quête:pipe

"The organ dates back to 1790 and was made by Venanzo Fedeli, who came from a prestigious family of organ builders. This particular organ is tuned in the ancient way at 430 Hz. Tuning relies on pure thirds that aim to create dissonances within the instrument itself.

Since the organ is an instrument modeled according to the principles of nature, the intonation of the pipes was performed according to an incompletely equal system that reflects the natural intonation based on mathematical ratios.

This produces a purer sound for the thirds but slightly harsher and more difficult to listen to. The hardness of the intervals of the organ is a metaphor for the hostile climate that prevails in the Potenza valley during winter and autumn.

The sound of the organ with the register of the flute returns a particularly sweet and penetrating sound but, at the same time, a very complex timbre with intricate harmonic texture, given the numerous fluctuations and beats. The warm tones of the organ reflect the good and welcoming sould of the people who inhabit these lands. The absence of dynamics inside the instrument allows the listener to focus and understand the harmonic texture and timbral differences between the various notes more clearly.

Trombone and trumpet played by Matteo Paggi on track 2 and 3 were recorded during a hot summer day at Elefante Bianco Studio in Rome by Matteo Scarchilli. Sax, effects and noises in track 6 played by Giulio De Asmundis and Pietro Rianna were recorded in Fauna53 studio.

Many thanks goes to Marco and Giuseppe for making this happen. Thanks Federico, Sami, Marisa, Romeo and everyone involved in this project. You know who you are."

Mastered by Alessandro Caldarola.
Photos and color grading by Filippo Corsi.
Graphic project and design by Flavio Mancini.
Vinyl pressed by AFG Record Manufacturing.

In keeping with tradition, the new year brings another offering from Portuguese pianist and composer Tiago Sousa. »Organic Music Tapes Vol. 3,« the third instalment in Tiago’s ongoing series, continues to develop a freeform dual approach to organic and fluid compositions for Piano and Organ - this time adding a real church tube organ to the proceedings.

Evolving from the foundation laid in the first two volumes, Sousa introduces the pipe organ into his signature piano compositions, expanding his sonic palette into an even more otherworldly organic realm.

Much like its predecessors, »Organic Music Tapes Vol.3« immerses listeners in a nebulous sonic landscape, where the compositions exist in a nebulae-like state— eternally floating over stars and planets. The contours of these musical pieces are indefinite and indeterminate, refusing to settle or conform, a testament to Sousa's commitment to pushing the boundaries of traditional minimalism while still paying respect to the American pioneers of the genre, such as Terry Riley and Steve Reich.

Enter then the third volume and be locked in a new theatre of eternal music by an artists that keeps pushing his own style to ebullient highs.

« With their vintage organs, synths and drum machines, there are touches of Stereolab but Grand Vermont’s main mode is stranger and folkier, like Piper-era Floyd and David Allen dreaming up early Beach House. » Uncut « It’s electronic-ey, it’s French, it’s brillant » Soho Radio "Sweet minimalist post-punk" Konbini "... wonderful piece of childhood. Everything seems simple at first. Everything is luminous.” Guts of darkness "[...] somewhere between the synthetic forests of Broadcast and the kraut pop trail of Stereolab." Gonzaï

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On 22nd October, the Nottingham-raised and highly-praised musician/DJ/producer Matt Cutler, AKA Lone, presents his 8th album – and first in 5 years – ‘Always Inside Your Head’. It marks two major changes, with both a new label and new approach – featuring vocalists for the first time.

This deeply textural and ethereal artwork is situated high above the clouds, amidst the heavens, occupying a stratospheric state where swathes of synthesized vapour and azure rays sound like a literal breath of fresh air.

A varied selection of music influenced the record, but two main influences were Cocteau Twins and My Bloody Valentine. “I wanted to approach a range of different styles, but attack them from their angle in a way, so for example on 'Inlove2' I tried to imagine what a Balearic / acid house tune might sound like if it were produced by Kevin Shields”, comments Lone.

Another key example of Cutler’s strange but successful combination of elements is the halcyon bliss of ‘Echo Paths’, where his trademark fat drums and love for hip hop meet double-time pan pipes, dub effects and dream pop, mixed into a wonderfully lysergic concoction.

This rarefied auditory stratus was previously evident in tracks like ‘Alpha Wheel 4 (Ambient Mix)’ from ‘DJ Kicks’, ‘Under Cherry Blossoms (Minds Eye Reprise)’ from ‘Ambivert Tools, Vol. 2’, ‘Pulsar’ (from ‘Ambivert 4’), and ‘How Can You Tell’ (from ‘Abraxas’), but is now more fully-fledged, broader in scope and even more celestial.

In addition to the above, the LP exists somewhere between trip hop on Mo' Wax, 90s Warp, intelligent drum & bass and ambient house. There are heavier forays too, like ‘Mouth Of God’, where darker clouds emerge, but are pierced like acid lightning with fierce, tearing tech-step bass.

Although still firmly rooted in club culture – here Lone shows a definite leaning towards a song-based sound, with several tracks edging towards the same crossover space as the nineties hits which also inspired him – particularly William Orbit’s production on Madonna's 'Frozen', and Olive's 'You're Not Alone'. This is especially evident on the bright, spacious brilliance of 'Hidden By Horizons', where vocals and synths swirl around one another, with crisp breakbeats and reggae rolls pushing purposefully through the ether.

Despite initially seeming almost entirely sunny of disposition, upon deeper immersion there’s lot more beneath the album’s surface, both in its deep pools of immiscible layered elements, and also thematically. When recording Cutler kept in mind a loose narrative based on birth, death, and our existence in-between.

He then extended this idea to reach what may happen after death, which is reflected in the sequencing: By penultimate track ‘Undaunted’ the life reflected in this longplayer has come to an end, which is then followed by 'Coming In To Being And Passing Away' – an afterlife epilogue, which evokes a transition from this world to the next.

Killers Of The Flower Moon is an album by Robbie Robertson, released in 2023. Killers Of The Flower Moon includes a.o. the following tracks: “(intro) The Sacred Pipe”, “My Land... My Land”, “Insulin Train”, “Tulsa Massacre Newsreel” and more. The album is a High Quality, Gatefold Sleeve original soundtrack LP.

da Googie is the solo project of Deb Googe, bass player with My Bloody Valentine, Thurston Moore Group and Brix Smith. Taking a bass IV, a looper and a pile of FX pedals, da Googie blends traditonal basslines with more abstract noises to make intricate, layered soundscapes.

Too Many Things are duo Marion Andrau (The Wharves/ Underground Railroad/Throw Down Bones) & Jem Doulton (Thurston Moore Group/The Oscillation). Marion & Jem play each other’s songs best described as gloomy noise, politico-romantic psych; expect well oiled electronics, guitar, keys and vocals leading you to an underworld reminiscent of the red room of Twin Peaks.

