Cerca:řitual

Half red/half blue Vinyl. Limited to 350 copies. Heavy Psych Sounds Records is really proud to present the Psychedelic-Space split of the century! "The Intergalactic Connection - Exploring The Sideral Remote Hyperspace" it's a split album that came from deep deep space! Here Giöbia meets The Cosmic Dead, two of the best modern space-rock bands you can find. The Italian quartet come with 3 incredible songs, while the Scottish guys deliver a 19 minute long suite. This piece of psychedelic journey is a travel inside the universe, 4 tracks full of heavy psych and space rock riffs that will bring you into a psychedlic vortex with no way out! A must-have for all the space travelers. Fans of Hawkwind, Pink Floyd, UFO and Gong will be more than enthusiastic ...It's a Space Ritual journey!

Over the past decade or so, Chris Forsyth has produced a series of perennially year-end list haunting studio albums of expansive art-rock, from 2013’s Solar Motel to 2019’s All TimePresent , in the process becoming one of the leading lights of the so-called “indie jam” scene, musicians combining omnivorous influences with post-Dead sprawl.

These critically lauded albums have established Forsyth as one of today’s most unique and acclaimed guitar player/composers - a forward thinking classicist synthesizing cinematic expansiveness with a pithy lyricism and rhythmic directness that makes even his 20-minute workouts feel as clear, direct, and memorable as a 4-minute song.

Pitchfork has called his music “a near-perfect balance between 70s rock tradition and present day experimentation,” NPR Music named Forsyth “one of rock’s most lyrical guitar improvisors,” and the New York Times calls him “a scrappy and mystical historian… His music humanizes the element of control in rock classicism (and) turns it into a woolly but disciplined ritual.”

But the studio records are just the tip of the iceberg.

You see, in a live setting Forsyth’s music is never really finished.

He hasn’t had a fixed band in years and plays with a rotating cast of characters. Regulars in Forsyth’s bands have included bassists Doug McCombs (Tortoise) and Peter Kerlin (Sunwatchers), and drummer Ryan Jewell (Ryley Walker, too many others to mention), among others - basically, whoever is available for the given gig or tour.

These are not groups that rehearse, exactly. Operating more like a jazz band, Forsyth and his players treat the songs as frameworks that remain identifieable but morph based on who’s playing them, like weather to a landscape.

Embracing this flux has become a cornerstone of Forsyth’s live sets, rendering every performance special and thereby catching the attention of tapers from his home base in Philly to New York City, Chicago, and Minneapolis. In fact, most of his live performances over the last few years are recorded and posted on the Live Music Archive site.

But the taper recordings, though many are high quality and full of character, are not professionally recorded and mixed multi-tracks.

Which brings us to Peoples Motel Band , the new live LP culled from a set that Forsyth played with NY-based group Garcia Peoples as his band, and is self-releasing on his own Algorithm Free label in a limited pressing of 500 copies.

Recorded September 14, 2019 before a packed and enthusiastic hometown crowd at Johnny Brenda’s in Philadelphia, Peoples Motel Band catches Forsyth and Garcia Peoples (plus ubiquitous drummer Ryan Jewell) re-imagining songs from Forsyth’s last couple studio albums with improvisatory flair.

Forsyth and Garcia Peoples played a number of 2019 shows together, beginning with a semi-legendary jam set at Nublu in NYC in March, through a couple dates on Forsyth’s month-long weekly residency at Nublu in September and concluding with a five-date tour of the Northeast in December. The chemistry between the players is tangible.

As is often the case with Forsyth shows, the gloves come off quickly and the players attack the material - much of it so well-manicured and cleanly produced in the studio - like a bunch of racoons let loose in a Philadelphia pretzel factory.

Recorded and mixed with clarity by Forsyth’s longtime studio collaborator, engineer/producer Jeff Zeigler, the record puts the listener right in the sweaty club, highlighted by an incredible side-long take of the chooglin’ title track from 2017’s Dreaming in The Non-Dream LP (note multiple climaxes eliciting wild shouts and ecstatic screams from the assembled).

This is not the new Chris Forsyth album, exactly, but then again, it kinda is because whenever he sits down to play, something new comes out.

An unheard production unit entirely geared towards hi-octane live explosiveness and spine-tingling studio hustle-and-bustle, Hysteria Temple Foundation step up with their anticipated debut platter, "Atrahasis EP" - a four-track EP by way of manifesto, due out for release on September 13 / 21.

Elusive and haunting by nature, skirting Shackleton-esque dub meanders, polyrhythmic folk instrumentation and further left-of-centre sonic divagations, the sound of Hysteria Temple Foundation is one that sheds skins when you expect it least. Scanning out a baroque timeline where no-holds-barred floor traction wildly clashes along deeper sound investigations, "Atrahasis" ushers us into a twirly pit of tribal drums and bow echoes.

Summoning the spirits of Muslimgauze and African Headcharge for a hectic ride in a sandstorm-caught bazaar of processed darbukkahs and further steely industrial tropes, "Annunaki" gets the ball rolling in sheer immersive fashion. Cranking the heat up a notch, "Gamesh" rushes us headlong into ruthless rapids of accelerated ritual drums and mind-expanding acid onslaughts breathing in some squelchy spaciousness into its intricately-woven web of sound.

Flip sides and here's the proper grime-steppish number "Ziuziu" taking over your brainwaves with a fierce unloading of harnessed machine rage and dystopian cybernetics turned into some club-optimised weaponry. Back to a dubby kind of vibe, "Chmanze" raises an army of louder-than-loud kicks, FX-laden percs, sizzling spurts and ankle-snapping breaks, all fit to breeze across the bulkiest sound systems with utmost sangfroid and nonpareil trenchancy.

Limited Edition 2 x LP vinyl with 13 remixes and more than 78 minutes of music, comes in gatefold double colour sleeve with exclusive photographs from the film, extensive liner notes and japanese style OBI strip. The score for a film by Oscar winning director Dusan Vukotic 'Visitors From The Galaxy' from 1981 (FOX001LP) was remixed by 11 artists from 9 countries. All original tracks from Visitors From The Galaxy (alternative titles: Gosti Iz Galaksije; Monstrum Z Galaxie Arkana; Gaeste Aus Der Galaxis; I Visitatori Della Galassia Arcana; Goscie Z Galaktyki Arkana; Los Visitantes De La Galaxia) are arranged, composed, conducted and produced by Tomislav Simovic. This compilation includes additional screen sounds from the unpublished tapes of composer Tomislav Simovic also featured in Dusan Vukotic film. With courtesy of Tomislav Simovic estate artists were given complete creative freedom to remix, reinvent and re-imagine the futuristic soundscape of first science-fiction film in Yugoslavia that was scored in analog, abstract, electronic and synthesised music. Alen & Nenad Sinkauz, Ali Renault, Anatolian Weapons, Credit 00, Drvg Cvltvre, Goran Vejvoda, Heinrich Dressel, Repeated Viewing, Security DJ, Tapan and Timothy Fife got the sounds from Tomislav Simovic score and embarked on a musical journey that had no rule or predetermined direction or genre; it was only their creativity inspired by Visitors From The Galaxy sound that led them to a new pieces, more or less experimental, abstract or dance floor friendly. The diversity of music goes wide and deep, it is modern and made by the stars of today paying homage to a composer who always retreated in being a star. As the remix projects of this kind are still very rare and include famous names like Ennio Morricone, Steve Reich or Peter Thomas Orchestra, Tomislav Simovic is now finally, one might say, at home.

