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Much has been written about Young Marble Giants' small, perfect catalogue, which contained roughly two-dozen songs, nearly each one a perfect gem. Less is known about his long wilderness years after the break-up of his first professional band. His next project, The Gist, chopped YMG's minimalism into a new sound. This Is Love, Public Girls and Fool For A Valentine showed his songs to be razor-sharp, but the album's fragmented pieces were a step too far for some, though even the strangest, Carnival Headache, when cast in sunlight by Alison Statton's combo Weekend, was as fine a song as any he'd written - and Love At First Sight became a million-seller when covered by Etienne Daho. Then Stuart disappeared. A rmid-90s resurgence led to fine albums done on low budgets, before more silence followed. The Gist's 2018's release Holding Pattern - unexpected and then quickly followed by YMG singer Alison Statton's first new album with her accompanist Spike in two decades, adding fuel to public interest. The Devil Laughs, recorded a few years back, is a compelling addition to the canon of the 21st century songwriting. Stuart's generally unadorned musical presentation does not hinder his appreciation for the skills of Louis Philippe, whose iconic arrangements across an array of Él label albums inspire the fierce devotion of aficionados around the world. Nor does the unvarnished solidity of Stuart's arrangements deter Louis from hearing possibilities for their presentation in styles which take inspiration from the perfection of 1960's studio technology that led to the rise of Brian Wilson, Burt Bacharach, along with less-recognised names such as Bones Howe and Roy Halee. Tidy Away is Young Marble Giants redux, though the backing vocals hint at maturity which band didn't live to see. Fighting To Lose, written with producer Ken Brake, would pass as a worthy b-side to Bridge Over Troubled Water, and although the songs are otherwise Stuart's, Louis fans will delight at several, like Love Hangover and Sky Over Water, which display his style and production genius as succinctly as anything on his own albums. The Devil Laughs is as out of its time as Colossal Youth was - its subtle but immediate beauty, devoid of "rock", is a recording best understood in the light of those obscure groundbreakers who inspired it - the faux barbershop vocals of Smile-era Beach Boys, the studio lustre of Tom Wilson's work with Simon & Garfunkel, a dash of The Swingle Sisters and French chanson - along with enough hints of Young Marble Giant's modernist folk abstraction to satisfy longtime fans. The Devil Laughs is a small masterpiece of pure expression.

With a long and winding career working with Kris Menace, remixing the likes of Depeche Mode and LCD Soundsystem, being remixed by Deadmau5, composing filmmusic,the Munich-based producer Philip Leroi now lands his Atlantic Brain-project for a full EP on Internasjonal. He has previously contributed to our Internasjonal Space Station Compilation 1.
Wonderboy Alan Dixon contributes with not less than 2 remixes of "Brother", while Prins Thomas helped tighten the mixdown slightly.
Internasjonal HQ September 2023

"Recorded and released in The
Netherlands by Gerry Teekens for
his Criss Cross label in 1985, Chet’s
Choice marked one of the best studio
albums from Chet Baker’s final years. It
presents Baker, beautifully captured in
Stereo, singing and playing the trumpet
in an intimate trio format with guitarist
Philip Catherine and bassist Jean-Louis
Rassinfosse. This expanded edition
presents the full seven tunes from the
original album plus three songs that
only previously appeared on the CD
edition of Chet’s Choice, as well as five
amazing never before heard alternate
takes.
180-GRAM VIRGIN VINYL – THE
COMPLETE ALBUM + 8 BONUS
TRACKS, AMONG THEM 5 PREVIOUSLY
UNISSUED ALTERNATE TAKES –
2-LP SPECIAL GATEFOLD EDITION"

A Break In Time ist ein Ambient-Album, das während des Lockdowns als eine Art Beruhigungstherapie / Meditationsübung geschrieben wurde. Das Projekt nahm schnell Form an, mit einer einzigartigen klanglichen Identität und einer Botschaft, die durch das Gefühl der Isolation während dieser Zeit inspiriert wurde. Das Album handelt von Zerbrechlichkeit, Naivität, dem Nachdenken über unsere Verwundbarkeit, aber auch über unsere Widerstandsfähigkeit und das Gefühl des Alleinseins und Zusammenseins. Die Entstehung dieses Albums mag weniger als ein Jahr gedauert haben, aber es ist ein Höhepunkt von Einflüssen, die bis in die frühen 90er Jahre zurückreichen, als er in Québec City aufwuchs. Damals war er einfach als Everything bekannt und trat live bei Raves und in Chill Out Rooms auf, bewaffnet mit nichts als einer 909, einem SH-101, einem Ensoniq EPS und einem Quadraverb. Seine Liebe zur Ambient-Musik ist nie verblasst. Mit frühen Einflüssen wie Carl Craigs bahnbrechendem "Landcruising", Warps "Artificial Intelligence" und Black Dog Production "Bytes" überbrückt dieses Album die Kluft zwischen hier und dort, jetzt und damals: wo die Zeit stillsteht.
Dies ist eine gemeinsame Veröffentlichung von Compost Records und Drumpoet Community.

- "A beautiful album full of spacious well crafted ambient compositions." - Peter Kruder / Peace Orchestra

ONLY AVAILABLE ON PREORDER!!

The first-ever LP box set gathering the entire 10 albums collection of Obscure Records produced by Brian Eno’s.
Curated by Gavin Bryars

Originally issued between 1975 and 1978, nearly 50 years on the output of Obscure remains radically forward-thinking - offering glimpses of a future yet to be fully seen - and amounts to one of the most important, influential, and creatively accomplished album series ever conceived.
Co-curated by Eno and the composers Gavin Bryars and Michael Nyman - issuing the recording debuts of Bryars, Nyman, John Adams, Christopher Hobbs, David Toop, Max Eastley, Jan Steele, Simon Jeffes / The Penguin Café Orchestra, and Harold Budd, in addition to important works by John Cage, Tom Phillips, and John White - Obscure’s collective output is a groundbreaking landmark in the histories of Minimalism, modern composition, and Experimental music, and laid much of the groundwork for the soon to emerge movement of Ambient music.

Illuminating the remarkable, and largely otherwise undocumented, creative ferment within and between the British and American scenes of experimental music during the mid to late 1970s, this collection - made in full collaboration with all of the composers or their estates - contains the entire 10 album output of Obscure, the majority of which have been out of print for years, with a number having never received a CD reissue.

