Search:ne hau

A quick, spontané voyage to the French Riviera ca. 1968, good times long before things went south, Organi’s “Parlez-vous Français?” is a woozy, tripping, soothing sojourn: DIY dream pop, hazy psychedelia, blurred-but-steady beats dripping down the golden boulevard, complete with mystical chants, a dash of half-remembered Franglais that goes down like some vintage eau-de-vie. There’s a fine massage waiting behind those venetian blinds. Pay half an hour, you’ll be relaxed and revived after 22 minutes. Très irrésistible when streamed, Organi’s haunting, hard-boiled French lesson is even better with that classique vinyl crackle in the mix.

Following the cinematic title skit with its bass loop appendix, Oakland-based producer and multi-instrumentalist Mike Walti (and his songwriting partner Maryam) aka Organi invites singer Jessica Bailiff along for the majestic entrée, an interpretation of Philamore Lincoln’s 1970 tune “The North Wind Blew South” (doesn’t it always?), adding anticon. heavyweights Jel and Odd Nosdam on synths and bass for à la mode enhancements and additional bric-à- brac.

Whereas the theme tune “Organi” comes with big drums, big organ, seductive overtones, pure hypnosis, “Whispers” is the soundtrack to some kind of psychedelic campfire tableau vivant: all brumeux, hazy, with spare guitar, Gauloises or Gitanes dangling, a glass of Bordeaux waiting on the dusty old amp, and featuring guest vocalists Yea-Ming Chen & Susy Borhan. It gets even more Parisienne after that: a French woman just knows how to look classic, even when all she’s got is some attitude, a ramshackle tambourine, a craving for old Sukia weirdness and those budget-couture “4 Dolla Jeans”...

Clearly in love with analog equipment, Organi turn The Vaselines’ “Slushy” into a slow- moving, bottomless lullaby – “... you'll never miss what you never had” –, and the femme fatale minimalism of “Stay The Night” is too magnétique and alluring: A fuckin’ sexy chanson, très léger and yet such a hard-knockin’ head-nod anthem, it’ll make you stay for sure, hungry for la petite mort.

Before the expansive denouement – a bank robbery in style: with bangs and a bucket bag (“Danger Walked In”) – the session gets super loose on “The Getaway,” head scarves and berets shimmering in the cabriolet, and featuring Jena Ezzadine on vocals & Headnodic on bass.

Mike Walti aka Organi is an Oakland-based musician and producer. A third generation Bay Area native, Walti has been running wyldwood Studios in Oakland CA for 10+ years (recording artists like Why?, Latyrx, Del, Dan The Automator, and Big Freedia, to name but a few). A longtime friend of Odd Nosdam, he loves to work with analog equipment (“We just love us some analog!” “Just listen to those relays purr...”). Recorded and mixed by Mike Walti at wyldwood, and mastered by Odd Nosdam.

Limited edition vinyl re-press. Hand-numbered gatefold sleeve with updated liner notes. Pressed to blue vinyl. Limited to 500. 4**** The Times 4**** MOJO ”Songs as gloriously haunted as the land that spawned them” – Q 4**** The Magnetic North is made up of Erland Cooper, Hannah Peel and Simon Tong.

Mouse on Mars, the Berlin-based duo of Jan St. Werner and Andi Toma, approach electronic music with an inexhaustible curiosity and unparalleled ingenuity. ‘AAI’ (Anarchic Artificial Intelligence) takes their fascination with technology and undogmatic exploration a quantum leap further.
Emerging from a primordial ooze of rolling bass and skittering electronics, hypnotic polyrhythms and pulsing synthesizers propel the listener across the
record’s expanse. Hidden in the duo’s hyper-detailed productions is a kind of meta-narrative.
Working with AI tech collective Birds on Mars and former Soundcloud
programmers Ranny Keddo and Derrek Kindle, the duo collaborated on the creation of bespoke software capable of modelling speech; text and voice from writer and scholar of African Studies Louis Chude-Sokei and DJ/producer Yağmur Uçkunkaya were fed into the software as a model, allowing Toma and Werner to control parameters like speed or mood, thereby creating a kind of speech
instrument they could control and play as they would a synthesizer.
The album’s narrative is quite literally mirrored in the music - the sound of an artificial intelligence growing, learning and speaking. This exploration of artificial intelligence as both a narrative framework and compositional tool, allowing the duo to summon their most explicitly science-fiction work to date. Original artwork by Casey Reas, inventor of the computer graphics language Processing.
Recently, Mouse on Mars received the 2020 Holger Czukay Prize for Pop Music.
Mouse on Mars have been regularly streaming performances throughout 2020, partnering with organizations like Goethe-Institut, Haus der Kulturen der Welt, Conditions of a Necessity and others and will continue these in 2021.
‘AAI’ is available on grey or black double LP packaged in a single sleeve with full colour insert / lyrics. CD comes with 8-panel poster booklet.
“Andi Toma and Jan St. Werner continue to create soundscapes that blur the line between programming and live musicianship, and sometimes between Earth and outer space.” - AV Club
“Enthralling and impossible to categorize.” - Pitchfork
“Sustained and ephemeral electronic sounds conjure unearthly open spaces… It’s not a song; it’s sound as a temporal phenomenon, a few minutes of sculpted attention.” - The New York Times

Swedish producer and electronic enthusiast Rivet (Mika Hallbäck Vuorenpää, Malmö) joins the Editions Mego fold with a dynamic and diverse album that pivots between the punctuated pop of Ivan Pavlov's COH project, the chromatic slink of Chris and Cosey whilst also bearing a degree of fruit birthed from Hallbäck's home country Sweden in skewered pop such as The Knife.

This is electronic music born from the worship of machines and the spirit of punk, mood music brooding with sophistication and subversive twists all underscored with a deep industrial pulse. Are these songs? Are these lyrics? Words melt as beat perpetually takes us deeper into flight.

Interpretation is flung open as the audience are invited to gauge what on earth is going on here. Are Sooty Wing Flecks a minuscule species of half keyboard half vocoder chatter? Is Gleitende Liebe to be trusted or simply laying out a guide for disorientation? Pearling Woes is a queasy ballad sung by a robot on a very special comedown. Keloid knows exactly where the party can be now whereas Sodden Healer is an uber ride sans mask to destinations dark and unknown. Throughout this trip sharp snares punctuate ghost melodies as vocals rise and vaporise. Shadows hover the walls leaving holographic traces of the duality between fun and fear, the unexpected drifts diagonally across the audio plane teasing and taunting the listener in a unique blend of industrial, techno, pop and experimental forms.

On Feather and Wire album is a deep absorbing trip through multiple moods, genres and guises, as mysterious as it is engaging and one to ingest in a single sitting, lying back, sitting up, standing up and yes, even dancing. Let the angels and angles, the voices and distorted faces take shape before your mind. Who is Ordine Kadmia? What are they saying to me, here we go, on and on...

With it's haunted vocals, coded linguistics and dark sensual propulsive atmosphere On Feather and Wire is a sublime contemporary techno pop trip both psychedelic and subversive.

Written and produced by Mika Hallbäck Vuorenpää

Post-production by Mika Hallbäck Vuorenpää and Benny Liberg at Inkonst Studio Malmö
Mixed by Oscar Mulero at Dead Souls Studio Gijón
Mastered by Stephan Mathieu
Images by Dimitrios Bizios
Artwork by Nik Void

“Nothing ever really disappears,” Cassandra Jenkins says. “It just changes shape.” Over the past few years, she’s seen relationships altered, travelled three continents, wandered through museums and parks, and recorded free-associative guided tours of her New York haunts. Her observations capture the humanity and nature around her, as well as thought patterns, memories, and attempts to be present while dealing with pain and loss. With a singular voice, Jenkins siphons these ideas into the ambient folk of her new album.
An Overview on Phenomenal Nature honors flux, detail, and moments of intimacy. Jenkins arrived at engineer Josh Kaufman’s studio with ideas rather than full songs — nevertheless, they finished the album in a week. Jenkins’ voice floats amid sensuous chamber pop arrangements and raw-edged drums, ferrying us through impressionistic portraits of friends and strangers. Her lyrics unfold magical worlds, introducing you to a cast of characters like a local fisherman, a psychic at a birthday party, and driving instructor of a spiritual bent.

