From the haunted guitar duet of "Petite", the hilariously fraught lyrics of "Get Up," the advanced industrial boxing match of "Jenny GoGo," or the experimental goth explosion of "Faith, Torn Apart", all the songs, in their own ways, build to a roiling boil of a fate in vanishing.

The calligraphy on the cover translates literally to "we forget." It bows to the universality of everything and everyone's inevitable decline and foggy disappearance. Regarding the album title, Xiu Xiu singer Jamie Stewart said, To forget uncontrollably embraces the duality of human frailty. It is a rebirth in blanked out renewal but it also drowns and mutilates our attempt to hold on to what is dear.' FORGET is both the palliative fade out of a traumatic's past but also the trampling pain of a beautiful one's decay.

Xiu Xiu is Shayna Dunkelman, Angela Seo and Jamie "Butch Jenny" Stewart.

The album was produced by John Congleton (Blondie, Sigur Ros), Greg Saunier of Deerhoof and Xiu Xiu's own Angela Seo.

It features guest appearances by fabled minimalist composer Charlemagne Palestine, L.A. Banjee Ball superstar commentator Enyce Smith, Swans guitar virtuoso Kristof Hahn and legendary drag artist and personal hero of Xiu Xiu, Vaginal Davis.

FORGET was recorded during a period of epic productivity for Xiu Xiu. While writing FORGET, they released the lauded Plays the Music of Twin Peaks, collaborated with Mitski on a song for an upcoming John Cameron Mitchell film, composed music for art installations by Danh Vo, recorded an album with Merzbow and scored an experimental reworking of the Mozart opera, The Magic Flute. All of this frantic, external activity lead to a softly damaged dreaminess and broadened intent that has not been heard before in other Xiu Xiu works.

Standout track, Wondering' is one of the catchiest boogie pop gems in the Xiu Xiu catalog, but like much of FORGET, it still bears an underlying tension that manifests differently in each piece. From the haunted guitar duet of "Petite", the hilariously fraught lyrics of "Get Up," the advanced industrial boxing match of "Jenny GoGo," or the experimental goth explosion of "Faith, Torn Apart", all the songs, in their own ways, build to a roiling boil of a fate in vanishing.

The calligraphy on the cover translates literally to "we forget." It bows to the universality of everything and everyone's inevitable decline and foggy disappearance. Regarding the album title, Xiu Xiu singer Jamie Stewart said, To forget uncontrollably embraces the duality of human frailty. It is a rebirth in blanked out renewal but it also drowns and mutilates our attempt to hold on to what is dear.' FORGET is both the palliative fade out of a traumatic's past but also the trampling pain of a beautiful one's decay.

Xiu Xiu is Shayna Dunkelman, Angela Seo and Jamie "Butch Jenny" Stewart.

Gabriel S. Schray is a producer and musician living Stateside in Akron, Ohio, a city of 200,000 people. He's been making and putting out music for years, though save for an LP on Bark & Hiss in 2012, most of his work has been self-released. For his latest album he's partnered with Last Resort, a brand new London-based label born from the NTS Radio show of the same name. *Gabriel* is a sunny, mellow record, rich with light and emotion. None of its eight tracks are easily confined to any one genre, floating somewhere between ambient, new age and whatever style or sound you'd ascribe to The Durutti Column or Talk Talk. On a more modern tip, think Suzanne Kraft or Lord Of The Isles (minus the kick drums). Schray played all the various instruments himself, whittling down the final versions from their lengthy original recordings. The whole thing took him more than a year to complete-a labour of love assembled organically and with feeling.

Only a few nuggets of information exist on The Valley and The Mountain. They/he/she hail(s) from Detroit. Previous work has featured on labels like WeMe and Shipwrec. That's it. And the mysterious producer has been quiet of late, but the return is well worth the wait. Gentle Waters Keep Moving is the first full length outing from TVTM and their/his/her most absorbing work to date. Sharpened edges are rounded, 303 squawk softened and rhythms mellowed as ten tracks of melting music is served. The Detroit denizen calls on the sounds of the hometown. Techno is at the album's heart but frosted touches of electro are present, warming acid twangs, house grooves with all being dipped in a refreshing undercurrent of electronica. A collection of tracks that draws you in, deeper and deeper, with every listen.