Offering each of Obscure’s albums, completely remastered and housed in faithful replicas of their original covers and liner notes, as well as a 80-page book (LP dimension) for LP-BOX SET, filled with rare photos, archival material and texts by - among others - Gavin Bryars, Bradford Bailey, David Toop, Max Eastley, Richard Bernas, and Tom Recchion, this historic collection marks the first time this seminal series has received a complete LP repress.

Favorite Recordings comes back with the 2nd edition of its compilation series: Fusion Global Sounds. 8 rare and hidden tracks produced between 1976 and 1984 in various parts of the world. As a fine collector of Jazz-Funk and Fusion for many years, Charles Maurice cooked another fine selection of forgotten Fusion Jazz productions, this time driven by a common Brazilian influence.

On this 2nd edition, recordings come from Brazil, Philippines, Netherlands, Poland, and US, all again from underrated artists mostly unknown from the masses. You'll find here the best elements of the Fusion genre: fine vocal arrangements, catchy Fender Rhodes and synthesizers, irresistible basslines, and classy horns section, altogether bringing a unique groove infused with Brazilian flavors.

The compilation starts with Lerma dela Cruz, a quite occult songstress from Philippines. “Free” was part of a very rare compilation titled “Tropical Jazz Fusion”, released in 1983 on A&W Horizon label (also home of Boy Katindig). With its blowing Samba / Jazz-Funk vibes, it was an obvious match to open this collection. The following song could only enhance this ambience, since that of Brazilian saxophonist, Nivaldo Ornelas, present on this opus with 2 titles taken from his album A Tarde (1983). On “Cactus”, Nivaldo is supported on keyboards by his friend Marcos Resende, both also known for their album on the MPBC series released by Phonogram-Polygram between 1978 and 1981, which has clearly been an inspiration for Charles Maurice in building this second edition.

We could continue telling stories and details about the others great tracks included in Fusion Global Sounds Vol.2, but we believe that the best way is to listen to it and pursue your trip through Fusion Jazz combined with Brazilian styles, including surprising stopover in Poland, or Netherlands.

Isabelle Adjani ist das, was man eine Ikone des französischen Kinos nennen kann. Mit ihren fünf César-Auszeichnungen (ein beeindruckender Rekord) in der Kategorie "Beste Schauspielerin" für "Possession", "Ein tödlicher Sommer", "Camille Claudel", "La Reine Margot" und "Skirt Day" hat sie keinen Zweifel an ihrem Starstatus gelassen - sowohl in Frankreich als auch international. Die Wartezeit auf ein Album von Isabelle Adjani schien nicht enden zu wollen.

Nach ihrer legendären Reise mit Serge Gainsbourg, die sie vom Grund des Swimmingpools (Adjanis eigene Worte in ihrer ersten musikalischen Veröffentlichung mit der französischen Musiklegende Gainsbourg, Pull marine) zu den Höhen des Ruhms führte, begann sie mit der unglaublichsten Besetzung zu arbeiten, die diese Ära zu bieten hatte - Benjamin Biolay, Etienne Daho, Gaëtan Roussel, Seal, Simon Le Bon, Christophe, Akhenaton, Daniel Darc, Philippe Pascal, David Sylvian, Youssou N'Dour und Peter Murphy. Diese Veröffentlichung ist das Ergebnis von 15 Jahren Sessions und Treffen, bei denen die Zeit einfach keine Rolle mehr spielte.

Das neue Album, das vollständig von Pascal Obispo produziert wurde und bei dem Pascal Obispo und Cécile de Laurentis gemeinsam Regie geführt haben, ist endlich aus seiner Puppe geschlüpft. Isabelle Adjani meldet sich mit ihrem einzigartigen Album "Bande originale" (dt.: "Soundtrack") zurück, das in Form von 12 Duetten ein musikalisches Großereignis für die Festtage sein wird.

Neues Konzept-Album der einzigen "Winterdoom"-Band Deutschlands! Die Würzburger, die ursprünglich 2014 als Nebenprojekt der einzigartigen Instrumentalband OMEGA MASSIF gegründet worden waren, ballern uns einen fiesen und massiven dunklen Brocken um die Ohren: Black- und Postmetal vermischen sich mit Sludge, Ambient und Post-Punk auf hohem Niveau, ich wäre tatsächlich überrascht, wenn die Band nicht beim Roadburn 2024 aufschlagen würde, da gehört sie nämlich hin. Grundsätzlich melancholisch und episch, unterlegt von maschinenhaftem Stakkato-Drumming, düster, kalt und wütend. Für die 6 schleppend-schleifenden Songs muss man sich Zeit nehmen, das ausgezeichnete Songwriting entfaltet sich Schicht für Schicht zu einem Albtraum-Szenario, das stetig zu lauern scheint, angriffslustig geduckt und im Schatten. Der Kontrast zwischen sanft-melodischen E-Bow Leads und Klargesang bzw. auch Sprechgesang auf der einen Seite zu präzise drückendem Riffing, Sprachsamples und viehischem Gegrowle auf der anderen Seite verstärkt nur noch das Unwohlsein beim Hören. Insgesamt merkt man den Songs deutlich an, wieviel Mühe darin steckt, es gibt sehr viele Details zu entdecken und zu den Texten, also der Story bin ich noch gar nicht vorgedrungen: Inhaltlich orientiert sich die Platte am Romanzyklus "His Dark Materials" von Philip Pullman, was den Eindruck eines Soundtracks durch den Einsatz von Sprechtexten bzw -samples (teils englisch, teils deutsch) noch verstärkt.

180g virgin vinyl limited edition, the complete album + 1 bonus track Big Bill Broonzy was among the finest and most influential of the pre-World War II Chicago bluesmen, bringing the blues to new levels of sophistication. A finger picker and singer without compare, Broonzy combined ragtime and hokum blues with elements of folk, country, and urban sounds in his songs. Big Bill's Blues consists of ten solo recordings made in February 1956 at Philips' studios in Baarn, Holland. Includes the classic "Key to the Highway.

New Order are delighted to announce a remastered 2LP black vinyl set of Substance 1987, released via Warner Music on 10th November.