Une Hardtek lourde, à lancienne dans le kick.
Des belles petites perles !
Une très belle production avec des styles variés et plutot "spped" pour le label.

Joli !

After a first volume released in September 2020 on Hard Fist, Argentinian Balam comes with “Chants of Pachamama (Part. 2)”, including a remix by Matias Aguayo.

This time Balam focuses on the experience around the ritual of magic plants that is practiced in the deep South-American rainforest. By mixing modular synth, stromping basslines, haunting vocals and real played percussions produced in his studio “Submarea” in Buenos AIres, he recreates a psychedelic trip from beginning to end.

The opening track “Yagé” is the name for a magic plant that can be found in many places in South America. With a tight djembe, the magician comes with his chants for starting the ceremony just before the bass bursts for a pagan dance. An irresistible lead synth takes the climax higher until the break where the magician enters the void and the psychedelic trip begins.

“El Curandero” – the chaman who leads the ritual – is the second tune of a frenetic organic and modular percussion bass driven dance stomper. Blazing synthesizers create a state of confusion and hallucinations when “el curandero” chants his icaros. The djembes and shakers move behind the heavy bassline while analog ding and dongs go crazy all over.

The second last track “Golfo”, just before the remix, is an instrumental tune, the end of the experience: heavy synthetic percussion, modular ambient sounds, a modal marimba and a very present djembe jamming until it fades in the analog night.

The closing track is a great reinterpretation of “Wakax” from “Chants of Pachamama (Part 1)” by the legend Matias Aguayo. A dark and heavy bass mixed with a tricky use of lots of the original elements makes you wanna twerk all night long.

MAUGLI blends vibrant sounds and driving rhythms from all over the globe. With a background as a drummer and of various styles, his genre-bending music blends sampling and recording into a lively collage. His crisp arrangements balance an electronic yet organic feeling. His debut album “Alba” (translated from Italian as “sunset“) is inspired by traditional music and the dance rituals of various Afro cultures and their diaspora such as capoeira, work songs or gnawa. While seeking to translate their spirit into the present day, MAUGLI combines these elements with electronic music, wobbling synthesizers and stomping beats. “Ladainha” is a soulful homage to the capoeira culture featuring Professor Chipreu PDM and "Baksheesh" to the rich American blues tradition, with hypnotic synth riffs and chopped up guitar licks resolving in a south african chant (recorded in the late 1950`s). “Mizan” opens with a pounding Guembri (a traditional gnawa three-stringed lute) accompanied by it’s descendant the ’banjo‘, allowing the sampled berber vocals to shine through. “Rawa’s” striking guitar riff is set up against biting synth blobs and piano chords, Nigerian fiddles and chants that swing us deeply into the groove. Get your ticket, for this album is an outernational roundtrip.

Repress

Finnish sound scientist Aleksi Perälä presents 'Paradox', a double EP landing 15 th of December on . Using a microtonal tuning method known as Colundi - with which his work is now synonymous - he guides us through a ritualistic journey of ten formidable tracks.
Glistening scales cascade over peculiar tones. Aleksi Perälä explores the powers of an alternative tuning system in dance-floor structures, tapping into the veiled potential of his sound palette with stunning physical consequences.
Saccharine and mysterious, 'Paradox' channels elements of Electro, Techno and Italo, ultimately achieving a transcendental form of its own.

Through his dedication to the Los Angeles grassroots projects that gave so much stability and focus to many younger musicians, artists and the community, Horace Tapscott became a neighbourhood hero at a time when the world wanted his presence. He stayed in Los Angeles and focused instead on building a community, rarely giving interviews and instead focusing on passing on the message from his mentors. He shaped a unique sound with his arkestra and community minded musicians. It was a close-knit family that emanated a sound that was deep and unique, flowing with a creative spirit that definitely comes through on this album.

In 1961 he founded the Pan-African Peoples Arkestra, which aimed to preserve, develop and publicise African-American music through the ever-growing family that emanated within many of the deprived areas of Los Angeles. Through his subsequent collaboration with Bruce Albach, a producer and founder of Nimbus West Records, they sought to document the importance of this music alongside many artists who were energetically linked to the ethos and understanding which came from the collective dialogue.

Here the composer leads four extensive arrangements through his 16 piece orchestra, featuring many of the Nimbus West artists including Adele Sebastian, Jesse Sharps and Linda Hill. The music weaves the sound of afro-futuristic music through changing tempos and a relentless dynamic expressive sound that is complex and beguiling with a deep spiritual sound throughout all four tracks.

The ceremonial ‘Peyete Song no. III’ is a great swirling evocative piece from the large collective, with amazing solos from especially Horace Tapscott who seems to find a sound from the piano that is from another dimension. The arrangement airs an important message of a people and their rituals.

Horace Tapscott gives Cal Massey’s composition ‘Nakatini Suite’ a splendid futuristic big band interpretation. The composition had been earlier illuminated by both Lee Morgan on his ‘Lee-Way’ album and John Coltrane on his ‘Believer’ album titled ‘Nakatini Serenade’. Through the more expansive soundscape, the interpretation allows for some great interplay between saxophonist Jesse Sharps and drummer Everett Brown Jr. with the whole orchestra led by Horace Tapscott capturing the essence of Cal Massey’s message.

Vocalist Adele Sebastian opens up the free probing arrangement ‘Quagmire Manor at 5am’ composition with a similar delivery as with her ‘Day Dream’ from the classic ‘Desert Fairy Princess’ album before the music takes off onto the mothership adding a sense of what time and space within the manner was about amongst many great musicians and artists. Their journey and moments encapsulated within the music.

