Pop & Rock News

A very limited edition 5 LP album-style 12x12 book set from one of the most influential exponents of electronic and ambient music, the original frontman of Ultravox, and a solo artist for over thirty years. John Foxx is name-checked by many of today's top acts as a big influence, and was a major contributor to BBC4's documentary Synth Britannia'. - Now, for the first time on vinyl in one package, this fabulous hardback album book setcontains all three of Foxx's ambient classics Cathedral Oceans I' (1997), Cathedral Oceans II' (2003) and Cathedral Oceans III' (2005) on five LPs. - Limited to 750 copies only, the book contains dozens of Foxx's beautiful images (several previously unseen) along with passages from his book The Quiet Man'. Also included is a 12x12 framable print of one of the images.

Kopf aus, Musik an! Einfach mal abschalten und Urlaubsfeeling pur genießen - das gelingt mit THE
TROPICAL SESSIONS #1.
Auf dieser Gute-Laune-Compilation dominieren rhythmische Calypso-Beats und warme Klänge, die
den Zuhörer gedanklich ins Paradies befördern. Zwischen Palmen in einer Hängematte baumelnd, mit
einem Cocktail in der Hand das ruhige Meer beobachten - an dieses Bild erinnert THE TROPICAL
SESSIONS #1 und macht den musikalischen Sommer perfekt.
Auf dem Soundtrack zum Alltagsurlaub befinden sich die angesagtesten Künstler der Szene. Felix
Jaehn, Sam Feldt und der derzeit amtierende Meister des Tropical-House, Kygo, schaffen mit ihren
Hits einen unverwechselbaren Sound, der zum Relaxen und Träumen einlädt. Zum Kreis der
bewährten Hitgaranten gesellen sich die Newcomer Alex Adair, Hayden James und das
Musikprojekt Lions Head, die schon bald ganz oben an der Chartspitze mitmischen. Gelungene,
tanzbare Remixe der Hits von Tove Lound Lost Frequencies komplettieren das Tropen-Album.
Und wer nach all den wohltuenden Klängen genug Energie getankt hat, bestellt jetzt Cocktail #2 und
tanzt zu Gregory Porters- Liquid Spirit im Claptone Remix der Abendsonne entgegen.

Macro has been the home for the albums of some of electronic music's most exciting live acts. So when a live band enters this context, it should better enter with a bang. KUF do just this with their album debut. The three-piece outfit with keys, bass and drums cooks up a sound that is as warm, cozy and exciting as it is utterly alien. The rhythm section hints at the great history of dirty funk and bouncing r'n'b, but the grooves are firmly of today: dance-centered, thrillingly interactive and broken up at the best possible joints. The bewildering thing about KUF is that it is a vocal-led group that has no singer on stage at all. All vocal elements are based on self-recorded samples which keyboard whizz kid Tom Schneider melds and bends and squeezes in real time. As if it was the most natural thing to do. With no artificial synchronization in place, Valentin Link on bass and Hendrik Havekost on drums push the disembodied voices into an arena of hyperintegrated realtime magic of rough soul, intertwined by improvised outbursts and shaped with the aesthetics of raw MPC-based cut up techno. The album's grabbing openers Gold' and Princess' are full-on instances of the brightly burning world of KUF, with the other eight tunes never ever letting you down. All along, the Berlin based trio take their audiences through a full range of emotions and constantly shifting dynamics. The thorough integration of this extraordinary degree of sheer diversity into a unified experience is simply astonishing. But never forget this is a live band, and that's how anything here has been developed: live, in direct interplay. Seeing is believing.

LOYAL

The latest signing to be revealed by London based label Good Years (BANKS, Mick Jenkins, Lil Silva). LOYAL are six hands and one voice, formed from a shared love of disco, Kate Bush and Kubrick.

Their influences inform their output - infectious rhythms and evocative lyrics create a sound that provokes cinematic imagery with each song adding texture to the aural landscape created within.

Superb new compilation celebrating the emergence of the 1990's Big Beat genre, where indie kids & ravers partied together to the likes of Fatboy Slim, The Stone Roses, Groove Armada, New Order, Primal Scream, The Orb, Cornershop, Faithless, Underworld, The Prodigy, Spiritualized, Moby, The Manics & more. A total of 41 tracks across a 2 CD set. National TV ads across all networks (£50k wk1). Press ads & reviews. Online & social media activity. Poster campaign & database mailout.