Originally released via the legendary Factory Records, Substance compiled all of the band's singles to that point in their 12” versions, and specially new recorded versions of ‘Temptation’ and ‘Confusion’. The album also included the biggest selling 12” single of all time, Blue Monday, alongside other classic singles The Perfect Kiss, Bizarre Love Triangle and the band’s debut single release Ceremony.

The album is the band’s biggest selling to date, with over one million copies sold, going platinum in the UK with a Top 5 hit in True Faith which was accompanied by the seminal video, directed by French choreographer Philippe Decouflé. This 180g 2LP collection includes all the band’s singles from the original Substance album.

Balmat co-founders Philip Sherburne and Albert Salinas have been fans of Shy Layers’ lilting, Balearic pop for years, so when Shy Layers’ JD Walsh asked us to listen to a set of demos he was working up with fellow Atlanta multi-instrumentalist Jeff Crompton, we jumped at the chance. And once we heard their work in progress, the decision was almost immediate: We have to release this.

Together, Walsh and Crompton are Anagrams, and their debut album together, Blue Voices, might initially seem like a departure from Balmat’s habitually electronic terrain. It’s not ambient music, but it’s also not not ambient music, at least to listeners in the right frame of mind. The two musicians, who met when Walsh moved from Brooklyn to Atlanta in 2016 and began collaborating a few years later, see the music in similarly ambiguous terms. “I like it because it’s not jazz,” jokes Crompton, a veteran and credentialed jazz player. “And JD likes it because it’s jazz.”

Crompton is a musician (and former high-school band teacher) with deep roots in Georgia’s improvised and experimental music scenes; his credits include shows with Eugene Chadbourne, a guest appearance with Godspeed You! Black Emperor, and a collaboration with Duet for Theremin and Lap Steel’s 12-hour drone performance at Knoxville’s Big Ears. On Blue Voices he plays alto and tenor saxophone, clarinet, electric piano, and organ. Walsh has been releasing music as Shy Layers since 2015, when he started self-releasing on Bandcamp; the following year, Germany’s Growing Bin packaged his first two EPs as a self-titled album, and in 2018, Tim Sweeney’s Beats in Space label put out Shy Layers’ sophomore album, Midnight Marker. Where those records channeled Walsh’s playful harmonic instincts into wistful songwriting with tropical overtones, on Blue Voices he lets his experimental tendencies take the lead. Playing acoustic and electric guitars, electric lap steel, bass, Moog Matriarch, modular synth, and programmed drums, he concentrates his energies on richly textural layers and abstract assemblages of tone color.

Across the album’s 11 tracks, there are faint echoes of familiar touchstones: the atmospheric twang of Daniel Lanois’ pedal steel on Apollo: Atmospheres and Soundtracks; the mercurial modal runs of Ethio- jazz; the late-summer calm of Fuubutsushi; the versatility of players and composers like Patrick Shiroishi and Sam Gendel, who are asking similar questions about where jazz ends and some other, nameless territory begins. Mostly, though, what Blue Voices captures is the quixotic sound of two restless musical imaginations making it up as they go along, two voices discovering a shared language in a hitherto unexplored shade of blue.

Place of longing Paris - with the cellist Gautier Capuçon "Gautier Capuçon is like a diamond in a ring and sparkles on its setting", with enthusiasm the New York Times resorted to figurative comparisons. With such effusive praise, it is no wonder that the famous cellist's albums are also absolute bestsellers.

Intuition, Emotions and Sensations are now followed by his next album with a ravishing program: Destination Paris is dedicated to atmospheric evergreens and ranges from popular film music to French chansons and classical works.

It's been 40 years since these tracks were recorded, but all the original studio and live recordings by Times Beach are finally available on CD & LP Times Beach came together in 1983 with a core of active members from San Francisco's vibrant theatre community. That background propelled the band to a kind of stage glamour that wasn't much seen during the era of post- punk, industrial, and goth music. They were striking to see and hear, with the songs to match. But, like so many excellent bands of the era, they suffered from the "home town curse" since they were not from New York or Los Angeles – but San Francisco. Over the course of two years, Times Beach performed throughout the Bay Area, playing most of the major (and minor) clubs such as The Stone, Baybrick Inn, Cotati Cabaret, Berkeley Square, Sound Of Music, Trocadero Transfer, Ashkenaz, Ruthie's Inn, Sleeping Lady Café, and the beloved Chi Chi Club. They had a legion of dedicated supporters, and many of their shows were real party events. When it came time to record, they accepted an invitation from the illustrious Snakefinger (aka Philip Lithman) and Eric Drew Feldman to produce them at Russian Hill Studio. The first part of their story ends just about there, as they never made enough money to actually produce the album from the recordings. And the various members started drifting off. The final public gig was like their first, at the Mabuhay Gardens, in November 1984. Side One of this LP is comprised of those glorious Snakefinger sessions. Side Two presents just a few of the other great songs they wrote and performed live – never captured in any other form. For fans of Jefferson Airplane, Mutants, Nuns.

It's been 40 years since these tracks were recorded, but all the original studio and live recordings by Times Beach are finally available on CD & LP Times Beach came together in 1983 with a core of active members from San Francisco's vibrant theatre community. That background propelled the band to a kind of stage glamour that wasn't much seen during the era of post- punk, industrial, and goth music. They were striking to see and hear, with the songs to match. But, like so many excellent bands of the era, they suffered from the "home town curse" since they were not from New York or Los Angeles – but San Francisco. Over the course of two years, Times Beach performed throughout the Bay Area, playing most of the major (and minor) clubs such as The Stone, Baybrick Inn, Cotati Cabaret, Berkeley Square, Sound Of Music, Trocadero Transfer, Ashkenaz, Ruthie's Inn, Sleeping Lady Café, and the beloved Chi Chi Club. They had a legion of dedicated supporters, and many of their shows were real party events. When it came time to record, they accepted an invitation from the illustrious Snakefinger (aka Philip Lithman) and Eric Drew Feldman to produce them at Russian Hill Studio. The first part of their story ends just about there, as they never made enough money to actually produce the album from the recordings. And the various members started drifting off. The final public gig was like their first, at the Mabuhay Gardens, in November 1984. Side One of this LP is comprised of those glorious Snakefinger sessions. Side Two presents just a few of the other great songs they wrote and performed live – never captured in any other form. For fans of Jefferson Airplane, Mutants, Nuns.