Intergalactic Lover is the first release on CPU's new 7" vinyl series and is the debut single from Daddy Long Legs aka Tom Parker, one half of City Guys and all round 'FM' synthesis maestro extraordinaire.

Side A's 'Intergalactic Lover' is new wave Kraftwerkian electro funk, with added vocal not too dissimilar to the great Edwyn Collins circa Orange Juice.

Side B's 'The Club' could be mistaken for a 1980's breakdance anthem, poised with casio orchestral stabs, scribble scratches and electro bass designed for the dancefloor, more specifically poppin' and lockin'.

Please note, this is a limited white vinyl, white label 7" single.

Next installment of Rex Ilusivi archive uncoverings - This time a live concert from SNP (srpsko narodno pozoriste / serbian national theatre) in Novi Sad, Serbia. Again it's a sublime masterclass in layering and mixing from the much revered King Of Illusion. TIP!
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'To this day Rex Ilusivii remains an enigma of the global music culture, caught between late cold war electronic spheres, classic and the power of found sound. A musician from the Southeast European counterculture, whose art today seems to be the worldly intelligence of the modern age. Listening to the early music of Mitar Subotic sounds like catching the future even tough you know here sounds the past. How can somebody be light years ahead of most of his contemporaries in terms of individuality and uncompromising vision, creating such musical narratives with a feeling for outernational space' It must have been the signs of his time in Yugoslavia, that lead him to compositions in which two or more antithetic forces fight each other for the cause of an unheard harmony that melts industrial, sample art, Musique concr'te and ambient. His 'Koncert SNP' from 1983 demonstrates his ingeniousness to the core ' about 38 minutes of experiment and appeal that move playful between demonstrative frankness and seductive sensuality. You hear pulsating synthesizer bliss, widescreen sample art full of Bosch-like images and elusively drama catchiness that absorbs deep. So deep that words can't express their meaning. Only notes can spell out the score. Listening to his live recording several times without a break reveals also a story arc of literary transcendence. And as transcendence is something beyond speech, the music of Rex Ilusivii can't be narrowed down in phrases. Only one thing must be recommended: surrender to it and it will surrender to you.
Michael Leuffen in June 2016

Antoni Maiovvi's return to Giallo Disco since 2012's Stockholm Synthdrone EP is My Moon, a single sided 7' of the feature track from the found footage horror film Hangman'. Directed by Adam Mason, My Moon exists as a sort-of otherworld 'Goodbye Horses', taken to each scene as ritual. A long term live and fan favourite finally released. Pressed at 45 for extra spook action. Art by Eric A Lee. Mastered by Brassica.

Death Waltz Recording Co. are proud to reissue the debut LP from Le Matos. If you dug the Turbo Kid soundtrack then these are the guys responsible for the music! Originally self released by the band in 2013 and now a highly sort after by record collectors the world over. Le Matos produce 80's influenced dance floor electronica with nods to Daft Punk and Ed Banger. An absolutely essential reissue. 2 X 180G VINYL PRESSED ON WHITE AND GREY SWIRL VINYL (200 COPIES ONLY)

Limited edition 7" from don Beau Wanzer. Really cool wave inspired material, another essential one from this Chicago dwelling mutant... TIP!

Drums, bass, saxophone. Three main ingrediences for the three members in Kriget. In this gorgeous 7" they've added mad nice electronics. It's krauty, spacey, free jazzy etcetera, so forth, blah blah blah. Lets settle at free music for free people.
A-side Dincons bass seduces you so subtle that you hardly notice that you're about to take off for a ride that you can't fight. Only feel. When you think you've landed safe and sound its time for side
B: Sama kicks of like a no-nonsense session with a sleazy elektroschaman who wants to hypnotize and program you with so vicious methods that the CIA would be impressed. When the acid kicks in at the end it's time to breathe slowly and quietly repeat for yourself:
Keep calm and remember that being paranoid doesn't mean they aren't after you.

