Pop & Rock Новости

'This album was created over the course of 2017-2018 and is heavily influenced by descriptions of landscape and environment in the work of authors Shusaku Endo, J.G. Ballard and Cormac McCarthy. Fragments from a land that is a largely silent place. An ancient place. A non-place. A wilderness.'

Dauw welcomes back the California based r beny to the label for his new album “echo’s verse”. It forms the follow-up of his acclaimed “saudade” album (selected as one of the best ambient albums of 2018 by Fact Magazine).

“Echo’s verse” forms no exception on that regard and continues along the same melancholic lines of his previous work. However, whereas the initial albums were much more centred around feelings of loneliness, isolation and solitude, the new album clearly moves away from a sole focus on sad and distressing emotions. “echo’s verse” touches the other side of the spectrum as it is about emotional connections, bonds and not feeling alone in the universe.

23rd January 2020 marks the 25th anniversary of The Human League’s seventh studio album ‘Octopus’.

Featuring 7 previously unreleased tracks, the 2CD format includes the original album plus a second disc of demos, singles and edits. Also featured are two bonus tracks that the band made with Yellow Magic Orchestra - “Behind The Mask” and “Kimi Ni MuneKyun”.

There is also a 140gm Black vinyl released on the same day.

Originally released in 1995 by EastWest Records, it was the first new album from The Human League in five years after the termination of their long-term contract with Virgin Records. ‘Octopus’ was the first album that presented the band as a trio consisting of the singers Philip Oakey, Joanne Catherall and Susan Ann Sulley. It was produced by Tears For Fears Ian Stanley and former band members Jo Callis and keyboard player Neil Sutton also contributed to the writing of the album.

The album's sound is notable for the nearly exclusive use of analogue synthesizers, a marked change from the band's primarily digital sound in the mid-to-late 1980s. The album saw a return to the public eye for the band, who had been out of the top ten since their 1986 album ‘Crash’. ‘Octopus’ was a commercial success.

The first single, ‘Tell Me When’ became the band's first top-ten hit in nine years, peaking at number six in the UK singles chart, with the second single ‘One Man in My Heart’ also breaking into the top 20. The album also saw similar chart success peaking at number six in the UK, becoming the band’s sixth top-ten album.

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Los Angeles based Principleasure releases his debut LP 'I (One)' on 30th April to critical acclaim. 'An enthralling debut album' according to Mixmag who promptly made it their Album of the Month, 'A brilliantly crafted debut album' proclaim Future Music Magazine and 'Brooding with icy contempt' say Electronic Sound in their full page review. With festival support from DJs as diverse as Dixon and AME to A-Trak, 'I' comes hot off the back of 3 EPs released in 2018, with videos from Hirad Sab (Sevdaliza) and Yoshi Sodeoka (Digitalism), support from BBC Radio 1 (Annie Mac) and KCRW (Mario Cotto).

After Où poser des yeux in 2009 and La paroi de ton ventre in 2013, Les Hommes-Boites are back with La copie d'un autre which will soon be released on Brussels' young and sparkling label Gnignignignigni. Composed of Carl Roosens, Emmanuel Coenen and Pascal Matthey, the band Les Hommes-Boites tells and sings funny stories of animals, look-alikes and dark rooms on happily haunting electronic, not to say pop-music. "On est toujours la copie d'un autre" ("We are always the copy of someone else").

Fred A. was a two-faced act. His musical grasp to the new wave-movement was countered by his lyrical love for Flemish and Dutch ‘kleinkunst’, and his progressiveness as a composer was in stark contrast with his restraint as a performer. ‘De Angst Voorbij’ is an anthology of those remnants, with eight songs derived from the most fertile period in the musical career of Fred A. The record translates how Gerry opened up again to his late musical endeavours, recalling the 30-years younger version of himself. “The music on this record is a testimony of my life back then. It is delimited in time, that’s why this whole feels coherent to me. It shows who I was back then and what I stood for. And that’s worth cherishing

Fourth vinyl of Diffuse Reality Records.

'Benjamin Lew was an enlightened amateur, in the noble and almost Renaissance-like sense of the word: he dabbled with equal grace in photography, writing, visual arts ... and worked part-time as a cocktail mixer in a tropical bar which was one of the favourite watering holes of Brussels' thriving artistic community of the early '80s. Tuxedomoon had just moved to Brussels, and Steven Brown was among the many musicians, designers & artists who patronized the bar. Benjamin had a secret passion: he wasn't a musician, but had acquired a small analog computer, with which he had started creating these strange mysterious little pieces. Benjamin played them to Steven and asked him if he'd agree to record with him. Steven was taken with them and accepted. The Douzième Journée was largely created in the studio by both protagonists, with the help of Gilles Martin and myself, in the spring of '82. Listening to his albums (he went on to record four more with Crammed) is like embarking on a dream journey to the Sahara or the Far East. You'd think that some of the pieces feature non-European musicians or samples but: no... this is just Benjamin's imagination, his synths, and his friends...'

Marc Hollander, Feb. 2019

Ivan Smagghe & Rupert Cross collaborate again.. and it's another beauty! TIP!

"This second LP on Offen is an ajar window overlooking the phantasmagoric world of Smagghe & Cross, a remembrance of days that never were. The music is sparse, the past is forever : ghosts of industries are conjured through the English countryside, fading memories play static with an idea of romance, the sun breaks through the iron clouds. A record free of uncouth nostalgia but laced with ethereal melancholia. "

When Elena Colombi launched the Osàre! Editions label in the autumn of 2019, she explained that the label would become home to bold, daring, future-facing music rooted in experimentation and free-spirited musical abandon. These are all descriptions that could apply to the label’s latest release, a retrospective album of little-known works by Greek musician and producer Thanasis Zlatanos.

