Pop & Rock Novedades

Studies for live electronics by New York composer John Also Bennett. All three tracks are single-take recordings from a performance at AB Salon in Belgium. Each of these improvisatory works document psychoacoustic aspects of JAB's approach to synthesis and sound design. Using a single digital oscillator and minimal effects processing, the resulting pieces playfully mimic nature to evoke sonic representations of galloping horses, chirping birds, and buzzing insects. Issued as a limited edition 7" stereo lathe-cut record, the release stands as a snapshot of JAB's commitment towards the exploratory potential of process and reduction.

John Also Bennett is a composer, flautist and synthesist based in Brooklyn. He is a member of the trio Forma and founding member of the duo Seabat. His debut solo album Erg Herbe, which uses flutes, microtonal synthesis and field recordings, was released via Shelter Press in 2019. He has collaborated with Jon Gibson, Christina Vantzou, American Contemporary Music Ensemble (ACME), Theatre Of Voices, Jefre-Cantu Ledesma, Peter Burr, Zin Taylor and many others, and performed internationally at festivals such as Big Ears, Moogfest, Meakusma (Belgium), Jue (China), The World Minimal Music Festival (Amsterdam) and Nostos (Greece). His work as a composer for animation and short films has been screened at international film festivals including the Sundance Film Festival, International Film Festival Rotterdam, 25FPS International Experimental Film/Video Festival, London International Animation Festival and ESP TV.

Founded in 2015, Tears|Ov are sound artist/self-taught musician Lori E Allen, classically trained cellist/mixed media artist Katie Spafford and illustrator/prison psychotherapist Deborah Wale. The trio first collaborated on Lori E Allen's 'Tears of the Material Vulture' cassette on The Tapeworm, a re-imagination of a brief collaboration with Madame Chaos of cut-up cablecasts, 1995-1996, on Manhattan Neighborhood Network and Television in New York City. That release served to resurrect a hibernating creative practice between the three friends.

Their writing process takes the form of structured improvisation. Allen will create a bed of loops, field recordings or a full framework. She then shares this base with Wale and Spafford who embellish or delete, the three building the pieces through long improvised sessions in London, playing late into the night. During these sessions, the feeling of a songs' words or the emotional tone of a sound can spark sudden mood changes, altering the arc of the compositions. 'Crucially the music is improvised – it is never the same twice. There are triggers and moments that signal moving to another part of the music, but the timings and lengths largely depend on our moods and interpretation on a given day/performance. Because of this, the album was recorded with ambient mics capturing multiple instruments. It wasn't possible to record all the instruments separately as we respond to each others improvisation. Even if the changes are very minor, they really affect the emotion of each piece' Spafford says.

'A Hopeless Place' was initiated by a commission from Wolfgang Tillmans to perform at the Tate Modern's South Tanks, part of a concert series curated by the artist in parallel to his 2017 retrospective at the gallery. 'We were asked to play a gig at the Tate in March 2017' recalls Lori. 'I'd already started on some of the tracks, but it gave us an opportunity to present them as a composition around their connected themes. Sometime after the gig we decided to capture the work and turn it in to an album.'

For Lori, the album is about loss, 'especially grief around the edges of growing out of something in order to move toward something else. It's about transformation through love, not knowing how to hold on to everything while wanting desperately to let go of all of it, craving new shapes but feeling warped in the process of shapeshifting. It's also about how love changes you, if you allow it to. It can't be apportioned. And this is the biggest mistake of all – which we all joke about in vain grasping for control over the pleasure of losing control – that's what the gameshow track represents – the compulsion to break taboo.'

Tears|Ov's debut is presented as a continuous journey, devised to be heard as a whole. 'Though I'm interested in attaining a peaceful hold on mixing emotions on a personal level, the compositions seem to come out all sideways, morose and capricious,' Lori says. 'I like to change the mood slowly and sometimes suddenly – like how it happens in your heart.'

Debbie notes how the albums' different movements work for or against each other. '"Dancing Without" is about finding a book about nothingness, just lying there on the street, and having gratitude for nothing being nothing yet still somehow falling out of the sky as an object – not just a concept. For "Overstimulated Arcade Rat", the inspiration was about the feeling of being on a new psychotic substance, endlessly playing video games – a metaphor for being forced into addiction by society, for getting lost in the pressure of finding your way. "Trapdoor Ant" is about the protective survival mechanism of the trapdoor ant. They have the fastest moving predatory appendages within the animal kingdom, used as a catapult to eject intruders or ping themselves backwards to escape threat. The peak force is 300 times the body weight of the ant…'

In Katie's opinion the album represents an emotional journey, 'often one started by Lori and shaped by the band. Through my cello melodies, I seek to create a story throughout the album, like a voice. The way the tracks are stitched together is akin to how a symphony is structured, with its different movements; each one with its own story, building to a greater whole. The emotions that Lori describes – of loss, grief and love – are echoed in the romantic and often heart-rending cello melodies. As I am not the one who creates the initial concepts or ideas, for me it's much more about how I absorb and feel the raw emotion of each track, then voicing and interpreting what I feel through the cello.'

The Elbow is Taboo was Renaldo & The Loaf's fourth and last album of their initial phase prior to their return in 2010. Released by Ralph in America and Some Bizzare in the UK in 1987 this work represents a development in the overall sound as they utilize an 8 track recorder along with early digital effects. A large arsenal of acoustic instrumentation gives the record an additional unsettling atmosphere. Recorded over a 3 year period this remains the definitive statement by the group in this early period.

As clarified by Brian from the band, the themes remain as obtuse and alluring as ever with each song containing it's own story. "be it a child's desire to control (A Street Called Straight), the ridiculous purdah of an innocent part of the body (The Elbow is Taboo), a call for help in times of angst (Here's To the Oblong Boys), the rigours of a bread fetish (The Bread Song), the anger of a dance teacher to the terminally inept (Critical/Dance) or a ritual call to prayer, somewhere (Extracting the Re-re)".

Disorientating and delightful this is a must for all fans of the Loaf and for those tickled by the more deranged spectrum of song.

The first album of the new duo G.A.M.S. (ANDI STECHER / drums and GUIDO MÖBIUS / feedback) - with special appearances by MICK HARRIS (EX-NAPALM DEATH, PAINKILLER SCORN a.o.) and YUKO MATSUYAMA (HULA HUT & THE SEVEN SEAS). Avaliable as 180gram LP & DL.

Feedback leads a life of it's own. It is an uncontrollable sonic accident, usually ear-numbingly loud but sometimes also delicately ethereal. The essence of feedback is being released from bonds, its path is always one of intensification and escape. Its a physical phenomenon and hard to predict.