Konfus proudly welcomes Florian Meffert & Marc Philipp as ĀMAN to the artists family, as well as a new collaboration between the two friends and Subtil’s label head Nils Weimann as MEPHIWEI.
Three deep minimal house trips catching your body, mind & soul.
Perfect gadget from open air, to club, to after hour and back!
First 150x copies come in a handstamped full cover.

Move into the Luminous is the debut album by the trio Makushin.

Double bassist Jon Thorne (Lamb, Yorkston Thorne Khan), guitarist Peter Philipson (Jane Weaver, Fenella) and singer Nancy Elizabeth (Leaf Label, James Yorkston) lead this inspiring collective whose work explores the intersection between folk, jazz and ambient music.

The album also features contributions from Andrew Wasylyk, Raz Ullah, David A Jaycock and more.

Nancy Elizabeth is a singer and multi-instrumentalist who has released three chamber folk albums under her own name on the Leaf Label. She has also previously played with James Yorkston and recorded with the late ambient composer Susumu Yokota.

Jon Thorne is a double bassist best known as a member of the pioneering electronic band Lamb and, more recently, Yorkston Thorne Khan. He has worked with many other musicians, including Jon Hopkins, Robert Fripp and his mentor Danny Thompson, as well as releasing his own music.

Peter Philipson is a guitarist who has previously performed with Jane Weaver as her guitarist for a decade and has collaborated with her and Raz Ullah on two ambient albums under the artist name of Fenella. He has also released a number of instrumental guitar albums under his PJ Philipson guise.

Die zweite LP des Duos und Internetphänomens THE FRENCH MADEMOISELLES aka Mademoiselle KT (Katia) und Mademoiselle L (Lexie) wurde mit Chansons von Annie Philippe, Jacqueline Taïeb, Katty Line und Liz Brady vervollständigt. Eine musikalische Momentaufnahme des Swingin' Paris für Liebhaber von süßem Pop und wilden Idioten. Lilafarbiges Vinyl.

For more than a decade, Bert Dockx has been one of the most prolific and versatile musicians in Belgium. A masterful guitarist, gifted songwriter, and innovative composer, crossing boundaries between avant-garde rock, customized blues, and instrumental jazz, with bands such as Flying Horseman, Dans Dans, and Ottla, singing in his native Dutch as Strand, or solo under his birth name, and now as the Bert Dockx Band. Ghosts is his fifteenth (!) album on the Ghent-based label Unday Records.

Two years after the crash, Bert Dockx presents his new Bert Dockx Band and Ghosts, an album of rebirth and transgression, one of many firsts. Dockx never dedicated this much time to meticulously crafting each song. For the first time, he entrusts a finished record to a complete outsider. Never before has he reached out so far into the outside world.

The relaxed and positive atmosphere during the recordings is magnified in what Dockx calls 'my best guitar playing ever', and the deep, powerful use of his voice in its natural range. 'I had fun making this album,' says Dockx, 'and I really hope it shows'.
'There's no escape now/ I'm inside of the storm', Bert Dockx sings on his new album, the first with the Bert Dockx Band. 'I smile, I cry/ I die, I'm born/ I'm in love'. Ghosts is the culmination of a two-year odyssey, from hitting rock bottom to flourishing into new heights. An album of rebirth and transgression, a record of milestones and many firsts. Never before has Dockx turned so deep inside in order to reach out to a world beyond himself.

The album is mastered by US producer Philip Weinrobe. Weinrobe previously worked with Arianne Lenker, Indigo Sparke, and Kings of Convenience, and is praised by Dockx for his 'infallible intuition and great inventiveness'. This occasion marks the first time he hands over a finished record, permitting an outsider's perspective during the final mix.

Tear Gas wurde 2009 veröffentlicht und ist das vierte und wohl bemerkenswerteste Studioalbum von The Jacka. Das 19- Track-Album erreicht Platz 93 der Billboard Top 200 und ist vollgepackt mit Features aus der Bay Area und nationalen Legenden wie Andre Nickatina, Matt Blaque, E-40, Mistah F.A. B., Cellski, Zion I, AP.9 , Dubb 20, J. Stalin, Devin The Dude, Paul Wall, Masspike Miles, Planet Asia, Cormega, Ampichino und Freeway. Das Album enthält die Hitsingles „All Over Me feat. Matt Blaque“ und „Glamorous Lifestyles feat. Andre
Nickatina“.

Auf den Golden Records, die die Voyager-Missionen 1977 ins All transportierten, um außerirdischen Lebewesen unter anderem ein musikalisches Bild der Erdenbewohner zu vermitteln, waren zum Beispiel Werke von Johann Sebastian, Ludwig van, Wolfgang Amadeus, Chuck und Louis verewigt.

Mission Not Accomplished, …. yet, we lost control! Zeit für einen neuen Anlauf mit Space-Jazz von Sebastian Gramss’ STATES OF PLAY: METEORS - message to outer space. Ein vielschichtiger Bericht von der Erde in Ton & Text 45 Jahre nach den ersten NASA-Missionen als Doppel-Vinyl in 180 gr. auf clear orange & clear blue vinyl im Klapp-Cover mit bedruckten Inner Sleeves.

Shannon Barnett - trombone; Hayden Chisholm - saxophone; Philip Zoubek - piano, synthesizer; Christian Lorenzen - e-piano, synthesizer; Sebastian Gramss - double bass; Dominik Mahnig - drums plus guests (2022 wurde das Ensemble mit dem Deutschen Jazzpreis ausgezeichnet) A recording that will last!