There are certain albums you hear something new every time you revisit the music and this is one of those albums. An important part of Afro-American history; the politics and art which surrounded the album. If you get a chance check out the film ‘Horace Tapscott, Musical Griot’, by filmmaker Barbara McCullough, or buy the book ‘Songs Of The Unsung’: The Musical & Social Journey of Horace Tapscott’. Mark Jones/UK Vibe

This new album 'Make a Film' by Palmbomen II can be viewed as a (faux) crash course in filmmaking plus the soundtrack to score your first movie. A beautiful double vinyl album with a step-by-step course on writing, directing and shooting your first film. To make it easy, Palmbomen included 24 tracks that set the right mood for different scenes. From Medium Melancholy to Slightly Dark.

DEATH's legendary 1987 debut Scream Bloody Gore is more than just an untouchable album - upon its release, it was positively genre-creating. Scream Bloody Gore founded the quintessential death metal sound, with more tormented riffs, screams, and leads than the world had ever imagined, and established Chuck Schuldiner's inimitable phrasing and songwriting style as the most singular voice in the burgeoning genre. Today, the album is viewed unanimously as one of the all-time most important cornerstones of death metal. As the final chapter in Relapse's comprehensive DEATH reissue series, Scream Bloody Gore will now receive the deluxe reissue treatment on a wide variety of formats including 2CD, Limited Edition 3CD, LP, Deluxe 2xLP Boxset, and cassette versions. Like the preceding DEATH reissues, the deluxe reissue of Scream Bloody Gore has been meticulously remastered from the original tapes by Alan Douches (Death, Mastodon, Nile) and includes a plethora of bonus content, including previously unreleased recordings and rehearsal demos, super-expanded packaging, and brand-new extensive liner notes from former DEATH drummer / Autopsy founder Chris Reifert, Sepultura's Max Cavalera, and original Scream Bloody Gore producer Randy Burns.

Stuart Evans, aka Sordid Sound System is one of the founders of The Green Door Studio, a not for profit, analogue recording studio in Glasgow which emerged from an increasing disillusionment with the modern ways of music production. His sound holds outsider qualities, being everything but generic and predictable, mixing dub with movie soundtracks in the tradition of Carpenter and Italian likes.

On this 7” released on Höga Nord Rekords, SSS deconstructs and rebuilds music in an imaginative style, pairing tribe-ritual “back to ape”-beats with synthesized cosmic harmonies. In a way, we are enjoying straight up dub here but this record is also a display of the vivid and creative Glasgow scene centred round “The Green door studio” and record labels like “Invisible Ink” where krautrock and 80’s/90’s electronic music is part of the foundation. Boundless joy for every girl and boy!

Rakoon, a free spirit from the French electro-dub scene, known for his heavy weighted basslines in concert, comes back this year with his new album "Something Precious".

Since his first hit "Healing Dub" viewed more than 10 million times on YouTube, the producer has pursued his quest for an ever more hybrid and unique sound, combining synths and samples from travels, within pop structures with electronic features. "Something Precious" is a true synthesis of the eagerness of his first works and the power of his previous album, and confirms an even more electronic turn in the artist's career. It’s a bundle of energy carried by bewitching melodies; the travel journal of an enthusiastic musician, strewn with samples collected on the road.

“The musical guideline of this album first came one day when I got out of my studio after working on a track, feeling some kind of ecstasy that I hadn’t felt for years. Something that I used to feel almost every time I made music back when it wasn’t my job, but that had changed afterwards. It was like finding something really precious you thought you had lost forever…” says Rakoon about the genesis of this new album.

Whether it be with the intoxicating sample of "Hoi An" brought back from a trip to Vietnam or the galvanizing synths of "Chapters", a hit cut for the dancefloor, Rakoon treats his early fans to new gems true to his carefully refined recipe. But he also doesn't hesitate to venture into more electronic territories, like on the devastating "The Great Big Elephant", with its catchy sample and its synth’s nods to trance. Or even to surprise, with the use of vocoder on "Rituals" for instance.

"Something Precious" is the result of a significant sound research and an in-depth work on emotions. Its magnificent cover is signed by the English illustrator Miles Tewson, and it can be listened to like a diary that Rakoon shares with generosity and dedication with those who follow him, on and off the stage.

The UK underground entity only known as Sleep Token, fronted by Vessel, began the Sundowning ritual June 20th 2019 with ‘The Night Does Not Belong To God’. Sleep Token began to release their ‘offerings’ bi-weekly, released Thursday’s at Sundown BST with accompanying visualizers. Each offering had its own emblem, establishing the Sleep Token universe on the debut album Sundowning. This June 18th, 2021, the cycle begins again but born anew. The new album 'This Place Will Become Your Tomb', pushes the boundaries of Sleep Token's sound into new avenues of blurring genres while still retaining the signature sounds you'd expect. Available on CD digi pack.

Tape

Pauline Oliveros and Guy Klucevsek's "Sounding / Way" was originally released on cassette in 1986 and has been out of print ever since. This LP was cut by John Golden and pressed at RTI in order to achieve a quiet, dynamic pressing.

The Sounding / Way concept was simple. Each artist would write a piece for two accordions and then they would perform them together. Thus, side A contains Guy Klucevsek's Tremolo No. 6 performed by Guy Klucevsek and Pauline Oliveros. Side B contains Pauline's composition The Tuning Meditation, also performed by both Pauline and Guy.

This is the second release in an on-going effort between Important Records and the Pauline Oliveros Trust to maintain and promote the music, philosophy and legacy of Pauline Oliveros.

Guy Klucevsek is one of the world’s most versatile and highly-respected accordionists. He has performed and/or recorded with Laurie Anderson, Bang On a Can, Brave Combo, Anthony Braxton, Anthony Coleman, Dave Douglas, Bill Frisell, Rahim al Haj, Robin Holcomb, Kepa Junkera, the Kronos Quartet, Natalie Merchant, Present Music, Relâche, Zeitgeist, and John Zorn.

Pauline Oliveros, composer, performer and humanitarian is an important pioneer in American Music. Acclaimed internationally, for four decades she has explored sound - forging new ground for herself and others.

Through improvisation, electronic music, ritual, teaching and meditation she has created a body of work with such breadth of vision that it profoundly effects those who experience it, and eludes many who try to write about it. Oliveros has been honored with awards, grants and concerts internationally. Whether performing at the John F. Kennedy Center in Washington D.C., in an underground cavern, or in the studios of West German Radio, Oliveros' commitment to interaction with the moment is unchanged. She can make the sound of a sweeping siren into another instrument of the ensemble.