Many will not have heard of Zlatanos, or Nekropolis, the band he fronted alongside dear friend and regular collaborator Trygve Mathiesen, yet the music he made during the 1980s was otherworldly, intergalactic and undoubtedly alluring. These songs and instrumentals made extensive use of analogue synthesizers and lo-fi drum machines, as well as Zlatanos’s trusted Gibson Les Paul guitar and his own distinctive voice.

Stylistically, the musician and producer refused to settle on a specific sound, preferring instead to create inspired, often mind-altering pieces that join the dots between wave music, skewed leftfield pop, ambient, prototype electronic and Madedonian folk music. Operating for much of the period from a crumbling house earmarked for demolition, Zlatanos kept up a daily music-making vigil that resulted in a vast vault of music, most of which has remained unissued since the 1980s.

The breadth of and width of Zlatanos’s distinctive approach is laid bare on Retrospective, a compilation album prepared by Colombi and the artist himself that draws on tracks from his numerous albums, those by Nekropolis – whose sophomore set “The New Europeans” was banned in Norway – and his epic archive of previously unheard material.

The artist’s singular but wide-ranging musical vision is free for all to see across the 13 tracks stretched across the vinyl version of the album (digital buyers also get a further four superb cuts). It veers attractively from the ghostly, traditional-meets-futuristic new age electronica of “The Crystal Sight (Excerpt)” and the doom-laden coldwave throb of “Master Chameleon”, to the undulating, soft-touch creepiness of “Surreal Moment”, the Vocoder-laden operatic poignancy of “The New Barbarians” and the squally guitar solos and effects-laden electronics of “The Light”.

Words from the artist___:
"I live in the Internet. Visits from outer space make me compose. I breathe here. I am the master chameleon, the psychedelic clown. I am not here anymore, neither in the picture, nor the reflection. Our bed is a boat that takes us tomorrow without us.

Here is an album of dreams and digital emotions. Analogue recordings made with a Prophet, a Moog Rogue, a tape recorder and a Gibson Les Paul guitar.

As far as I can remember I have always been in a recording studio. I listen to, understand and live my life through songs and music. I have worked alone and with friends such as Trygve Mathiesen. Although I am a guitarist, I continue to work with synthesizers on music that blends elements of Macedonian folk music, recordings from the streets and embryonic electronic sounds.

Some of my albums have been critically acclaimed, others banned by radio stations. For years I worked on endless recording sessions in a crumbling house that should have been torn down. The music on this retrospective compilation was recorded at various points between 1982 and the present day. Some of the compositions first appeared on previous albums, while others have never been released before. They were sat on tapes waiting for a saviour. Now that saviour has arrived and they can be free.

For further proof of Zlatanos’s unique sonic approach, check the startling contrast between the bass-laden slacker pop headiness of “No Expectations” and the spacey ambience of “The Dead Don’t Remember”. Considered together, the selected pieces and those elsewhere on Retrospective forms a snapshot of a genuinely unique and visionary musician, composer and producer. It’s a celebration of someone whose work has previously been overlooked."

First repress of this beautiful electro-chillwave LP from the Parisian producer In Love With a Ghost.

In the midst of fluffy and minimalist orchestrations or 8-bit intrusions, melodies are unveiled. The atmospheres are mixed and will transport you to another dimension : the carefully crafted IN LOVE WITH A GHOST universe.

Poetic, rich and complex “Healing” tells us a history of encounter, witch, magic and friendship. Stories that everyone can appropriate by taking inspiration from the titles, the illustrations and of course the haunting melodies that make up this original soundtrack of an imaginary video game devised by the young french composer.“

We welcome to the mighty Moustache records family: Kendal a french producer based in Toulouse. His 4 tracker hits Manifesto Ep bring us a dystopian italo vibe from the past, present and the Nofuture where the flesh merging with the machine. The A1 track called: Ultimo It's a tale about a world where jesus turns the water into proseco and the preacher jams on his 707 to bring new believers into italo disco church. A2: Profondo rosso: Humanity as gone. One spaceship drifts into space seeking the new promised land. Maybe this big red planet with its lush jungle. B1 Giallo Inferno: She put on her favourite blue velvet dress and her red lipstick. She's alone in the mansion. Black leather gloves is hidding in the dark B2 Corpo Meccanico: When Deckard chasing some fuckin renegade replicant over Los Angeles 2019 that what it turn up loud on his radio. Perfect OST for cyborg's killing spree. This in a great full colour sleeve and an even greater 12inch Artwork. Watch out for this cult italo disco dance classic. Gone is Gone!

2x12"