RIYL: The Fall, Royal Trux, The Dead C, Shirley Collins, ’70s British progressive rock, Dean Blunt.
Throughout their legendary, decade-long run, the Shadow Ring were an enigmatic force on the international musical sub-underground. Before their disbandment in 2002, this shambolic rock outfit, formed by a group of rowdy teenagers in southeast England, left behind a mighty run of eight LPs, a handful of 7"s, and a spate of raucous live shows and cryptic zine appearances on both sides of the Atlantic, all which have bolstered their enduring word-of-mouth mystique. Beginning this year with the first-ever vinyl pressing of the self-released pre-Shadow Ring tape The Cat & Bells Club (1992), Blank Forms Editions is conducting a systematic retrospective of the storied group, including a multi-year LP reissue effort and a forthcoming comprehensive CD box set and an over five hundred page book. Recorded in summer of 1994 at S.H.P studios (frontman Graham Lambkin’s parents’ home), the group’s sophomore record Put the Music In Its Coffin is a more sinister, saturnine affair than their debut City Lights. Coffin was many listeners’ introduction to the Shadow Ring, who had hitherto self-released their music, courting a steady stable of international fans through the magazine and mail-order catalog Forced Exposure. For their follow-up, the duo reached out to the ascending Philadelphia label Siltbreeze, whose eclectic roster of sneering, low-fidelity rock and noise connected disparate subterranean scenes from rust-belt America to the English Midlands, Dunedin, and beyond. As luck would have it, Siltbreeze proprietor Tom Lax was already a fan of the band’s first record and arranged to release both a 7” and their “difficult second album.” The connection proved to run deeper than vinyl within six months, Lax would pick up the pair from the airport for their spring 1995 US tour. This episode marked not only their first trip to the States but their first live performances at all, formally introducing the Shadow Ring to the American underground and solidifying the allure of the Folkestone pair. From the get-go, the record has a menacing, vile ambience. Its opening track “Horse-Meat Cakes,” inspired by an anecdote by pulp author Philip K. Dick about how he and his wife subsisted off low-grade pet food when he first arrived in San Francisco, sets the tone lyrically and sonically. Subsequent tracks are filled with Rabelaisian body horror and sinewy, haptic diction. “I try to pass out vital organs, convinced that they are waste,” intones Lambkin in “Heart, Liver & Lungs,” before a chorus of detuned guitars kicks in, nearly drowning out the speaker’s account of consuming chevaline intestines. Later songs similarly detail vernacular cooking (“Caribbean Porridge,” about a cornmeal hangover cure), bodily processes (“Nocturnal Middle Rumbles,” about nighttime defecation), and creaturely conflict (“Crystal Tears” and “Spin The Animal Dial”). The album’s makeshift percussion and teenaged rawness resembles the verve of City Lights, while its screeching strings and gnarly distorted vocals give it a sparse, miasmic atmosphere that look towards the uncompromising, otherworldly experimentation of the band’s Hold Onto I.D. (1996) and Lighthouse (1997), making this one of the Shadow Ring’s most distilled musical statements

Was als Lockdown Homerecording Projekt von Lars Schmidt Subterfuge begann, ist mittlerweile zu einer passablen Band aus alten Bekannten herangewachsen durch Christoph Schneider Klee, Clayton Farlow, Soccer, Philipp Breuer [Pale] und Mark Specht [ehem. Subterfuge]). Mit Don'ts and Dos liegt nun das Debut-Album vor, welches am 25. August digital sowie als CD und Anfang Oktober auf Vinyl über Subjangle und Less Records erscheint und über Cargo vertrieben wird. Nach der hochgelobten Simple EP im letzten Jahr (drei dieser Tracks sind als neue Versionen auf diesem Album zu finden) ist The Radio Field zurück, um uns mit ihrem Debüt "Don'ts and Dos" eine Art musikalische Archäologie des Jangle-& Twee-Pop der 80er und 90er Jahre zu liefern, mit herrlich knackigen, klaren, hochmelidiösen Riffs plus des den einehmenden Vibes des College-Rocks, welcher nie weit entfernt anklingt. "Die Songs von The Radio Field bohren sich wie ein kleiner fieser Alien-Wurm durch meinen Gehörgang direkt in das Wohlfühlzentrum meines Gehirns - und bleiben dort für immer! Schon das Debüt 'Simple EP', die Lars (man kennt ihn von der institutionellen Düsseldorfer Band Subterfuge) noch ganz alleine eingespielt hat, war grandios, jetzt kommt endlich das erste Album. Die zehn im Domblick Studio von Bassist Christoph in Köln eingespielten und mit einigen prominenten Gästen (Robert Stadtlober, Stefanie Schrank, Phantom Handshakes, Bukahara) veredelten Stücke sind durch die Bank weg Hits! Und Ohrwürmer! Und Meilensteine! Oder wie nennt Ihr denn Songs, die ihr sofort mitsingen und niemals vergessen könnt?" MARK KOWARSCH (ANTIKÖRPER AUF BYTE FM, SHARON STONED)

Rarely could a project be called such a culmination point of a career as what Kris Defoort presents with Pieces of Peace. Just about all the backgrounds, influences and acquaintances the iconic Belgian composer and improvising pianist collected throughout his long career come together in this distinct and original musical adventure.

Together with vocal artist Veronika Harcsa and three fellow musicians, he forms a chamber orchestra in the strict sense of the word, although they are by no means restricted to that one idiom. As an experienced opera and classical composer, Kris Defoort dribbles the timbres, harmonies, dynamics and, if you like, drama of a complete (opera) orchestra through these compositions, supplemented by an inescapable layer of jazz, obviously the other form of music that remains continuously prominent in Kris' life and DNA.

As always in his work, also improvisation is added as a core element, not least thanks to the voice and inventive personality of Hungarian vocalist Veronika Harcsa, a true European reference in this field. This duo has worked together regularly over the past decade, including for Diving Poet Society (2017, W.E.R.F.148) and in DUET: pure vocal and piano improvisations, on poems by Theodor Roethke, Peter Verhelst and William Blake.

Those musical ideas formed the framework when composing the final new song cycle Pieces of Peace. The duet was then quickly expanded into a quintet, with Lode Vercampt on cello, Jean-Philippe Poncin on clarinets and Benjamin Sauzereau on electric guitar. These three musicians are as well compagnons de route of Kris has since many years, allowing him to incorporate each one's own playing style in a special way throughout these compositions: therefore, the entire orchestral spectrum (woodwinds, strings, percussion) is thus prominently represented through these five instruments.

Intimate and joyful, playful and complex, lyrical and rhythmic, ... and layered and full of detail, each track on the eponymous record unfolds like a story in itself. They are all states of emotions, impressions from real life - another reference to opera. They are also an ode to the voice, the human instrument par excellence. As improvised compositions (or composed improvisations?), Pieces of Peace represents a constant evolution that offers hope, softness and inspiration in times when all this sometimes dares to be lacking.