Jenkins’ last record, 2017’s Play Till You Win, confirmed the veteran artist’s talent. Evident of Jenkins’ experience growing up in a family band in New York City, the album showcased her meticulous songwriting and musicianship, earning her comparisons to George Harrison and Emmylou Harris. Jenkins has since played in the bands of Eleanor Friedberger, Craig Finn, and Lola Kirke, and rehearsed to tour with Purple Mountains last August before the tour’s cancellation. Her new record departs from her previous work in its openness and flexibility, following her peripatetic lifestyle. “The goal is to be more fluid, to be more like the clouds shifting constantly,” she says. The approach allowed Jenkins to express herself like she never has.

On album opener “Michaelangelo,” before the heavy drum beat and fuzz guitars enter, Jenkins sings quietly “I’m a three-legged dog, working with what I’ve got / and part of me will always be looking for what I lost // there’s a fly around my head, waiting for the day I drop dead.” Phenomenal Nature thrives in this dichotomy between ornate sonics and verbal frankness, a calming guided tour to the edge. Later, on “Crosshairs,” amid lush strings, she sings conversationally: “Empty space is my escape / it runs through me like a river / while time spits in my face.”

“Hard Drive,” the third track and album centerpiece, opens with a voice memo Jenkins recorded at The Met Breuer: a guard muses about Mrinalini Mukherjee’s hybrid textile and sculpture works, which were then on display in a retrospective titled Phenomenal Nature. “When we lose our connection to nature, we lose our spirit, our humanity,” she explains. Stuart Bogie's saxophone & Josh Kaufman's glittering guitar make way for Jenkins' spoken word which constellates scenes from her life, gradually building and blossoming as she recreates a meditation guided by a friend who incants, “One, two, three.”

Sounds of footsteps and bird calls run through the album’s glittering conclusion, “The Ramble.” Meditative and bright, it recalls how Jenkins felt while writing and recording her new material: “Everything else is falling apart, so let’s just enjoy this time,” she said. If Phenomenal Nature has a unifying theme, it’s the power of presence, the joy of walking in a world in constant flux and opening oneself to change.

Electric Jalaba comprises six accomplished musicians with an empathy thatfeels telepathic and a groove that immerses. In Arabic, the mother tongue ofMoroccan-born singer and guimbri player Simo Lagnawi, a leading practitionerof Gnawa music in Britain, they call this indefinable quality, "El Hal" - "Thefeeling". "It's the feeling that comes when we're playing and totally forgetting where weare," says producer and bassist Olly Keen. "The feeling of being grabbed by themusic and lost in the groove." 'El Hal / The Feeling' is the new third album fromElectric Jalaba and their first release in five years. It's a multi-faceted work thatfinds the band tighter than ever, deploying a vast cache of influences across ninetracks improvised and developed in their south London studio then deftlyproduced by Keen. Some tracks pay homage to the origins of Gnawa music,whose repertoire of Arabic-language praise songs contains remnants of WestAfrican dialects - Bambara from Mali, Fulani and Hausa from the Sahel region -that point to a centuries-old migration. "The trance-inducing effect of Gnawa was what hit us first. It was visceral, heartstopping," continues Olly, whose siblings - producer / keys player Henry Keen,guitarist / multi-instrumentalist Nathaniel Keen and singer / multi-instrumentalistBarnaby Keen - make up Electric Jalaba alongside revered Anglo-Italian kitdrummer Dave De Rose and Simo on vocals, krakeb and guimbri. "Simoselected the chant from the traditional song suites and, as a band, we extendedthese short pieces of ceremonial music and experimented with sound andstructure," explains Olly. Tracks include the Juno-led dancefloor single 'CubailiBa', 'Agia Hausa', a multi-layered wig-out that partly takes its inspiration fromSenegal's fiercely percussive mbalax rhythms and 'Daimla', a gloriously dubbyode to Allah and iconic maalems including the late Mahmoud Guinea. "There's avery strong rhythmic element within the band but because of our differentperspectives but the melodic components are really unique as well," says Henry.That feeling of being outside of yourself but totally within yourself at the sametime... That's what all of us, collectively, are striving for."

Phoebe Bridgers veröffentlichte ihr Debüt 2017 als relativ unbekannte Singer-Songwriterin aus Los Angeles. Etwas mehr als zwei Jahre später ist sie eine international anerkannte Musikerin mit drei renommierten Werken unter der Haube: ihr Solo-Debüt "Stranger In The Alps", die boygenius-EP mit Julien Baker und Lucy Dacus im Jahr 2018 und Better Oblivion Community Center - eine überraschende Zusammenarbeit mit Conor Oberst 2019. Bridgers ist ein bemerkenswertes Talent und zugleich eine Künstlerin, die sich selbst und ihre kometenhaft wachsende musikalische Karriere mit ausreichend Humor begegnet. Das neue Album "Punisher" wurde zwischen den Sommermonaten 2018 und Herbst 2019 geschrieben und aufgenommen - die Songs offenbaren dabei einmal mehr Bridgers als unwiderstehlich kluge und gefühlvoll produktive Songwriterin unserer Zeit. Erneut arbeitete Bridgers - die auch als Produzentin die boygenius EP und das Better Oblivion Community Center-Album ko-produzierte - für die neuen Songs, wie auch für `Stranger In The Alps', mit Tony Berg und Ethan Gruska zusammen. Dabei fanden sich auch ihre eng verbundenen Musikerfreunde im Studio wieder ein - inklusive Bridgers Band bestehend aus Marshall Vore (Drums), Harrison Whitford (Gitarre), Emily Restas (Bass) and Nick White (Klavier) sowie Performances von Conor Oberst ("Halloween", "I Know The End"), Lucy Dacus ("Graceland Too", "I Know The End"), Julien Baker ("Graceland Too", "I Know The End"), Blake Mills ("Halloween", "Savior Complex" and "I Know The End"), Jenny Lee Lindberg ("Kyoto", "ICU"), Christian Lee Hutson ("Garden Song", "Halloween", "Savior Complex", "I Know The End"), Nick Zinner ("I Know The End"), den legendären Drummer Jim Keltner ("Halloween" and "Savior Complex") und Bright Eyes' Nathaniel Walcott an der Trompete ("Kyoto" and "I Know The End"). `Punisher' wurde wie zuvor auch `Stranger In The Alps' von Mike Mogis gemischt.

Mondo, in collaboration with Back Lot Music, is proud to present a vinyl pressing of James Newton Howard's Golden Globe Nominated score to Universal Pictures’ powerful new film from acclaimed filmmaker Paul Greengrass, News of The World.

Set five years after the end of the Civil War, News of the World follows Captain Jefferson Kyle Kidd (Tom Hanks), a veteran of three wars, who now moves from town to town as a non-fiction storyteller, sharing the news of presidents and queens, glorious feuds, devastating catastrophes, and gripping adventures from the far reaches of the globe.

In the plains of Texas, Kidd crosses paths with Cicada, aka Johanna Leonberger (Helena Zengel, System Crasher), a 10-year-old taken in by the Kiowa people six years earlier and raised as one of their own. Johanna, hostile to a world she’s never experienced, is being returned to her biological aunt and uncle against her will. Kidd reluctantly agrees to deliver the child to where the law says she belongs. As they travel hundreds of miles into the unforgiving wilderness, the two will face tremendous challenges of both human and natural forces as they search for a place that either can call home.

The film is a moving exploration of our present through the lens of our past, and the music by eight-time Academy Award® nominee James Newton Howard (The Hunger Games, The Sixth Sense, Signs, The Fugitive) is innovative, emotional, and beautiful, as it follows Captain Kidd’s journey from regret to redemption. A haunted, and healing sound of vintage Americana floods from your speakers as the tender strings and piano guide you over gorgeous landscapes.