The trend for spaced-out electronic house sounds knows no bounds at the moment. Nolga is the latest to start into a starship and head for the cosmos on this new EP for Aesthetic. 'Voltage' is a real fist pumper with great swing and glide and smeared pads with pipettes of acid.

'Delusion' then gets all bouncy and playful with bubbling synth phrases and energetic keys. There's a hint of darkness to the bass in 'Resurgence' while '435D' has a more metallic tech edge. All in all, a high-class EP of forward-thinking grooves.

»Arches« is the first collaborative album by brothers Simon and Tobias Lanz. It was written for and performed on self-built prototypes of wind instruments that were inspired by the classic pipe organ, but allowed the two composer-performers to go beyond its limitations in several ways. The music on this 40-minute long album for the Swiss Hallow Ground label was conceived and recorded by the two co-founders of the CRTTR collective and label during an artist residency in May 2022 in their home town of Bern. More than a mere document of a performance however, »Arches« combines the artists’ interest in exploring uncharted new creative and tonal ground inside of and beyond the realm of drone music with their background in visual art and design as a conceptually concise whole.

Simon and Tobias have a combined background in electronic music as well as a shared penchant for drone music. They hence designed these novel instruments in a way that allows for microtonal tuning to be able to overcome the restrictions inherent to the dominance of a twelve tone-based scale in Western music and work with a sonic palette that is much wider and nuanced than that of the conventional pipe organ. Furthermore, the physical design of these instruments widely differs from that of those which inspired them. This allows—or more precisely, forces—the musicians to freely invent and explore entirely novel playing techniques.

These factors, of course, also have an impact on the compositional process, which by design needs to be unconventional. The Lanz brothers worked with a graphic score for the four movements of the piece that forms »Arches« so as to adequately visualise the manifold tonal nuances of their instruments. This graphic score in turn was reinterpreted for the album release by Ramon Keiming, adding another dimension to it. Read from left to right, this remix of the score allows the listeners to follow an interpretation of the evolution of these dronescapes while the record plays, urging them to add their own interpretation.

This retroactive visualisation and thus spatialisation of the music is perfectly in line with its performance, which at all times factored in the acoustic affordances of the Prozess Bar in Bern. In many different ways, the Lanz brothers now invite their audience to join them there and explore the near-infinite possibilities of their curious instruments together with them. Much like Hallow Ground label mates such as Kali Malone or FUJI||||||||||TA, they are dedicated to enriching and expanding upon the musical and sonic qualities of pipe organs, but with widely different aesthetical results. To call »Arches« a unique record with an unheard-of sound is not hyperbole, but only factually correct.

Taipan Tiger Girls’ third and final LP is a hypnotic, cosmic freakout that combines analogue electronics, drums, guitar and the mammoth drones of the Melbourne Town Hall Grand Organ. Recorded live at Melbourne Music Week in 2017 in front of an ecstatic sold out hometown crowd, this record marks the zenith of the short but incendiary career of an extraordinary band. An instrumental outfit with a relentless drive to experiment, Taipan Tiger Girls are composer, producer and all-round electric statesman Ollie Olsen (WhirlyWirld / Max Q / NO / Third-Eye / Psy-Harmonics), experimental drummer and synth obsessive Mat Watson (Boredoms BoaDrum / E.S.G / ULMD / Other Places), and feedback guitar droner and organist Lisa MacKinney (Mystic Eyes / Hospital Pass / Super-Luminum). On Live At the Melbourne Town Hall they are joined by very special guest guitarist Bonnie Mercer (Grey Daturas/Hospital Pass/Breathing Shrine) with MacKinney commanding the historic Melbourne Town Hall pipe organ. Live at the Melbourne Town Hall is a monument to the combined talents of a group of phenomenal musicians whose fusion created a magic elixir made all the more precious by its temporary nature. Showcasing the improvisatory prowess of the band at the peak of their powers and bolting off into the stratosphere in a thrilling surge of psychedelic expansion. GENRE: EXPERIMENTAL, DRONE, ELECTRONIC, ANALOGUE SYNTH, LIVE, PSYCHEDELIC, IMPROVISED Released in conjunction with Heavy Machinery Records

A new 2023 pressing of LOWRIDERS's comeback album Refractions comes in merged bone-magenta coloured vinyl! EU festival dates in 2023 announced! The progenitors of Swedish desert-rock return with their astonishing new record of fuzz-heavy stoner rock bliss! The new album from the progenitors of the Swedish desert rock scene, Lowrider's previous album is a milestone in the global stoner rock underground, soundalikes to Kyuss or Fu Man-Chu, Lowrider manage to add impressive songwriting qualities to their works. Before Monolord, Graveyard, Greenleaf, and Truckfighters, one band stood at the dawn of Sweden's Kyuss-inspired desert rock movement. With their groundbreaking debut EP and seminal "Ode to Io" album, LOWRIDER spawned thousands of imitators. Now, at long last, the progenitors return with blistering new album "Refractions," delivering on their mythic status as founders of a worldwide phenomenon. 'Lowrider's 'Ode to Io' is an absolute landmark. It is essential. Quite possibly the best desert-style rock record not to come from the actual Californian desert.' _ JJ Koczan / The Obelisk 'Thunderous riff-rides like 'Caravan' and 'Saguaro' cannot be denied, and quite honestly leave a much more lasting impression than most anything issued by the likes of Nebula and even Fu Manchu.' _ Ed Rivadavia / All Music Guide 'Ode to Io is desert-rock in its purest and heaviest form. Almost the whole album is indeed explosive, fuzzy and straight to the point... the best definition of stoner-rock you could get.' _ Nuno / Sputnik Music Lowrider paved the way for a whole generation of European fuzz rockers... there was Kyuss in the US, and there was Lowrider here.' _ Beeho / The Heavy Chronicles

Following much love for his EPs, remixes and club sets, the virtuosic DJ/producer Simo Cell’s debut album 'Cuspide des Sirènes' doesn’t disappoint. In fact, it takes things to a whole new level.

With a fantastical menagerie of anthropomorphism, sounds create characters and tools; the mermaid-like Sirens, the mind controlling Octopus and the Magic Conch Shell:

“Have you heard of the legend of 'Cuspide des Sirènes'? This is not a simple tale, but an incredible tapestry woven over many years and through countless wondrous adventures. I will recount the legend as it was recorded in the ancient scrolls.

The album’s story explores the themes of magic, enchantment, charm, and allure, but also personal fears. The protagonist (me) embarks on a quest to find the hidden lake and confront his own demons, in order to understand and master his own power.