Critically acclaimed pianist/composer Aaron Diehl's penchant for the past
influencing the future has come full circle with his fully realised suite of
Mary Lou Williams' Zodiac Suite - the first fully-fledged professional
recording of this incredible music
Solely paying tribute to Mary Lou Williams was not the goal, as Diehl's mission is
to give honour and praise to one of the greatest composers of the 20th century
and the forgotten rich history of Black Classical Music.
Joined by the orchestral collective The Knights and special guests Evan
Christopher (clarinet), Nicole Glover (tenor sax), Brandon Lee (trumpet), and
Mikaela Bennett (soprano), Diehl breathes vibrant new life into a masterwork that
the composer herself was never able to fully realize during her lifetime.
Aaron Diehl approaches the piano with a delicately nuanced expressivity and an
exquisitely attuned touch that have garnered him acclaim at the highest levels.
From his collaborations with such jazz innovators as Wynton Marsalis, Cécile
McLorin Salvant and Benny Golson, to his exploratory work in the classical realm
with Philip Glass or the New York Philharmonic, to his own current- crossing
recordings as a leader, Diehl is singularly committed to a journey of musical
discovery regardless of genre or context

In February 1942, having fled persecution but lost all hope in the world,
the Jewish Austrian writer Stefan Zweig and his second wife Lotte took
their own lives in the Brazilian city Petropolis
There is a photo of both of them in bed, dead but still holding hands, that has
haunted Robert Rotifer for a long time.
This is Robert Rotifer's 11th record and his first new music since 2019. Having
since worked with Helen McCookerybook, Louis Philippe & The Night Mail, Andre
Heller, Fay Hallam, Swansea Sound and more alongside his day job as a journalist
and broadcaster, in the summer of 2022 Rotifer set to work on this new set of
songs, calling on friends and collaborators to contribute. Guests include,Ian
Button on drums, Fay Hallam on keys, Helen McCookerybook and Kenji Kitahama
on added backing vocals, plus contributions from Amelia Fletcher, and Austrian
musicians Ernst Molden and Paul Pfleger, uniting the two separate musical
worlds Rotifer has been moving in since leaving Vienna for the UK some 26 years
ago.

Flying high for the tenth anniversary of "Blackbird" album, we're pleased to announce the brand new Blackbird Returns remix album descending on the breeze. Friends from around the world, Nightmares on Wax, Jazzanova, KINGS, Syrup D, Christoph El Truento & Lucky Lane, DJ Philippa, Feiertag, Marcus Worgull, The KCBS, YARNI feat. Liv East, Dub Pistols vs Freestylers and Kid Fonque have remixed their favourite Blackbird tracks.

Martina Berther and Philipp Schlotter are prolific in their respective ways, having been active in pop and jazz music, respectively, as well as playing in bands and exploring the outer fringes of sound art or composing music for film. Their first joint album »Matt« was recorded over the course of four days in a church in the Swiss village after which the album was named. Berther and Schlotter worked with the buildingʼs organ as well as synthesizers and electric bass to follow an experimental approach that oscillated between composition and free improvisation. The five pieces, recorded directly to tape by Flo Götte without any additional overdubs, are characterised by an intimacy and rawness that calls to mind the introspective atmosphere of Hallow Ground label mateʼs FUJI||||||||||TA or mastering engineer Lawrence Englishʼs latest album for the Swiss label. »Matt« is the result of two versatile composers and musicians executing minimalist ideas by giving them plenty of space to unfold.

The album opens with »Unruhe,« a composition that is based on the twelve-tone technique. Using a stopwatch to ensure the adherence to the pre-determined temporal intervals between the individual notes, Berther and Schlotter used the church organ and synthesizers for an ominous piece that traverses different moods and levels of intensity throughout its 14-minute run time. »LFO1« and »LFO2« are different variations of the same concept: Based on a synthesizer preset and structured by an organ drone, two tone generators slowly fall silent, resulting in elegiac pieces that call to mind the work of Éliane Radigue. »Frachter« and »Gallia« put more emphasis on percussive elements. Again working with organ as well as Bertherʼs prepared electric bass, this improvisation comprises interlocking textures that sound almost menacing on »Frachter,« while they create a very different atmosphere on »Gallia.« These notable discrepancies in sound and mood are even more astonishing if you consider that the two pieces are based on the exact same recording, played at different speeds.

As two variations on the same idea with very different results, these two pieces perfectly represent how the duo effectively creates emotionally affective sound worlds with very few means. Berther and Schlotterʼs conceptual minimalism yields rewarding, multi-faceted aesthetic results. »Matt« is an intimate album, marked by a sense of vividness and spontaneity, but also the product of compositional conciseness.

Balmat is a new label with a cloudy outline.

Jointly shepherded by Philip Sherburne and Albert Salinas, two friends living in Cardedeu, Catalonia, and on the Balearic island of Menorca, Balmat grew out of Lapsus Radio, a weekly show on Spain’s Radio 3. Balmat’s mission is simple: to foster new ideas, expand upon personal obsessions, and put enveloping sounds out into the world.

“Balmat” means “empty” or “void” in Catalan. But quite apart from any negative connotations, we prefer to think of it in terms of possibility: a space waiting to be filled.

Balmat’s first release comes from Luke Sanger, a Norwich, UK-based artist whose two decades of electronic music making have encompassed a range of tools and techniques, from MaxMSP to modular synthesis. Along the way he has built an extensive catalog encompassing ambient atmospheres, abstract soundscaping, and more. With Languid Gongue, he puts multiple approaches into play. Experiments in microtonal composition balance out pieces in standard tunings, while esoteric electronic machines merge with familiar acoustic treatments and microphone techniques.

The result is a constellation of his signature sounds: freeform new-age fantasia; spring-loaded toytronic arpeggios; quartz-driven braindance clockworks. Drifting between consonant, almost lyrical compositions and shape-shifting textural sketches, the album drifts with the nonchalance of a sky-high cirrus cloud, and it glows as if illuminated from within. When we heard the material, we knew that it was the perfect choice to launch the label. To us, it sounds like a roadmap for points unknown.