When Linda Smith purchased a 4 track cassette recorder in the mid-1980s she was playing guitar in a band called the Woods, and thought it would be useful for sharing demos with her bandmates. In the end, the new hobby followed her from New York back to her native Baltimore, and over the next decade she’d release several albums worth of delicate, bewitching solo music on cassette. Till An- other Time: 1988-1996 is the first retrospective collection of Smith’s charmingly lo-fi music.

Sparse and gentle, Linda’s music is tinged with lovelorn melancholy despite the sweetness of her voice. Over ‘60s pop-indebted melo- dies on tracks like “A Crumb Of Your Affection”, she delivers ob- servations with an earnest softness. Elsewhere, her voice takes on a post punk deadpan, as on “I See Your Face.” The effect of both modes is a haunting charm, equally reminiscent of early Cherry Red Records and ‘60s yé-yé.

With a no-nonsense approach to recording, Linda recorded almost all of her songs at home. There was a creative freedom that came with recording on tape, and unbeknownst to her, this was a conclu- sion that many musicians were reaching at the time.

Unfortunately, the independence that made at-home recording ap- pealing to Linda also made it difficult for her to reach a wider au- dience. Relying on niche publications, cassette trading, and word of mouth to share music, Linda released a few 7”s on labels like Slumberland and Harriet but remained relatively local in terms of reach. Nevertheless, one can trace a direct line from Linda Smith to the ubiquity of bedroom recording today.

Both tracks produced by Robin The Fog at The Sticky Shed, Penge during lockdown 2020. Side A features a recording of a wine glass. Side B is created entirely from closed input sounds of the tape machines themselves. One take, no edits, no overdubs, no artificial FX. Mastered by Steven McInerney. A.H.M.F. and long live the Wyrm.

Robin The Fog is a sound designer, radio producer, audio archivist, educator and occasional DJ based in London. His work falls under the broad term "radiophonics" and includes composition, sound installation, field recording and documentary. Best known as founder and chief strategist of "tape loop quintet" Howlround, he also produces work alongside DJ Food and Chris Weaver as The New Obsolescents and with Ken Hollings as The Howling. Originally described as a "second wave hauntologist", his current obsession is attempting to use closed-input feedback loops to create primitive techno, which is quite a long way from where he started. His biggest fear is being swallowed by a python, but living in South London he appreciates the contingency is a remote one.

In Zusammenarbeit mit dem britischen Entwickler-Studio Kaizen Game Works veröffentlicht das Kölner Soundtrack-Label Black Screen Records im Frühjahr 2021 Barry "Epoch" Toppings funkigen "City-Pop meets Vaporwave"-Soundtrack zu dem von der internationalen Gaming-Presse gefeierten Open World Adventure Game Paradise Killer auf Vinyl. Barrys Toppings Soundtrack erscheint auf limitiertem 180g Curacao & Pink Doppel-Vinyl und kommt in einem von 80er Animes & City Pop-Alben inspirierten Artwork der deutschen Designerin Mizucat. Zudem enthält das Vinyl ein gefaltetes A2 Poster und einen Download Code. Die Sounds des Paradieses. Die Musik eines kosmischen Traums. Tracks einer anderen Realität. Das Tempo eines Verbrechens, dass alle Verbrechen beendet. Der Beat von lange verlorenen außerirdischen Göttern. Die Playlist des "Investigation Freaks". Lass dich von der Musik ins Paradies führen. Fühle die glühend heiße Sonne auf deiner Haut. Rieche unerträglich heißen Beton. Genieße den süßen Geschmack von Verbrechen, begangen, auf einer tropischen Insel in einer alternativen Realität. Erinnerst du dich daran, wie wir am Strand getanzt haben? Neben den paradiesischen Straßen? Du hast mir dieses Mix-Tape auf dem Dach deines Apartments gemacht. Wir haben den Mond angestarrt. Du sagtest, du würdest den Mond töten. Ich glaubte dir nicht. Wie falsch ich doch lag.

The Crown is a drama television series, created and written by Peter Morgan and produced by Left Bank Pictures and Sony Pictures Television for Netflix Original. The show tells the biographical story about the early reign of Queen Elizabeth II of the United Kingdom. The fourth season features Olivia Colman as Queen Elizabeth, as the story traces her life from her wedding 1947 to the present day. The main cast is further completed by Emma Corin as Lady Diana Spencer, Gillian Anderson as Margaret Thatcher, Helena Bonham Carter and Tobias Menzies as Prince Philip, and many more. Martin Phipps once again composed the haunting minimalistic soundtrack for this Golden Globe Award winning drama series. It is pressed on ‘royal’ purple marbled vinyl as a limited edition of 750 individually numbered copies and the package includes a 4-page booklet.

First run on silver marbled vinyl!

2020 was a year like no other. Thankfully, Shipwrec is slowly returning to normality. Not only is the label back to releasing form, but also the roster of artists is being expanded with the superb addition of Caron. Known for his releases on labels like 030303 and Brokntoys, Caron debuts on Shipwrec with a four tracker of sheer quality. Off-kilter percussion introduces the breathy pads and grandeur of "Ancestry," a piece of dreamy chords and acid undertones. The haunting "Common Sense" follows. Drums stagger next spectral vocals in this chilling electro piece. A similar stalking note continues on the flip with the 303 soaked "Lost." A steady kick offers a bedrock from which looming keys, bitter squawk and dancefloor paranoia take hold. Hopeful shades arrive with the brilliance of "Ruins." From industrial percussion and metallic rinses, a deep and intricate finale forms to bring "Shattered" to a terrific close.

What is the utility of pain? Can it do anything but fester? In Ferneaux explores pain in motion, building audio-spatial chambers of experience and memory. Using an archive of field recordings from a decade of global travels, isolation gave Blanck Mass an opportunity to make connections in a moment when being together is impossible. The record is divided into two long-form journeys that gather the memories of being with now-distant others through the composition of a nostalgic travelogue. The journeys are haunted with the vestiges of voices, places, and sensations. These scenes alternate with the building up and releasing of great aural tension, intensities that emerge from the trauma of a personal grieving process which has perhaps embraced its rage moment. An encounter with a prophetic figure on the streets of San Francisco presented the question of "how to handle the misery on the way to the blessing." This is the quandary of the impasse we now all find ourselves in, trapped in our little caves, grappling with the unease of the self at rest - without movement, without the consumerist agenda of "new experiences." The possibility of growth, always defined by our connections with others, held in limbo. Sartre said that "Hell is other people," but perhaps this is the Inferno of the present: the space of sitting with the self. A blessing is often thought of as a future reward, above and beyond the material plane. With In Ferneaux, Blanck Mass wrangles the immanent materials of the here-and-now to build a sense of transcendence. Here, the uncanny angelic hymn sits comfortably beside the dirge. The misery and blessing are one.

500 only LP. One of the first full-length recordings of Hauka ritual music. Praise songs and sacred incantations to the spirits to inhabit the body. Call and response chants, the pluck of a monochord lute and relentless pounding percussion combine in a dizzying nonstop session. The Hauka movement started nearly a century ago and has persisted on the fringes of Nigerien society. Documented in the 1955 Jean Rouch film Les maitres fous, the Hauka are a pantheon on spirits mirrored on colonial and military figures. Central to the religion is the "Holley Hori" possession ceremony, a ritual driven by militaristic percussive music, wherein spirits come into the body in powerful and violent manifestations. Lingo Seini has played ritual music for almost 60 years, learning from his father. He is joined by his son Youssouf on the calabass and Issaka Moulla, playing his homemade kuntigi. The group regularly accompanies Hauka priests in ceremonies. Recorded with a single microphone in the outskirts of Niamey.

Known for a series of beautiful records released on some of the best labels of the past years (Comeme, Dark Entries, Cititrax, Pinkman), Romanian producer and DJ Miruna Boruzescu aka Borusiade knows how to create ethereal tracks, somewhere between post-wave, techno and industrial vibes.