Karl O’Connor (Regis) rallies the Downwards troops for the odd family portrait of ‘Let Love Decide’, including the first new Concrete Fence collab between Regis and Haswell since that killer PAN hookup, plus all new and exclusive tracks by label staples Mick Harris, Nick Dunton, Simon Shreeve, DVA Damas and Karl Meier, plus Rachel Aiello’s Layne, and Khrone/Mjolsness (Male) and various appearances by Regis himself in different formations.
Cutting across the face of the label, ‘Let Love Decide Pt.1’ is the first part of Downwards’ contemporary portrait series aligning veteran hands with the new class of mutant industrial disciples. The nine tracks include a strong clutch of exclusive projects such as the EBM supergroup You Hung - a quartet of Nick Dunton (vocals), Jim Siegel (drums), Simon Shreeve (Live mix and Studio), and Karl O’Connor (synth) - and Karl & Ken Meier’s “ambient” alias Obelus, cued up beside previously unheard Fret gear by Mick Harris and a Cub collab between Karl O’Connor and Simon Shreeve, to highlight the label’s strength in diversity and shared purpose.
Naturally, the label kingpin Karl O’Connor is a constant throughout the compilation, a connective ligature that ties the slurred slow techno of Cub’s ‘Teenage Fists’ to the live band EBM praxis of You Hung, where O’Connor’s synth underlines Krishna Goineau-styled vox by Nick Dunton (65D Mavericks) and the gnashing drums of Jim Siegel (Raspberry Bulbs), as well as the welcome reappearance of his Concrete Fence duo with Russell Haswell in a sharp cut of pranging industrial funk that sounds like vintage Autechre, chopped and skewed.
Following his turn in Cub, Simon Shreeve also weighs in his powerful studio pressure on the soggy, gothic lurch of ‘The Space Between Cultures’, while Mick Harris ramps the distortion on a ravenous Fret cut ‘Helicopter Rig’. The rest is essentially a showcase of the label’s American ambassadors,
taking in the scuffed modular dub brawl of ’Scale Reference’ by Karl & Ken Meier’s Obelus beside Layne’s blank-eyed swagger, and a stark shot in the ambient unknown by Jonathan Khrone & Benjamin Mjolsness (aka Male), while L.A.’s DVA Damas stretch out across the D-side on a stripe of sexy darkwave-techno rolige.

Newest full LP by Yobkiss who has been active for over a decade now with stunning releases on a multitude of modern labels. Never a dull moment on this well-crafted album. Best described as an emotive journey, YobKiss explores the regions where techno, electro, acid house, and that hard-to-define Dutch sound; all melt into pure analog synth magic. Standout dancefloor burners include "Silence Arriving" (with Yuko Araki on vocals) and "Full Moon Party". Mastered by the legendary Alden Tyrell. Limited Edition.

Berlin-based Mechatronica founder Daribone presents a potent blend of EBM, new beat and electro on "Body Realism", the fourth record in the label's limited edition White series of hand stamped vinyl-only releases.

A wild ride into the Chilean producer's vivid take on reality, spirituality and fantasy, the EP moves from slow-burning mantras and religious mania on "Shamanic Tendencies" and "Yolavi Bahar" through the hazardous alien landscapes of "Upper Norfair" and a final encounter with the Mechanoid beings, gatekeepers between our consciousness and the universe.

Must we keep believing reality is something real, or is it time to embrace the tickling blood that keeps us intrigued and rising into eternal heights of surreal magnificence We always were born confident, that you would be more than a splatter of dust on our mother earth.

The collective returns with their 6th release, welcoming new music in the post-disco-punk-wave spectrum from Parma Italy's Csk, Berlin newcomer Dame Bonnet, Bogota's live duo The postmodernism forms and a giant collaboration between Damon Jee and Alvaro Cabana: Holographic Planes (Spain/France).

Contagious is a solid blending of avant-garde experimentation and electronic music. Formed by two innovative voices from the Improvisation scene of Berlin (Andrea Neumann and Sabine Ercklentz) and Mieko Suzuki, a well-crafted and creative DJ and musician who’s operating in Berlin venues and festivals since a long time.

Contagious is one of the most forward thinking, mind-melting projects to hit the electronic music scene. Intense and powerful, yet rooted in a tradition of crafting and sculpturing of in the most creative ways, all this building up within a solid structure of instant composition and improvisation. The trio plunder each other’s musical spheres, appropriate them and switch roles. Andrea Neumann on her infamous Inside Piano, an instrument she pioneered and crafted, is applying the most creative feedback processing to simple piano strings and sending them occasionally to Mieko Suzuki’s processing rig, who also uses her own pre-recorded sounds and her skills on turntables, while Sabine Ercklentz’s trumpet sounds blast through her processing system and altogether the three musicians communicate into logics of composition and futuristic structures, where fragile sound textures and pulses become monumental.

Contagious is also the debut album recorded and produced by Rabih Beaini. The Trio wanders in new aesthetic areas, sound is a texture where the processing rigs are constantly developing new forms and evolutions. Structures and grooves implode in noisy fragments, growing into a deep trance state.

Left Ear have put together a collection of recordings taken from the elusive Berlin band I.A.O., spanning their third phase from 1988 to 1995. Phase III commemorates the bands final line-up of three members; Achim Kohlberger, Ralf Östereich and Carsten Zielske. The sounds on this retrospective vary widely, however, link with threads of melancholic sequences, angular jamming and a focus on electronic soundscapes.

The tracks are pinned against a backdrop of political and social unrest in Berlin at the time. Two different cities had become one with the fall of the wall, driving a bubbling subculture attempting to reunite the capital. Seemingly irrelevant to what I.A.O. was producing, these territories dance parallel to one another. In the late 1980’s, Achim Kohlberger of the band and partner Dimitri Hegemann, were orchestrating ‘Atonal Festival’, these days known as Berlin Atonal. Soon after, they set-up of one of the first techno clubs in the world - UFO, today known as Tresor.

I.A.O. cites the cast of personalities they would come across in the clubs and pubs as influential in their songwriting, artists, outsiders or the ‘general dropouts.’ However, the works of IAO far resemble techno music. Phase III’s opening track Gospel IV introduces the band with their patience and restraint, synthesizers work to reveal folding melodies. The downtempo voyage continues with Marshmallow Girls, an insight into the band’s sensitive observations and hazy imagery. All Is Bliss presents a vocal mantra cooperating with nagging bass lines and euphonic percussion. Meanwhile, two instrumentals Love and Twinkle Twinkle Twinkle Little Star both typify and defy timeless dancefloor paradigms. The compilation signs off with Ferns, binding the icy yet bright tones found throughout.