The protagonist is armed with a powerful conch shell. As he embarks on his journey, he will encounter Sirens who will teach him various chants. These melodies hold unique powers and grant the main character the strength to confront and overcome any danger that may arise.” Simo Cell

Musically, the LP is a continuation of Simo’s journey that began with the ‘YES.DJ’ EP, with a synthesized/modernized take on noughties hip hop, bass music, trap, ghetto house and ghetto tech – but here he broadens the scope, massively.

Exploring new pathways through magical landscapes, via infused melodies, emo and pop, the sensations are bright and addictive, like a sugar and endorphin cocktail. There’s a screen sheen and video game quality too, sounding like the high-octane score to an action flick from the year 3000, with unimaginably wild SFX.

'Cuspide des Sirènes' is the kind of record to stop someone in their tracks, to ask “what IS this?”, provoking bass face, perplexion, fascination and manic glee, all at once. Not so much organised chaos as intricately-crafted-borderline-unhingement, the album is slightly bonkers, in a very good way. There’s a boundless sense of childlike, unencumbered imagination at play, and an abundance of fun, but there are moments of serious-deep-beat-science for the heads, and introspective passages too.

There’s a lot going on, with detail, layers, flourishes, arrangement, melodies and myriad fresh sounds – but it’s never too much; just a really engrossing listen – the kind that that ruins ones appetite for prosaic, vanilla dance music, rendering such 2D pursuits boring and obsolete.

Ideally, the album is meant to be experienced as a seamless narrative from start to finish, so leave any inhibitions or preconceptions at the door, and let the pied piper of electronic futurism lead you way down the rabbit hole.

La preuve is a rearguard action. Most of the people who inspired it are dead or retired. Old teenagers flay their former loves. They bear witness to a bygone era, but happily embraced, digested and spat out. Everything was still possible. Or possible at last. Psychedelia opened the doors of perception. Romanticism wasn't relegated to a dull formatting, a cheese without a rind. The group Poudingue, which started out ten years ago, has some fine leftovers. These are the crumbs from purgatory.

The proof (la preuve, in French) is in the pudding (poudingue, in French) is an expression coined by Friedrich Engels meaning that the value, quality or truth of something must be judged on the basis of direct experience or its results. The expression is a modification of an old saying that makes the meaning a little clearer: the proof of the pudding is in the eating.

Nicolas CHEDMAIL – vocals, guitar, bass, keyboard, trumpet, French horn, trombone, helicon, pipes, flute, siren, alto sax, harmonica, melodica, violin, cello, shahi baaja, sanza / texts 2 4 5 6 9 10 / music 1 to 10 Frédéric MAINÇON – guitar, vocals / texts 1 3 7 8 9 / music 3 4 7 8 9 Jean-Jacques BIRGÉ – synthesizer, sampler, effects, field recording, erhu, inanga, shahi baaja, waldteufel, vocals / music 1 3 4 5 9 Guest: Benjamin SANZ – drums

Some people call it a vibe and some people call it a groove. We call it boogie soul. It’s the sound of
HANDSOME JACK on “Do What Comes Naturally”. Produced by Zachary Gabbard of the BUFFALO
KILLERS and featuring Bob Nave (of the legendary Lemon Pipers) on hammond organ, among
others, the music of this album seamlessly flows through deep dark mid-tempo boogies, smoky upbeat
burners, and soulful feel-good rockers all with a natural ease

Run-D.M.C.'s Raising Hell remains the turning point at which hip-hop crashed through mainstream barriers and never left. Anchored by the crossover smash "Walk This Way," the 1986 blockbuster still sounds like a revolution unfolding in real time. It has everything – hard-rock riffs, turntable scratching, itchy rhythms, hit singles – not the least of which are the trio's invigorating raps and inseparable chemistry. And now it's the first rap record afforded audiophile treatment, courtesy of Mobile Fidelity.

Sourced from the original master tapes and pressed on MoFi SuperVinyl, the reissue label's numbered-edition 180g 33RPM SuperVinyl LP elevates Raising Hell to sonic heights on par with its musical and cultural significance. Ranked the 123rd Greatest Album of All Time by Rolling Stone, 43rd on Pitchfork's Greatest Albums of the 1980s, one of the Top 100 Albums of All Time by TIME – and included on "Best of" lists by Spin, Paste, XXL, Entertainment Weekly, and basically every other significant media outlet – the triple-platinum effort rocks the house.

Benefitting from the ultra-low noise floor and groove definition of SuperVinyl, Raising Hell unleashes a torrent of massive dynamics and tsunami of frequency-plumbing details underlined by Rick Rubin's taut, crisp, albeit raw and streetwise production. Just as the Queens-based group both defined what hip-hop could represent – and displayed just how big it could get – Rubin's work melded ear-worm hooks, savvy drum loops, metal-leaning guitars, and, of course, Run and D.M.C.'s cross-fire lyrical interplay into watertight frameworks bursting with ideas, tones, samples, and beats. Heard anew on Mobile Fidelity vinyl, Raising Hell is in every regard the aural equivalent of a direct-to-console 1970s classic. And it sounds as fresh as hell.

As for the music, it ranks among the most influential, inventive, and invigorating ever released – rap or otherwise. Vanguard artists such as Ice-T, Eminem, Jay-Z, and Public Enemy's Chuck D – who declared it his all-time favorite and "the first record that made me realize this was an album-oriented genre" – have testified on behalf of its brilliance. And never mind the presence of the Top 5 single "Walk This Way," whose power helped make Aerosmith's Steven Tyler and Joe Perry relevant for the first time in nearly a decade – and literally put Run-D.M.C. in bedrooms ranging from the Bronx to Bartlett to Bad Axe.

Look instead to the rest of the entirely filler-free set, be it the corkscrew turns, slippery wordplay, and "My Sharona"-meets-"Mickey" mixology of the boisterous "It's Tricky," the fat-but-minimized bass grooves and warped turntable wobble of the hysterical "You Be Illin'," chimes-accented inertia and boombox-on- shoulder thunder of the now-iconic "Peter Piper," or voice-as-percussion attack of the funky "Is It Live." With Raising Hell, the answer to the question is always affirmative – a sensation bolstered by the fact the group always had something to say.

The definition of Golden Age Hip-Hop in every way, Run-D.M.C. avoids the negativity and misogyny that later plagued the style, spinning assertive tales about identity (the biographical and culture-changing "My Adidas"), work ethics ("Perfection"), and, most notably, pride (the Harriet Tubman- and Malcom X.-referencing "Proud to Be Black"). Pavement-packed inner cities, tree-lined suburbs, and cornfield-rimmed rural areas would never again be the same. And rocking a rhyme that's right on time would become trickier than ever.

Jake Muir's latest set of soft-focus, sensual electro-concrète, dissolves X-rated gay sleaze flick soundtracks into a shimmering suite of subdued orchestral flourishes and surreal cosmic psychedelia.