"Purge", the new EP for Tripalium Corp, is about heart-break in forced isolation, when the only way to stay sane is purging through music and lyrics. From the 80s synth of "Let Go" to the experimental ten-minutes-trip "Haunted Evolution", these five tracks are talking about of one's coping systems in extreme emotional situations, hope and power to move on and last but not least, learned lessons and empowerment.

Pianist/composer Maria Kannegaard presents ‘Sand i en vik’, a rapid
follow-up to the album ‘Nadeslas’.
Where that latter album was an experimental and expressive affair, the former sees her return to more familiar musical pastures, although with a different viewpoint and attitude. Kannegaard’s piano playing remains immaculate, never cluttered or wasteful, always conveying the right mood or emotion, the perfectly balanced response to both the composition and the development of it.
The compositions carry their own moods and unique characteristics, their own internal tensions, sometimes haunting, sometimes exuberant, sometimes seeming stretched to a breaking point.
Plaintive ballads sit alongside riff-driven stompers, moments of abstract expressionism interweave with stop-start angular motifs, unexpected harmonizations, and moments that seem to be formless before revealing themselves to be details within a larger, clearer picture.
Frequently sounding like much more than a trio, the album is mixed and mastered by the award-winning Stefano Amerio at Artesuono recording studios.

Legowelt teams up with medieval music expert Jimi Helinga once again for a new album in their 'para-academic' Zandvoort & Uilenbal project. Folk Triumfator is the successor to the cult 2016 GERUIS UIT SOMBERDORP in which they return to appropriate historical instruments and mix it with 'modern'synthesizers. We can hear a medieval Hurdy Gurdy, A Victorian Harmonium, a 1950's Mixtur Trautonium, an electro acoustic thumb harp and much more, all mingled and amalgated into the unique Zandvoort & Uilenbal sound. It all crackles and squeaks like an old haunted ship drifting into a foggy sinister harbour while being obsvereed by Ligottian clown puppets. We can write how conceptual and arty this all is but let's just say this is hardcore dark ambient with lots of medieval drone space jazz influences to trip your mind out into a region where time and your opinions cease to exist.

Testament is often credited as one of the most popular and influential bands of the thrash metal scene. Their debut album The Legacy immediately made an impact when it was first released in 1987. Music critic Alex Henderson of AllMusic gave it 4.5 out of 5 stars, praising the record for its “thrash circles” and for being “a relentlessly heavy and promising effort focusing on such subjects as the occult, witchcraft, nuclear war, and global destruction”. It made many year-end lists including those of renowned metal publishers Metal Injection. Loudwire lists the album among the ten best thrash records that weren’t released by The Big 4. The album spawned one single release, lead-off track “Over The Wall”, which the band still plays live during nearly every show they play and remains one of the most popular songs among fans.

This limited edition of only 1500 numbered copies release contains an insert and is pressed on silver coloured vinyl.

"Ultra Eczema rarely reissues records: firstly, because we believe it's hard to improve on a good original (and we would never want to republish anything that isn't); and secondly, it's called the Internet and you can find everything on it. Nonetheless, in 2015 we reissued Kraus' 'I could Destroy You With A Single Thought', a CDR from 2004, because it was camping in our all-time favourite records list for a decade and the data on this erratic medium tends to erase itself, much like a troubled past. 'A Golden Brain' was published in the first wave of the Covid pandemic via Kraus' bandcamp as a digital release. And once again we couldn't help ourselves. This is Kraus at his best: if a bedroom could be a stadium, he would play the main stage! Limited edition of 300 copies. Includes an insert, download code and a UE sticker."

James Johnston (Gallon Drunk / Nick Cave / PJ Harvey) and Steve Gullick (renowned music photographer) are pleased to announce their new album out on the 26th Feb 2021. It's a dark but beautiful trip. After working together on an art show in late 2019, the idea of making music again immediately resurfaced. Without any firm strategy, Johnston and Gullick began recording, unprompted, drawing upon a shared love of noise, folk, and classical. After the first tracks began to evolve, however, they knew they’d unearthed something compelling and fresh, not to mention unexpectedly mysterious. This became WE TRAVEL TIME.The result is a deceptively crafted album that slowly reveals – and, more importantly, embraces – beauty in its cracks. Piano, voice, violin and guitar create a drifting haze, with the focus on these acoustic elements forging an imagined soundtrack which offers echoes of Big Star, Nico, Lee Hazlewood and Palace Brothers, as well as the gentle, haunting influence of contemporary minimal classical. Ambient sounds – birds, rain, cars, clocks, distant voices – also drift in and out, melting into the music’s fabric via windows left open during the early 2020 heatwave. WE TRAVEL TIME, nonetheless, resists definition, remaining enigmatically timeless.

Thumbing Thru Foliage is a blunted journey through YUNGMORPHEUS’ mind where personal lyrics intertwine with socio-political themes and tongue in cheek humour. Produced entirely by ewonee. Lead single ‘Fistfulofgreens’ grooves on a g-funk-esque plain and is an assured mission statement - “original man who got the game plan, I aint switching my hands inside these strange lands” whilst also sharing some intimate insight “I don’t ever answer questions that the feds askin, they were cuffin’ my mama, you know I had to blast them”. Second single ‘Sovereignty’ takes a more soulful turn with ceremonial strings and r&b samples ringing under braggadocious bars. Third single ‘Middle Passage’ is a more introspective cut - sombre vocal and piano loops are juxtaposed with neck snappin’ energetic drums. Describing the project in his own words, YUNGMORPHEUS says, “Peace peace, I consider this album a call to action of sorts. The world is rife with distractions and oppressive tactics but niggas move through it nonetheless ! Respect to ewonee for providing a beautiful backdrop for me to get some much needed shit off my chest. Maneuver through the foliage yall... Power to all black people ! Salute to those who listen”. ewonee adds, “Growing up like we did in this corporation Neegas deal with a lot. Usually gotta go through the mud to get to the greens. Good comes with the bad and vice versa, learning how to adjust is a must. Hope y’all get that from this. Roll up count up and mount up. PEACE”. YUNGMORPHEUS is an American rapper and record producer, originally from Miami but now based in LA. He has released music on Leaving Records and Rap Vacation as well as collaborating with Pink Siifu, Fly Anakin, Koncept Jack$on and Ohbliv. Previously supported by Okayplayer, XLR8R, Bandcamp, DJ Booth, Tiny Mix Tapes, Earmilk, BBC6 Music, Dublab, NTS and Worldwide FM. ewonee is an American Multi-instrumentalist, Producer, Beat-maker & Audio engineer from New York. Part of the Mutant Academy crew and also involved with the Beat Haus Show, ewonee has previously produced & collaborated with the likes of Your Old Droog, Fly Anakin, Reginald Chapman and Koncept Jack$on.

Kuldaboli returns to bbbbbb records, this time with a 6-track EP on which his idiosyncratic sound of icy, cryptic electro fully emerges. BBB015 being the second release of Kuldaboli on bbbbbb records is destined to be a historical release for the Icelandic dance music scene and a very important one for Kuldaboli’s legacy. The EP title ‘Ekkert nema ískaldur veruleikinn’ roughly translates to “nothing but the ice cold reality” and that is exactly what is delivered across the six tracks laden with poetic lyrics and spoken word.

In the opening track ‘Ég er bara ég’ Kuldaboli’s signature sound of uncompromising electro is overlaid with haunting vocals recited in Icelandic saying “I am only me and you are only you, people exchange words measuring each other out, trying their best at discerning life’s riddles’’. It is easy to say that Kuldaboli knows how to capture the listeners with deep reflections on subjects that most people are aware of but hardly ever speak of.

A2 ‘Ískaldur veruleikinn’ or ‘the ice cold reality’ is the most bouncy dancefloor track of the EP with the openings lyrics saying ‘’Are you telling me the truth? If I were to guess you are lying cold to my face’. The power of word play in this release is by far the most interesting poetic turn for Kuldaboli to date, where he shows great insight to the subconscious and human behaviour.