No. 6 in a series of 12

Rat Life returns with The Pagan Rites on Catalog Number 4. Little is known about the band from Sweden, first Signals were received in 2010 when they submitted their track 03 to the IFM Demo Contest. In October last year Rat Life sent out a submarine to search the Swedish coast line for the small Hut where the duo records their songs (Apologies to the Swedish authorities at this point, who confused our research with a Russian military threat). All four tracks are packed with bittersweet melancholia, reflecting the neverending darkness of cold Scandinavian winter, still the midnight sun is always in sight on the horizon! Already recorded between 2008 - 2013, Rat Life Records is very happy to finally make this music available on vinyl.

RED VINYL

FenixFire is a new label by the ASGGroup that specialises in the revival of New Beat (typical Belgian sound from the 90s) & other slow/down tempo beats dancemusic. The first EP to launch the label is 'Fashion Victims A Selection Of fresh New Beat, featuring 4 new newbeat tracks by artists from Belgium & Germany.

The DEEWEE's say, "We met Bolis in 2006 via MySpace, and then later in real life when we toured Asia. To escape the unbearable boredom of his native Macao, Bolis had decided to try his hand at making electronic music - inspired by a Jean-Michel Jarre concert - and we have stayed in touch all these years. This record is the result of Bolis' visit to DEEWEE in Gent where he was enchanted by the world of analogue synths. We should also mention that Bolis had a previous life as South East Asia's number 2 Rubik's Cube champion

Limited to 150 copies -180 gram ultra clear vinyl

Cupol was an English post-punk band that formed during Wire's 1980-1984 hiatus. The duo consisted of Bruce Gilbert (guitar, vocals, synthesizer) and Graham Lewis (bass, vocals, synthesizer). Building on Wire's more experimental work, their dark, minimal pieces were devoid of pop structure and filled with atmospheric twists. Having already established the side project Dome, the name Cupol came from "cupola', following an architectural theme. The "Like This For Ages' EP was an homage to the Master Musicians of Joujouka, released in 1980 on 4AD. The A-side, "Like This For Ages", is a concise four and a half minutes of crunchy synth sounds, pained vocals, and eerie atmospheres. The B-side, "Kluba Cupol" is an instrumental percussion-driven companion piece full of trance-inducing rhythms that stretches over 20 minutes. What sounded oddly danceable on the A-side becomes bleak and cold, putting this more in line with Current 93, Sleep Chamber, and other purveyors of ritual industrial and dark ambient. "Kluba Cupol" can even be considered the first example of isolationist music.', Richie Troughton describes. The title 'Kluba Cupol' was inspired by current affairs. "It was an anagram of Kabul,' says Graham Lewis. We've included three bonus tracks to the A-side for the first time on vinyl, Gilbert and Lewis' sole John Peel session from 1980.

Well-documented as one of Frank Zappa's favourite ever groups and instantly recognisable as the BLUEprint of 80's Mancunian electro pop, the inflated alter-egos of Gerry & The Holograms (and their unrivalled brand of conceptual sarcastic synth pop) successfully remodelled, ridiculed and redefined plugged-in punk before hitting the self-destruct button and burying the evidence under a pile of hand-mutilated microgrooves for over 35 wet summers.

Having risen from the electronic embers of Manchester's first genuine psychedelic band, via Vertigo commissioned prog and experimental theatre, then refined through the musical mind behind the most inspired vinyl moments of Martin Hannett, John Cooper Clarke and Jilted John - the onliest discography of the GATH anti-band remains unrivalled as the most idiosyncratic and enigmatic pivotal post-punk artifact from the first electronic entrenchment of pop.