A bold, eclectic fusion of hip hop and electronica, MUZI's hard-hitting sonic approach remains deeply inspired by his upbringing, a tale of striving through adversity in the South African township of Empangeni, north east of Durban: 'Violence definitely played a major role in my life. Things happen in the townships like mine. There isn't any community watch or anything remotely close to something like that. That's why I had to stay indoors most of the time and that gave me time to work on my music. As for the social healing bit, I hope it does one day. Privileged kids grow up being told they can be and do anything they want. We never had that, my family has always been in survival mode and I hope that one day, my achievements inspire other kids with similar backgrounds.

Marc Nguyen Tan is a man outside of time. He is both an avant-garde pioneer and a modern classic. Colder, the electronic project he's helmed since 2003, inhabits a sonic world that drives into the future as much as it gazes into the past. His is a unique sound of noir-drenched highways of propulsive electronic cold wave, krautrock and post-punk, touched by everything from the Chromatics' bleary-eyed romanticism to the Horrors' atmospheric groove, via the teutonic precision of NEU! and Can.

Hot on the heels of Colder's third album Many Colours released late last year and Some Lost Tapes, a Record Store Day exclusive EP, June 24th sees the release of two new Colder albums: The Rain and Goodbye, themselves lost in time. A combination of new and reworked unreleased material from Colder's years at Trevor Jackson's now defunct Output label, Bataille Records is proud to unleash two new parts to the Colder story: Goodbye, a swaggering groove-laden album of synthesised jagged guitars and dynamic electronica, and The Rain, a more experimental record of glacial ambience and New Wave expressionism.

A testament to just how ahead of the curve Colder is, the two albums beguile and intrigue with their explorations of Gallic darkwave cool, a sound which would go on to influence everyone from LCD Soundsystem to Liars. Tan has always been a master of using his consummate understanding of music past to create music of the future. The time capsule opens, and Colder still sounds like the future.

In marked contrast, Colder explores a more introspective sound on The Rain, which is a record of evocative, cinematic electronica. 'Pass And Go (Demo Version)' highlights this beautifully with it's gentle, Lynchian sound of skittering slow motion jazz drums and ice-cold monotone bass, juxtaposed with a glistening Rhodes piano and subdued guitar. The Rain oozes melancholia, conjuring late night car journeys in long deserted post-apocalyptic towns. 'Market Day', 'RE 501 Friday Night' and 'Holy Night' evoke wonderfully intoxicating dark hues tinged with monochrome bleakness, yet feel strangely at home next to more upbeat tracks like the jerky hypnotic shuffle of 'All Along The Way'. Other delights include 'Mango Coconut', a great, big, rollicking rock tune that The Black Angels might have included on their Vietnam War-infused debut Passover, if only they had written it.

The two dialoguing records will be released simultaneously, seeing Colder expand on his triptych of studio albums, which culminated in 2015's critically lauded Many Colours. Not one to slow down, he is also currently working on a series of diverse collaborations including SAVE! - a project with Craig Higgins Jr from the acclaimed acid house revivalists Paranoid London, and an untitled dancefloor oriented project with revered Danish producer Kasper Bjørke.

Repress of the second album by this Spanish act originally released in 1989. After their debut '1988' the band experienced some changes in their name, line-up, language and tendencies. Flash Zero moved from techno-pop to Electronic Body Music influenced by Front 242 and the Belgian music explosion of the late 80s.

Vinyl (ltd. 250 copies on clear green color) includes all tracks from the original version and a download code with lot of extra tracks. CD (ltd. 300 copies in digipak) is also expanded with some bonus and live studio outtakes. All tracks have been carefully restored and remastered.

Kylie and Dannii will be releasing 100 Degrees (Still Disco To Me) [with Dannii Minogue] EP which comes on transparent vinyl - a remix package of one of the best-received songs off of Kylie's Christmas album.

Both Kylie and Dannii will be supporting this release across their socials.