The smooth sounds of possessed Italo disco on A3 ‘Finn innri frið’, along with the funky bassline and trance like synths has perhaps the most positive vibe to it if you are not familiar to Kuldaboli, along with the playful opener of B-side ‘Afi kenndi mér íslensku’.

Following B2 no-bullshit-electro-track ‘Kuklari’, the final track B3 ‘Fönix úr ösku’ shows the haunting dark depth of depressurisation that vocal and electronics can create, where melancholic lyrics convey images of lost dreams of former lives.

pink vinyl limited to 500
Insides’s music shimmers and tingles with the tantalising promise of a different direction that UK pop could’ve gone: future-facing and fresh, rather than nostalgic regurgitation.” Simon Reynolds, author and music critic, writing in  Euphoria re-issue liner-notes in 2019

“A sound still as dew fresh, dawn dazzled and shot through with luscious darkness as it was nigh on three decades ago.” Neil Kulkarni, The Wire, 2019

Insides are Julian Tardo and Kirsty Yates. They first recorded together in the early 90s as Earwig, and released an album, 'Under My Skin I am Laughing', which brought them to the attention of 4AD. Earwig morphed into Insides and  two further albums were released on 4AD’s Guernica imprint: ‘Euphoria' (1993) and 'Clear Skin' (1994). In 2019 ‘Euphoria' was reissued for US Record Store Day by Beacon Sound, and was hailed as a lost treasure by discerning outlets. 

'Soft Bonds' is Insides’ first release for 20 years. It’s the sound of heart-stopping slow motion, blood rushes, fingers digging into bruised flesh, and sleeping with clenched fists.

“We found some things that were recorded a long time ago. We added some things that have been haunting us for for years and recorded some other ideas that we’d just thought of. Recording started at home in 2012, and continued every now and then in our studio, on trains, in the Greek island of Naxos and while wandering around Cissbury Ring, Chanctonbury Ring and Devil’s Dyke in the South Downs. We finally walked away from the recordings in late 2019 and decided to release a small run of CDs and LPs on our own Further Distractions label.

'Soft Bonds' is about the past haunting the present, and gripping onto your crumbling sense of self. It’s informed by the spirit of This Heat/This Is Not This Heat, Patty Waters, Annette Peacock, Eartheater, Mhysa, Hailu Mergia, Scott Walker and Arca.”

The first track to be released, 'Ghost Music', was also the first to be finished and came about by scrapping the original structure, leaving only the trace elements. Working in the negative space that’s left behind, where rhythms are pulses and heartbeats and melodies are memories, it’s insistent, staring, but not shouting. Almost absent, or heard from another room. The video uses footage of Kirsty and Julian filmed and used in live shows in 1993 and cut with more recent footage from 2016. The past haunts the present.

“Pop loving the sound of itself to death. And hating the fact that it can’t stop loving.” Rob Young, The Wire, 1993

“...they seemed to be creating an entirely new version of pop. Their hooks were unmistakable, in that they triggered movement like perpetual-motion clockwork. Their grooves were sparse and spectral and nagged at you like breakbeats but made your heart and hair-follicles dance more than your feet. Their music was amniotic, ebbing and alive with iridescent melodic detail and lyrics that turned the turmoils and trauma of love into the sweetest searing honesty you’d been privy to since you first heard the Supremes.” Neil Kulkarni, The Quietus, 2011

• When David Bowie and Iggy Pop relocated from LA to continental Europe, taking trains to Berlin, Paris and Warsaw, they would have come across new music that was very different to the burgeoning disco scene they left behind. “Cafe Exil” – named after one of Bowie’s favourite Berlin haunts – imagines the soundtrack that would have informed “Low”, “Heroes” and “Lodger”. It’s an awesome mix of electronica, Krautrock and experimental treats.

• There are key tracks from members of Can and Tangerine Dream, fascinating obscurities by German act Streetmark and Italian library maestro Piero Umiliani, the Herzog-soundtracking Popul Vuh, and highly collectible avant-strangeness by Annette Peacock. Czech-born Jan Hammer’s beautiful, light, atmospheric groove is among myriad surprises.

• “Cafe Exil” has been put together by Saint Etienne’s Bob Stanley and Jason Wood, author of multiple books on cinema and programmer at Home in Manchester. It fits in with other recent Ace compilations such as “English Weather” and “76 In The Shade” – it creates a mood, a time and a place. You’re right there, sat next to Bowie, drinking his Pernod and black, in a darkly lit Berlin bar.

• This 2LP set features a bonus track from Edgar Froese.

Limited

LOVE IS A STREAM :: 10 year anniversary edition. Remastered by Stephan Mathieu. Design by Farbod Kokabi.

Jefre Cantu on Guitar & Electronics. With Lisa McGee, John Twells, and Maxwell August Croy on vocals. Orginally released October, 2010 on TYPE records, UK.

From the original press release: As a member of San Francisco legends Tarentel and Type’s premier astral travellers The Alps, Jefre Cantu-Ledesma is hardly a new addition to the label, so it’s hard to believe that ‘Love Is A Stream’ is his first Type solo album. Previously releasing on Arbor, Spekk and his own Root Strata imprint, this latest album marks his journey into the beautifully cacophonous world of dream pop. Shoegaze music has been much maligned in recent years, probably due to its rebirth and subsequent explosion of popularity (which gave rise to hundreds of young bands aping the over twenty-year-old sound). However it was only a fragment of the genre that these bands attempted to re-create, and on ‘Love Is A Stream’ Cantu, instead of focusing on tired weeping melancholy ballads, focuses solely on expansive, almost noise-ridden hopefulness. This is the kind of noise we fell in love with when My Bloody Valentine blew our ear drums performing ‘Loveless’, or the kind of harmonic excess we heard on hundredth listen to Catherine Wheel’s ‘Ferment’, but taken into deeper, more abstract realms. ‘Love Is A Stream’ is dedicated to love itself, and the dreamy, shimmering blown-out textures might at first sound like white noise before they ultimately give way to blissful harmony and hidden melody. Underneath the grit and growl are hidden guitar parts, synthesizer drones and even vocals (provided by Lisa McGee, John Twells and Maxwell August Croy) that succeed in swelling the dense, tape-saturated songs to heady new heights and belie any influences they might have. On each listen the mind strips away another layer of dust and bones to reveal haunting and deeply moving beauty. The world might be spiralling into despair, but Jefre Cantu-Ledesma has brought us a record that isn’t afraid to share the love. All that’s left to do is drown in it.

Enter, ANGST a series of musical ‘essays on the ephemeral being’ by Portuguese pianist and composer Tiago Sousa.

After 2015’s Um Piano nas Barricadas (Discrepant, CREP23) Sousa expands his compositional chops by writing and performing along with a trio made of clarinet, percussion and vibraphone adding a magical realism aura to the music.

It was fate that the releasing of these compositions would arrive in one of the most troubled passages of recent memory, just as a new decade begins. If it was already established that anguish is one of the hallmarks haunting our modern era, these last few years expose this existential feeling with even greater urgency.

The album that Tiago now presents, part angst part nostalgic escapism addresses this very modern concern as well as other themes dear to the so-called existentialist thinkers such as Heidegger, Camus or Kierkegaard, who among others, seek to directly challenge the Being with various concepts such as Repetition, Temporality, Interiority, Despair…

Throughout the 8 themes here presented, a delicate attempt is made to sketch a phenomenological cartography through its content and form, loosely describing the feeling of being launched into the wide world and the discovery of one self. In other words, the artist’s aim here is to convey the growing pains that the whole question about the meaning of life throws at us.

In an approach that is difficult to catalogue, the album tries to avoid genres and crystallizations in which music presents itself as a vehicle to express the ineffable and the incommunicable, expressing instead a magical world of wonder and enchantment.