The duo G.A.M.S. makes music on the edge of losing control. A restless drummer works his way through waves of feedback, which span the full spectrum of frequencies from pumping bass to the highest tones. With the pulse of the feedback ANDI STECHER's drumming, at times feverish and driven, then distanced and abstract, creates polyrhythmic structures. What comes into being is a maelstrom of sound and rhythm - music beyond every style, the power of which lies in its rawness.

STECHER and MÖBIUS switch the roles of desired and undesired sound and thereby create pieces like archaic sculptures.Their music is raw and powerful, but can also be soft and etheric. Sometimes it feels like a delicate organic painting. But here's one thing that G.A.M.S. music certainly isn't - predictable. The duo uses freely improvised spaces and reacts to unplanned sonic events. And despite all it's seeming randomness, G.A.M.S. still manage to compose clearly structured pieces and to reconstruct these in their live program.

Through a cut-up technique patterns of feedback sound fragments are juxtaposed and interlocked in varied combinations. These hypnotic loops move between rhythm and melodies, a web that is carried along by a driving drum set, accents of sub-bass and layers of feedback drones.

The playful drum style ofANDI STECHERis far from conventional rock drumming. Instead he experiments with various materials - for instance by preparing his cymbals with chains or putting different objects on the skin of his drums. He makes offbeat meters and complicated grooves sound easy and light. The same goes for changes in timing or dense textures comprising ghost notes. On the other hand he plays straight forward beats dynamically and with power.

STECHER's partner in G.A.M.S. is GUIDO MÖBIUS who (with the help of a guitar amp, a microphone and effects) creates live feedbacks which can be massive and noisy but also fragile and gentle. Fleeting and concrete sounds join into dense textures. Feedback is never static rather always in a process of change.

Musical guests on the album are ex-NAPALM DEATHdrummer and eletronic producerMICK HARRIS(SCORN, FRET) contributing drones and field recordings and the versatile singerYUKO MATSUYAMA (HULA HUT & THE SEVEN SEAS).

LLOVAGE
OLO WALICKI / double bass, electronics
JACEK PROŚCIŃSKI / drums, electronics
LLovage is not just a fragrant, green-leafed aphrodisiac from the celery family – it's also the most impossible electronic duo for double bass and drums. Carefully measuring proportions, as if they were preparing a herbal mixture, Walicki and Prościński create their own electroacoustic organism formula. The live electronics layer is produced in real time, with the two musicians simultaneously performing classical double bass and drums parts. As a result, they sometimes sound like a quintet or sextet. The intricately woven compositions and
spectacular arranged parts are supplemented by a set of original sound amples, featuring Kira Boreczko-Dal, soprano and Mikołaj Trzaska, reed instruments. The structure of the album tracks leaves room for improvisation and interpretative freedom of the compositions.
The duo's greatest strength is the amazing exchange of energy that takes place between them on the stage – it's not a coincidence they fell in LLovage at first sight!
Before their debut album was recorded, the duo worked out their own language of sound communication. LLovage became instilled with the acting (Marcin Czarnik) and literary element (Magda Grzebałkowska) and prepared Gra w Komedę (Playing Komeda), a performance combining literature and music. The artists also made a live radio drama based on fragments of Łucjan Kamieński's fascinating musicological dissertation from 1936.
LLovage's first album will be released on vinyl and CD by Gusstaff Records on October 25th 2019.
The live premiere will take place on 27 October at the Jazz Jantar festival in Gdańsk.
The recording session took place at the legendary S4/6 Polish Radio Studio in Warsaw. The full process was documented on several cameras. Work is currently underway on a featurelength documentary presenting the recording process of all tracks on the album.

Sparrows aka Ryota Miyake is one-second of Tokyo-based synth outfit CRYSTAL. The band was discovered by French house legends JUSTICE and Surkin and collaborated with Teki Latex, former member of French rap outfit TTC and co-founder of Sound Pellegrino Records, which released CRYSTAL's Crystal Station 64 in 2013 featuring Teki Latex and Hyperdub's Ikonika. Garnering support from the likes of The Fader ("retro-futurist mayhem") and The Guardian ("playful, exuberant, joyous"), being part of CRYSTAL put Miyake on the way to making waves himself. As of 2013 Miyake, under the moniker Sparrows, is an alumnus of the Red Bull Music Academy, played at Sónar 2017, and supported Thundercat on his 2017 US tour as Sako and Uno. His latest release Berries shows the fruits of his labour in a global way way; inspired by his travels, and with feature spots from global artists, Berries takes hints of CRYSTAL-like synth goodness and mixes them with cosmic jazz and Beta Band-style pop for an album that bursts with road trip sweetness and a mellow psych atmosphere.

And we used to be such a nice record label .... BKV 026 swells up from the Bristol swamp in the forms of post-human industrial duo Bad Tracking. Here they have assembled variously, one spacious black metal intro (with original screams), an industrial-pop earworm not unlike Depeche Mode imploding in a feedback tunnel, two itch-tek dancefloor riddims namecheking local venue bans and I just don't know what to call 'Wellspring' really, the end of days? Well you had it coming anyway…..


Known in town for upsetting local MPs and lisencees with their live performances as 'naked technology sex slaves' think cassette-induced self harm, total nudity, blood from ears, Bad Tracking are the most visceral thing we've seen in this new wave of Avon experimental - a breath of life into the longstanding tradition of industrial performance art (and an antidote to idle BR club culture). Lyrically touching on censorship and tech // sonically they use feedback as a punishing instrument of anguish and expression.Widower EPis truly chewed nail sonics, more human than all your noise records, genuinely more scary than your edgelord power electronics nonsense, more forward than all yer government funded experimental think-records.


You may remember Bad Tracking from their remix of 90s soundsystem legends Bush Chemists on Bokeh last year. It sounded like they played the original through 1,000 knackered tape decks and added one kick drum. It was total sacrilege and we loved it. Bad Tracking is Gordon Apps aka reputed jungle/drumfunk producer Relapse (who also moonlights as Avon Terror Corp's Olivia Mutant John, buy his shit) and poet / VHS video artist Max Kelan (who has lent his visuals to MVs from Hodge, The Pop Group, OM Unit, Young Echo to name only 4). They've released on tRewdindForward family labels like Mechanical Reproductions and champions of bad taste and good music - Fuckpunk.