[A] A1. 100 Degrees (Still Disco to Me) [with Dannii Minogue]
[B] A2. 100 Degrees (Still Disco to Me) [with Dannii Minogue] [Steve Anderson Extended Disco Mix]
[C] B1. 100 Degrees (Still Disco to Me) [with Dannii Minogue] [7th Heaven Club Mix]
[D] B2. 100 Degrees (Still Disco to Me) [with Dannii Minogue] [Boney Remix]

Sie schrieb Rihannas Überhit "Diamonds" (in 14 Minuten!), sang und schrieb die David Guetta-Hits "Titanium" und "She Wolf" sowie Flo Ridas Millionseller "Wild One" und komponierte zahllose Songs für Katy Perry, Beyoncé, Britney Spears, Birdy, Christina Aguilera, Kylie Minogue und Eminem. Im vergangenen Jahr gab sie mit dem Song "Elastic Heart" (auf dem "The Hunger GamesSoundtrack" und auch auf ihrem kommenden Album) ihr internationales Chart-Comeback unter eigenem Namen. 2014 veröffentlicht die australische Sängerin und Songwriterin SIA nun endlich ein neues, eigenes Album "1000 Forms Of Fear". Die 1. Vorabsingle ist die in jedweder Hinsicht atemberaubende Pop-Hyme "Chandelier", die mit Jesse Shatkin entstanden war und von ihrem langjährigen Studiopartner Greg Kurstin (P!NK, Lily Allen etc.) produziert wurde. In ihrer Karriere veröffentlichte Sia bislang 5 Solo-Alben, zuletzt 2010 die LP "We Are Born", die Platz 2 der australischen Charts erreichte und ihr auch in Deutschland die erste Album-Chartplatzierung bescherte. Das Billboard Magazin widmete ihr eine Titelgeschichte mit der Headline: "This artist is responsible for 12 million track sales... and doesn't want to be famous".

Hier kommt zusammen, was zusammengehört: Das zweite Album des Herrn Polaris ist zugleich das erste,
das der Augsburger Liedermacher auf seinem erklärten Lieblingslabel veröffentlicht. Schon als
Musikkonsument schätzte Bruno Tenschert Grand Hotel van Cleef und seine Künstler enorm, wie er gerne
betont: "Spätestens seit Tomtes 'Hinter all diesen Fenstern' bin ich Fanboy." Doch nicht nur das.
Insbesondere die Lizenzierung des Debütalbums von Death Cab For Cutie habe ihm damals komplett neue
Horizonte eröffnet. Hört man sich Tenscherts Idee von zugänglicher, dabei aber gerne versponnener, mal
ätherisch schwebender und dann wieder lustvoll polternder, jedoch stets eigenwillig zu Ende gedachter Musik
mit deutschen Texten an, ist es kein Zufall, dass er gerade diese beiden Bands zur Sprache bringt. Mit "Mehr
innen als außen" bietet Herr Polaris eine aus Gitarre, alten Keyboards, dezentem Schlagwerk, Vibraphon und
Flügelhorn gezimmerte Platte voller melancholisch-sehnsüchtiger Kleinode, die man in ihrer klar
akzentuierten Schlichtheit und textlichen Genauigkeit sofort aufzunehmen meint. Doch nach und nach
entdeckt man in den wenigen Einzelzutaten so viele Nuancen, dass man besser gar nicht erst von einer
weiteren Indie- oder Neo-Folk-Entdeckung zu sprechen beginnt. Obwohl es sich genau um eine solche
handelt!

Hier kommt zusammen, was zusammengehört: Das zweite Album des Herrn Polaris ist zugleich das erste,
das der Augsburger Liedermacher auf seinem erklärten Lieblingslabel veröffentlicht. Schon als
Musikkonsument schätzte Bruno Tenschert Grand Hotel van Cleef und seine Künstler enorm, wie er gerne
betont: "Spätestens seit Tomtes 'Hinter all diesen Fenstern' bin ich Fanboy." Doch nicht nur das.
Insbesondere die Lizenzierung des Debütalbums von Death Cab For Cutie habe ihm damals komplett neue
Horizonte eröffnet. Hört man sich Tenscherts Idee von zugänglicher, dabei aber gerne versponnener, mal
ätherisch schwebender und dann wieder lustvoll polternder, jedoch stets eigenwillig zu Ende gedachter Musik
mit deutschen Texten an, ist es kein Zufall, dass er gerade diese beiden Bands zur Sprache bringt. Mit "Mehr
innen als außen" bietet Herr Polaris eine aus Gitarre, alten Keyboards, dezentem Schlagwerk, Vibraphon und
Flügelhorn gezimmerte Platte voller melancholisch-sehnsüchtiger Kleinode, die man in ihrer klar
akzentuierten Schlichtheit und textlichen Genauigkeit sofort aufzunehmen meint. Doch nach und nach
entdeckt man in den wenigen Einzelzutaten so viele Nuancen, dass man besser gar nicht erst von einer
weiteren Indie- oder Neo-Folk-Entdeckung zu sprechen beginnt. Obwohl es sich genau um eine solche
handelt!