"On some level, music, sound consciousness and religion are all one, and she would seem to be very close to that level." John Rockwell

"Through Pauline Oliveros and Deep Listening, I now know what harmony is. It's about the pleasure of making music." John Cage

Penny Records presents the vinyl version of the soundtrack from the TV Series "Anna" written and directed by Niccolò Ammaniti. Fueled by Niccolò Ammaniti's passionate and immersive creative style, the score for 'Anna' was approached almost as a character study. 'Anna' exposes a world of extreme conditions where the essentials of human existence flourish in a wide range of emotions and sentiments tainted through the eyes of children. Striking brutality and primal savagery go hand in hand with the beauty of innocence and hope. Rauelsson's musical language for 'Anna' includes tense and spare textures that blend seamlessly with intimate ambient minimalism; classical elements that coexist with electronic drone experimentation and tribal rhythms, candid piano melodies buried in tape loops and otherworldly rituals of wordless voices. To arrive at this music landscape, Rauelsson enlisted an international cast of collaborators including Finnish percussionist Tatu Rönkkö, German cellist Anne Müller, American multi-instrumentalist Peter Broderick and Oslo-based vocalist Simin Tander. With this ensemble, Rauelsson's music documents a journey of survival that highlights the power of imagination and love.

Credits:

Music by Raúl Pastor Medall except A3 (Salvatore Cardillo, lyrics by Riccardo Cordiferro), A5 (Raúl Pastor Medall, Peter Broderick and Anne Müller), B3 (Raúl Pastor Medall and Anne Müller) and A2, B1, B2 (Raúl Pastor Medall and Tatu Rönkkö)

Played by Peter Broderick (Violin), Anne Müller (Cello), Raúl Pastor Medall (Piano, Electric Piano, Synthesizers, Electronics), Tatu Rönkkö (Drums, Percussion) and Simin Tander (Voice) with additional contributions from Christoph Berg (Violin), Aisha Burns (Violin) and Giulia Dragotto (Voice)

Recorded in 2020 at Rockaway Studios (Castelló, Spain; engineered by Raúl Artana), Niu (Benicàssim, Spain; engineered by Raúl Pastor Medall), Old House at Galgeberg (Oslo, Norway; engineered by Olav Torget), Tanum Church (Bærum, Norway; engineered by Olav Torget) and Indigo Studios (Palermo, Italy; engineered by Fabio Rizzo)

Additional recordings by Peter Broderick (Co. Galway, Ireland), Anne Müller (Berlin, Germany) and Tatu Rönkkö (Helsinki, Finland)

Produced by Raúl Pastor Medall and Niccolò Ammaniti. Mixed by Raúl Pastor Medall and Adam Selzer at Niu and Type Foundry (Portland, OR). Mastered by Adam Gonsalves and Adam Selzer at Telegraph Audio Mastering (Portland, OR). Lacquer mastercut by Andreas LUPO Lubich at Loop-O (Berlin, Germany). Artwork by Emiliano "Stand" Cataldo.

The fruits of over a year of work, Verset Zero’s album “Kerygma” will be released on the 24th November. A symbol of distant chaos, fratricidal wars, religious dogma and pure violence this concept album strangely echoes our current, dark period. An homage to the uncertain and evil future we blindly head to. ′′Kerygma′′ symbolizes Verset Zero’s desire to move away from the traditional electronic music of his beginnings toward a universe influenced, according to his words by noise, doom, pagan and black metal; Emperor, Windir, Sunn O))), The Body, Full of Hell, Amenra, & Neurosis. Artist statement: “This concept album is the most personal production I’ve ever composed. The key between my past and my future. The major link of my artistic evolution now definitely entering a Post-Metal sound. The pandemic’s destructive effect on the live-performance aspect of music inspired me to create a sonic and visual experience, halfway between ritual and procession. Hail.” credits mastering by Dadub mastering studio. artwork by Førtifem.

From the depths of an ancient dark underworld, Nigh/T\mare has conjured a powerful offering of burning emotions that light the fires of one's demons and invite the beginning of an epic journey through the unknown. Via Threnes Records from Switzerland, this offering is on point with their consistent releasing of top quality industrial/experimental techno. Entitled "Katharsis", this artistically crafted set of tracks in the form a debut album twists and turns its way over tribal rhythms with dynamic feels and beating drums that break down anything standing in the way. A powerful offering from the depths of the soul.

"Impure" is a powerful opener, like an army banging its drums and marching towards the fight, this track sets the stage from the drama to come. Like a speeding train through dystopia the injection of adrenaline comes in the form of "Self Immolation" which makes the heart beat with the force of a 100 pounding drums. Tribal percussion keeps banging its way through "Anti Balaka" before slowing into a deep melancholic track by the name of "Unarmed". Slowly building out of the calm "Unavoidable Unveiling" creates tension with droning notes and broken industrial percussion laying the soundscapes. "Doomed to Struggle" Feat. Prophan is a dramatic pushing and pulling of the hard hitting sounds and ritualistic chanting before diving into the galvanic rhythms of "The Summoning" Feat. LAIR. "The Path of Moans" brings the mood to a sombre place where the whispers from the demons below can be heard alongside the chiming of distant bells. Pact Infernal's remix of "Impure" demands attention as it offers chaos into the fold along with viciously delicious synths. Torn Relics remix of "The Summoning" builds into an onslaught of relentless percussion and deep howls from the underworld which leave you with chills running down your spine. A fitting ending to an impressive array of dynamic tracks, this is an experience never to be forgotten.

Did we reach lucky number 13 already?
Well then, let's celebrate all together with our chef de partie, Matalo! and pour out the oven-cooked agave aka mezcal.

These four tunes are cheerfully stacked, very pleasingly engineered and prime examples of the craft Matalo! handles so well.
A euphoric and energised feeling from start to finish.

Faitiche releases an album version of the radio piece Vom Rohen und Gekochten (The Raw and The Cooked) originally composed and produced by Jan Jelinek for the state broadcaster SWR2. The album The Raw and The Cooked brings together five sound collages that deal with the consistency of material and its mutability.

Solid, raw, boiling, powdery, liquid, broken and folded - categories which describe the nature of material. They can also be read in a chronological sequence: solid becomes broken becomes liquid becomes powdery... Material tells of its essence as it drifts through its states, always in correspondence with external energies. The Raw and The Cooked observes the artists Thomas & Renée Rapedius as they design their paper and metal objects and the artist Peter Granser as he ritually prepares Japanese tea, it shatters glass, bends metal and burns wood. The resulting audio documents capture processes of material transformation as sound.

The Raw and The Cooked was created with the help of ITO Raum Stuttgart and Thomas & Renée Rapedius. Originally produced for radio broadcast on Südwestrundfunk in 2020 it contains a variation of the collage Zwischen/Raum that was made with funding from Musikfonds. Many thanks to Eckhart Holzboog and Beatrice Theil, as well as Frank Halbig/SWR.