Totally bonkers German synth punk!
"JPGRR (JOHN, PAUL, GEORGE, RINGO & RICHARD) is nobody but East-Germany’s neo-punk squeaker RICALETTO of PISSE with his second solo-record EASY LISTENING carved into this vinyl’s side A. On the flip-side you'll find central-Israel’s VICTOR, a guy named GUY and his second little big musical statement after releasing an infamous cassette w/ Lumpy Records."

180g Gatefold Double Vinyl with poster, sticker & badge

It was at the tale end of what would later be loosely termed ‘The Seventies’, in Lincoln, Merry England, that three teenagers formed, the consequencies of ther actions are captured here.
“You Were So Young” consists of everything that The Cigarettes ever recorded in what was their two year life span. From the very beginnings in the rehearsal room through to tracks recorded for an unreleased third single. It includes the two singles and their ip sides, some tracks that were included on a local compilation album, and their solitary John Peel session along with a handful that never found their way onto a record.
Their debut single ‘They’re Back Again, Here They Come’ , exchanges hands from upwards of £100 and ‘You Were So Young’ has been viewed on Youtube over 1.3m times.
The CD booklet and vinyl inner sleeves include an in depth interview with Rob and Steve, answering pretty much all there is to know about The Cigarettes
Over the years The Cigarettes have gained a wealth of interest, leaving many to scratch their heads and wonder how they slipped under the radar for so long.

Factory Benelux presents a limited edition vinyl album by Tunnelvision, the youthful Blackpool band who released cult single Watching the Hydroplanes on Factory Records in 1981. Just 500 copies of have been pressed on clear vinyl, matching the original Factory release.
Formed in 1980, the sombre post-punk quartet were mentored by Section 25 before impressing Rob Gretton and Tony Wilson at an early New Order gig in Blackpool in September 1980. Two songs from their first demo were mixed by Martin Hannett at Britannia Row and released as a 7-inch single (Fac 39) in June 1981, sleeved by Martyn Atkins in an opulent sleeve referencing dictionaries and leather-bound books. After several more gigs with New Order and other Factory artists Tunnelvision taped a second strong demo, mixed for release by Peter Hook. However the turbulent teenage band disintegrated before a second single emerged. 
Newly remastered from the original analogue reels, Watching the Hydroplanes features includes all 8 tracks from their two Cargo demos, including the Hannett mixes of the title track and Morbid Fear. The set also features Emotionless, recorded live at Bristol Trinity Hall in March 1981.
The outer sleeve is printed using silver PMS with a matt varnish. The printed inner bag features new liner notes and an attractive facsimile flyer for a gig with New Order at the Forum, London, in May 1981.

Zru Vogue is a two man post punk avant-pop group from Palo Alto, California, combining the talents of Andrew Finkle and Rick Cuevas.

The band began in 1980 as a four member group: Rick, Andy, Tom Sanders and Nancy Miller. Tom and Nancy left the group shortly after the first single, "Nakweda Dream", was released by independent San Francisco label Adolescent Records in February 1981. Inspired by rave reviews and heavy airplay on alternative radio stations, Andy and Rick went back into the studio, now as a duo, to record some new ZRU tracks.

The self-tilted LP was released on the band’s Zero Risk Records in 1982. It contains eight compositions blending African tribal and Middle Eastern rhythms, avant-garde rock, minimal electronics, and funk-rock guitars.

The duo’s sound is inspired by the art and anti-art movements of Dada and Surrealism. All songs have been remastered by George Horn at Fantasy Studios. Each copy is housed in a replica of the original jacket, which features artwork by the group members, and includes the original 2-sided lyric sheet.

Dominik von Senger is a Cologne-based German musician, principally a guitarist, and has released or contributed to multiple records from the early 80's onwards. Chief amongst those being the three albums released by each of his post-punk, dub-infused, post-Can bands Dunkelziffer and the Phantom Band. Both groups featured an assortment of Can alumni, in Jaki Liebezeit, Damo Suzuki and Rosko Gee, with whom he worked extensively during the decade.

Prior to this in the late 70's, he lived in Amsterdam as a professional musician, contributing to and touring with the Jango Edwards Roadshow, a musical and theatrical cabaret act, throughout Europe and North Africa. In 1983 he released a solo album entitled "The First" on veraBra Records, which has become something of a cult, influential and highly sought-after entry into the krautrock pantheon. A subsequent solo offering, "The Second", followed in 1995.

In the last 10 years, he has added several singles and an EP to his discography, including a collaboration with Montezumas Rache.
He can currently be seen performing with Drums Off Chaos, contributing guitar to the percussion ensemble co-founded by Jaki Liebezeit.

In this post-industrial, post-enlightenment religion of ourselves, we have manifested a serpent of consumerism which now coils back upon us. It seduces us with our own bait as we betray the better instincts of our nature and the future of our own world. We throw ourselves out of our own garden. We poison ourselves to the edges of an endless sleep.

Animated Violence Mild was written throughout 2018, at Blanck Mass’ studio outside of Edinburgh. These eight tracks are the diary of a year of work steeped in honing craft, self-discovery, and grief - the latter of which reared its head at the final hurdle of producing this record and created a whole separate narrative: grief, both for what I have lost personally, but also in a global sense, for what we as a species have lost and handed over to our blood-sucking counterpart, consumerism, only to be ravaged by it.

I believe that many of us have willfully allowed our survival instinct to become engulfed by the snake we birthed. Animated — brought to life by humankind. Violent — insurmountable and wild beyond our control. Mild — delicious.

Strut present a new repress of the influential first volume of 'Disco Not Disco' compiled by Joey Negro and Sean P as part of the label's 20th Anniversary.
'Disco Not Disco' was a perfectly timed compilation back in 2000. Released when interest in the myths, history and playlists of original New York clubs like Paradise Garage and The Loft was at its peak, the album drew on the outer limits of leftfield disco championed by Levan and Mancuso, bringing together unlikely dancefloor anthems by rock acts like Yoko Ono and Ian Dury, obscurities from cottage labels like BC and Splash and selected oddities from the unique mind of avant-garde hero, Arthur Russell.
It was essentially a celebration of the sonic melting pot in New York during the early '80s, an era when punk had burnt itself out and disco had become commercial and saccharine; in its place, the post-punk movement threw up brilliant oddities which tore up the accepted rulebook.
The album features full original artwork and Kris Needs' sleeve notes and is remastered and cut by The Carvery.

2018 post-punk revelation (“the New Order of our generation”).
Killer lo-fi synth-pop from Belarus.
Fifth press.