Back in 2020, Muir put together a 90-minute mix for Honey Soundsystem, blending tracks from Kelman Duran, DJ Olive, Daniel Lanois and Terre Thaemlitz with obliquely camp dialog samples from vintage gay porn. The idea was to represent queer sexuality in a looser, more experimental manner, grazing the super-sensory pleasure of the bathhouse experience and the illicit joy of cruising without getting too self-serious while doing it. The mix was so popular that Muir followed it up with a weightless sequel two years later, and began developing the concept into a proper album, using more samples of music and dialogue, eventually performing the piece at the esteemed GRM as part of their FOCUS #4 concerts alongside work by Eliane Radigue, Folke Rabe and Chris Watson.

Bathhouse Blues is split into two side-long pieces that wash and ripple with nervous tension and discreet salaciousness. Opening with a familiar theatre sting, there are echoes here of kosmische and experimental electronics on 'Cruisin’ 87', fashioned into puddles of syrupy, back-room ambience. Occasionally we hear lascivious words thru the fog, men mumbling to each other before sex. "That's beautiful," a voice mutters over a dusky cricket chirp on 'Pipe Dream'. "It is," another replies.

Muir's sonic treatment is suitably explicit, like a 1950s Hollywood jump-cut to a train going into a tunnel; he takes the whole-body, mutual release of queer sex and interprets it with heady gestures, peppering jazzy rhythmic frostings into basins of skewered drone and gurgling synths. His sound is coloured by the pleasure of physical touch, a mussy flux of high frequency scrapes and caresses juxtaposed with woozy, dubbed-out fondles and thrusts. Who said the GRM was buttoned up?

Repress!

First ever reissue of "A la memoria del muerto" (1972), Fruko y sus Tesos' second album, featuring the soaring and soulful vocals of Cali native Edulfamid Molina Díaz, aka "Píper Pimienta". Produced by Fruko's uncle Mario "Pachanga" Rincón, the LP has an uncompromisingly stark, hard sound that is appealing to today's collectors of 'salsa brava' just as it was impactful on the Colombian scene when it was made. Unlike the first Tesos album, with a two-trumpet line-up and fairly simple arrangements, this more mature recording added another trumpet and two trombones for a more robust brass attack. Additionally, instead of basic salsa, there are many different rhythms - guaguancó, bomba, plena, oriza, bolero, cha-cha-chá, descarga and Latin soul. Includes the bonus track 'Tihuanaco' (a cover of Peruvian pianist Alfredito Linares), which appeared on the US edition of the LP. Presented in facsimile artwork and pressed on 180g vinyl.

Sounds While Waiting documents the latest organ works by composer and musician Ellen Arkbro – following her phenomenal debut, 2017's For Organ And Brass, and the more recent CHORDS. Recorded at a centuries-old church in Unnaryd, Sweden in June 2020, these pieces reveal the enchanting qualities of sustained harmonic sound, how patterns of listening dissolve and emerge as textured space. On opening track "Changes," long radiant tones ebb and flow like divine breaths, while "Leaving Dreaming" builds with dynamic tension to unlock a subtle, otherworldly ambience.

As the composer states in the sleeve notes, "These recordings are traces of something I have come to love to do in large resonant spaces, which is to set up sustained chords on multiple organs and then move slowly through the sound. The instruments are usually far apart, which makes for the emergence of large fields of continuous change, spaces of harmonicity that can be passed through layer by layer and which contain within them points of both clarity and overwhelming complexity. The organ pipes are tuned and retuned, though sometimes I leave them just as they are. What I'm searching for is the moment when a particular kind of sounding texturality is revealed – it is rough, focused and yet strangely transparent."

Arkbro composes for acoustic instruments, for synthetic sound and for combinations of both, including music for orchestra and smaller chamber ensembles and large scale installation works. She currently performs in Catherine Christer Hennix's Kamigaku ensemble, and she previously studied with La Monte Young and Marian Zazeela. Recommended for fans of Sarah Davachi, Eliane Radigue and Charlemagne Palestine.

“Praying to god whether or not I believe there is one” - PH

Petra Hermanova and Unguarded announce In Death’s Eyes (UGD-009), the debut solo LP under the artist’s own name. This LP features nine tracks utilizing folk and sacred musical technique and instrumentation which drift between song and heavy distorted drones. In a disciplined display of beauty, pain, and astute musicianship, Hermanova brings forth a notable accomplishment of an album. In Death’s Eyes confronts death from start to finish with a rare fervor that leaves one feeling it was utterly necessary for Hermanova to produce - to survive. The transcendent impulse, or the influence of religious music, bears heavily on Hermanova’s compositions in her choir arrangements, but is most apparent in her use of pipe organ, opening the record on Black Glass. Having written organ parts for a significant portion of the record, she sought out the renowned organist Denny Wilke to record with her in the Merseburg Cathedral. Captivated by Wilke's profound skill as a player and knowledge of the Ladegast organ, Hermanova invited him to collaborate on Two Deaths where he delivers an impressive improvisation. While religious music offers spiritual solace from grief, folk speaks to the human and earthly as told by the individual, be they songs of suffering or joy, sin or salvation. To Hermanova, the clean promise of liturgical music is not enough to alleviate the blunt pain of grief. Contrasting the spiritual is the voice of the individual sufferer - the folk musician. For Hermanova, the autoharp embodies this contrast. The autoharp, a familiar sound in Appalachian folk music since its mass production in the late 1800’s, is an affordable instrument designed for the unskilled player. It is the antithesis of the organ which is costly, gargantuan, reserved for skilled players, and quite literally a part of the church. Through In Death’s Eyes the sounds of transcendence blend with the worldly, the tension between them poignantly expressing Hermanova’s struggle for spiritual resolution against the reality of death and loss. Like Hermanova’s lyrics, the artwork, conceptualized by Enes Güç and Evelyn Bencicova, is riddled with symbolism and allusion. We find Hermanova on the cover, digitally rendered. Reclining like an anatomical Venus, her vital organs are exposed, suggesting she is denied a transcendent death and is instead immaculately human. Bearing a sickle, her legs are metallic like armor, both symbols of protection. We see here in this image, as we hear in the nine tracks of IDE, the metaphoric state of someone ravaged by loss, choosing to tear herself open in an attempt to heal. - Reece Cox Petra Hermanova is a musician and visual artist based in Berlin. In 2018, Hermanova began working with the autoharp, which has since become the central pillar of her musical practice. Drawing inspiration from folk, medieval drone, and contemporary textural expressions, as well as Appalachian autoharp music, she creates emotionally driven arrangements accompanied by vocals. In her lyrics, she speaks to the fragility and tenderness of the human condition, religious conceptions of death, and introspective landscapes through narrative and symbolism. Hermanova debuted live at the Berliner Festspiele event The Sun Machine is Coming Down, performed at Trauma Bar und Kino accompanied with her choir, and recently took part in Sorour Darabi’s durational performance From the Throat to the Dawn. Her debut solo album, In Death’s Eyes, is set for release in 2023 on the art platform and label Unguarded. The album, where she wrote for the autoharp, pipe organ, solo voice and choir, features the acclaimed organist Denny Wilke playing the 19th century Ladegast organ of the Merseburg Cathedral. She has toured internationally with previous projects, including extensive sound and visual collaborations with Jon Eirik Boska (Hydropsyche) as well as with her award-winning band Fiordmoss. She was recently announced as a SHAPE+ platform artist.