-LTD. MAGENTA VINYL-

What is the utility of pain? Can it do anything but fester? In Ferneaux explores pain in motion, building audio-spatial chambers of experience and memory. Using an archive of field recordings from a decade of global travels, isolation gave Blanck Mass an opportunity to make connections in a moment when being together is impossible. The record is divided into two long-form journeys that gather the memories of being with now-distant others through the composition of a nostalgic travelogue. The journeys are haunted with the vestiges of voices, places, and sensations. These scenes alternate with the building up and releasing of great aural tension, intensities that emerge from the trauma of a personal grieving process which has perhaps embraced its rage moment. An encounter with a prophetic figure on the streets of San Francisco presented the question of "how to handle the misery on the way to the blessing." This is the quandary of the impasse we now all find ourselves in, trapped in our little caves, grappling with the unease of the self at rest - without movement, without the consumerist agenda of "new experiences." The possibility of growth, always defined by our connections with others, held in limbo. Sartre said that "Hell is other people," but perhaps this is the Inferno of the present: the space of sitting with the self. A blessing is often thought of as a future reward, above and beyond the material plane. With In Ferneaux, Blanck Mass wrangles the immanent materials of the here-and-now to build a sense of transcendence. Here, the uncanny angelic hymn sits comfortably beside the dirge. The misery and blessing are one.

Mouse on Mars, the Berlin-based duo of Jan St. Werner and Andi Toma, approach electronic music with an inexhaustible curiosity and unparalleled ingenuity. ‘AAI’ (Anarchic Artificial Intelligence) takes their fascination with technology and undogmatic exploration a quantum leap further.
Emerging from a primordial ooze of rolling bass and skittering electronics, hypnotic polyrhythms and pulsing synthesizers propel the listener across the
record’s expanse. Hidden in the duo’s hyper-detailed productions is a kind of meta-narrative.
Working with AI tech collective Birds on Mars and former Soundcloud
programmers Ranny Keddo and Derrek Kindle, the duo collaborated on the creation of bespoke software capable of modelling speech; text and voice from writer and scholar of African Studies Louis Chude-Sokei and DJ/producer Yağmur Uçkunkaya were fed into the software as a model, allowing Toma and Werner to control parameters like speed or mood, thereby creating a kind of speech
instrument they could control and play as they would a synthesizer.
The album’s narrative is quite literally mirrored in the music - the sound of an artificial intelligence growing, learning and speaking. This exploration of artificial intelligence as both a narrative framework and compositional tool, allowing the duo to summon their most explicitly science-fiction work to date. Original artwork by Casey Reas, inventor of the computer graphics language Processing.
Recently, Mouse on Mars received the 2020 Holger Czukay Prize for Pop Music.
Mouse on Mars have been regularly streaming performances throughout 2020, partnering with organizations like Goethe-Institut, Haus der Kulturen der Welt, Conditions of a Necessity and others and will continue these in 2021.
‘AAI’ is available on grey or black double LP packaged in a single sleeve with full colour insert / lyrics. CD comes with 8-panel poster booklet.
“Andi Toma and Jan St. Werner continue to create soundscapes that blur the line between programming and live musicianship, and sometimes between Earth and outer space.” - AV Club
“Enthralling and impossible to categorize.” - Pitchfork
“Sustained and ephemeral electronic sounds conjure unearthly open spaces… It’s not a song; it’s sound as a temporal phenomenon, a few minutes of sculpted attention.” - The New York Times

When a synth master like Steve Moore joins forces with the legendary KPM, magic must materialise. And so it does with Analog Sensitivity: cinematic, enigmatic synthscapes to both haunt and heal.

New York-based multi-instrumentalist/producer/film composer Steve Moore is probably best known for his synthesizer and bass guitar work as Zombi, together with Anthony Paterra. But he is also part of Miracle and Titan as well as being a prolific solo artist releasing music as Gianni Rossi, Lovelock and under his own name. Steve’s music has found a home across labels like Future Times, Mexican Summer, LIES, Static Caravan, Relapse, Kompakt, Spectrum Spools, Death Waltz and Ghost Box, and much of his recent work has been scoring films like The Guest and Cub. Prolific indeed.

The story of Analog Sensitivity starts with those soundtracks, or more specifically the time in between them. Rather than being commissioned by KPM, this LP comes from music Steve was recording sporadically and tinkering with for over three years during the downtime between his film projects. There were no ideas about what it was nor a plan for how it would be released, or even if it was going to be released at all.

However, after Jon Tye invited him to play on the Ocean Moon project for KPM Steve realised that the hallowed library label might be the perfect home for what he had been working on. The people at KPM agreed. Finishing production in late 2019 in Albany, NY, he came up with the track sequencing and suddenly, he had an album: Analog Sensitivity.

The LP opens with the dystopian electronic minimalism of “Eldborg”, its dark synth bass unfolding to ominous synth pads, shadowy sustains and glistening arpeggios. “At The Edge Of Perception” brings an unsettling retro-future of edgy analogue leads and desolate FX. The sound of a robotic core tears through the sparse textures of the enigmatic “Rose Of Charon”. A chilling breeze blows through a persistent, hypnotic synth sequence on “Time Freeze”. Title track “Analog Sensitivity” is a sparkling transcendental synthscape of melody, drones and celestial synth. The brooding “Behind The Waterfall” winds down the first side, building subtle strings and a desolate sound beneath its haunting organ.

“Mirror Mountain” ushers in side two, its woozy bass and arpeggio unfolding to envelop the muffled, muted echos of its organic leads. "Syzygy" emerges you in bubbling sequences, airiness and ambient electric guitar tones. It’s followed by the cinematic minimalism of “Pentagram Of Venus” and its trickling FX. The wind swirls through the otherworldly “Of Dust Thou Art” kicking up clouds of unsettling, plodding synth sequences leading to the uneasy atmosphere of “Message From The Beast” which builds to the echo of the last refrain of some choral incantation. Closing track “Urge Surfing” is as cool a climax as you’d hope from something so brilliantly titled, riding along hushed waves of brooding electronics.

With the clue right there in the title, Analog Sensitivity is built up from the quieter aspects of the sound Steve has been exploring and evolving for over 20 years. It’s a layering of ambivalently dense and airy, muffled and echoing sounds from his collection of synthesizers and other electronic music hardware. And whilst some of Steve’s other work uses this vintage equipment to conjure the past, that wasn’t his intention here. Steve explains “I wanted Analog Sensitivity to feel atemporal, as though it could have been released any time over the past 30 or 40 years. While not specifically in the spirit of any particular album, I’m really into old KPM artists like Alan Hawkshaw and Brian Bennett”.

Digging deep through old and new, Basso captures arcane woodland fusion, serene electronic suites and wide eyed Balearic bliss on this first Growing Bin compilation.

This collection celebrates those precious records which land in your life on their own terms. Even the most advanced digger will admit that chance is the secret ingredient in any successful haul. Sure, it helps if you know where to look, but if you arrive a day early at that secluded second hand shop, or an hour late at the convention, you might miss out on a rare sight of sound. But there are still ways to skew the odds in your favour. Even in the most crowded urban environment, a solitary tree soon becomes a nest, and Basso's fostered an abundant garden in his Hamburg hometown. A decade on and the Growing Bin is a safe haven for those exquisite sounds crowded out of the mainstream, the rare birds with the most striking song.

'Coffee' comes right after cocoa in the bin's headquarter, though start your morning with One Tongue and be prepared for a different kind of day. A witch's brew spiced with a hint of Durian and the early bird, this 1990 composition could be the blueprint for the Teutonic trance dancers beloved by the Salon set. A more meditative magic flows through the A2, a smooth blend of fusion guitar, softly syncopated drums and counterpoint keys from one time art-rockers Inandout. This Growing Bin favourite from their '93-95' LP sounds right at home beside the majestic melodies and spheric bass of Matthias Raue's 'Brücke am schwarzen Fluss 2'. Taken from the soundtrack to a TV drama filmed in Mali, this digital homage to African rhythm shimmies in step with New Age dancers from Mkwaju Ensemble and Louis Crelier. The A-side ends with the unbridled optimism of Kosmische maverick Hardy Kukuk. The synthesist hit the studio with friends Karsten Raecke and Andreas Schneider in 86, coalescing crystalline electronics and gentle guitar into tender chord progressions suited for sun bathing beside the Sea of Tranquility.