Susan Subtract is well known for any electronic body music connoisseur as the alma mater of the worldwide acclaimed High-Functioning Flesh act. His solitary project Physical Wash (debut on vinyl) it does nothing but deepens into that successful combination of piercing EBM, samples and electro funk rhythm compositions that makes his proposal unique on the international scene. All tracks have been specially remastered for long cut vinyl by Eric Van Wonterghem at Prodam Berlin.

Originally released in 1985, "Saunetic Fraction" finally gets a reissue (limited to 100 copies), and staying true to the original, once again on tape! A collaboration of France's M.NOMIZED (aka Michel Madrange of No Unauthorized) and Belgium's UNOVIDUAL (aka Henk Wallays of Micrart Group / co-founder of the 3rio tape label with Magisch theater and Dirk Ivens of Absolute Body control) . The 18-track album is a diverse beast, but affirms itself among the grandees of Minimal Synth and Electropunk, whilst maintaining a unique twist. At times coming across as the French / Belgian version of Chris & Cosey, there are also elements of the early cut-up Dadaist experimental oddness of Cabaret Voltaire. A much sort after tape, that was originally released in a ludicrously small edition, on Unovidual's own label.

*Please not that the tracks: "Aerial Waves" + "My Geisha", do not appear on the cassette, due to side length issues.

MORE INFO:

M.NOMIZED: Synthesizers, Tapes, Treatments, Loops. / UNOVIDUAL: Synthesizers, Vocal, Drum Box.

Music composed and played by: M.Nomized & Unovidual. Thanks to Peter De Middeleir (Belgium) and Fraction Studio (France) for recordings. All rights reserved. P. 1985.

Recorded at GRM Studios, Paris May 2018
Edited & mixed by François Bonnet at GRM studios, Paris August 2018
Mastering by Rashad Becker at Dubplates & Mastering, Berlin January 2019
Written & Produced by François Bonnet & Stephen O'Malley

Art direction : Stephen O'Malley
Portrait photographer : Eléonore Huisse
Engraving : Pottery: a kiln, horizontal and vertical sections. Lowry, 1814, after Sylvester.

Tea Bowl made by Raku Kichizaemon XV
Projection image by Shiro Takatani
Photographed by Takashi Hatakeyama

First time outing from two ardent explorers of peripheral sound tactics. Cylene is the first collaboration by François J. Bonnet ( Kassel Jaeger) and Stephen O'Malley (Sunn O))) ). Laid bare we have a subtle and nuanced study of their individual practices forming a titanic whole. O'Malley's guitar inscribes a void that patiently opens up a spacious universe for Bonnet to discreetly alter with perception re-orientating studio maneuvers.

Cylene is infinitely rewarding for those that succumb to its delicate detours. A vast glacial plain unfurls slowly upon the listener invoking a mood similar to the stillness found following despair. As Joseph Ghosn succinctly outlines in his liner notes, "Stephen and François deal in those moments and instants that happen after the violence, and the ugliness and the mess. Their music is about chaos being summoned and ordered. It is about the noise that nurtures your ears after a long heartbreaking pain. I have heard the sounds of wars being fought and the noises of hearts being broken, and I have never found a shelter as soothing as this music which makes me think of sunken ships and beauty found in the depths of oceans long forgotten".

After years of mythology, misinterpretation and procrastination Nurse With Wound’s Steven Stapleton finally chooses Finders Keepers Records as the ideal collaborators to release “the right tracks” from his uber-legendary psych/prog/punk peculiarity shopping list known as The Nurse With Wound List, commencing with a French specific Volume One of this authentically titled Strain Crack Break series. Featuring some Finders Keepers’ regulars amongst galactic Gallic rarities (previously presumed to be imaginary red herrings) this deluxe double vinyl dossier demystifies some of the essential French feee jazz and Parisian prog inclusions from the alphabetical “dedication” inventory as printed the anti-bands 1979 industrial milestone debut.

When Steven Stapleton, Heman Pathak and John Fothergill’s anti-band Nurse With Wound decided to include an alphabetical dedication to all their favourite bands on the back of their inaugural LP the notion of creating a future record dealers’ trophy list couldn’t have been further from their minds. By adding a list of untravelled European mythical musicians and noise makers to their own debut release of unchartered industrial art rock they were merely providing a suggestive support system of existing potential likeminded bands, establishing safety in numbers should anyone require sonic subtitles for Nurse With Wound’s own mutant musical language. Luckily for them, the record landed in record shops in the midst of 1979’s memorable summer of abject apathy and its sound became a hit amongst disillusioned agit-pop pickers and artsy post-punks, thus playing a key role in the bourgeoning “Industrial” genre that ensued. On the most part, however, the list , like most instruction manuals, remained unreadable, syntactic and suspiciously sarcastic... As potential “real musicians” Nurse WIth Wound became an Industrial music fan’s household name, but in contrast many of the names on The Nurse With Wound List were considered to be imaginary musicians, made-up bands or booby traps for hacks and smart-arses. It took a while for the rest of the record collecting community to catch on or finally catch u

Since then, many of the rare, obscure and unpronounceable genre-free records on The Nurse With Wound List have slowly found their own feet and stumbled in to the homes of open-minded outernational vinyl junkies, D’s and sample hungry producers, self-propelled and judged on their own merit, mostly without consultation of the enigmatic NWW map. But, to the inspective competitive collector’s chagrin, one resounding fact recurs, NWW got there first! Via vinyl vacations, on cheap flights and Interrail tickets, buying bargain bin LPs on a shoestring while oblivious to the pending pension worthy price tags after their 40 year vintage, Stapleton and Fothergill, even if you’ve never heard of them, were at the bottom of the pit before “digging” became paydirt. And NOW at huge international record fairs that occur in massive exhibition halls (or within the confines of your one-touch palm pilot) amongst jive talk acronyms such as SS, PP, BIN, DNAP and BCWHES the coded letters NWW have begun to appear on stickers in the corner of original copies of the same premium progressive records accompanied by a customary 50% price hike to titillate/coerce the initiated as dealers extort the taught. Like “psych” “PINA” or “Krautrock” did before, “NWW” has become a buzzword and in the passed decades since its first publication The List has been mythologised, misunderstood and misconstrued. It’s also been overlooked, overestimated and under-appreciated in equal measures, but with a growing interest it has also come to represent a maligned genre in itself, something that all members of the original line-up would have deemed sacrilegious. Bolstered by the subtitle “Categories strain, crack and sometimes break, under their burden,” all bands on the inventory (many chosen on the strength of just one track alone) were chosen for their genre-defying qualities... A check-list for the unchart