Repress!

The Pretty Things Classic Album S.F. Sorrow re-issued with original UK artwork on Madfish. This vinyl edition of the album re-mastered from the original analogue tapes. It is pressed on 180g heavyweight vinyl and packaged with the original UK artwork gatefold sleeve, with cover art from Phil May.


The Pretty Things created some of the most exciting and innovative records of the late sixties and early seventies. Winners of the Hero award at the 2009 Mojo Honours, the band have been name checked over the years by an array of artists ranging from The Clash, David Bowie and Aerosmith through to The Libertines and Kasabian.


'SF Sorrow' is one of the great classics of the psychedelic era. The album stands favourable comparison with 'Sgt Pepper' and 'Piper At The Gates Of Dawn' as one of the defining records of the time. Originally recorded at Abbey Road in 1967 and 1968 it was the first and the most complete rock-opera to be recorded and released, pre-dating 'Tommy' by a full year.

The Pretty Things are active today and still play live regularly.

"a psychedelic masterpiece" - The Guardian

The great sound of the sixties has been collected on this album. Featuring big international hits from Shocking Blue, Golden Earring, Petula Clark, The Shangri-Las and Demis Roussos. Go back in time with this great compilation, released on turquoise coloured vinyl. Original artists! Original versions!

MONSTER HOUSE Original Motion Picture Soundtrack by Douglas Pipes! Monster House is a 2006 animated Horror film directed by Gil Kenan (Scream, Ghostbusters: Afterlife). The plot tells the story of
a neighborhood that is terrorized by a haunted house during Halloween. The movie features the voices of Steve Buscemi (Reservoir Dogs), Maggie Gyllenhaal (Donnie Darko, The Secretary), Mitchell Musso (Hannah Montana), Sam Lerner, Spencer Locke, Kevin James (The King of Queens), Nick Cannon, Jason Lee, Fred Willard (Spinal Tap), Jon Heder (Napoleon Dynamite), Catherine O-Hara
(Beetlejuice), and Kathleen Turner (Jessica Rabbit in Who Framed Roger Rabbit).

Monster House marks Sony's first computer animated film produed by Sony Pictures Imageworks. Produced by Roger Zemeckis (Back to the Future Trilogy) and Steven Spielberg's Amblin Entertainment, the film was released in 2006 and was met with praise from fans and critics for its blending of horror and accessibility to a broad audience as a feature animated film.

Roger Ebert gave the film his highest ranking of four stars calling it "one of the most original and exciting animated movies I've seen in a long time" and compared it to the work of Tim Burton. Douglas Pipes is an award winning American film score composer whose feature films include the Academy Award nominated Monster House, the Halloween horror anthology classic TRICK 'r TREAT, and the Christmas comedy-horror film Krampus.

Introducing a super charged split LP featuring the talents of Cameron Stallones aka Sun Araw and Spencer Clark’s duo with Jan Andersen, Tarzana.
What originally started as an Aquapelago inspired residency in the summer of 2021 quickly developed into its own thing. Truth be told, both artists always surfed their own personal waves of musical freedom, so Aquapelagos Vol.2 album became AQUA X, a split offshoot work featuring rehashed Tarzana compositions on one side and a live presentation form Cameron’s residency in the island of Tenerife around Keroxen festival’s 13th Edition. With two artists very dear to us this split LP picks up perfectly on the aquapelagic concept and twists inside out into worlds high and below creating a further testament to both’s artists oeuvres. Here’s an extract of Professor Haywards original liner notes regarding the music:
‘’The tracks on this album reflect the geo-cultural position of Californian-based musicians, Cameron Stallones, (who records here under the Sun Araw moniker), and Spencer Clark and Jan Andersen’s (performing as Tarzana) with oceanic atmospheres and structures of feeling.
Sun Araw’s dedication to producing subtle, flowing, psychotropic compositions can be read as an attunement to the oceanic sublime. Recorded within the disused Keroxen tank in Santa Cruz harbour in Tenerife, The Canary Suite is an extended piece that features a mix of electronic pulses, short synthesizer fragments and distorted guitar bursts. The textures are relatively sparse throughout, with a linear emotional contour sustained by an ongoing melodic play within a defined band of possibilities before settling into a calmer, soothing and floating mood, like an aural floatation tank.
Tarzana’s tracks artfully blend simple synthesizer tones, vocal exhortations, and an assortment of treated instrument sounds to create a pulsing, wandering and restless music. Short rhythmic ostinato fragments push and pull against bold blown pipes and horns while subtle darker colours and shades intermittently move through the soundscape to intensify the mood. This is busy and dense music but with an orderly flow and internal sense of motion that sweeps up the listener in its wake, like a sailing ship propelled through tropical seas.’’

Formed by Monster Magnet’s John McBain and Soundgarden’s Matt Cameron & Ben Shepherd in 1993 during some downtime from their day jobs and side project Hater (who released a self-titled album in 1993), Wellwater Conspiracy set about immersing themselves in the dayglo world of sixties psychedelia, channelling the vibrations of Syd Barrett’s Pink Floyd and the 13th Floor Elevators to produce the garage lo-fi-lysergic assault on the senses that is their debut album ‘Declaration of Conformity’. Originally issued on Mudhoney’s Steve Turners Super Electro label in 1997, the album was met with critical acclaim upon its release, and Rolling Stone magazine said, “Declaration’s tinny, fuzzed-out sonics decidedly evoke the Summer of Love.” God Unknown Records are proud to be welcoming the album back into print and on all digital platforms, and this coming September 22nd will see the release of a remastered vinyl pressing with extra tracks and new artwork taking influence from Blue Note Records’ fabled artwork. From start to finish, ‘Declaration Of Conformity’ is a loving homage to the true beginnings of psychedelic rock, long before the music got harder and heavier. Songs like ‘Green Undertow’ and ‘Sleeveless’ hark back to the time when The Beatles were spinning the world on its axis with ‘Tomorrow Never Knows’, Syd Barrett was the piper at the gates of dawn and Roky Erickson was introducing the world to his Texan psychedelic sounds. Wellwater Conspiracy’s music exists at that moment when pop music started to fracture and go far further out. It was still pop music, but the edges were starting to blur and the sounds were starting to fracture. This is where ‘Declaration of Conformity’ sits; at the dawn of one of the biggest cultural shifts in musical history. The Bandcamp link will also feature two bonus download-only tracks, a cover of ‘Akka Ragga’ by Shocking Blue and ‘Late Night’ by Syd Barrett. Both tracks feature Josh Homme on guitar and bass. Tracklisting A1 Sleeveless A2 You Do You A3 Trowerchord A4 Green Undertow A5 I Love You Every Day Sandy A6 Nati Bati Yi A7 Far Side Of Your Moon B1 The Ending B2 Space Travel In The Blink Of An Eye B3 6-6-5-4-3-2-1 B4 Shel Talmy B5 Lucy Leave B6 Declaration Of Conformity B7 Palomar Observatory