Daptone Records is honored to announce the release of Innov Gnawa's full-length, Lila. Formed in NYC, this grammy-nominated group of Moroccan expats has been making waves locally and abroad with their hypnotic live shows. The group is led by Ma'alem Hassan Ben Jaffar, a master musician and spiritual elder of the ensemble who plays a three-stringed african bass known as a guembri. Ben Jaffar is accompanied by a brotherhood of musicians – (Amino Belyamani, Ahmed Jeriouda, Samir Langus and Nawfal Atiq) – all playing the qraqeb, metal castanets that represent the shackles and chains of slaves and also singing chorus responses. Gnawa music is a spiritual tradition rooted in Moroccoʼs ancient history. Often referred to as “Sufi Blues”, Gnawaʼs African influence originated from West African slaves brought to Morocco centuries ago. Not unlike blues music in the American South, Gnawa music is revered throughout Morocco as treasured indigenous soul music.

After seeing a performance at a mutual friend's party, producer and local Gnawa enthusiast, Bosco Mann, invited Innov Gnawa to come record some tracks at The Daptone House of Soul. The invitation was accepted and over a five-hour session, the group tracked an entire albumsʼ worth of material - all in one take. The session tracked that evening is what we humbly offer up to you, the beloved Daptone Family. Lila, literally meaning "night" is a traditional ceremony in which the Ma'alem and his qraqeb ensemble dedicate an evening of healing through music. This all-night rhythm fest is a spiritual ritual which cleanses the body, mind, and spirit. We invite you to immerse yourself in Lila. Experience Freedom, Liberation and the power of healing through music. The spirit of Gnawa is people. Experience the freedom, liberation, and power of healing through music. You are not alive if this music doesn't move you.

Tape

Pauline Oliveros' Tara's Room has long been a favorite in the Imprec office and it's a great honor to be able to release it on LP for the very first time. Tara's Room was cut by John Golden and pressed at RTI in order to achieve a quiet, dynamic pressing. Originally released on cassette in 1987 following the 1986 release of "Sounding / Way" with Guy Klucevsek which is also available on LP via Imprec.

"Both pieces are intended to aid the listener in times of spiritual change, but are just fine for 'everyday' use as well. Highly recommended." Charles S. Russell, Ear Magazine

This LP features two long sides of infinite depth and sensitivity. Oliveros performs these pieces using a Just Intonation accordion and her Expanded Instrument System in order to bend both time and pitch.

Pauline Oliveros, composer, performer and humanitarian is an important pioneer in American Music. Acclaimed internationally, for four decades she has explored sound - forging new ground for herself and others. Through improvisation, electronic music, ritual, teaching and meditation she has created a body of work with such breadth of vision that it profoundly effects those who experience it, and eludes many who try to write about it. Oliveros has been honored with awards, grants and concerts internationally. Whether performing at the John F. Kennedy Center in Washington D.C., in an underground cavern, or in the studios of West German Radio, Oliveros' commitment to interaction with the moment is unchanged. She can make the sound of a sweeping siren into another instrument of the ensemble.

"On some level, music, sound consciousness and religion are all one, and she would seem to be very close to that level." John Rockwell

"Through Pauline Oliveros and Deep Listening, I now know what harmony is. It's about the pleasure of making music." John Cage

Midsommar is a folk horror film written and directed by Ari Aster. It follows a couple (played by Florence Pugh and Jack Reynor) and their friends who travel to Sweden for a festival that occurs only once every
90 years, only to find out that it’s part of a Scandinavian pagan cult. The film was released in 2019 to positive reviews. Music plays a key role in the film. The score was created by Bobby Krlic, a.k.a. the Haxan Cloak, who has also produced for Father John Misty, Goldfrapp, Troye Sivan, Björk and many more. Rather than creating a typical horror score, Krlic made beautiful and harmonious compositions that complement the film’s setting in rural Sweden, while still maintaining an unsettling sense of terror.

SABA developed ‘world music’ beyond its jazz label remit, the eclectic ‘Jazz Meets The World’ series brought together artists from Japan, India, Tunisia, Indonesia and Brazil. Producer Joachim-Ernst Berendt travelled to Rio in 1966 to create SABA’s first Brazilian release with a giant of the scene, guitarist Baden Powell. The resulting album, one of Baden’s greatest, bore two deeply rhythmic, spiritual titles found on this 45. ‘Sarava’ is a trance-like ritualistic number designed to whip dancers into frenzied possession. ‘Canto De Ossanha’ is another offering to the gods and an equally hypnotic dancer.

The core tenets of Morgan Wright's music have long tested club music's context; the rituals and customs that define it, and how each of those genres change once removed from their traditional settings.
It's a space Morgan Wright feels at home in; one where he's constantly asking questions of the structure club music resides within, and what it means to create a new space for familiar sounds. And over the course of his debut album, Class Tourist, Morgan has found new ways to elevate those same questions - whether by way of intention, or a pandemic-induced coping mechanism.
In Class Tourist, Morgan again borrows from familiar strains of the subgenres which have come to form his musical identity. This time, he fuses sounds of post-punk, IDM and breakbeat, hopeful they converge to form a bastardised rendition of the latter, with "Australiana" at its core.
It's a sound that was made possible by a change to his songwriting approach, after pivoting from a loop-based production style - one which he has applied to a slew of other projects, for the better part of five years - to one which lends itself to a more standardised, contemporary format.

Moving through the record, Morgan toys with musical tropes of contrast with a calculated refinement unheard throughout his previous work. The coalescence of melodic optimism and bleak, mournful soundscapes feature on Class Tourist again, as you would expect. But this time, contemporary structure - with the exception of a few songs - along with the features of label-mate, Purient, and frequent collaborator, ENDL355, breathe new life, and even a new genre, into Morgan's work.

Thirteen turbocharged tracks indebted to the pleasures and pitfalls of their lives in the modern city of Sydney and to the the first and second waves of international extreme music freaks and loonies: pure fucking aggression. The Oily Boys have graced us with a beast of an album that swells between direct, gripping, tangible hardcore punk and near nauseating psychedelia and throb which at moments feels like either ritual trance or a nervous breakdown. Cro Memory Grin contains near equal measures of tension and release; an exercise in high catharsis. It’s rare that a punk record can give the listener anywhere near the same intoxicating feel of an “everything louder than everything else” live show, but that’s what Oily Boys have done. That lightning in a bottle feeling of excitement, chaotic energy, delirium, presence in a moment and frenzied flight into a mind state both frightening and ecstatic. The stone has been carved, the fire has been lit, and this is it... Cro. Memory. Grin. *** Best played LOUDEST ***