Forty years after Nurse With Wound’s first record, Finders Keepers Records, in close collaboration with Steve Stapleton remind fans of THIS kind of “lost” music, that there once existed a feint path which was worn away decades before major label pop property developers built over this psychedelic underground. As long-running fans and liberators of some of the same records, arriving at the same axis from different-but-the-same planets, Finders Keepers and Nurse WIth Wound finally sing from the same hymn sheet resulting in a collaborative attempt to officially, authentically and legally compile the best tracks from the list, succeeding where many overzealous nerds have deferred (or simply, got the wrong end of the stick). Naturally our lavish metallic gatefold double vinyl compendium would only scratch the surface of this DIY dossier of elongated punk-prog peculiarities hence out decision to release volume one in a series which, in accordance with Steve’s wishes, focusses exclusively on individual tracks of French origin, the country that unsurprisingly hosted the highest content of bands on the list. Comprising of musique concrète, free jazz, Rock In Opposition, Zeuhl School space rock, macabre ballet music, lo-fi sci-fi, and classic horror literature inspired prog, this first volume of the series entitled Strain Crack And Break throws us in at the deep end, where the Seine meets the in-sane, introducing the space cadets that found Mars in Marseilles.

Like the Swedish flat-pack record shelves that attempt to house the vast amounts of vintage vinyl that goes into a multi-volume compilation like this, its time to prepare your own musical penchants and preconceived ideas about DIY music and hear them slowly strain, crack and b

Mannequin Records presents an outstanding collaboration between Michel Amato (The Hacker) and Alessandro Adriani.

What began as a B2B DJ set between two like-minded, seasoned veterans organically developed into a full force enthralling studio project and live set. Amato & Adriani is the new found project by Michel Amato, more commonly known as influential artist The Hacker, and producer and Mannequin Records label head honcho Alessandro Adriani. The collaboration fuses contemporary ideas with the duo's shared love for electro, EBM, Post-punk, Wave and the natural synergy to be found in the creative moment. Each artists production style and philosophy, when combined, elevates something new in one and other. The result, an innovative hybrid of classic sounds fueled by two creative forces working in pure synchronisation. Their debut EP, 'Présence Du Futur', is set to be released by Mannequin in June 2019 and includes a special collaboration with Cabaret Voltaire singer (and founder) Stephen Mallinder.

“What to do with a spud like you?” Melbourne post-punk wags Terry return this summer with their new EP ‘Who’s Terry?’. You can just make him out in his hobnail boots, peering from behind the sandwich board, wink, wink. Following on from last year’s huge-sounding ‘I’m Terry’ album, this third EP from the band brings you right up to date with their wobbly politico-pop.

‘Spud’ is a class A toe-tapper that sees the band don fatigues and set their sights on the enemy. The rough and the tough, wrestled wrists and fools with crooked smiles all make an appearance as Terry sing as one over snare snaps and keyboard croaks. ‘Bizzo and Tophat’ follows with a stride across the underbelly, a thick slice of bop-heavy observation that gives way to one of Terry’s most elegiac refrains… “holding on and going forth”! Their gang vocal approach never sounding more resolute. ’Eggs’ then picks up the pace, a sure-footed romp that skips alongside prods of saxophone to join the parade.

‘Drawn for Days’ pulls the EP to a close, a sedate, melodic ponderance of strummy guitar, jangling bells and Amy and Xanthe’s soft-sung vocals. “Haunted by the big and small, hunted hanging for the fancy fall”.  “I can’t stand up” the band decry in unison as the track scales its peak and gives way to warping synth noise. ‘Who’s Terry’ encapsulates what Terry does best, the queasy marriage of the upbeat and traumatic, the catchy instant and the nagging distance. Their alliterative lyrics always sharp as tacks, their sense of melody and beat sunk deep in the heart of now.

Hailing from different places in western Europe, Luc Bersier, Low Bat, Leonard Prochazka and Ariel Garcia created this vibrant EP. Their synergy tells a story of creativity, freedom in sound and, above all, playfulness. Serious music while similarly not being to earnest.

Their venture evolved into a very original blend of cosmic music, utilizing instruments that fit into the neofolk Krautrock domain, vocal experiments into French chanson territory, infused in Berlinian cosmopolitanism. Expect an exciting minimal wave synth punk orgy, punk definitely being the defining trait underneath these layers of sound.

This is boundless music with attitude, capable of making us drift off and disrupt us in equal measure.

Exactly two years after their latest Front Teeth LP, the Zürich-based duo VEIL OF LIGHT is back with a new album called Inflict which will be out May 10 on Avant! Records. This is their fourth full-length and their industrial-tinged synth-based post-punk keeps on getting better, making Inflict their strongest release to date. In these eight new cuts you'll hear how their sound has gotten heavier, bulkier, even more beat-driven. Tracks like So Hard and Holy Wars display drums pounding like noises from a rusty machinery, synths on You Done Me Wrong and Fact2019 they’re so sharp they can slice through your skin, Europe and Animal Instinct feature melodies from the abandoned industrial district of your ghost town. We could go on but you are probably aware of what these two Swiss are all about, and if you don’t you'll know the Veil Of Light when you face it. Artwork by Basel-based visual artist and photographer Samuel Trümpy. Limited edition LP on orange vinyl!

Soft Machine is a surreal wander through the mystical sonic forest. A vision curated and designed by Chicago native Justin Aulis Long. A Cyclopian point of view while gazing through a wide lensed scope, which exists in the liminal spaces where light meets dark and angelic forces bath in the sludge and stardust of unfiltered eroticism.

Eye of the Minotaur - collage 001 is a collection of artists working in varying musical practices that are channeling the solitude of mutantness, strolling through the familiar yet unfamiliar halls of the uncanny, refusing ordinary structures of the mundane, grasping the cold humor of cynicism, basking in the dichotomy of cosmos and chaos, and invoking the energies of Eris and Eros.

Setting the ground is Ciarra Black, a Berlin based New Yorker who makes no apologies for her bare knuckled soundscapes. DuPont Street is a ritualistic unification of discordant entities that summons visions of Pazuzu (lord of the demons) and Inanna (goddess of love) fornicating beneath The Tree of Life. Razor edged synthesizers slice through the atmosphere with the precision of an avenging angel’s flaming sword, while a psychedelic drum code activates ritual movement of the body.

As the needle passes beyond the next threshold it is met by a towering totem, bristling with the illuminated light of the sonic astral plane. Erected from the foundational matter that birthed the Detroit electro punk sound, Eyes Up continues to add to the narrative that is drenched in deranged electronics intuitively mangled in a post punk tradition. Dystopian percussive rhythms generate an unorthodox domain where muffled utterances present an aural Rorschach test. Could this be the riddle of the Sphinx, or an ancient spectral being that possesses secret knowledge? Only its creator, Stallone the Reducer, holds the key.