Mit englischem Charme, ausnehmendem Talent und kreativer Offenheit begeistert die junge britische Musikerin Anna Lapwood nicht nur die Kritiker*Innen, sondern ein Millionen-Publikum bei Social Media. Auf ihrem Sony Classical Debüt-Album "Luna" gibt sie einen Einblick in ihren umfassenden musikalischen Kosmos. Die fünfzehn Titel des Albums beleuchten ihre Vielseitigkeit und verbinden traditionelles Repertoire von Johann Sebastian Bach, Claude Debussy und Philip Glass mit zeitgenössischen Kompositionen von Max Richter, Ludovico Einaudi und Hans Zimmer. Auf "Luna" ist Anna Lapwood in erster Linie als Organistin zu erleben, aber auch andere Facetten ihres musikalischen Lebens kommen zur Geltung, wenn sie den Pembroke College Chapel Choir bei zwei Titeln dirigiert. Anna Lapwood spielt Orgel, Geige und Harfe und ist als Dirigentin und Orchester-Leiterin aktiv. 1995 in der Grafschaft Oxfordshire geboren, erhielt sie als erste Frau in der Geschichte des Magdalen College Oxford ein Orgelstipendium. 2016 wurde sie die jüngste musikalische Direktorin in Cambridge und leitet seitdem die Chöre und Ensembles des Pembroke College. Nach Feierabend und bei Einbruch der Dunkelheit erhält sie als Associate Artist der Royal Albert Hall besonderen Zugang zu dem majestätischen Instrument in der Royal Albert Hall. Dies hat zu einigen spektakulären Kollaborationen geführt. Die berühmteste davon mit dem Elektronik-Musiker Bonobo. Auf TikTok erreicht sie mit solchen gleichermaßen lockeren wie spektakulären musikalischen Ausflügen mehr als 550.000 Follower.

UNOS, a Belgian artist with roots in the Philippines, has long been a part of the Darker Than Wax family, repping the label in Europe and beyond for a number of years through her parties and DJ sets. As she begins to put her unique productions out into the world, we are pleased to give her first release a home on the label.

Borrowing its title from the exuberant Filipino dining tradition - a communal, bare-handed feast among friends and families - UNOS' debut EP Boodle Fight highlights her sincere love for communities forged through club culture. The release was conceptualised during her first Asia tour through Singapore, Bangkok, and Manila in 2019, where the artist became acutely aware of the crucial role that community plays in sustaining a culture. Shortly after these foundational travels, the pandemic threatened the lifeblood of this

culture, prompting her to draw on her feelings from the tour to maintain hope. With the release of the EP, UNOS revels in the return of togetherness to club culture after the pandemic - just like a musical boodle fight.

Boodle Fight ties together this celebration of community with a number of other influences and experiences in the artist’s life. First single ‘Angermanagement’ is a ballroom-inspired roller, focusing on contemporary voguing culture’s ability to translate anger into queer empowerment. ‘Powerslide’ is a piano-driven house cut that attempts to capture the energy of a legendary Darker Than Wax block party in Singapore in 2019, while the frenetic pace of ‘Headlock’ evokes imagery of a crowded club scene that the artist sorely missed in 2020. True to the spirit of a Boodle Fight, the bright chords and bouncy rhythms on ‘Flavourtown’ imagine the best aspects of an inclusive space where diversity is celebrated like a buffet. Closing out the record, ‘Loveletter to Summer’ reflects on the tropical warmth of her roots in the Philippines. Boodle Fight manages to pack in quite a few themes and inspirations, while still maintaining a polished consistency from front to back, and announces UNOS as a producer to watch.

As a coming of age story, Jobi touches on themes of self- love, facing past traumas, overcoming insecurities including her queerness, and channeling inner strength to empower herself and others. This Americana/ country record is mastered by Grammy Award winning mastering engineer, Philip Shaw Bova, and has an exquisite balance of catchy, empowering, upbeat tunes and reflective, deeply sentimental ballads achieved through Jobi's poetic lyricism and her incredible vocal control.

Built around recordings by the acclaimed pedal steel player Henry Senior, the album's six hypnotic and enveloping tracks are supplemented with piano, strings, synths and field recordings performed by Wallis.

The making of the album took an unplanned route. During the winter 2021 lockdown, Wallis began work on an album of more conventional songs, sending several to Henry Senior (Danny & The Champions Of The World, Honey Harper) to record pedal steel parts remotely. Though subsequently deciding to shelve the album, he realised that Senior's pedal steel outlines of the songs formed the basis of something completely different.

The result is an immersive, meticulously crafted album that recalls the ambient pedal steel work of Chuck Johnson and Daniel Lanois mixed with the ethereal post- classical instrumentation of Stars Of The Lid and the field recording work of Claire Rousay.

In Huge Gesturing Loops' is Wallis' fourth release in as many years. The album's title comes from a poem by Philip Larkin. The artwork was put together by designer Luke Jarvis based on the 1930s swimming pool on Marshall Street in Soho, where Wallis swam regularly while working on the album.

Available again this first pressing of this reissue is on neon yellow vinyl. Chapter Music presents a vinyl reissue of Australian post-punk icon David Chesworth's mutant punk-funk second album, 1981's Layer On Layer. After his revered 1979 debut 50 Synthesizer Greats (reissued by Chapter in 2017), David swapped the solo home-recorded synths for something very different - infectious, percussive art-funk weirdness. Aged 21, David recorded nights and weekends at the studio in his university's music department, building Layer On Layer from the ground up, using non-instruments like telephone directories, cardboard boxes and car parts. He created an art-damaged sound world, driven by irresistible rhythms but emphasizing chance and experimentation. Robert Goodge, Chesworth's bandmate in the celebrated Essendon Airport, contributes his trademark cyclical guitar, with Tsk Tsk Tsk's Ralph Traviato on sax and other Tsk members Philip Brophy, Jayne Stevenson and Maria Kozic on backing vocals. Layer On Layer was the beginning of David's investigations into rhythm, and remains one of his most striking works. His 70s/80s records and productions have become sought-after collectors' items and DJ holy grails. Chesworth is now a renowned composer sound artist. For digital bonus tracks, David has revisited Layer On Layer tracks to create mutant DJ versions. Also Available From David Chesworth: 50 Synthesizer Greats LP