REISSUE - from original press release: For three decades the reclusive Revolutionary Army of The Infant Jesus (RAIJ) have confounded musical classification and studiously declined every invitation to explain their unique form of musical and artistic experimentation. Initially the Liverpool outfit built their reputation on their extraordinary immersive multi-media performances combining multiple layers of visual imagery, elements of ritual, enigmatic samples, field recordings and mesmeric live music. Their cult status was further reinforced with the release of the now much sought-after two studio albums The Gift of Tears (1987) and Mirror (1990) and two EP collections, Liturgie Pour La Fin Du Temps (1992) and Paradis (1995). After an 18-year hiatus the appearance of a new RAIJ album, and the apparent relaxation of their strict vow of silence, are generating predictable excitement and expectancy. Beauty Will Save the World does not disappoint. RAIJ's intoxicating mix of ethereal beauty, dazzling soundscapes and oblique mystery reach new levels of intensity and subtlety. The album title - a quote from Russian novelist Fyodor Dostoevsky - is one of the many literary, cinematic and spiritual references underpinning RAIJ's unexpected comeback. Founder members Paul Boyce, Jon Egan and Les Hampson, joined by a fresh wave of collaborators, have crafted an album of unique beauty and originality. Prolonged silence seems to have deepened rather than dimmed their creative impulse. As ever it is the breadth of musical genres, cultural references, borrowings and retrieved sounds that define the RAIJ aesthetic, but there is also a more consistently meditative and melodic strain that underpins the album's integrity and purpose. In a rare insight into the RAIJ's creative method, Jon Egan explains: "Although our work takes elements and inspiration from many disparate sources we have never viewed it as deconstruction. We are looking for the thread that connects every manifestation of beauty, however fragile, transitory and seemingly accidental. " In addition to the album release on Occultation, RAIJ's second coming also includes a live performance at this year's Greenbelt Festival and the re-release on vinyl of The Gift of Tears by California-based label Feral Sounds. "There is renewed interest and appreciation of our music and that's great", said Leslie Hampson. "We have never tried to cultivate obscurity or anonymity, we simply wanted to avoid having to explain and justify a creative process that isn't necessarily premeditated. Isn't it enough to listen to and experience it?"

What is experience, but a husk, made up of moments in time, formed by myths, habits and rituals, molded by the country we call home. Who are we, but spectres facing the ambiguity of the coming day, while navigating the winding roads of our past.
What is left, but to make sense of it all through the gaze of a lover, discover passion through the kindship of music, embrace life, through the ancient fibers of the land.

"Transitional Being reveals another side of XVARR’s production palette — characteristically tranceinducing, this release highlights the transformational potential of dance music.

Spanning the last ten years, these six tracks handpicked by Aural Medium align with a particular relationship to technology that has formed the central pillar to the XVARR studio set up. Often starting with a drum pattern and sequenced bass-line, the physical rhythm is stripped out and surrounding elements are drawn out and manipulated to convey the ‘hidden’ intention behind the track. With the tracks compiled here, he lets the rhythms ride. The influence of more ‘club-orientated’ music has remained firmly embedded in XVARR’s psyche, although typically the trip has been more introverted. The approach here may differ from other XVARR outputs, but the mood most definitely remains the same, with an overarching desire to channel emotion and passion from the other side of nowhere.

XVARR recognizes the parallels between the ritualistic dance of the Witches’ Sabbath and a dark room filled with sweat, smoke, and sound. It is in this parallel void of transcendent possibilities that tracks such as “Running out of Time”, “The Crooked Path” (a nod to Andrew Chumbley) and “Universal” reside. There’s also a subtle presence of influences from Industrial music, with groups such as SPK, Conrad Schnitzler, Chris Carter and Cabaret Voltaire paving the way for XVARR’s early experiments with electronic music. The alchemical results on this EP float in a universe populated by such luminaries as AFX, Drexciya, and the constellation created by Chain Reaction, within a cosmos governed by the gravitational pull of Baldelli and Weatherall."

Cindytalk is the mercurial, expressionist outlet of Scottish artist Cinder. An evolution of her early 1980's Edinburgh-based punk band The Freeze, she launched the project upon moving to London, inspired by the crossroads of exploratory UK post-punk and early European industrial. Her work thrives on chance and transformation, collaging elements of noise, balladry, soundtrack, catharsis, and improvisation. After a series of celebrated albums for the Midnight Music label as well as collaborations with This Mortal Coil and Cocteau Twins, Cinder migrated to the United States, becoming involved with various underground techno collectives around the Midwest and West Coast. Subsequent relocations to Hong Kong and Japan further expanded Cindytalk's horizons, resulting in a fruitful partnership with Viennese experimental institution Editions Mego, for whom she released five full-lengths of swooning, granular atmosphere. 2021 finds her as engaged as ever, at the precipice of long-awaited back catalog reissues alongside multiple new works, guided by her lasting love of discovery and deviation: “new pathways always being uncovered.”

The 3rd album by Scottish industrial enigma Cinder aka Cindytalk began life as the soundtrack to an experimental film by English director Ivan Unnwin entitled Eclipse (The Amateur Enthusiast's Guide To Virus Deployment), and was originally slated for release via Factory Records' video division, Ikon. Inspired heavily by Alan Splet's eerily disembodied sound design in David Lynch's Eraserhead, the collection's 15 pieces seethe between field recordings, wistful piano vignettes, and lurking metallic haze – a hybrid palette Cinder characterized at the time as “ambi-dustrial.” Unfortunately Ikon collapsed on the eve of the project's completion so the film was never distributed, but the Midnight Music imprint repackaged Cindytalk's score as an LP in 1990 under the name The Wind Is Strong... (full title: The Wind Is Strong - A Sparrow Dances, Piercing Holes in Our Sky).

Cindytalk is the mercurial, expressionist outlet of Scottish artist Cinder. An evolution of her early 1980's Edinburgh-based punk band The Freeze, she launched the project upon moving to London, inspired by the crossroads of exploratory UK post-punk and early European industrial. Her work thrives on chance and transformation, collaging elements of noise, balladry, soundtrack, catharsis, and improvisation. After a series of celebrated albums for the Midnight Music label as well as collaborations with This Mortal Coil and Cocteau Twins, Cinder migrated to the United States, becoming involved with various underground techno collectives around the Midwest and West Coast. Subsequent relocations to Hong Kong and Japan further expanded Cindytalk's horizons, resulting in a fruitful partnership with Viennese experimental institution Editions Mego, for whom she released five full-lengths of swooning, granular atmosphere. 2021 finds her as engaged as ever, at the precipice of long-awaited back catalog reissues alongside multiple new works, guided by her lasting love of discovery and deviation: “new pathways always being uncovered.”