Nuovo Testamento is a new half-American half-Italian trio featuring members from Horror Vacui, Sheer Mag, Tørsö, Terremoto and Crimson Scarlet. With such references you wouldn’t expect this to be any less good than it actually is. Exposure is their very first recording and its six songs perfectly blend colwave bass lines, minimal electro beats, synthpop melodies, ethereal female vocals. That’s why we decided to give this its well-deserved vinyl run after the first band-released tape limited edition. Expect more from this cult in the future but for now we only have a couple hundred copies here so don’t snooze on this.

Figuring out who'd do the remixes wasn't an easy task. After a long wait we can now announce that a new 12 inch will be out on Rotten City Records with a newer version of the original (previously released in Born bad Records), plus 2 brand new remixes from the infamous Marvin & Guy and the Franco-Spanish duo Holographic Planes, formed by no others than Damon Jee and label owner Alvaro Cabana.

We are adding to this release a remix of Vox Low of "Black Lake" from My Broken Frame, a track that came out only on digital on Gimme Shelter. This is a unique chance to get your copy of this amazing limited release. 200 x 12" in solid white (numbered), and 100 x 12" in black, so you better be quick!

Celebrating a Decade of Dark Entries with a compilation titled ‘Tens Across The Board’. We revisit our roster and chose 10 songs from 10 bands from 10 different countries spanning the years 1981-1993. The songs flow in chronological order and have never appeared on vinyl, with 7 of the songs previously unreleased.

The compilation begins in 1981 with Parade Ground from Belgium, the duo of brothers Pierre and Jean-Marc Pauly with help from Patrick Codenys and Jean-Luc of Front 242. “The Light’s Gone” was one of their earliest experiments and employs a stark minimalism with modular synthesizers, guitar reverb and tape delay. Next we venture to Granada, Spain in 1982 to meet the trio of Diseño Corbusier. Influenced by Cabaret Voltaire and Dadaism, “La Esperanza está en Antenas” was the band’s take on melancholic pop fueled by a robotic DR-55 bass-line. Sailing the Mediterranean Sea to Athens to meet Greek electronic goddess Lena Platonos who shares a demo from 1983. “Μια Γάτα Σασ Περιμένει Στη Γωνία” translates to “A Cat Is Waiting On The Corner” and is possibly the witchiest sounds we’ve shared yet, ending with a blood curdling scream. Frozen in 1983 we cross Ionian Sea to Messina, Italy and visit Victrola, the duo of Antonino “Eze” Cuscinà and Carlo Smeriglio. They’ve unearthed a melodic instrumental version of “Luca” fueled by a Korg Polysix and TB-303. Traveling across the Adriatic to Slovenia circa 1984, where Borghesia are working on their album ‘Ljubav Je Hladnija Od Smrti’. “Magla” translates to “Fog” fitting for the thick, somber electronics of Aldo Ivancic providing a dense atmosphere for the baritone vocals of Dario Seraval.

On Side B we go down under to Sydney and excavate a hidden Tom Ellard song recorded in 1984 under the alias Lord Metal, an anagram of his name for copyright reasons. “Ga Duum Blitzfonika” is a slow-motion, unadulterated dance groove originally released on the cassette compilation "Independent World”. Skipping ahead to 1986 in Tours, France we salute X-Ray Pop the minimum new wave duo of Didier "Doc" Pilot and Zouka Dzaza. They contribute the hypnotically fragile “Corto Maltese” that originally appeared on the cassette compilation ‘Plop’. Crossing the German boarder we arrive in Dortmund at the apartment of Andreas Sippel of Second Decay who recorded the instrumental demo “Lübeckerstrasse” in 1988 with partner Christian Purwien. Utilizing an TR-808, SH-101 and Arp Odyssey this cold slice of futurism was named after the street Andreas lived on. Traveling westward to England, specifically Basildon, Essex to the teenage bedroom of From Nursery To Misery, the trio of identical twin sister vocalists Gina and Tina Fear and keyboard player Lee Stevens. “Contentment” is an introspective, ethereal pop song with child-like vocals that originally appeared on the Belgian tape compilation ‘Heartbeat Vol.4’ in 1989. Finally, we return home to San Francisco and close out the compilation with Cyrnai the moniker of multi-instrumentalist Carolyn Fok. “Digital Grit Box (Demo)” was an outtake from the ‘Transfiguration’ album sessions recorded in 1993, utilizing dark dance drum beats made with MIDI sequencer programs Studio Vision and Sample Cell.

All songs have been remastered by George Horn at Fantasy Studios. The vinyl is housed in a custom designed jacket by Eloise Leigh featuring our label’s colors black-white-red with connect-the-dots pattern linking the 10 songs via maps/timeline/location, all relating to the reissue process, plus source images from San Francisco, our hometown. For this landmark release we've also printed a 2-sided fold-out wall poster that includes every artist we've released in our first 10 years 2009-2019 in black, red and silver metallic ink, plus an 8x11 insert with lyrics, notes and photos.

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1/2 GOTT is the new project of Sneaker from Dresden/Berlin and Scannoir from Zurich, who share their love for EBM and Synth Pop not only when DJing but also when producing. In several nights and with the help of a decent group of instruments, they have evoked a series of tracks that can certainly be subsumed as New Swiss wave. The first record is entitled 1/2 GOTT and will be followed by GOTT in the foreseeable future. The result is music that sounds as if the Iron Curtain had never fallen. Although Sneaker likes to step to the microphone, he leaves the vocals to Scannoir, who gives the perfect counterpart for the menacing beats with his deep laments. The tracks are little masterpieces in the matter of repetition with whipping drums and off-beat percussions. However, they cannot disguise their hymn-like gesture. This must be the sound of a sunrise over the industrial area.

Following on from the excellent 'Le personnage principal est un peuple isolée' compilation - a four track EP of deeply psychedelic jams from the early 80's. TIP!