Fixed at the axis of the journey, Perfect Headache Forever, a mystic operating within the DIY spaces of Chicago, levitates on a transcendental mass that is equally melancholic and optimistic. Her voice hosts a strength equal to a pantheon of titans. Armed with a magical electronic musical box, she weaves narratives that are prophetic. Itself Ecstatic is a voyage through a misty soundscape that begins at one point, but ends in a distant other, in accordance with a system of divination.

Gazing into the murky waters of the oracle’s cauldron, Circling Vultures, (a collaborative effort by Justin Aulis Long and Kenneth Zawacki) channel and evoke the spirits of Antonin Artaud and Geroges Bataille. The poet’s voice, engaged in an act of mutilation and self cannibalization, howls while projecting visions of sacred conspiracies, sensations of vertigo while peaking over the edge of the abyss, and the looming weight acquired from the solitude of the Minotaur alone, sitting silently at the center of the labyrinth. Accompanying the mystical bard’s verbal declaration is a triggered mechanized synth that roars with the vitality of Cold War era Wave music, which is then juxtaposed against applications of loose keyboard playing. The artist’s hand is revealed against the calculated actions of machines.

Bringing the document to its finale, Libby Del Barrio, a multi disciplinary artist based in San Antonio, performs a closing ritual in a manner that only she knows. Setting fire to the Elysium Fields while personified as Moze Pray, Del Barrio rejects plastic narratives that aim to pacify. No Tears, is an unapologetic account of life’s feedback loop around the Wheel of Fortune. Sacrificial actions through ceremonial performance reveals a gateway founded on truth and torment. Moze Pray’s ability to combine musical production, poetic vocalization and ritualistic body performance is charged by chaos and amalgamates into a product of pure expression that defies the rose colored filters aiming to conceal harsh realities.

Italian electronic music mastermind ABYSSY and the Marseille underground hero DONARRA, share for the ALLEY VERSION's 4th release the split E.P. "CLOSE".

ABYSSY aka Mayo Soulomon has, over the years, released records of great interest for Mathematics, New Interplanetary Melodies and many other labels, marked by Detroit and Chicago influences reworked in his personal complex cut.
DONARRA comes to ALLEY VERSION after two beautiful E.P. for Skylax Records and La Chinerie, and recently spotted with its synth-dark-industrial-punk moniker Cardinal & Nun, on L.I.E.S.

The opening ABYSSY's "Close To Me", an obscure rough track totally jacked with the legendary rhythm sampler E-MU SP1200, is an instant cult.
In the following "Lower Michigan Ave", a hypnotic dark plot of analog synthesizers runs on a leftfield rhythm cut, while a whiny female voice condenses the air.

First track of DONARRA's side, "Nostalgie Futuriste", is a surreal sound voyage where are merged Chicago House and Zen atmospheres.
In the culminating Detroit style banger "Rivières Lumineuses", the trippy movements of percussions and synthetic melodies are pure magic.

Exclusively on limited 12" vinyl.

Australian band Pleasure Symbols enter a new phase in 2019, physically and stylistically with the forthcoming release of their first full length record Closer and Closer Apart. Three years have passed since the release of their debut, self-titled EP through Avant!. The time away being a necessary moment of reflection and regeneration for singer, songwriter and bassist Jasmine Dunn. Joined by fellow musician Steven Schnorrer, the duo began the push towards a more 80’s inspired post-punk sound with a ‘pop noir’ twist. Deciding to record and produce the album themselves, gave the freedom to take time to grow and explore their new direction as a song writing duo. Despite current trends in popular music, Pleasure Symbols continues to focus on a more guitar based post punk, dream-pop sound, while slowly diverging from a previous minimal wave, synth based musical output. With themes of desire for desires sake and self confrontation, the new musical direction may seem initially harrowing, but look closer and you will see vulnerability and tenderness triumph over the struggle of the human experience.

Little Lost Boy was a short-lived project that came into fruition in the wake of the break-up of the Danish post-punk iconical band Moth. This ultra deluxe edition put together the best stuff they have recorded between 2016 and 2019. A true gem for any post-punk and new wave sonic aesthetics lover. All tracks have been specially remastered for long cut vinyl by Eric Van Wonterghem at Prodam Berlin.

Funeral Parade Of Roses marks the end of innocence. Harsh times require harder words.

Tan LeRacoon is an activist and chooses to speak up, once more, to waken the world, shake the world up, no less. There is war, there are lies. Education is in shatters. People need to seek shelter in foreign countries, there is a gender gap still to be addressed, morality turns corrupt, and the churches still lie. In all naiveté, Tan addresses these actual topics. For the lyrics, Tan chose words more harsh, speaking direct, and yes, he might offer solutions, if you ask for it, the good will and good mind.

He is she is it, gender does not matter, failures of all politics cry for action. Tan LeRacoon is tired rather than paralyzed but also disgusted by a world that does offer sort of happiness to everyone. Did anything change in the last 40-50 years? What you think is real is false and what you think is fiction is real.

As Yoko Ono says, let's have a vision of a society that has ridden itself off any social injustice. How much longer do we tolerate? The Pop Group asked. We did waste decades with talks and talks but no action did create progress. A generation of talkers created a world as fucked up as ours. Yes we offer more words, but it is ours to follow these with action.These are not times for subtlety.

Therefore, Tan LeRacoon returns with an album full of battle songs. Two years ago his acclaimed album Dangerously Close To Love gained respect with its 'weird' approach to Indie, Rock n Roll and whatever recipients tended to call this very individual breed. After a Christmas single, Just Another Christmas Wish, received even greater acclaim and airplay in the US college circuit, touring and the odd session, Tan took his live band into a remote studio to savage the souls of these reputable musicians.

He had the vision of the complete recording, yet let his gang participate in their own fields, even though they were puzzled as they could not hear the final piece that was stuck in Tan's head alone, him trying to explain to the musicians more or less successful in moods, colors, historic events. A bunch of musicians in one room leaning on the talent of each other, with absolute musical trust. The musicians are stressed, hurt, cryful. Sometimes they cannot understand the whys and hows, but the result convinces the idea. It is not easy being Tan LeRacoon, individual or band. Some months later, brass section, vocals and the mix made things clear. Tan's vision became an audible piece of art, a consequent piece of uneasy listening still with a unique pop approach. The production is lush, but at the same time rough, Phil Spector meets Rick Rubin, but always Tanju Boru. This is his vision of a post punk soul record. Spooky, uncomfortable and deep. You can dance to it, too.