Jdotbalance left the moon and the sky for a city that works. This is their first offering for the ESP Institute. On side A, 'Sublimate' combines two aspects of a digital pipe and mallet assortment—both as the percussive base for a groove, and as an interstitial layer where inherent resonances are massaged into melody. Bubbles and squeaks dance around the sound-stage periphery, occasionally pierced by high frequency statements, presenting as either ghostly yelps from the aether or as bursts of kaleidoscopic shards. A third of the way through the track, the instrumentation truly does sublimate, crystallizing into a new self—bolder and naughtier, abandoning its pensive optimism for a detour around the spectrum's dark end. On the flip, 'Precipitate' continues with its predecessor's primer of metallic percussion, but accelerates the pace to reveal Jdot’s attitude leaning toward cunty malice. The kick drum relentlessly pounds us as 16th note droplets metamorphose from chrome-dipped hail into full-blown acid wind. As intensity retreats beneath the digital rubble and the track draws to a close, so does our stream of Jdot’s consciousness. These two songs will accelerate your nervous system.

A pungent ooze emanates from the subway. As a sticky drum machine sequence rolls out like thick dark fog, ice cold synth swirls rise from the depths.

Since the debut album Europe By Night, one of the main references associated with Henrik Stelzer and his Metro Riders project has been that of cinema, and particularly the European genre films of the 1980s. With its seedy subject matters manifesting both in visual style and music, the vibe of that era has crystallized over time. Passed down to us from deteriorating video cassettes, it became an invaluable key to decoding our present day reality.

And this is true for this album as well; Stelzer does not hide the fact that he builds heavily on that vibe; referencing it through track titles and utilizing a particular recording setup consisting of a Fostex and a reel to reel in order to achieve and recreate the feeling of those soundtracks — as heard on magnetic tape rather than vinyl.

The motion picture soundtrack as an arbitrary genre definition becomes, in the hands of Stelzer, a pair of X-ray specs for him to envision a kind of music that deals in grains and contrasts rath- er than hooks and choruses. And like Roddy Piper in John Carpenter's 1988 film They Live, he hands those glasses over for us to see the true face of our times.

On Lost In Reality Metro Riders maps out an emotional geography of the cities at night, wherein the cinematic haze becomes a tool by which we can view the cities with new eyes. Not steering away from the darker alleys nor the harsh realities of modern day politics masquerading as progress. Yet escapism, in the end, seems the only viable option. But not as an endgame, but rather a stepping stone for building a new vocabulary for an utopian language.

KISH KASH is the third album from British electronic dance producers Felix Buxton & Simon Ratcliffe, better known as BASEMENT JAXX. The album features an array of stellar guest vocalists including punk icon Siouxsie Sioux on the title track, London grime superstar Dizzee Rascal on "Lucky Star", the mighty pipes of Rock n" Soul diva Lisa Kekaula (of LA"s "The Bellrays" ) on "Good Luck" and rounds off with the mellow tones of Meshell Ndegeocello. Recorded in Brixton, London, the album was released on XL Recordings in 2004, subsequently won the inaugural GRAMMY award for "Best Dance/Electronic Album" and was nominated for the UK"s prestigious Mercury Prize.

Eight years after its original release in 2015, and sold out upon release, Umor Rex finally presents a vinyl repress of Sirens, by Kara-Lis Coverdale and LXV. This new edition is limited to 500 copies and comes with revised artwork.

Inspired by the link between seduction and violence, Sirens comprises a series of timbrally vast anamorphic pieces that poise the voice as a newly imagined tool of multiplicity. Processes of sample manipulation, signal processing, routing, and source design inform instrumental writing and performance in feedback until intertwined, flickering between states of conflict and consonance. Apparitions of the schizophrenic voice are at one moment fractured and cold and at the next full of warmth and vivaciousness, embodying velvet rituals of romanticism in the digital age.

Ultimately, Sirens is music for ambitious dreamers: surreal sound portraits sound like the warmth of the world laid over an ice cold virtual altar. LXV’s vocal truncations and fleshy sound palettes depict the archivation of the breath and aural fantasies of the flesh which Coverdale sets amongst a vast and unconfined landscape of deeper and unknown force. Harmonically active and dynamic orchestrations underpin post-sacred tonalities while brooding pipe organs, sphinx flutes, and hailstorms of metallic percussion characterize uniquely disjointed discussions between disparate compositional ontologies. At times violent and at others serenely peaceful and seductive, these pieces, at their most powerful moments illuminate a felt space between cybernetic energy and the body.

Composed and recorded by Kara-Lis Coverdale and David Sutton. Mastered by John Tejada. Cover photograph by Cody Cobb. Layout by Daniel Castrejón.

The music heard on this album was originally the result of a commission to score the second half of the film Nico/Nico Crying made by Andy Warhol in 1966. The commission was made by Art Cinema OFFoff in collaboration with B.A.A.D.M for a screening of the film together with a live presentation of the score in September 2021 at Ancienne Belgique in Brussels. The recording presented here was made in the last week of that year and mixed soon after in January 2022. These recordings are essentially live-recordings performed by the composers together in the same room and recorded in a manner reminiscent of the record making process as it was in the late 1960s. The instrumentation used to make the sounds on this album consists of modular synthesis, zither, voice, contaminated field recordings and metal percussion.

Mats Erlandsson is a composer and musician part of the vibrantly re-emerging field of drone music in Stockholm, Sweden, and is associated with practices characterized by the extensive use of sustained sound. Erlandsson presents his work both as a solo artist and in collaborations, most notably together with Yair Elazar Glotman and Maria W Horn. Recent releases include Gyttjans Topografi on XKatedral, Minnesmärke on Hallow Ground and the collaboration Emanate made with Yair Elazar Glotman on the label 13070. In addition to his own artistic practice Erlandsson holds a position as studio technician and was temporarily, from October 2022 to September 2023, the acting studio director at Elektronmusikstudion in Stockholm.