By Geert Sermon - 'The Sound Of Belgium' - A timeless collection of unintentional psychedelic, post-everything, and pre-anything music with his one of a kind, unique, selector air, compiled by Dj Morpheus aka Samy Birnbach, member of post punk/wave band Minimal Compact and responsible for compiling the classic downtempo/ambient late 90's Freezone series on SSR Records (parent label of Crammed).

Music From Memory’s latest release is a reissue of the lost Art record ‘Marea/Tide’ from Italian Wave duo Alessandro Pizzin and Piergiuseppe Ciranna also know as ‘Ruins’.

Made to accompany and as a response to the works of painter ‘Luigi Viola’ the record was released limited to a run of 600 with original artworks by the painter included in the first 200 copies.

A number of special showcases were performed at various galleries by the duo alongside Viola’s work, with records being available solely at those events. Due to poor management and disagreements with the label who produced the record, 300 copies were held for many years in storage and then in fact later even destroyed, the record disappearing almost without a trace.

Finally now available again and with a bonus 7” including four beautiful unreleased tracks, the release is printed in colors true to the original work of Luigi Viola with insert.

Oraculo Records is proud to welcome and present the new side project of our beloved Blind Delon featuring and a special remix of Antoni Maiovvi of Giallo Disco Records. Dark Italo or minimal synthpop could perfectly define what FRUST is; hypnotic glacial synths and mesmerizing cavernous sad voices for darkwave lovers. All tracks have been specially remastered for long cut vinyl by Eric Van Wonterghem at Prodam Berlin.

For the latest release in their ongoing ‘International’ series, Into The Light Records takes us to Sydney and the dreamy, softly spun musical world of talented multi-instrumentalist Max Santilli.

“Surface” is Santilli’s debut album following years spent working alongside Jacob Fugar in Ken Oath Records-signed downtempo duo Angophora. It draws on a personal archive of home recordings made between 2016 and 2018 using a range of guitars, synthesizers and acoustic percussion instruments.

As you’d perhaps expect, it’s an intimate and hugely personal set that wraps drowsy, slowly shifting musical flourishes around gentle, sun-kissed rhythms and suitably spacey chords. Santilli offers subtle nods towards his various inspirations – think the mesmerizing ambient-jazz fusion of Michael Bierylo, Steve Hillage’s timeless early ambient works and the intricate acoustic guitar playing of Steve Tibbetts and Miguel Herrero – while forging his own distinctly lo-fi and otherworldly path. As a result, “Surface” is an album of impressive depth and diversity, held together by Santilli’s reflective, emotion-rich vision.

We welcome to the mighty Moustache records family: Kendal a french producer based in Toulouse. His 4 tracker hits Manifesto Ep bring us a dystopian italo vibe from the past, present and the Nofuture where the flesh merging with the machine. The A1 track called: Ultimo It's a tale about a world where jesus turns the water into proseco and the preacher jams on his 707 to bring new believers into italo disco church. A2: Profondo rosso: Humanity as gone. One spaceship drifts into space seeking the new promised land. Maybe this big red planet with its lush jungle. B1 Giallo Inferno: She put on her favourite blue velvet dress and her red lipstick. She's alone in the mansion. Black leather gloves is hidding in the dark B2 Corpo Meccanico: When Deckard chasing some fuckin renegade replicant over Los Angeles 2019 that what it turn up loud on his radio. Perfect OST for cyborg's killing spree. This in a great full colour sleeve and an even greater 12inch Artwork. Watch out for this cult italo disco dance classic. Gone is Gone!

When acclaimed South African musician Guy Buttery first sought out Dr. Kanada Narahari in late 2016, it was as his patient.

“It was a dark time.” Buttery recalls, “I had been bedridden for months and had been suffering from debilitating bouts of fatigue which no diagnosis or medication could help me get to the bottom of. When I first met Kanada, I was at the stage where even picking up my guitar to make music had become a joyless and taxing exercise.”

As Buttery’s searched for a cure, a family member recommended he see Kanada an Ayurvedic doctor who had relocated to South Africa from India and set up a practice in Durban. It was during this consultation, that the musician first experienced how Narahari infused the healing properties of Indian Classical music into his practice. Rather than treating him with a smorgasbord of pharmaceuticals, Narahari played his sitar and set Buttery on a strict daily diet of Raga’s to fast track his recovery.

Buttery was not only struck by his doctor’s musical talents but by the powerful healing properties inherent in his sitar compositions. When he left Narahari’s doctors room that afternoon, he asserts he was feeling decidedly clearer, lighter and stronger.

“Diving into Kanada’s music was definitely one of the reasons I'm still here today.” he admits. “The consistent tonal centre at the heart of Indian Classical Music, literally became my support pillar over this period. A central core of sorts in which to fall back on, strengthen and discover.”

Narahari as it turned out, was not only a prominent music therapist (and one of the only Ayurvedic doctors practicing in South Africa) but like Buttery, a highly accomplished musician with a devoted following back in his homeland.

Born in a small village along the Western Ghats in Karnataka, India, Narahari, at the age of nine, had enrolled to study Carnatic classical vocal and developed an interest in Hindustani Classical music with a particular passion for the sitar. While Buttery had secured his reputation as one of South Africa’s musical treasures, a multi-instrumentalist who commands sold-out performances both locally and internationally and more recently had been awarded the prestigious 2018 Standard Bank Young Artist for Music.
From this consultation, a friendship developed between the two musicians with Buttery soon inviting Narahari to join him in his studio. But it wasn’t all plain sailing in the beginning. While Buttery and Narahari’s sensibilities were very much aligned, there were a range of cultural and musical influences, nuances and inflections that first needed to be navigated and understood.
“I suppose we had to find a common ground.” Buttery says, before adding, “Which in the end turned out to be pretty "uncommon ground" for the both of us.”
It was after a few intensive sessions together that something exhilarating began to emerge. What began as a few idle improvisations soon evolved into feverish and lengthier jams. Whenever time permitted, the musicians would meet, descending deeper into the emerging sounds, while reimagining the realms that existed between their African and Indian heritages.
Over the next few months, the duo would rack up over fifteen hours of recordings in studio, and it was up to Buttery to shape the material into an album which they collectively titled Nāḍī, which Narahari translates from the Sanskrit as "The Channel" or "An Internal River".