A consistent inclusion on record collector want-lists, transcending both decades and musical genres, the first-and-only listenable 2 track record by this masked art-rock studio duo, entitled Meet The Dissidents' originally appeared in record racks in 1979, selling-out instantly only to be sequelised by a totally unplayable situationist-inspired follow-up which was glued into its own sleeve destroying the grooves in the process (rivalling that of Peter Saville and Durutti Column's Debordist sandpaper re-hash by at least 3 years). With a life-span shorter than the hours on their studio bill, the band would find bedfellows amongst other incognito groups like Naffi Sandwich, The Mothmen and Blah Blah Blah within the Absurd Records stable - a daring Mancunian imprint that sat awkwardly between older and younger half-sister labels Rabid and Relentless. With a 11 release library of mostly non-returning faceless atonal electronic punk/DIY industrial bands Absurd would spearhead and pre-empt the subsequent decades of Mancunian independent record labels that followed in the footsteps of the more commercially successful Factory Records (while also drawing comparisons with Spiral Scratch, Test Pressings, Object Music and Throbbing Gristles' Industrial Records). Despite just one official title to their name however, the true identity behind Gerry And The Holograms would unify those sister-labels and collectively play an important supporting role in Manchester's independent music history with a story which goes back as far as most rain soaked memories can attempt to forget.

Raderkraft is a project by Willem Stinissen , a young producer/musician from Amsterdam, the Netherlands.
His music is best described as electro minimal synthwave. Raderkraft's love for this genre started as an implication of his punkrock background.He's been fascinated by electro and synth music since the electro revivalSimplicity, minimalism, purity and D.I.Y. mentality are the aspects of wave music Raderkraft is a Swedish word for "power lines", in German Raderkraft means "revolving power" Raderkraft loves to use repeating and revolving sounds in his music.

REPRESSED !
3rd Pressing, Green Vinyl

Mannequin Records is really proud to present the 12'' reissue of No More - Suicide Commando, one of the most influential singles that ever reach the underground surface in the past 35 years.
Originally released in 1981 as a 7'' single, and subsequently reprinted in 1984 as a 12'' Single with a different tracklist on the B-Side, the single was in the following years spreading internationally regardless of genres and scenes.

Optimo (UK) describes it as 'a song that refuses to die. A couple of years after these Germans recorded this, it spread like a virus to become a cult classic. The virus is still spreading to this day.'

No More were founded by Andy A. Schwarz (vocals, guitar, bass), Tina Sanudakura (synthesizers), Christian Darc (drums, vocals) and Thomas Welz (bass, vocals) in Kiel, a seaside town in the northern part of Germany. The 7" EP "Too Late" was the first release in 1980 and was recorded in a small laundry-room with a 4-track TEAC (the EP was reviewed in the German SOUNDS-magazine as "strangely, archaic music, brute sound that seems to be recorded with a purposely damaged 4-track"). After the departure of Thomas Welz at the end of 1980, No More worked as a trio until the end of 1983. During that period the band recorded the song "Suicide Commando', basically their biggest success. In the 1990s the song entered the Techno- and Electroscene, when it was remixed by DJ Hell and Echopark (Moguai & Torsten Stenzel).

A minimal electro classic, highly recommended!
* First 12'' vinyl reissue after more than 30 years
* Collectible limited edition of 500 copies on 160 gr. black vinyl
* Exclusive for the Record Store Day 2015

Forthcoming EP by Wall $treet from Neud/Neud Photo fame on Mysidian Records. Five tracks including a remix by Vercetti Technicolor. Players, Don Jones (Nico) and Bill Benjamins (Pierre) take time out of their busy schedule trading stocks, authoring a book (Rich Dad, Richer Dad), and contributing to political campaigns to fiddle with expensive electronics in their penthouses atop some of New York's most expensive real estate.

Mothball Record starts its 2016 release schedule with a bang by releasing their first LP.
Originally produced in a tiny edition of only 100 copies back in '87, this dark masterpiece from prolific Italian artist DECA finally appears as an official reissue on Mothball (in collaboration with Bordello A Parigi) remastered from the original tapes.
Synthetic Lips" is an absolutely diverse album spanning industrial, synth-pop, ambient and even elements of new age" some tracks will hit immediately and others will reward repeated listening.