The second side slinks into motion with the deep beauty and sincere spoken word of Frank Suchland's 'Schnee', a subtle body in a cocoon of reverb which takes Sade's 'I Never Thought I'd See The Day' to another level of placidness. Melancholic Germans Die Fische met in Cairo for the first time, and 'Conversation Of Everyday Lovers' could be the theme for that great city. Underpinned by primal percussion and a restrained groove, the track twists and turns between a trio of ineffable motifs, eternal combinations to the catacombs of Abusir. From there we go sublime, soaring skywards with a ten minute triumph from Hugh Mane. Balancing concentric sequences and space age synth riffs atop an irresistible breakbeat and bubbling bassline, the British producer finds a sensuous sweet-spot between fellow Growing Bin affiliates Krakatau and Singu.

Lucky are we who hear the Bin's sounds.
Patrick Ryder

Definitive compilation spans solo recordings, rarities and duets with Lee Hazlewood Newly remastered from the original analog tapes by GRAMMYr-nominated engineer John Baldwin New interviews with the legendary singer, actress, and activist, Nancy Sinatra Extensive essay by Amanda Petrusich Q&A interview with Nancy & GRAMMYr-nominated reissue co-producer Hunter Lea Never-before-seen photos from Nancy Sinatra's personal archive Deluxe CD housed in 7"x7" hardcover book w/ 64-pg booklet Beautifully packaged Double LP featuring a 24-pg book 2xLP available on Standard Black Wax plus Summer Wine Sunburst Orange Release coincides with Nancy Sinatra's 80th birthday celebration Release to be supported by international press campaign in cooperation with Nancy Sinatra // Light In The Attic Records is proud to present Nancy Sinatra: Start Walkin' 1965-1976. The definitive new collection surveys Sinatra's most prolific period over 1965-1976, including her revered collaborations with Lee Hazlewood, over 23 tracks. Remastered from the original analog tapes by GRAMMYr-nominated engineer John Baldwin, the collection is complemented by liner notes penned by Amanda Petrusich (author and music critic at The New Yorker), featuring insightful new interviews with Sinatra, as well as a Q&A with archivist and GRAMMYr-nominated reissue co-producer Hunter Lea. The CD edition comes housed in a 7"x7" hardcover book (featuring 64-pages) and the two-disc vinyl set is presented in a gatefold jacket (featuring a 24-page booklet), with special color editions available exclusively at and independent record stores. Nancy's performance of the Lee Hazlewood-penned song "These Boots Are Made for Walkin'" was a huge hit in 1966 and became her signature tune. The pair began a three year run of successful albums, duets and singles including "Sugar Town," "Some Velvet Morning," "Summer Wine," "Sand," "Jackson," and the title track to the 1967 James Bond film "You Only Live Twice." Start Walkin' explores Nancy's recordings with Lee, her inspired collaborations with songwriter Mac Davis ("Hello L.A., Bye Bye Birmingham"), producer Lenny Waronker ("Hook and Ladder") and the "should've been hit" song with arranger/producer Billy Strange ("How Are Things In California.") Over the years, she has been cited as an influence by countless artists, including Sonic Youth, Morrissey, Calexico, U2, and Lana Del Rey. Her haunting song "Bang, Bang" gained a new legion of fans when it appeared in the opening credits of Quentin Tarantino's 2003 film, Kill Bill Volume 1.

Formed in 2015 as a project of experienced, devoted musicians from German bands in the Black Forest region, THRON's initial goals were to play authentic black/death in the spirit of the early to mid '90s. Although born in Germany, THRON could originate from a Nordic country though : heavily influenced by bands like Dissection, Unanimated, Possessed and Mercyful Fate among others, adding traditional heavy metal flavour a la Judas Priest, the band create a blazing symbiosis of icy melodies, harshness and a haunting atmosphere. THRON released their self titled debut album in 2017; The following year saw the release of the much critically acclaimed ‘Abysmal’, its roaring response vigorously spread the name across the globe thanks to their diabolical twin guitar black/death metal attacks . Metal Hammer (UK) enthusiastically reviewed : ''‘Enhanced Swedish 90's black/death revivalists hit the nail on the head with this one ! ‘. The band delve even further into the musical territory they flirted with as on their debut and reinforce all foundations on ‘Pilgrim’, with more emphasis on slashing wicked fluid melodies infused with energetic, triumphant classic heavy metal swagger . THRON never loses an opportunity to furiously enhance the catchiness of each composition with a greatly balanced and coherent old school feel. Utterly brutalising and masterfully composed, the end result is truly spellbinding. THRON's 'Pilgrim' was recorded and produced by C.Brandes, A.Kovats and P.Hagmann. , Mixed and Mastered by C.Brandes at Iguana Studios in March-Buchheim in May 2020 with additional Sound Design by Stan Berzon. Artwork by created by Khaos Diktator Design.

More than 40 years after its original release, this limited and numbered facsimile edition of Keith Jarrett’s legendary 10-LP box set “Sun Bear
Concerts” is recreated from original analog sources.
Sun Bear Concerts - documenting five complete solo performances by Keith Jarrett in Japan - counts as a milestone achievement in the history of jazz recording. As Down Beat wrote, on the occasion of the original release, Jarrett’s improvisations are “the inventions of a giant, overpoweringly intimate in the way they can draw a listener in and hold him captive. Jarrett has once more stepped into the cave of his creative consciousness and brought to light music of startling power, majesty and warmth.”
Rich in incident and detail, the music in this beautifully produced, illustrated and presented ten-LP set, first issued in 1978 revealed Jarrett as a player of limitless creativity, unique in his ability to find new forms in the moment, night after night. “These marathons showed Jarrett to be one of the greatest improvisers in jazz,” Ian Carr wrote in his biography of the pianist, “with an apparently inexhaustible flow of rhythmic and melodic ideas, one of the most brilliant pianistic techniques of all, and the ability to project complex and profound feeling.” The present edition is a facsimile of the original LP set, described by the late Haus der Kunst curator Okwui Enwezor as “part of ECM’s declaration of independence from standard packaging of jazz records. Setting itself apart in this way, ECM treated its recordings as works of art by musicians of the highest artistic and conceptual order.”
A work of art by any standards, Sun Bear Concerts brings together solo concerts in November 1976 in Kyoto, Osaka, Nagoya, Tokyo and Sapporo, in recordings made by Japanese engineer Okihiro Sugano and producer Manfred Eicher, who travelled through Japan with Keith Jarrett. The set’s book-form packaging, with design by Barbara Wojirsch, includes photographs by Klaus Knaup, Tadayuki Naitoh and Akira Aimi.

Distressed of sound and disturbed of subject matter, “Down-Faced Doll” sees the classic indie outfit connect with their dark-sides to deliver a cacophonous alt/folk stomp unlike anything they’ve released before. Based on a chilling true story told through the eyes of a discarded toy, its lyrics like clues, begin to lay evidence to a scene enough to turn anyone’s blood blue.

As vocalist Ian H. says:

“By far the most disturbing song I’ve ever written. Some songs seem to have a strange compelling energy which no one can rightly claim authorship to. They ‘write themselves’ but of course a great deal of working and shaping occurs too… A true story - well the first two verses are. The last two verses are my attempt to imagine “how did it ever get to this”…”
Customised with discomposing Eastern-inspired guitar riffs and clamouring percussive rhythms, “Down-Faced Doll” instils an unshakable feeling of paranoia, pursuit and unsease to match its haunting storyline. “Ewan and Stephen immediately tuned into its unsettling vibrations to create sounds and dark corners as you are unwillingly dragged through the scenario.” Ian adds.

Created & produced by Bradford (Ian Hodgson, Ewan Butler & Stephen Street), “Down-Faced Doll” was mixed by Stephen Street (Blur/New Order/ Kaiser Chiefs) and mastered by John Davies. It is taken from what will be Bradford’s first new studio album in over three decades: ‘Bright Hours’ - set for release early-on in 2021.