During this period, Narahari bestowed upon Buttery, the moniker Guruji while Guy would refer to him, in affectionate return, as Panditji. Each time the musicians would meet, the studio space would be cleared by an impromptu ritual, with Guruji burning African Imphepho while Panditji would chant a Sanskrit mantra dusting Indian Agarbatti clouds over their instruments.

Once the room had been made hazy with this aromatic alchemy (with the ancestors welcomed in) the musicians would pick up their instruments and plunge into shimmering tides of sound. Reflecting on these sessions, Narahari recalls the immense creative freedom he felt throughout: “Guy and I tried to wander as much as possible, without any speculative, preoccupied ideologies or limitations. Love remained at the forefront of our journey together.”

“Those evenings we spent together in the studio” adds Buttery, “felt incredibly rich with purpose and a profound sense of freedom. While improvising, anything could happen and mostly did.”

On a first listen, the tracks on Nāḍī emerge as salty, humid invocations to the inscrutable depths and misty myths of the Indian ocean-- that vast body of water that stretches between, and laps the shorelines, of the artists’ respective homelands.

When asked to describe the sound him and Narahari refined, Buttery prefers to relay a series of evocative images.

“For me” he explains, “Nāḍī is a lighthouse, a beacon that resides at the bottom of the ocean.” As Buttery envisions it, “what once offered light to guide ships to safety, has been submerged and re-purposed by marine life as a coral-reef temple. Similarly, this sunken lighthouse exists as a concealed cenotaph, memorializing the ancient sea-routes and passages that once connected the two distant lands.”

On paper this may sound obscure but listening to the songs, it serves as an apt metaphor.

Across each meditative movement, listeners are able to relive the journey, immersing themselves in a series of incantations, replete with high dynamics, delicate African-Indian inflections and virtuoso string playing of an entirely new order. Further complimenting the fusion of musical dialects are a range of guest artists including Shane Cooper on bass, Thandi Ntuli on vocals, Chris Letcher on organ, Ronan Skillen on tabla and percussion and Julian Redpath on guitar, synth and backing vocals.

Now like the submerged lighthouse, the recordings stand as a monument, a marker and snapshot of this fortuitous meeting, a tribute to the healing gifts of Guruji and Panditji in performance. It’s a process that already, both musicians look back on with reverence and nostalgia.

Buttery ruminates in closing, that when he first met Kanada his illness correlated with the biggest drought South Africa had experienced in many years “…for whatever reason, whenever we would connect and make music together, the sky would tend to open. Even if it was just a few drops. This went on for months, until finally the drought dissipated and my health had been restored.”

By the time the heavens did open across the East Coast, a deep friendship had been forged and with it abundant musical offerings poured down. A treasured sample of which we able to share in every time we press play and immerse ourselves in the sacrosanct musical universe that is Nāḍī.

We at Antinote are proud to make our first French-Russian connection. Olga is from Moscow. She came to us after Dominique Dumont's show in Paris, winter 2018. We checked her music and immediately fell in love with the song 'Mojno'. Step by step we built a nice collection of tracks that now make up the 1905 LP! Very active in the electronic music scene, she’s spent the last ten years releasing music, performing, recording & DJing as well as being busy with her tech-project Playtronica (with them she's created 3 controllers that you allow to play scales on people, objects and colors). Across the "1905" LP she utilises some DIY devices such as Yamaha sampler vss-33, voice glitcher from the Russian company “Naked Boards” and organelle synth that creates this synesthetic tone in “ready when you are”. Besides dreamy pads and dancy beats Olga is ironically singing on Russian about her daily routine, in a positive way. There's no sadness and melancholy in the dark snowy days, where even the full moon or retrograde-mercury don’t even bother you ...if you are in harmony with mother nature's 5 elements.

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Absolute madness unearthed by Paul Ebhart and Florian Stöffelbauer aka Heap for Wiener Brut's third release
Chicago-meets-Vienna-vibes - music way ahead of it's time produced in the 80s by short-lived formation Aktionskunst Gerasdorf aka Athletico Kunst Gerasdorf, a project that is well known for it's contribution to the legendary Viennese sampler ‚Die Tödliche Dosis'.

808-driven beats programmed by René Radikal (R.I.P.) backing Melanie Delval's tender voice, with multiple guest musicians (e.g. Fritz Grohs) rounding things up and adding their spice to the laidback jams alongside stand-out musical heavy hitters. A composition of sound you never heard before.

Dutch powerhouses Parrish Smith and Interstellar Funk team up for their debut collaboration on L.I.E.S. with a new four track ep. Striking up the perfect balance of both their signature styles, this record hits the sweet spot between metallic synthwave, slow beat industrial, and clanging EBM hybrids. The duo effortlessly weave together a sonic narrative with nods to the past but unmistakable emphasis on their ever expanding foward thinking future sound. Recommended!