Hospital Productions collect some of the strongest coldwave pop dirges of a generation in Contrepoison's Discography 2010-2012 survey, wrapping up both his self-released tapes and releases for Dominick Fernow's cherished imprint.Since the late '90s, Québécois musician and noise artist Pierre Marc-Tremblay has been recognised as a vital force in nether musical realms with a palette ranging from hermetic black metal (Akitsa) to the bitterest rhythmic noise (Âmes Sanglantes), and, more recently, the nerve-bitingly melodic pop of Contrepoison, whose I Keep On Searching 12' - included here - is a dead firm fixture 'round these parts.Arriving at the vanguard of a new slew of coldwave revisionists and fetishists in 2010, his music stood, and still stands, head and shoulders above the rest thanks to an incessant drive and directness that can't be ignored by anyone into the original stuff, or who has arrived via the sound's prevailing, contemporary winds.Vacillating belting vocal pop arrangements with howling, stygian instrumentals of synth, guitar and enslaved drum machines, Discography 2010-2012 drags a perfectly malformed body of work, cycling chronologically from the pounding mix of industrial kicks and neofolk cadence of ...Until Next Morning's amazing title cut to the blank-eyed dirge of To Never, Forever, before taking in the stomping Deserted Story from his 2011 split with Vatican Shadow, and committing the frankly fucking addictive hits of I Keep On Searching, best summed up in that raging, glam title tune and sandwiched with aces from the compilation Around The Dragon's Broken Neck Hangs the Medal of Saint Lazarus.It only gets more wonderfully bombed out and crestfallen from therein, from the plangent siren call of Nectar of Destiny to the exclusive instrumental, The Moon Has Mad The Eclipse, and a grip of killers off The Thunders Which Collide tape, including the raging banger The Thunders Which Collide and another cut exclusive to this set in the T2-finale-esque instrumental, As The Blazing Sun Enters Scorpio.Basically, it's riddled with memorable hooks and rages like a wounded beast trapped down a well. You'll know within seconds whether you love it or not, and we definitely fall in the former category.
Hugely recommended.

"D55 is the project of Violet and Photonz aka NEGENTROPY; DJs, producers and co-founders of Radio Quantica This real-life couple share their home studio and inspire one another to create music. Together they have created an universe that not only comprises their bright-eyed sonic adventures in dance music but also a love for the unknown, cosmic knowledge and the matters of the soul. They have realised that when they work together, they easily embrace an important piece of happiness-unlocking info: one should not taken oneself too seriously."

Bossa Nova = Nouvelle Vague = New Wave.
This transliteration was the starting point for Marc Collin and Olivier Libaux's unique project, which, by appropriating the punk and post-punk cannon and running it through the Bossa Nova filter, reinvented the cover band genre, revealing new and brilliant talents along the way: Camille, Phoebe Killdeer (whose Fade Out Lines was remixed by The Avener,) Nadeah, Mélanie Pain, and, soon, Liset Alea. The gambit paid off, with sales of over one million records over four albums released between 2004 and 2010, and world tours that included stops at venues such as London's Royal Albert Hall, L.A.'s Hollywood Bowl and Paris' Olympia. Since 2011, Nouvelle Vague had stopped recording, focusing on an innovative live show created in collaboration with the mythical Jean-Charles de Castelbajac (Ceremony and Dawn of innocence,) and branching out into different projects: Olivier's Uncovered Queen of the Stone Age, and Marc's Bristol, along with his Kwaidan label.
The time seems right to write a new chapter in the Nouvelle Vague saga: with a new album I Could Be Happy' and live show, the band and its coterie of female vocalists continue their time travels with a renewed alegria. Nouvelle vague by Nouvelle Vague and Some Friends is thus more of a nexus of forthcoming projects: a new album comprised of punk and post punk standards imbued with the inimitable Nouvelle Vague touch, and, for the first time, a bevy of surprising Collin/Libaux which prove that the two producers are more than prodigious arrangers.
This album is also the opportunity to gather again the pioneer singers of Nouvelle Vague: Élodie Frégé, Mélanie Pain, Liset Alea, Nadeah and to find other guests as Camille or Clara Luciani.
A worldwide tour is already confirmed and announced. It will begin in Europe and Asia, in the fall, and will continue through South America and the U.S.A. in the new year, and feature the entire crew on stage, around Marc and Olivier: Mélanie Pain, Élodie Frégé, and Liset Alea.