With his project Fred und Luna musician Rainer Buchmüller (Sugar Ray Buckmiller) from Karlsruhe, Germany is paying tribute to his favourite electronic oriented music by using its characteristics like repetition and beautiful melodies, putting them in a contemporary context and preserving their subtle and seductive charm.
Fred und Luna play their self described Elektrokraut (concerning songs that are basically Kraut mixed with electronic elements) and Krautelektro (which is Elektro mixed with Kraut elements).
They live in Karlsruhe which - like Düsseldorf - lies next to the river Rhine. Perhaps Karlsruhe is the NEW (neu) Düsseldorf, with Fred und Luna (as pioneers/vanguard).

Circles Of Upper and Lower Hell is the grandest, deepest work to date by Polish-born, Glasgow-based sound artist and composer Ela Orleans. The seventh album under her own name, Orleans' expansive vision, loosely based on Dante's Inferno but infused with deep personal experience, incorporates sound art, orchestral textures, synth pop and electronic music to construct a world equally peppered with loss and inspiration. Circles Of Upper and Lower Hell pulls all the strands of Orleans' previous work together, an epic depiction of turmoil wide in scope but reveling in detail. From her beginnings inaugurating a lo-fi, homespun sound that has since developed fully into a language uniquely her own, from tentative live outings featuring multiple instruments to a now-masterly command of sound, Orleans has become one of the most consistently surprising musicians of the global underground. "Circles" documents Ela's research into dark sonic interiors and a far more personal approach to conventional songwriting. Previously, Orleans' sonic textures have relied on samples cleaved out of context, buried songs beneath warped aural gauze, but Circles blows every element of Orleans' art upwards and further apart. Circles begins with a masterful, sparse composition, The Gate, that instantly showcases the expert mastering by Jon Brooks before melting into You Go Through Me (featuring Stephen and Katrina from The Pastels), one of the most direct, aching pop moments. Ghost and Whispers is a hit from another universe, a sparkling propulsion instantly recognizable as an Ela Orleans composition; light of touch and almost unbearably, ghostlily human. Circles Of Upper and Lower Hell is an honest portrayal of a descent; be it personal or metaphorical and there are times, like on the minimal, string-led Tower, when the listener feels submerged, alienated from comfort. Through-out there's a massive, cinematic scope to the album, rumbling synth textures escalating into celestial harmonies, the stereofield sparkling with sound, shimmering melodies crackling with the sort of pathos that Ela has made her recognisable trademark. It's a weighty journey, pitched aurally between Ghost Box records and a mournful classicism, drawing references from literature and autobiography. Cirlces... is really without parallel in Orleans discography, though its most obvious sister record, 2015's Upper Hell, gave some streamlined, carved-up hints at Circles Of Upper Hell's majesty. Orleans' previous work has always suggested threads, blurred ghost-ideas from an artist always growing. In 2016 Orleans has mastered her craft completely, never heavy-handed but deftly handling themes of loss, chaos, documenting personal journeys sometimes arduous with an ever-deeper understanding.

2 x LTD LP + 7"

This record can easily be classified as Library and will probably find a spot on the shelf with Vibert's 'Nuggets', 'The Strange World Of Bernard Fèvre' and Carpenter's 'Assault On Precinct 13'. Listening to these tracks moves your senses back and forth through time, from 80's sci-fi back to Raymond Scott's early 50's experiments. The perfect soundtrack for bedrooms, late night dinners and greenhouses
Ed Dmx contributes to a tradition in musical history, a richly vivid trail in which composers influence each other's harmonies and ways of writing tunes, like an endless ping-pong
game between minds and individuals but at the same time between continents and places throughout the world.
Unlike many of Ed Dmx' electro- oriented productions, 'TheNew Age Travellers' shows a more intimate side of his work. A story told through short synthesized conversations and
electric piano improvisations is reminding us to cry, dream, remember, feel, live ... and love.