Success? Attitude over finesse. Love over hate. Peace over war. Sex over pet sounds. Love should still be the answer. Rock n Roll may be still the only answer. If Dangerously Close To Love was Tan's Swedish White Album, this might be his Detroit Soul Album, though it sounds anything but. Consequently it will be released by legendary European Soul stalwart Légère Recordings.

Lyrically, Tan responds to the unacceptability of today's societal struggle. Leaving his comfort zone of poetic storytelling but getting to the core of a song: "if you have a chorus, you better use it". Economic wars, the fight for accepting refugees, the ongoing disaster of capitalism, the failure of socialism so far, right wing politics of a so-called mid-of-society or his ever recurring religious imagery - he is thoughtful, but also ready for any dispute, yes, also to fight for an utopia of a better world, where water is a right, where hygene is a right, where a safe home is a right for everyone. The UN's SDG certainly does not reach far enough as it still protects the industries. Tan on the other hand acknowledges there is no mere black and white but thousands of shades in-between. These are the spaces we need to look for. Yes, we are optimistic.. Even though the world lies down in shatters this is a positive album. Pro peace, pro freedom of individuality (which is not a contradiction to socialist theories), pro digital freedom, pro diversity, pro inclusion, pro sustainability. Pro gender equality, better: gender egalité, pro heritage and migration equality, pro visibiltyof all love preferences, and it's pride, and consequently pro pansexuality. Beauty of the soul, beauty of the difference and, yeah well, anti war, anti hate, anti nationalism and anti facism, anti arms, anti discrimination of all sorts. Celebrate love and life.

Funeral Parade Of Roses features Tan LeRacoon with Linus Lindvall (Golden Kanine), Jens Fricke (Staring Girl, Gundermann movie, Gisbert zu Knyphausen), Diazpora Horn Section, Dino Joubert, Caroline Blomqvist (MinRu), Felix Roll (Torpus & The Art Directors), Gabor Bertholini (Golden Kanine, The Great Bertholinis), Mattias Larson (Cub & Wolf), Robert Weitkämper (Dr. Ring-Ding, Staring Girl).

Produced by Tan LeRacoon, mixed by Gregor Hennig at Studio Nord.

This album is an artist's action. Play it loud.


(Bernd Renner, 2019)


Funeral Parade Of Roses features Tan LeRacoon with Linus Lindvall (Golden Kanine), Jens Fricke (Staring Girl, Gundermann movie, Gisbert zu Knyphausen), Diazpora Horn Section, Dino Joubert, Caroline Blomqvist (MinRu), Felix Roll (Torpus & The Art Directors), Gabor Bertholini (Golden Kanine, The Great Bertholinis), Mattias Larson (Cub & Wolf), Robert Weitkämper (Dr. Ring-Ding, Staring Girl).

Produced by Tan LeRacoon, mixed by Tan LeRacoon and Gregor Hennig (Studio Nord, Rhonda, Die Liga Der Gewöhnlichen Gentlemen)

TOPS:

Gothic Soul & Glam Dub

Like a Punk Rock Van Morrison

Germany's finest Rock n Roll record.Ever.

Bio (excerpt):

· Early Punk Rock fanzine (1979-1984)

· Bassist for Nikki Sudden (1985-1986)

· Rock n Roll mayhem in New York (1989-1993)

· "Truth Of The Matter Is…" (unreleased solo debut, 1990)

· Art Noise collective in Los Angeles (1993)

· Das Weeth Experience (1994-1997)

· "Near By The End Of The Rainbow" (a novel, 1998)

· DJ around the world

· Manager and collaborateur for Ari Up (The Slits)

· Hasenschaukel (legendary club & bar, 2004-2016)

· "Dangerously Close To Love" (acclaimed double 12" vinyl album, 2016)

· "Just Another Christmas Wish" (7", a minor hit on US college radio, 2016)

In his third release on Editions Mego, Jung An Tagen continues to expand his unique vision of oblique electronic music mixed with future dance club sound. In "Proxy States" techno is evolving into another realm.

"Proxy States" is his most formulated attempt to combine modern composition techniques with ritualistic techno aesthetics. Here he takes his obsession with structure to a more narrative build-up, creating new paths and textures around his infectious beats. With this structure, Jung An Tagen develops an emotional relationship between repetition and dissonance.

It's addictive music. Music in constant explosion. The 12 seconds of the first track, "Spill (False)" sound like a recreation of The Big Bang, creating the perfect intro for this molecular-polyrhythm adventure. It also creates the connection/disconnection with his previous work, "Agent Im Objekt", bridging the two but also creating a space to embark on a new sonic trip. This self-contained explosion offers the right coordinates and propels the listener to Jung An Tagen's sonic realm.

All of this is done with his usual fearless but mindful approach. His unique exercises with structure, time and sound create an ecstatic familiarity with the sounds while at the same time inducing a creeping physical alienation. In other words, some parts may be rhythmically infectious, others will give you no chance to immerse. The stimulation is astute and continuous, encouraging an out-of-this-world experience.

The main arc of "Proxy States" consists of a 16 against 17 poly-rhythmic synth line that through different intonations of the kick drum always transforms its syntax. This synth line always scales up 1 key, in the middle of the track, foreseeing the upcoming structure. While these tracks (3, 4, 5, 6: "Wreath Products") follow an almost obsessive-compulsive order, the remaining tracks seem to blow up the structure entirely like the last scenes of the 1970 Michelangelo Antonioni's film "Zabriskie Point", creating an event inside the event.

"Proxy States" was impossible to press on vinyl but the fast, sharp and wild grooves of Jung An Tagen's new album are incredibly synched with the concept of an ever accelerating future.











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Cassette edition of Death Is Not The End's contribution to the Blowing Up The Workshop mix series.

"A trip across the frequencies of Bristol's pirate radio stations via cut-ups of broadcasts, taken from the late 1980s to the early 2000s ~ also a love-letter to my childhood, an audio document of the years I spent growing up in the city."

Cassette edition of Death Is Not The End's contribution to the Blowing Up The Workshop mix series.

"A trip across the frequencies of Bristol's pirate radio stations via cut-ups of broadcasts, taken from the late 1980s to the early 2000s ~ also a love-letter to my childhood, an audio document of the years I spent growing up in the city."

Melody (vocals, synth), Casey (vocals, synth), Bill (bass), Scott (guitar) and Marcus (drums) united through a shared post-punk sensibility and began experimenting with some angular drum and guitar give-and-take, layered with duelling synth refrains.