Special edition loud cut of the 6 best tracks from Pantser Fabriek - Du Bist So Jung. Manifesto: Ihr Panzerfaust oder Ihr Mephisto, 'avec la tristesse d'une certaine charactere Wagnerienne', 'amor fati', gleich wie die Liebestod von 'Tristan und Isolde', eine ganz ominose kognitive Dissonanz im ekelhaften schwarzen Wahnfried des Gesamtkunstwerks der Philharmonie, 'l'esprit de corps de la Belle Epoque sans mercee' Ich weiss, mein liebe Prinz, ganz schwarz bist du, aber auch... so jung bist du! Mesdames, messieurs, je vous presente 'Pantser Fabriek - Du bist so jung'! Liebe Reichsgenossen (und liebe Reichsgenossinnen!), Ihr unbeendeter Sturm und Drang nach Westen wird vielleicht diesmals ein bisschen verfleischt! Denn wie schon doch versenkt am heissen Blutmeridian das Rot der alten, tragisch-verzornten Sonnengottheid immer wieder im Boreas' kalten Toten Meer, aber heute gibt's am Ende wurklich etwas neues von der Westfront, am Ende der alten Niederstrheinischen 'Limes' der 'Pax Romana', das Grenzegebiet der Friesen und Kananefaten zwischen die antike Munder von 'Rhenus' und 'Mosa', die meist bloden Hollander Ihrer alten Westergau, im Graflichen Haag, das AbfluSschen Europas, ehemaliges Epizentrum der 'V2' Westwall eines alten Titanenkriegs voll Feiglinge, 'Dietsch Alemannische Feindschaft', das 'Alles ist gut' von heroisch verlorenen Atlantidensohnen oder sadistischen Marquisen, ja, meine lieben Freunde (und lieben Freundinnen!), am Ende kommt, aus dem Westland 'Martyrium' voll Rosen und Dornen, Ihre Neueste Deutsche Welle: 'Pantser Fabriek', mit einer neuen Langspielplatte 'Du bist so jung', von 'Bunker' naturlich, jetzt diesmals leider nicht mit Riesenfarbposter, aber, vielleicht, mit dem Riesenstahl von grossartig fleischgetonten Visionen, die neuesten Leiden des jungen Werthers oder soll sonst auch der Heilige Sebastian einfach ungeheuer herreisen und wieder mit uns leider Lieder singen, wie 'Der Tod in Venedig', 'comme si c'etait la derniere fois', das Bild und Ihre Bildung im schonen Abendlandischen Licht, so unheimisch heimlich Und, ja, Ihr habt das alles schon gewusst! Denn hatte 'Der Alte', Tacitus, schon so lange her nicht gesagt: 'Hic Barbarorum Germania Inferior est' Nachricht von einem fremden Stern, Ihr Lieblingspropagandaministerium, Guy Tavares Guerra Roque

Since forming in 2006 post-punk experimentalists Sebastian Melmoth have been on a thoughtful and adventurous musical journey. In a constant state of aural evolution, the London-based four-piece has a delivered a string of albums and EPs that variously touch on everything from garage-rock, grunge and lo-fi pop, to electro, new wave, dark ambient and music concrete, all the while drawing on a myriad of literary and artistic influences.

The band’s first release for Artificial Dance digs deep into their admirable and eye-opening catalogue and draws together some of the Amsterdam-based label’s favourites from the more electronic end of the band’s output. Entitled “The Dynamics of Vanity” – a comment on Western culture’s obsession with rehashing the past and the band’s own in-built distrust of artistic naval-gazing – the set is not a ‘best of’ retrospective but rather a ‘sort of’ selection of stylistically interconnected cuts that gives a very specific snapshot of the band’s work.

Check for example “Icarus”, a drowsy, hypnotic and sample-laden soundscape that effortlessly joins the dots between post-rock, pitched-down electronica and early morning ambient, or the slowly unfurling throb of thought-provoking opener “The Engineering of Consent”, a swelling, melancholic post-jazz meditation on propaganda and governmental mind control featuring spoken word samples from William S Burroughs in conversation with Brion Gysin, Timothy Leary, Les Levine and Robert Anton Wilson.

The showcased songs are typically hard-to-pin-down, too, with the re-imagined gothic horror break-up cut “Prosopagnosia’ and slow-burn audio addition of “Waiting For Godot” being joined by the wide-eyed morning dream-pop hallucinations of “Seeds (Descent Into Decadence)”. It all adds up to a collection that expertly showcases one engaging thread – of many – running through Sebastian Melmoth’s esoteric body of work.

In 1916, in the middle of the First World War, a small town in Ontario changed its name from Berlin to Kitchener. Many mercurial decades later, in 1988, the town now a mid-sized city, a duo called Vernal Equinox released a record that seemed to trace its roots back to Berlin, but this time the shadowy post-war Berlin of the 70s that produced Tangerine Dream, Klaus Schulze and his Innovative Communications family, and Bowie and Eno’s Berlin Trilogy. These inspirations, viewed through a prism of 80s New Age and the autumnal denim-clad rural Ontario, became New Found World.

New Found World is the inaugural release on Aural Medium, Toronto-based non-musician Linus Booth’s new label focusing on revisionist electronic, industrial and no wave music. Remastered from the reels and pressed on double 45rpm vinyl with an unreleased track from the original sessions.

"I first encountered the members of Vernal Equinox, Steve Brenner and Timothy Rempel, when I would skip high school with my best friend Todd Nickolas (ADSR) who’d play me electronic records after we lurked in the keyboard shop at Sherwood Music in Kitchener, eyeballing synths and drum machines financially out of our reach. Unbeknownst to me, Steve and Timothy both worked in the shop, and leveraged their employee discount to build up an enviable battalion of gear in their aptly named Sync Studios, in Steve’s basement. It was there, after their shifts at the music shop, that they spent a year working out all the material for the album, and when they had every part sequenced, they saved their settings, unplugged hundreds of cables and lugged everything to Airtight Studios across town and recorded the album. The duo self-released the album, and not knowing exactly how to sell it, decided to try and brand it as New Age. Inspired by the genre’s most successful label Windham Hill, they adorned the album with a photo of a sunset that Brenner had shot. They even decided to record some seagulls to fit the mould, and drove 130 km north to Lake Huron with a bag of day old Tim Hortons doughnuts.