Since the release of the album Catapulte' in 2013, media have been used to describing Chevalrex' music as miniature symphonies". For this album, Rémy Poncet, the handyman that plays himself all the instruments, writes his own lyrics and even makes his own cover, has decided to keep the same path but meanwhile, has grown in melodic power and maturity. I finally let my teen life behind, and from now on, offer me some peaks' he sings in Aussi Loin". With this new release, there is reason to wager that Chevalrex will be one of the future pearls that will be used as a reference for those who will venture out on the roads of French Pop.

A bold, eclectic fusion of hip hop and electronica, MUZI's hard-hitting sonic approach remains deeply inspired by his upbringing, a tale of striving through adversity in the South African township of Empangeni, north east of Durban: 'Violence definitely played a major role in my life. Things happen in the townships like mine. There isn't any community watch or anything remotely close to something like that. That's why I had to stay indoors most of the time and that gave me time to work on my music. As for the social healing bit, I hope it does one day. Privileged kids grow up being told they can be and do anything they want. We never had that, my family has always been in survival mode and I hope that one day, my achievements inspire other kids with similar backgrounds.

Swans neuestes Studioalbum, The Glowing Man, erscheint Mitte Juni via Mute auf 2CD+DVD, 2CD und 3LP+MP3. Der Veröffentlichung des neuen Albums, die Sänger und Swans-Kopf Michael Gira als letztes Album der Swans in ihrer "gegenwärtigen Inkarnation" verstanden wissen will, wird eine extensive Welt-Tournee folgen, die die Band auch in unsere Breiten führt. Die Band formierte sich 1982, löste sich 1997 auf und fand ab 2010 erneut zusammen. In ihrer letzten Phase veröffentlichten sie die Alben "My Father Will Guide Me Up A Rope To The Sky" (2010), "The Seer" (2012) und "To Be Kind" (2014). Das neue Album wurde zum Großteil in El Paso, Texas aufgenommen, weitere Aufnahmen entstanden in Seattle und Berlin, abgemischt & gemastert wurde es in New York.

! BRAND NEW CD SINGLE FROM THE PET SHOP BOYS !

Twenty-something", the second single from the album 'Super', includes 2 new Pet Shop Boys tracks 'The White Dress' and 'Wiedersehen' and also features a Reggaeton remix of Twenty-something' by Los Evo Jedis.

Special Remarks: 10'' vinyl in a cardboard sleeve with 3mm spine. CD included.
Les Fils du Calvaire is a Parisian trio (Jo, Damien & Clément. Nowadays they spend their time between the French capital and Berlin. They are also the creators of the hybrid electronic music project, dOP, signed on Circus Company, the label who released the first album of Nicolas Jaar. Les Fils du Calvaire is hybrid, transversal between elegant French Pop, decadent club music and outgoing cabaret. They compose for people who are singing in the shower, those who drive by night, for the charming ones while dancing upside down. Especially for those who understood that present may be our last freedom. And all this without any nostalgia. They also know how to pick their cast: they called Ash Workman for his production skills (Metronomy, Christine and the Queens...) to do the mixing of their first album. Rester avec Toi' is a perfect flavour extract from the forthcoming album ' Fils de ,

Special one dug out by Tokyo's Chee Shimizu on his own 17853. Oxygen tanks at the ready - this is a deep dive. Immerse yourself in the synths, sisters! TIP! SYNTH SISTERS are a synthesizer duo comprising of Rie Lambdoll and MAYUKo (also known as CROSSBRED) and based in Osaka, Japan. SYNTH SISTERS debut album "aube" was released privately by the group on a limited CD in 2014. MAYUKo passed a copy to 17853 label boss, Shimuzu, and he was knocked sideways by their unique music - hence this vinyl issue was born.
Mysterious melodies and reiterated sequences occupy an expanded meditative space - going there with ease. Like a female Tangerine Dream A womanly twin incarnation of Terry Riley The duo create deep psychedelic synth drone, recorded live, totally free and improvised using five synthesizers, their own voices and effects. Underground go-to engineeer, KABAMIX, is on remastering duty - giving it a strong re-EQ for the album's first vinyl issue. The project is dedicated to deceased noise artist Akifumi Nakajima a.k.a. "AUBE", who past away in 2013.

The Ronettes were one of the first succesful American girl groups.