The 3rd album by Scottish industrial enigma Cinder aka Cindytalk began life as the soundtrack to an experimental film by English director Ivan Unnwin entitled Eclipse (The Amateur Enthusiast's Guide To Virus Deployment), and was originally slated for release via Factory Records' video division, Ikon. Inspired heavily by Alan Splet's eerily disembodied sound design in David Lynch's Eraserhead, the collection's 15 pieces seethe between field recordings, wistful piano vignettes, and lurking metallic haze – a hybrid palette Cinder characterized at the time as “ambi-dustrial.” Unfortunately Ikon collapsed on the eve of the project's completion so the film was never distributed, but the Midnight Music imprint repackaged Cindytalk's score as an LP in 1990 under the name The Wind Is Strong... (full title: The Wind Is Strong - A Sparrow Dances, Piercing Holes in Our Sky).

For the Perth group, creativity and production hasn’t stopped in 2020. Despite
much of this year’s tour plans being put on pause, Psychedelic Porn Crumpets have used their time off road to continue preparing themselves for the release of their fourth studio release, and an eventual blistering return to stages
around the world with a heavy-hitter of an album primed for the live space.
Psychedelic Porn Crumpets have already given fans an early taste of the forthcoming SHYGA! era, with ‘Mr. Prism’ in August. The creation of SHYGA! The
Sunlight Mound, especially off the back of 2019’s huge LP And Now For The
Whatchamacallit, came together in a different environment for McEwan and
the results speak to the band’s evolution and McEwan’s evolution as a songwriter.
“For the first time in a long time I was home without any tours booked, no
work, no deadlines and I felt free to create. My writing process became ritualistic; every morning starting with a small walk to the local bottle shop at 11am
and writing whatever flowed, allowing myself to design in all styles without
boundaries, and not trying to theme the album early on. I haven’t had the luxury of writing this way since the first record, which I spent almost a year working
on. It felt like I was myself again, creating without opinion or constraints. I was
gliding through weeks with a day seeming to pass.

Acid Jazz Records continue their exclusive
licensing agreement with Albarika Store, the
legendary record label that defined the sound of
Benin and influenced the entire region of West
Africa and beyond.
Recorded and issued in 1974, ‘Le Sato’ is one of
the earliest releases on the Albarika label and it is
also one of the deepest.
Sato is the term for the traditional rhythms that
soundtrack Vodun (Voodoo) rituals and
ceremonies in Benin. Performance of Sato is
reserved for these sacred rites, which evoke the
spirits of the dead and can last for several days
and attract hundreds of people. Sato rhythms
cannot be played outside of Vodun.
A large ceremonial Sato drum is used, which
measured over 1.5m in height. This drum is played
using wooden stick beaters, the drummer dancing
while playing. The Sato drummers are supported
by percussionists and other drummers playing
smaller drums. Together, they create unique,
layered, trance-inducing polyrhythms.

"These Exit Times" is the name of a newsletter sent by an environmental organisation advocating the extinction of the human race as a solution to save the planet. When Victor Ramirez first came across the group on the internet a couple of years ago, it brought a smile to his face. But after some pondering on the subject, he decided that "Exit Times" would be the name of his sensational third album as Ramirez Exposure.

The record started to take shape in early 2020, after a musical hiatus that had lasted a year. It had been somewhat of a dark period, and Victor felt it was time to go back to recording songs. It would be the first time he would be doing so at home. He had managed to set up a small studio that would allow him to make some proper recordings, and without having to use a computer. He'd also started a new job, as an orderly in a hospital, which gave him time to record and cash to pay the rent.

Victor was ready to take on the task of making the album with the help—albeit from a distance, this time—of Ken Stringfellow (Posies, Big Star) and Brian Young (Jesus & Mary Chain, Ivy, Fountains of Wayne), both regular accomplices of the Valencian in production and instrumentation. Working with the two of them feels very natural for him, even though they are in three different countries.

Looking back, it seemed as if he'd prepared himself for what was coming.

And so, the pandemic happened, and Victor found himself turning the ideas he had outlined on his phone into the songs for Exit Times. He was in a good place, personally and, despite the situation, he was happy to be able to contribute to society through his job at the hospital and, after coming home, to concentrate on his music and isolate himself from everything else.

Gradually, the sketches turned into luminous songs, with bright harmonies and lyrics that exude a fine irony. Victor admits that he strives to be a good pessimist every day, and the songs reveal a way of understanding life that relativises almost everything in order to stick with what's really important. This subtle sense of humour in the lyrics, like the luminosity of his music, is vintage Ramirez, and is present throughout the album, and even on the cover. The artwork is a painting by German painter Angela Dalinger, depicting Victor himself, their dog, Colombo, and some meaningful objects. The vinyl record featured is George Harrison's Brainwashed.

Exit Times is a shiny collection of songs with a universal vocation, bathed in sunshine pop with touches of new psychedelia. All simmered under the Mediterranean sun—the same sun that illuminates the entire planet.

Cold crushed electronics and tape noise by iDEAL faithful, Altar of Flies, returning to his native Swedish label with a 3rd album of possessed and unsettling tonal abstraction and psychoacoustic isolationism.

Known to the reaper as Mattias Gustafsson, Alter of Flies is the Mjölby-based sound artist’s most prolific alias, responsible for dozens of tapes and LPs for Chondritic Sound and White centipede Noise beside his trio of turns for iDEAL since the mid ‘00s. ‘Bortom Reven’ sticks closely to what he does best, conjuring bleakly depressive atmospheres ripe for inhabitation by the harder-to-please followers of North European ambient and industrial musicks, with an alchemic application of field recordings, tape loops, and primitive oscillators that vividly brings his thoughts into the dark light.

‘Bottom Reven’ is perhaps reflective of a certain, ascetic and isolated Swedish characteristic, enacting solitary rituals that better connect Altar of Flies with his environment, or simply entertain him during long, cold, dark nights. With hints of CMvH’s EVP and John Duncan’s searching shortwave radio textures to ‘Hur regn uppstår,’ and more ruptured reception of scrambled ether voices in ‘Terapimusik,’ alongside the title track’s worn-out nub of intrigue, and the damp basement clangour of ‘Under vår livstid’; its not one for those who get shook by the sight of their own shadow, but a real treat for listeners of a lonelier disposition who get off on the sound of the house creaking at night.

* A welcome reissue of The Disciples set `Infinite Density of Dub’.
* A cosmic trip into raw spacey dub territory with heavy rumbling, pulsating bass-lines
* Originally surfacing on the Dubhead label in 1999.
* Mixed and produced by Russ D.
* Limited to 500 copies only.