The compositions of Maria W Horn implement synthetic sound, electroacoustic and acoustic instruments and audiovisual components, often devicing generative and algorithmic processes to control timbre, tuning and texture. She employs a varied instrumentation ranging from analog synthesizers to choir, string instruments, pipe organ and various chamber music formats. Acoustic instruments are often paired with digital synthesis techniques, in order to extend the instruments timbral capacities. Often based on minimalist structures, her music explores the inherent spectral properties of sound and their ability to transcend time and space, reality and dream.

When picturing the German techno scene, one likely imagines the concrete monoliths of its capital city Berlin rather than the vineyards and valleys of the enchanting city of Stuttgart in the southwest. But small cities lack the oversaturation and noise of the metropolis, allowing them to develop their own inspired and distinctive subcultural visions. Stuttgart’s David Löhlein exemplifies this potential, manifesting a singular style of sight and sound through his Vision Ektase project and residency at Lehmann Club. Now, Löhlein’s warm-blooded techno is slinking, slithering and seducing its way through BNR, with the upcoming Hotel Pool EP release.

There’s no hesitation before plunging into the EP’s titular track, with its rushing fingered basslines and rolling polyrhythms. Löhlein cites solo travels in Columbia as the source of his Latin influences, and one hears them throughout “Hotel Pool” in vocal and percussive samples. Elements more commonly found in Latin and tribal house feel uncommonly fresh once Löhlein recontextualizes them within a 144 bpm techno foundation. The words “groovy” and “sexy” are usually reserved for the stuff of Buddha Bar compilations, but “Hotel Pool” is exhilarating because it serves both of the former and none of the latter.

A stream of hedonism flows beneath all of the four-tracker, but if the opener is erotic, A2 “La Piscina” is psychedelic. The bass flutters like a mescaline come-up, as infinite loops of chattering voices and deep bamboo pipe notes mesmerize. Again, Löhlein takes certain genre tropes - in this case from psytrance - and transposes them through his own stylistic signature with thrilling results. Ask Löhlein if he likes psytrance and the answer might be “Yes, when it’s techno.”

Leading the flip, “Cuando Vengas” heats up around a dark and sticky loop of ambiguous, organic origin. Here Löhlein’s masterful sample and drum programming is clearly on display, with vocal chops and subtle rhythmic variations leading the dancefloor to shivering bliss. The EP closes with “I Just Want,” a sparse, cold, and bitcrushed stalker of a track that seems to answer Baudrillard’s famed question “What are you doing after the orgy?” That the Hotel Pool EP’s wild romp ends in the Berlin oeuvre perhaps proves the city’s primacy in the German techno scene, but after a few listens one begins to wonder what rare pleasures they’ve been missing in David Löhlein’s Stuttgart.

The anticipation is there in Elizabeth Stokes’ solo guitar riff under the opening lines of “I’m Not Getting Excited”: a frenetic, driving force daring a packed Auckland Town Hall to do exactly the opposite of what the track title suggests.

As the opener of The Beths’ Auckland, New Zealand, 2020 expands to include the full band, the crowd screeches and bellows. It’s a collective exhalation, in one of the few countries where live music is still possible.

The album title, and film of the same name, deliberately include the date and location, lead guitarist Jonathan Pearce says. “That’s the sensational part of what we actually did.” In a mid-pandemic world, playing to a heaving, enraptured home crowd feels miraculous.

In March 2020, everything seemed on track for another huge year for The Beths. Home after an 18-month northern hemisphere tour, they had just finished recording sophomore album Jump Rope Gazers and were primed for more extensive touring. But within days, New Zealand’s lockdown split the band between three separate houses. All touring was cancelled.

“It was existentially bad,” Stokes says. As well as worrying about economic survival, they lost something crucial to the band’s identity: live performance. “It's a huge part of how we see ourselves... What does it mean, if we can't play live?”

The band found an outlet through live-streaming, returning to the do-it-yourself mentality of their early days to connect with a global audience. The album and film have their genesis in that urge to share the now-rare experience of a live show, as widely as possible.

The fuzzy-round-the-edges live-streams pointed the way aesthetically. Native birds, wonkily crafted by the band from tissue paper and wire, festoon the venue’s cavernous ceiling while house plants soften and disguise the imposing pipes of an organ. The presence of the film crew isn’t disguised: much of the camerawork is handheld; full of fast zooms and pans.

With much of the material still fresh, the band was less focused on re-invention than playing “a good, fast rock show”, Pearce says. The tempo is up on crowd favourites “Whatever” and “Future Me Hates Me” (released as a live single on its third anniversary) as both band and audience feed off the mutual energy in the room.

Certain songs have taken on special resonance post-Covid. Pearce has found “Out Of Sight”, a tender rumination on long-distance relationships, hits particularly hard with live audiences.

Album closer “River Run” visibly brings Stokes to tears as a mix of achievement and relief kicks in. “You can finally relax at that point … You play the last note, breathe out a sigh and look up - and you’re in a giant room full of people happy and smiling.”

. It started in a cafe in Chico, California, with a flier, covered in glitter, wires, feathers, and assorted melted items, with a three-word advertisement: “Noise person wanted.” It wasn’t a sign. It was a sample. A tiny piece lifted from the visionary environment that the band XDS would continue building over the next couple of decades, hoarding an eclectic stockpile of collage materials/influences/approaches for assembling psychedelic dance-punk jams played with homemade instruments, blown-out samples, off-kilter drumming and dub baselines. Shoko Horikawa had come from Japan to (the small, music-crazy college town) Chico for school, and responded to Jesse Hall’s mysterious flier and a pitch to collaborate on making interesting sounds. The partnership would end up featuring her syncopated polyrhythmic drums alongside his vocals (through a duct tape-and-PVC-pipe mic) and custom-built Guitar-o-bass, plus synths/samplers and various noise-making devices. The two-piece Experimental Dental School eventually morphed into XDS as the duo moved the operation from Chico to Oakland to Portland and back to Chico, touring the world (playing alongside the likes of Deerhoof and other innovators) and releasing 11 recordings (on Cochon Records, German label TCWGA, etc.) as they went. On the new XDS album, Bicycle Ripper, the band’s genre-bending roots are as deep as ever, but the goal now is to be less “noise” people and more “fun” people. The songs are weird yet cohesive, with jittery grooves and inventive hooks. Throw a dart at the album and hit “Hot Panther, Cold Moon” for one random sample: an unrelenting fuzzed-out bass dances with a insistent drums; a sharp turn into sparse tin-can-guitar break; then a return to the dance floor with a bonus overdriven bass riff and full-throttle drums. The Panther stays hot whether she’s under the “hot hot sun” or the “cold cold moon.” It’s all very irresistible and, yes, really really fun