Bradford are a revered indie band formed in Blackburn in 1988. Championed by Morrissey, the band earned a cult status with their acclaimed debut album 'Shouting Quietly' in 1990, a record as-produced at the time by Stephen Street. Touring with the likes of Joe Strummer, The Sugarcubes, Morrissey and more, the band burned brightly and brilliantly. Fading away against the neon glow of the Madchester era, the band split in 1991.

Fast forward to 2018 and a re-mastered 30 song collection entitled ‘Thirty Years Of Shouting Quietly’ was released on Turntable Friend Records. The album was re-appraised as a 'lost English classic'. This rekindling of belief slowly re-ignited the magic and chemistry that always existed between the band now Ian H and Ewan Butler and Stephen Street. So much so, that Stephen decided to join forces with them and become a fully fledged member of the band.

With a new look line-up on illuminating form, as a trio Bradford have lovingly crafted a jewel of a new album: ‘Bright Hours’ to be released early in 2021.

Directly following “Like Water”, their latest single “Down-Faced Doll” is a definitive signal that ‘Bright Hours’ will be every bit worth the long wait...

Born in Croydon, UK in 1960 and working in Switzerland for decades, Michal Turtle has led a storied career as a composer, arranger, technician and producer, consistently aligned with some
of the most exciting bands and projects within the realms of pop and experimental music. A figure as masterful in the realm of expansive ambient recordings as advertising jingles, it’s only in recent
years that Michal’s solo productions have gained acclaim and a cult following that continues to grow ever wider.
Turtle made a long-awaited return earlier in 2020 with the extended ‘On a Canvas Lived a Baby’, a one-sided twelve of new material released on Planisphere Editorial. Now, the Basel based label
invites a diverse and international cross-section of electronic musicians to reinterpret the artist’s back-catalogue, each delivering a thoughtful remix driven by the same sense of curiosity,
exploration and genre-blurring that Turtle himself helped pioneer. Each track on the remixes collection was originally recorded between 1980 and 1985, in between Turtle’s regular tours with established bands. Opening the collection, Laurel Halo adopts her LH alias for a textural and tripping revisit to ‘Phantoms of Dreamland’, transporting the haunting original to a hyper-detailed alternate dimension. Zoning back in, Neue Grafik finds typically eclectic form with ‘Men in Green’, turning the dials and blending ideas as if tuning between the emerging musical scenes that defined Turtle’s early-eighties life in Camden, London. In stark contrast, avant-garde polymath Felicia
Atkinson designs a ‘Fennel and Moon’ version, weaving between earthy field recordings and an aching piano line, conjuring an almost ritualistic atmosphere, far from the city. Radical musical turns continue to define the collection as son of Detroit, Jimmy Edgar takes
‘Rainwater Fijit’ down a dark, damp tunnel, expanding on the pitter patter of Turtle’s more outlandish studio experiments, blending vocal experiments with fresh funk. Colombian experimentalist Lucrecia Dalt pulls further bizarre shapes from a patchwork of samples, a heaving,
gasping industrial shuffle, before French producer D.K. returns a stronger rhythm, both building on Turtle’s lovingly naive tributes to the legacy of sample culture and his trusty ARP2600.

Ostgut Ton mainstay and Panorama Bar resident Nick Höppner proceeds to sensitively rewire ‘Maid Of The Mist’ into a blossoming, introspective celebration of melody and ambience, an
almost weightless experience that lends itself well as a breather before Luca Duran’s analogue, acid-tinged take on Spookie Boogie takes Turtle’s esoteric touches back into the direction of the
funk and italo records at the heart of his initial inspiration.
The Remixes final chapter continues to expand in distinct and wide-reaching sonic directions. London’s Object Blue seems to slow time itself across her sublime interpretation of ‘Ball Of Fire’.
Initially Turtle’s tribute to Howard Hawks 1941 film classic and the legacy of old Hollywood, worlds further collide into rolling, weightless bliss.

Fellow Swiss citizen Mehmet Aslan stirs an enchanting, percussive mystery that unfolds with great
pleasure on El Teb, while Parco Palaz conjures not one but two radically different remixes of ‘Are
You Psychic?’, demonstrating both their imaginative nous, as well as the depth of Turtle’s legacy.
Finally, an irresistible vocal contribution from Oso Leone adds even further colour and joy to ‘Maid
of The Mist’, sending off this ambitious collection on a transformative, dream-pop high.
With further details set to be revealed, there is an ongoing development focused around the
accompanying art and visuals. The Peruvian born and now Amsterdam based graphic designer
Jonathan Castro leads the art direction, along with visual artist Chris Harnan. Both artists look to
explore the intersection between sound, imagery and its reorientation, exhibited through the
musical contributors and visual translation.

“I am happy and honoured to have been the spark for this remarkable compilation.
The magnificent work done by this collection of very special people speaks for itself, so listen and
be transported. It has been half a lifetime since my original tracks were written, and I am gratified
to know that they are somehow still relevant enough to be reworked and reinvented.”

Established in 2015 with a vision to push the envelope on bass-driven music at 140bpm, Belgian label DUPLOC have been doing just that ever since. Now, after a refreshing rebrand and enticing new label plans in store, they welcome Distance into the fold with his darkly raw and starkly haunting Sacrifices EP.

LP Ltd edition PINK Vinyl (300 copies) + BONUS Fire Records Compilation CD. A Powys trio whose free-spirited invention and exuberant intensity flows through experimental pop: hypnotic, exhilarating and defiantly unique. The Welsh band Islet return with the release of their long-awaited new album, and now available on Ltd edition Pink Vinyl. Eyelet was recorded at home tucked away in the hills of rural Mid Wales. It took form the months following the birth of band members Emma and Mark Daman Thomas' second child and the death of fellow band member Alex Williams' mother. Alex came to live with Emma and Mark, and the band enlisted Rob Jones (Pictish Trail, Charles Watson) to produce. 'Caterpillar' described by Emma as "a song for my unborn child". It's followed by syncopated lullaby 'Good Grief' with its haunting keyboard hook and icy percussion thawed by Emma's yearning vocals about the quiet strength of generations of women. With nods towards Arthur Russell and Jenny Hval, 'Geese' is a mini symphony of driven electronica inspired by Welsh cultural theorist Raymond Williams' novel People Of The Black Mountains. Young Fathers inflected rhythm can be heard on 'Radel 10' that accompanies the multi-tracked variations of Emma and defiant lyrics that were inspired in part by The Good Immigrant - the landmark anthology of essays on race and immigration by BAME writers. "One of the best albums to come out of the UK in years" Louder Than War // "Unhinged, euphoric, wonderful." Pitchfork // "They create an ideology that fuels creativity" The Quietus // "They invigorate life on the margins with this whirlwind of psychedelic pop" The Guardian // "Full of reflective, explorative psych wonderment" ???? The Line Of Best Fit // Short listed for Welsh Music Prize 2020 // ????? The Vinyl District // ????? Buzz // ????? God Is In The TV // ???? AllMusic // Track

LP Ltd edition YELLOW vinyl (300 copies), DL card + BONUS Fire Records Compilation CD. New album from kosmiche folk-rock quartet Modern Studies on LTD edition Yellow vinyl. A glorious compendium of haunted disco hallelujahs, mercurial krautrock chorales, cosmic pop adagios and euphoric, resilient, anthems. 'The Weight of the Sun' sees principal songwriters Emily Scott and Rob St John further their warm, esoteric field studies with Pete Harvey and Joe Smillie, as previously reconnoitred on 'Swell To Great' (2016) and 'Welcome Strangers' (2018). "The exact point where Fairport Convention meet Jim O'Rourke at a remote Scottish railway station."

Score by Oscar, Golden Globe and BAFTA nominees Dustin O'Halloran and Volker Bertelmann (aka Hauschka) (‘Lion’, ‘The Art of Racing in the Rain’, ‘The Current War’).
“A unique score… quite striking, and I can’t wait to hear more” - collider
“A healthy dose of moving string parts and engaging synth and electronic passages” - vehlinggo