Le Magnifique is a cult film. Many a viewer has memorized the lines of this character, whose role was tailor-made for Jean-Paul Belmondo. In the year of our Lord 1973, Belmondo reunited with director Philippe de Broca, a pair who, decades before the Jean Dujardin version of OSS 117, were unknowingly making meta cinema. The film's soundtrack, by Claude Bolling, successfully navigates between the first and second degree, without ever sinking into the clumsiness of "fantasy music". For the record, Claude Bolling is none other than the chief composer of the all-female group Les Parisiennes and of some 100 film scores, including Borsalino, which is certainly the best-known. Above all, he is a genius of French jazz, whose talent makes his music sound relaxed and familiar, even when you're listening to it for the first Tme. From the very first track on the album, "TaQana", postcard images of Mexico spring to mind. Claude Bolling plays with the codes of film music without ever losing a certain communicaTve jubilaTon. With the soundtrack to Le Magnifique, Claude Bolling equals the Anglo-Saxon masters of the easy-jazz pop genre, such as Henri Mancini. Fans of jerks to dance to at the ambassador's parTes will be delighted by the composiTon "Pop Mod". Even today, those who invented the term "lounge core" would go out of their way to own an original Claude Bolling vinyl. Thanks to Claude Bolling and his original French Touch, before thedays of Dimitri From Paris and Bob Sinclar who, if they hadn't been able to take advantage of this musical and cinema to graphic heritage, wouldn't have had anything to sample.

Zusammengebracht wurden die Musiker 1994 von Thomas M. Lauderdale. 1997 wurde ihr erstes Album auf ihrem eigenen Label Heinz Records veröffentlicht. Über 650.000 Einheiten wurden weltweit verkauft. Diverse Songs wurden ausgekoppelt und fanden ihren Platz auf verschiedenen Compilations wie zum Beispiel der legendären 'Buddha Bar'. Pink-Martini-Stücke sind auch in Filmen und Serien zu hören, darunter 'Die Sopranos' oder 'Sherlock'.
Alle französischen Songs von Pink Martini aus der gesamten Diskografie sind in dieser Compilation zusammengefasst, erhältlich auch als dreifarbiges Deluxe-Vinyl. Das perfekte Geschenk für alle frankophilen, Frankreich-Studierenden oder Paris-Reisende. 'Non Ouais' enthält einige der größten internationalen Hits dieses "kleinen Orchesters", darunter natürlich auch 'Sympathique (Je ne veux pas travailler)', welches in Frankreich für den 'Song des Jahres' nominiert wurde. Inkl. der französischen Stars Georges Moustaki und Philippe Katerine als musikalische Gäste!

Despite the name, the band does not perform exclusively in trio formation, but expands the lineup with illustrious guests of the jazz genre. In the past AMC Trio has collaborated with Philip Catherine, Bill Evans, Ulf Wakenius, Mark Whitfield, Michael Patches Stewart and many others, including the guest on 'Following the Light' Randy Brecker.

The AMC Trio band has been around for about twenty years and consists of pianist Peter Adamkovic, bassist Martin Marincak and drummer Stanislav Cvanciger. It has its musical foundations in mainstream jazz but over the years has managed to develop its very own musical sound and style. The band incorporates many self-experienced stories and emotions in their compositions.

Although their music is influenced by Slovak music, it goes beyond the usual jazz progressions and touches on a number of diverse genres. For example, the wide range of melodies is inspired by popular and classical music, melodies from Eastern Slovak folk music, nature, literature and spirituality.

Anchored by the powerhouse precision drumming of Felix Lehrmann and the resounding groove of electric bassist Thomas Stieger, augmented by kaleidoscopic contributions from Raphael Meinhart on vibes, marimba, MalletKAT Pro and synth and pyrotechnic shredding from six-string marvel Arto Makela, this potent collection of intelligent high- energy music conjures up favorable comparisons to everyone from Philip Glass and Frank Zappa to Joe Zawinul, Allan Holdsworth, King Crimson and Tribal Tech.

And while those varied influences may seep into the fabric of the ten
compositions here, the members of Marriage Material apply their own personal touch to the material, which they've come to define as "cinematic jazz."

The new LP by Krefeld-born, Berlin-based artist Philipp Otterbach entitled 'The Dahlem Diaries'.

Recorded in a little-visited corner of the German capital, 'The Dahlem Diaries' is a convergence of ideas, sketches and tracks, both old and new, most of which were produced between 2020-2022. Whilst eerie atmospheres, electronics and drums have played a pivotal role in Philipp’s earlier releases, his latest is a rather more introspective affair, in which the guitar takes a leading role. A role Otterbach uses to quietly bring light and hope to his music.

Speaking about his writing process, Philipp explains that, based around his original compositions, “Friends were nice enough to contribute additional parts on their instruments which I then reworked, put together and re-contextualized. The recordings encapsulate a very specific moment in time, one that would have sounded perhaps very different the day before or after.”

Combined with a strong use of effects and field recordings, 'The Dahlem Diaries' feels somewhat like a scene or fragment from a story, in which the narrative remains undefined. It is a playful album that is something of a blurred underwater adventure, sounding as bright as it is hazy, even psychedelic at times, yet with an almost melancholic positivity. In Philipp’s own words: “It could be an album about friendship and being at one with myself, whilst at the same time bringing a certain seriousness to my music, but not necessarily to myself; there is also a playful humour hidden in there. ”

Wewantsounds is delighted to announce a special edition of the legendary 1979 Masahiko Togashi album "Song of Soil," recorded in Paris with Don Cherry and Charlie Haden and released on Japanese label Paddle Wheel. Supervised by Parisian producer Martin Meissonnier - then Don Cherry"s right hand man - "Song of Soil" reaches heights of spirituality mixing Eastern influences with jazz and deep ambient soundscapes. The album is reissued here with its original artwork and remastered by King Records in Japan. It includes the original Japanese 2-p insert plus a deluxe 8-page booklet featuring new notes (Eng/Fr) by Martin Meissonnier in conversation with Jacques Denis and also an Togashi Biography by Paul Bowler and never-seen photos by cult French photographer philippe gras who witnessed this unique session.