This one is yet another debut single by a Belgian project called Querelle. Querelle is one half of :Codes and one half of Jeunesse Fantome. Two dark synth-pop bangers with super vocals reminding you of the Jenuess Fantome & :Codes classics.

Katsoulis has been making avant-garde electronic pop steadily since the early '80s, but it wasn't until 2014 that he transcended cult status. That year, Into The Light issued a collection of Katsoulis' early and unreleased material, The Sleeping Beauties.

In October, Alex Bradley's Utopia Records will handle a new record from the low-key artist. The press release says of the opener, "All The Blue Skies," "Katsoulis and his accompanying musicians deliver a diverse and contemporary work with a level of sophistication that will challenge the current electronic musical landscape." The label adds that "'Grand Delusions' sounds like it could work in a Berlin techno club, from a man that has probably never been to one."

Katsoulis is becoming more active in the underground electronic music scene as of late. He performed at the inaugural Strange Sounds From Beyond festival in Amsterdam in June. A 2015 remix EP featured Young Marco, Max D and Telephones interpreting tracks off The Sleeping Beauties.

Synths Versus Me is a prolific duo formed by Vanessa Asbert and Nico Cabañas. They already put out a bunch of releases edited by Oráculo Records. Minimal Synth, EBM and Cold Wave from Lloret de Mar (Spain).

This 12' EP (ltd. 300 copies) includes two brand new tracks and two exclusive remixes. The original version of 1987' is an atomic bomb of pure vintage EBM in the vein of Signal Aout 42 and Front 242. The remix done by Dirk Da Davo from The Neon Judgement keeps the feeling of the track but adding some drums, guitar samplers and sequences trademarked by this Belgian legend. On the b-side there is the original mix of Aimless Device', an electro-pop tune with catchy melodies, analogic bass lines and female voices. The remix prepared for this track by the new american sensation Boy Harsher is a surefire dancefloor full of hypnotic beats and dark atmospheres. All tracks remastered by Eric Van Wonterghem at Prodam Studios (Berlin).

The second chapter of the various artists serie Obscura Europa S.A' is here. Synth based dark band sound' on its maximal exposure. From Brazil to Belgium, passing by Switzerland, Poland and Australia, this serie presents some of best darkwave hymns uncomprehensively not pressed on vinyl to date. All tracks have been analogically remastered specially for this vinyl version by Eric Van Wonterghem. Including Wonder Dark Eclipse', Ikon A Line On A Dark Day', Undertheskin Wave', Neiv The Sun Destroys The Light' and Ghinzu Blow'.

Turning back the clock, before fast forwarding it, comes Giovanni Damico as G-Machine. An audio alumnus of Cosmo Vitelli and Daniele Baldelli comes a new a virtuoso of space boogie. Buckle up, destination: Primo Contatto. Across eight tracks the Italian astronaut traverses the sounds of the cosmos. Warbling reverberations introduce "Flying Objects", with thick bands of synthesizer throbbing in its veins. The ultra slick "Contact" follows. Electrofunk bars float beneath stratospheric synth. Styles co-mingle. Patrick Cowley melts with Afrika Bambaataa. Disco Magic meets Tommy Boy. An overarching groove permeates the album, a heady funk that courses through tracks like "Body on the Ground" and "Transmission". The moon based mirrorball sounds flex and flow, "It's A Shame" cutting floors with sleek vocoders and addictive analogue riches. If you're waiting for re-entry think again, there is no return ticket. G-Machine will only be taking passengers further and further on his cosmic odyssey with tracks like "In My Arms" and "Boogie Down". Buck Rogers in the 25th century breakdowns and rollerskate goodness from needle drop to the run-out.

limited to 300 copies - 100 copies for color (black + 2 variations), numbered / shrink-wrapped / Poster / siae sticker on
vinyl colors : black / splattered graphite / splattered magenta

"Informations of death" was the astonishing debut single by Neon, legendary Italian new wave band, formed in Florence in 1979 and led by Marcello Michelotti (the only permanent member).
Were part of the Florence dark wave/electronic scene of the 1980s, together with Pankow, Diaframma, early Litfiba.