Seit der Gründung 2015 ist bei Movements einiges passiert – der Name ist Programm und somit führt das Post-Hardcore-Quartett seinen Sound auf ihrem dritten Album RUCKUS! einen an expansive und manchmal unerwartete Orte. Das von Will Yip (Circa Survive, Code Orange) produzierte Album vereint Post-Hardcoreund Punk-Einflüsse mit einer gesunden Portion Pop-Songwriting, um ein Album zu erschaffen, das sich über die Konventionen der Szene hinwegsetzt und etwas völlig Einzigartiges schafft. Um dies zu erreichen, begab sich die Band - bestehend aus Sänger Patrick Miranda, Gitarrist Ira George, Schlagzeuger Spencer York und Bassist Austin Cressey - dreimal in das Studio 4 von Yip in Conshohocken, Pennsylvania, um die Songs zu schreiben und aufzunehmen, die schließlich zu RUCKUS! wurden. ”Ich glaube wirklich nicht, dass es einen strafferen Prozess hätte geben können, und ich glaube nicht, dass wir jemals Musik geschrieben haben, die so gut ist wie das, was wir für diese Platte zusammengestellt haben”, erklärt Miranda. Vom verzerrten Grind von ”Lead Pipe” über den synkopischen Groove von ”Killing Time” bis hin zum Pop-Glanz von ”Tightrope” - auf RUCKUS! integriert die Band ganz unterschiedliche Einflüsse wie die Gorillaz und die Strokes in ihren Sound, um die Vorurteile der Leute über ihren Sound herauszufordern.

Seit der Gründung 2015 ist bei Movements einiges passiert – der Name ist Programm und somit führt das Post-Hardcore-Quartett seinen Sound auf ihrem dritten Album RUCKUS! einen an expansive und manchmal unerwartete Orte. Das von Will Yip (Circa Survive, Code Orange) produzierte Album vereint Post-Hardcoreund Punk-Einflüsse mit einer gesunden Portion Pop-Songwriting, um ein Album zu erschaffen, das sich über die Konventionen der Szene hinwegsetzt und etwas völlig Einzigartiges schafft. Um dies zu erreichen, begab sich die Band - bestehend aus Sänger Patrick Miranda, Gitarrist Ira George, Schlagzeuger Spencer York und Bassist Austin Cressey - dreimal in das Studio 4 von Yip in Conshohocken, Pennsylvania, um die Songs zu schreiben und aufzunehmen, die schließlich zu RUCKUS! wurden. ”Ich glaube wirklich nicht, dass es einen strafferen Prozess hätte geben können, und ich glaube nicht, dass wir jemals Musik geschrieben haben, die so gut ist wie das, was wir für diese Platte zusammengestellt haben”, erklärt Miranda. Vom verzerrten Grind von ”Lead Pipe” über den synkopischen Groove von ”Killing Time” bis hin zum Pop-Glanz von ”Tightrope” - auf RUCKUS! integriert die Band ganz unterschiedliche Einflüsse wie die Gorillaz und die Strokes in ihren Sound, um die Vorurteile der Leute über ihren Sound herauszufordern.

Ramona Lisa is the current alias of Chairlift's Caroline Polachek. Her new album Arcadia is Polachek’s first self-produced solo record and the first release by Pannonica, part of the Bella Union family. Completely composed in MIDI, it is a concept album of love songs that are nature allegories, and vice versa, which Polachek calls "Pastoral Electronic Music". The making of Arcadia was a year¬long process that began and ended in an empty studio in Rome's Villa Medici and while on tour with her band, Chairlift. The record was made entirely on a laptop without instruments or external microphones - all vocals were sung directly into the computer, making use of hotel closets, quiet airport gates, and spare dressing rooms. Although the album was created on a laptop, the result is a lush and uncannily tangible world of warm textures, reminiscent of analog tape processes rather than a hard drive. Virtual oboes and organs interweave with synthetic insects and quivering sine waves, animated by Polachek's vocal at it's most delirious and intimate yet.

After the white cover of the first volume and the silver one of the second volume, the third new chapter was to be dressed in the golden one.

This brand new "golden edition" double LP includes only rarities and '77/'78 Baia’s heritage hymns.

In the inner case we can find the iconic comics of the "antibaia", made entirely by Andrew Joseph Corsaletti, Andrea for friends. These comics were a regular appointment for all fans of "The Baia's Time", the Baia degli Angeli’s newspaper.

Classic 1987 album is one of the band’s most beloved releases. Includes a cover of Crime’s “Hot Wire My Heart”. “Let’s get something straight. There is no album in the entire corpus of indie rock not Loveless, not Surfer Rosa, not Psychocandy that reaches the heights of invention, joy, and magic of Sonic Youth’s sublime fifth album.... The haunted reveries of Sister remain with you for years, even if you only hear them once” Stereogum // 1987’s Sister was another notch in the band's move away from No Wave, yet still maintained their experimental approach. Gordon, Moore, Ranaldo and Shelley were coming into their own at this point, combining elements of noise, punk and pop. They had also become better songwriters since their previous album, providing better context for their noisier elements and incorporating the dissonance of their earlier releases into more traditional song structures. To quote Stereogum once again, “Sister is the sonic manifestation of refracted light. It’s a record that changes you.”

How To Train Your Dragon 2 is the sequel to the massively successful 2010 animated feature film How To Train Your Dragon, and the second film in the trilogy by DreamWorks Animation. The story takes place five years after Hiccup and Toothless united the dragons and Vikings of Berk. While investigating a burnt forest, the pair discover a secret cave that houses hundreds of wild dragons and a mysterious Dragon Rider. The two find themselves at the center of a battle to protect the peace.

Composer John Powell, who earned his first Academy Award-nomination for his music in the original How To Train Your Dragon movie, returned to score the sequel. It was conducted by Gavin Greenaway and recorded at Abbey Road Studios in London with a 120-piece orchestra, a 100-voice choir, and a wide array of ethnic instruments, including Celtic harp, uilleann pipes, tin whistle, bodhrán, and bagpipes.

Sigur Rós-lead vocalist, Jónsi, who wrote and performed the song "Sticks and Stones" for the original movie, provided two new original songs for the sequel in collaboration with Powell. The track "Where No One Goes" that is featured on this release, is not only written, but also performed by Jónsi and Powell. Belarusian-Norwegian artist and Eurovision Song Contest winner Alexander Rybak, who voices Hiccup in Norwegian, also wrote and performs on the song "Into a Fantasy".

How To Train Your Dragon 2 is available as a limited edition of 750 individually numbered copies on flaming coloured vinyl and includes an insert.