. Led by singer Veronica Bennett they released a string of hit records produced by Phil Spector.
. These COLPIX and MAY masters were recorded and issued prior to Spector signing the girls.
. The original album came out in 1965 after the major breakthrough success of The Ronettes.
. Contains I Want a Boy, I'm Gonna Quit While I'm Ahead and other favorites.
. Re-mastered for best listening pleasure; reproduction of original European frontcover














The Ronettes grew up in New York City's Spanish Harlem. The girl group was built around lovely lead singer Veronica Bennett (later Ronnie Spector) and was rounded out by her older sister Estelle and their cousin Nedra Talley. Most of the recordings on this long-player were first issued at the start of their career in 1961-63 as singles on the COLPIX and MAY labels, produced by the legendary Stu Phillips.

When their first two singles came out, The Ronettes were still named Ronnie & The Relatives. They had made their breakthrough during a Joey Dee & The Starliters show at the Peppermint Lounge in Manhattan, singing Ray Charles' What'd I Say. They stayed at the Peppermint Lounge for weeks, changing their name to The Ronettes early on. The girls created their iconic look by wearing exaggerated eye makeup and teasing their hair to unbelievable proportions. "We'd look pretty wild by the time we got out onstage,' Ronnie later recalled.

The COLPIX and MAY singles failed to hit, so their contract ended in 1963. Producer Phil Spector was very interested in signing The Ronettes. He surrounded them with his legendary 'Wall of Sound' and the hits came in abundance, beginning with the vocal trio's immortal Be My Baby. COLPIX still had The Ronettes' early recordings in its possession, and 'The Ronettes Featuring Veronica,' an album made up of those tracks, was issued in 1965 in the US, Holland and Great Britain, shortly after Spector released the group's only studio album on his PHILLES label.

Top quality remastered reissue of Osé's very rare and sought after old school vocoder electro jam 'Computer funk', a stone cold classic with an awesome phat analogue bassline and some of the best vocoder vocals ever recorded. Originally released back in '83 on the tiny Florida label Bound Sound and produced by the great James McCauley, this is Miami electro at its finest and it's easy to see why it's become such a holy grail with DJs and collectors. Must have.

After a great response to their first two releases, the secret society called Balearic Blah Blah continue to dig deep for number three pulling out secret outtakes and unexpected forgotten classics from their extensive collections. First up is 'Day Off', an uber-Balearic cut sounding like a Jose Padilla-era Cafe Del Mar classic or maybe a warm-up track for Alfredo or Leo Mas at Amnesia in that heady summer of '87. Next comes the brilliant Dub To Me', a Compass Point Studio creation mixed by Robert Palmer and surfacing for the first time here on vinyl. 'Pull Dub' on the flip is another heavy Compass Point gem - an unreleased Larry Levan outtake, with crazy dubbed out guitars and synths lacing the Paradise Garage classic. Lastly we have a great extended version of a long-lost New Romantic floor-filler from one of the UK pioneers of electronic music - one for lovers of the Greg Wilson/Trevor Jackson sound. Limited edition.

Viva Erotica has been a Gabba-beat chamber orchestra, a Facebook sculpture a YouPorn recycling machine and is now becoming a piece of wax (a record). Four tracks are furious comments on the downfall of club music - the bassdrum as a weapon against the bassdrum - the other four want to forgive and forget. 2015 was the year of about-face. Each of the 330 records has a cutout from a co!ee-table book plastered on the front.

POP-Gem from 1996 produced by Christopher Just
Sampled by DJ Assault, covered by Andrew Weatherall
2 Timeless classics receiving constant airplay

Death in Vegas returns with Transmission, the sixth release from the project begun by Richard Fearless nearly two decades ago. This album forges new miles on the path Fearless carved with Satan's Circus and Trans-Love Energies, and is born of his desire for an ever more raw, refined sound.
United over a love of Throbbing Gristle and Chris and Cosey, Fearless partners with artist and writer Sasha Grey, whose lyrics resonate across the soundscape of visceral techno and unsettling, discordant drones, weaving into a state of dreamlike euphoria. Field recordings of the constant drone of air traffic and incessant noise from the steel factory opposite Fearless' Metal Box studio, as well as the Ballardian landscape in which it's set, all exert their pull on the record, searching for light in the dark.

An official LP-reissue of Mort Garson's 1971 cult synth album 'Black Mass', manufactured in a limited edition of 500 copies. Mort Garson arguably is best known for The Zodiac's classic 1967 'Cosmic Sounds' album on Elektra. Those who dig that record will also love 'Black Mass'.