Over this Melody and Casey worked-up their vocal harmonies through impulse, developing an interplay reminiscent of The Go Go's at both their most serene and severe. The pairs vocals drift through each track, punctuating the profound and guiding us through each song's uncanny terrain.After a busy year of local shows and bouts of instinct-first songwriting, Red Channel chose a number of their most resonant songs to record with Andrew Schubert at Golden Beat. These were subsequently mixed by Eric Carlson and then mastered by John Hannon for this debut 7' EP on Upset The Rhythm entitled 'Crazy Diamonds'.

The title track launches the listener through a stratosphere of cascading notes, swoonsome lyrical turns and tack-sharp pivots in rhythmic practice. 'Crazy Diamonds' is an exhilarating rush of a song, both wistful and defiant. Melody explains that it is 'about the forever fluctuating reality that weaves in and out of ecstasy, loneliness, yearning and destruction. It's about women being free from a superficial beauty, it's about the cessation of ideals and power worship.'  'Giver' is a similarly sprightly yet pointedly questioning track, 'alone in your room, alone with your thoughts, of sleepless shadows, but what do I get' sing Casey and Melody in spooked unison.

'Demons' swirls with minimalist pop moves, a trailing backing vocal and a tumbling bass motif, whilst a dream-like quality pervades the guitar and keyboard lines. Melody then peppers the song with references to extinguished lights, evil forces, bags of sugar, floods and heaven on earth, drawing us so close that we enter the vision too. 'Slowness', which brings this debut EP is a close, is another triumph of illusory lyrical association and punchy gesture. In fact the band sound 'caught in a fragment, non-corporeal' throughout all the four tracks. Opalescent passages freewheel into splintered eruptions, there's a duality constantly in play, 'somebody dies, somebody's born'.

The songs collected here are manifestly catchy, conjured in cyclical patterns that are distorted by a desire that tends towards stream of consciousness. It's this willingness to wake-up in the unreal and see each moment reflected in the mirror which really sets apart Red Channel's first record.

READ CAREFULLY Blistering hardcore punk meets visceral drum and bass. Blastbeats, breakbeats, amen beats and kickdrums. A pure and perfect clash of styles and cultures, born from the same fiercely DIY, anti-authoritarian spirit that has shaped extreme music throughout the decades. This one goes from faster-than-the-speed-of-light-drums with screeching, feedbacking guitars to stomping 220 bpm dancefloor smashers on the flip of a coin.

Five tracks, two guitars, one bass guitar, one drumset, a fuckload of beats and synths. If this sounds too good to be true, that's because it is. We don't know what to tell you, this has never been done before.

For fans of: Minor Threat, Negative Approach, oldschool Amen infused Drum & Bass

Part of The Optic Sevens Reissue Series
Limited to 500 copies on splatter vinyl Includes Poster & Postcard
Originally released on Factory Records in 1987 on a 4 track 12” EP entitled “Something That No One Else Could Bring” These 2 tracks make their first appearance as a 7” single

A lot of people flipped out over how amazing Mako Sica’s last album, Ronda (FTR 409), was. Ronda was a 2LP set whereupon the Chicago trio collaborated with legendary local percussionist Hamid Drake. This pairing seemed like a natural to us, but for some reason people have been woefully unaware of Mako Sica despite the fact they’ve been releasing killer records for a decade, and playing live shows that submerge your brain in a sonic soup that recalls the Sun City Girls at their most psychedelically Eastern.

The band’s approach to music feels almost alchemical. Trumpet, voice, guitar, drums and keys blend together in mysterious ways. The vocals are always more abstract than declarative, the guitar lines are sinewy, the rhythms roll and splash like a mirage oasis made real, and the trumpet arrives (when it does) sounding almost more like a shofar being played in a temple.

The sound of Manifest Being is celebratory and so fully freaked you’ll be soaking in it for years to come. The songs played are similar to the live set Mako Sika were polishing last year, and the results are stunning.

-Byron Coley, 2019

The re-edition of the third Job Karma album, which was originally released in 2003 by Amplexus rec. in limited edition 470 copies.
Re-mastered by Marcin Bocinski in 2019.
First time on vinyl (Vinyl is 180g, contains free CD).

Job Karma is audiovisual project established in Wroclaw (Poland) in 1997. The members are Maciej Frett and Aureliusz Pisarzewski, with Arkadiusz Baginski in charge of the visuals. The group hails from the post-industrial scene but with every new album the musicians cast their net wider into the extended field of dark electronica - from ambient to techno, dark wave and EBM. What remains unchanged is the quality of their music that, as the critics say, makes it "a movie for your ears": picturesque and expressive, it is an ideal soundtrack for the never made film that the listeners can 'see' using their imagination.

The group is famous for their suggestive live performances that combine music with the elements of animation and video art.

Since 2001 Frett and Baginski, as Industrial Art, have been organising WROCLAW INDUSTRIAL FESTIVAL, showcasing contemporary industrial music and culture and dark electronica.

" No, this is not happy trippy ambient. Think Deutsch Nepal and the very first album from Black Lung ('Silent Weapons For Quiet Wars') and you get some idea of this album. Sounds rather desolated, less psycho, like after an apocalypse. Creepy minimal ambient with voice samples, and repeated deep listening can affect your mood. But it has a very strong vibe, if you can jump over the desolated landscapes. It deals with human emotions, in his own way. Perfect movie music."



"What you can discern in this amalgam are the whines and sighs from various electric devices Maciek Frett and Aureliusz Pisarzewski have been collecting for years , subtle synths melodies, looped electroacoustic noises, unequivocally industrial ironwork-type rambles and crashes, and of course samples and voices. The impressive skills isn't the end in itself, for Job Karma apparently plays emotion and seriously so it fails to be just enjoyable listening. Great work! "
Eld Rich Palmer fanzine

"Job Karma's fourth release is the latest highlight in the industrial scene"
Paul Bijlsma - Phosphor Magazine

We're proud to welcome the new Paris-based punk jazz duo La Récré to the BMM roster ! Drummer Cédric Laban and keyboardist Émile Sornin (aka Forever Pavot / Born Bad Records) make sure to bring you hot rhodes-filled grooves to start off spring season ! La Récré clearly created their own innovative touch by tackling themes such as school breaks and playground fun-time, helped by their long experience in the Paris music scene. To sum this up, La Récré's debut EP is a groovy explosion of nostalgia and infantile energy condensed in 4 stunning punk jazz and hip-hop inspired tracks.

Their first EP has been issued for a very limited quantity on 10 inch records for the Record Store Day and will be available in France's bests record shops on April 13th.