Fast forward to a few years ago when Todd sent me a copy of Brenner's cassette works reminding me that we knew Steve from the keyboard shop. Shortly after, I met Brenner at his local Tim Hortons where I bought him a large double-double and we starting planning the reissue. Everything about the album reminds me of my youth, the smell of the woods in autumn, underage drinking and smoking on the tracks, the TD soundtracks to Risky Business and Miracle Mile, and my father’s Windham Hill records. Even the chill-out records I became obsessed with, The KLF, Aphex Twin's Selected Ambient Works and Boards of Canada's melancholic NFB inspired electronica. Of course these came out years after the album was released, but somehow Steve and Tim channeled it all back then, creating something simultaneously so grounded in time and place, but years ahead of its time."

“Requiem” is the name of the new Cold Beats Records release. The reference number 14 of the catalan label is written by L´Avenir, the cold synth side project of veteran electronic musician and sound artist Jason Sloan. Known throughout the space and ambient music scenes for his contemplative electronic soundscape work for close to two decades; Sloan founded L’Avenir in 2012 to explore his long time love of synthnpop and dark minimal wave music created purely from analog and vintage equipment. While still retaining the atmosphere of his solo records, the music of L’Avenir is rooted in the tradition of the minimal, analog, synthesizer music of the late 70′s and 80′s ( Fad Gadget, Depeche, Click Click, Chicago’s Wax Trax Records scene etc…). Growing up through the original scene while it was happening, it’s no suprise that Sloan’s music would eventually move in this direction. While releasing over a dozen solo albums and E.P.’s under his own name, Sloan has played live all over the US, Canada and Europe including the influential Live Constructions radio program at Columbia University, STEIM in Amsterdam and Philadelphia’s The Gatherings concert series, one of the country’s oldest continuing ambient and electronic music series. Sloan is a Professor teaching full-time in the Interactive Arts department along with being the founder and program coordinator for the Sound Art concentration at the Maryland Institute College of Art in Baltimore, Maryland. L’Avenir returns with Requiem, the fourth, full-length album for Barcelona’s Cold Beats Records. Requiem finds L’Avenir visiting themes of postmodernity, alienation and spiritualism while expanding the sonic palette far beyond his minimal synth beginnings. The music of L’Avenir has, at times, been compared to 4AD era Clan of Xymox or mid-period Depeche Mode. But while echoes of the former can be heard, L’Avenir brings a uniquely fresh perspective unheard in other bands of the genre. Requiem features eight new songs and is available on limited edition blood red vinyl. Requiem is L’Avenir’s sixth release was written and recorded between February 2018 and January 2019 in a Minimal Space, (Baltimore). Limited edition of 300 copies lacquered pressed on 140 gr. high quality red vinyl and digital album.

Jatinder Singh Durhailay and David Edren released Tea Notes as a cassette back in April of 2018. London-based Jatinder Singh Durhailay is a painter and student of Indian Classical music. He has trained in both the sitar and the Hindi singing technique, Dhrupad. He also plays two traditional Sikh instruments; the bowed, stringed Dilruba and Taus. Poetic Pastel Press issued his solo debut, The Last Ballad Of Mardana, in 2017. David Edren`s expertise lies with machines and modular synthesis. His Kosmische and New Age-Inspired electronics have featured on numerous cassettes, and compilations, produced for imprints from the current Belgian underground, such as Jj Funhouse, Social Harmony, and Ultra Eczema. These recordings appearing, since the turn of the millennium, either under his own name, or the moniker DSR Lines. Jatinder and David’s collaboration, Tea Notes, is a celebration, a meditation, on both the beverage, and the communal time shared imbibing. The coming together to partake in its ritual. Each of the six tracks represents a different infusion. The opening piece is a tribute to semi-oxidised Oolong, from China`s Wuyi Mountains, with hammered dulcimer-like glissando. Gongs shimmering, gently crashing, as if signaling a change in the weather. A calm of thin, stretched synths and Ai angels introduces Tulsi from India. The Holy Basil of Hinduism, used in the worship of Vishnu, Krishna, and Rama. A traditional herb of Ayurveda and Siddha medicine. Automated arpeggiated sequences raising a vibrating wall of hallucinatory sound. Pairing swooning strings with a racing robot heart. Ceylon is a modern twist on the classical raga. Serving to tell the story of a tea smuggled into Sri Lanka in the 19th century. Plants stolen from South West China, where the brew had been enjoyed since the days of the Shang Dynasty (1766 to 1122 BC). The contraband founding fresh industry in its new home when the indigenous coffee crops failed. Muted organ and sleepy, treated sine wave microtones describe Kava, the Polynesian fireweed root, whose extract serves as both sedative and euphoriant.Shincha are the first young leaves of the season. Picked in Southern Japan and steamed to prevent oxidization, retain their flavour and green / gold colour. Their musical counterpart finds Edren establishing an ecclesiastical drone, while Durhailay`s strings chart an ancient romantic ache. Sonic stars shine. Singing out to the infinite, the universe, before dissolving into knots of Radiophonic Workshop noise.Melodies treated with subtle sustain and delay denote Pu-Ehr, from the Yunnan province. The only truly fermented black tea - made distinctive by the action of bacteria, moulds, and yeasts. Its musical themes hovering in the vapour trails, the atmospheres, they themselves create. Spiraling, soaring, reaching for the heavens, while pretty music box glitches - tiny chimes turned in on themselves. Catching, reflecting, like light at play on fresh running water. (words: Robert Harris)