DEATH's legendary 1987 debut Scream Bloody Gore is more than just an untouchable album - upon its release, it was positively genre-creating. Scream Bloody Gore founded the quintessential death metal sound, with more tormented riffs, screams, and leads than the world had ever imagined, and established Chuck Schuldiner's inimitable phrasing and songwriting style as the most singular voice in the burgeoning genre. Today, the album is viewed unanimously as one of the all-time most important cornerstones of death metal. As the final chapter in Relapse's comprehensive DEATH reissue series, Scream Bloody Gore will now receive the deluxe reissue treatment on a wide variety of formats including 2CD, Limited Edition 3CD, LP, Deluxe 2xLP Boxset, and cassette versions. Like the preceding DEATH reissues, the deluxe reissue of Scream Bloody Gore has been meticulously remastered from the original tapes by Alan Douches (Death, Mastodon, Nile) and includes a plethora of bonus content, including previously unreleased recordings and rehearsal demos, super-expanded packaging, and brand-new extensive liner notes from former DEATH drummer / Autopsy founder Chris Reifert, Sepultura's Max Cavalera, and original Scream Bloody Gore producer Randy Burns.

Snapped Ankles return to the forest, but it's not as they left it. Trees planted in neat rows. A well-ordered monoculture with access roads and heavy machinery. The smell of greenwashed money in the air. There's no sign of the ancient woodland they emerged from on debut album, Come Play The Trees. And it's far cry from the gentrified East London they found themselves hawking on Stunning Luxury. All is not well in the face of progress. Welcome to the Forest Of Your Problems. Even among the famously close-knit woodwose community there are factions forming. Meet The Business Imp, The Cornucopian, The Nemophile and The Protester. Each with their own motivations and belief systems. Their own sense of injustice: contradictions, anxieties and guilt. There are woodwose who have risen to the top in the boom and bust world of real estate and hedge funds. Grab what you can before the next crash. Others find euphoria in the absolute conviction that wealth and technology will see us through this. There are those with their recycling in order, who are well-versed in the prospect of imminent ecological and economic collapse, burying themselves in vegan cookery and extensive international holiday itineraries. And there's an increasing number angry at the state of the world, ready to take to the streets and the trees in an attempt to force real change. Forest Of Your Problems runs the gamut of modern woodwose emotions. In this neat human approximation of the forest, it's an increasingly knotted affair. Despite all of this, Snapped Ankles haven't lost their innate ability to make you want to move your feet - their Teutonic forest rhythms are still shot through with post-punk lightning. Whether they're exploring those opportunities which might arise when a Nigerian prince emails out of the blue on 'The Evidence', or referencing the crooked woodwose attempting to go straight on 'Rhythm Is Our Business', this is music to lose your inhibitions to. The moments of pure elation on 'Shifting Basslines Of The Cornucopians' are worth the admission price alone - "It's a great time to be alive!" ...apparently. Snapped Ankles outsider status has always allowed them to hold a mirror up to society. Now the boundaries are not so clear. In the four years since Come Play The Trees was released, their cult has flourished. Previous album Stunning Luxury saw the band invited to play the BBC 6 Music Festival and a KEXP session on the back of a sold-out UK tour which culminated with two nights at Village Underground in London. As those who have witnessed the shamanic ritual of their live shows will attest, they are a truly unique, communal experience. Forest Of Your Problems will see the woodwose bring their ancient forest rhythms and high-wire, multi-media live act to ever bigger stages - including Camden's iconic Roundhouse in October.

Kryptox records was born to show what's happening in the new scene in germany. And David Nesselhauf is the next upcoming artist. Kryptox will release his 6 track EP.?Nesselhauf is a multi-talented artists: bass player, composer, bandleader and man of very original ideas. He was already featured on the Kryptox' Kraut Jazz Futurism compilation vol 1 (2019) and now delivers his first solo EP for the label.

This EP is a follow up in a longer musical evolution that the Hamburg born talent has been making over the past years. A journey that's basically a style he is building that he calls afro-kraut. Before joining Kryptox he already released 2 albums under the Afrokraut title on his own (Bandcamp) before meeting Mathias Modica (head of Kryptox) and they decided to work together.

So on the "Rituals EP“ Nesselhauf salutes his personal pantheon of musical gods once again, leading the listener through his musical Jungle encompassing Krautrock, Downbeat, Drone, Electronica, Afrobeat, Lo-Fi, Shoegaze, Funk and Ambient textures in the blink of an eye.?The 6 new tracks share a common feel, but are colorful individuals at the same time. Some more organic, others with electronic elements.

About Nesselhaufs workflow: Four of these composition are based on quick, playful, raw jams recorded live within hours by a group of Nesselhauf's inner circle musicians. Great grooves played by a heavy rhythm section that he uses also for his live gigs. Just on a few songs Nesselhauf exchanged the human musicians with a legendary Vermona Drum Synthesizer as the main rhythm ingredient.

Guests: One more track was recorded with Julian Gutjahr, Drummer for The Drawbars. Some tracks feature guest appearances by Dennis Rux (he also mixed the EP) and Graeme Currie on guitar. Soulamadou made his way to one of the tracks just by incidentally leaving a very groovy voice message on David ´s phone ("Zeit").

The material was later bewitched into deep, organic swirls: Trippy, psychedelic somnambulistical. The rather mystical, nocturnal reworking process of the recording added even more dimension and depth, leaving the 6 Tracks ready for home listen, but also for an open minded dancefloor and an otherworldly listening experience at the same time.
The next generations of jazz are just waking up. And Davd Nesselhauf and his bunch are one of these new interesting phenomena. Working in the underground since few years, now hopefully there will be more spotlight on these great new innovators.

Classic black LPs housed in gatefold w/ special canvas cardboard stock and silver hot foil! Nordic pop diva KARIN PARK of ÅRABROT adds her ethereal, mournful voice and keys to the primordial sound of legendary electronic pioneer LUSTMORD for this sublime and poignant collaboration. ALTER is a ritual of our times. On the pair's frst collaborative work, the nine tracks that make up ALTER are every bit as heart-wrenching as they are terrifying, mining new sonic territory, it is a fascinating study of light and shade that delves deep into vast uncharted darkness. Their ability to create atmosphere on the album opener "Hiraeth" is second to none, perfectly assembling a harrowing backdrop for Park's lilting sound of longing. From there, Park's vocals add all of the emotional depth and power found in names like Kate Bush, Maynard J Keenan and Elizabeth Frasier, perfectly playing against Lustmord's waves of dark drama and creating a wholly unique record that recalls Dead Can Dance, Massive Attack and Portishead at their greatest. Considering Park's credentials, it might be surprising that a collaboration with Lustmord would ft so seamlessly. Utilizing a sound comprised of elements of industrial, synth pop and more, the celebrated Swedish solo artist and member of Norwegian rock band Årabrot utilizes experimentation in her work, blazing trails and bringing to mind the work of her peers The Knife, Scott Walker, Robyn, Depeche Mode and Burial with her darkly-rich compositions. Multiple winner of Norway's Spellemann award, Park co-wrote the Norwegian entry for the 2013 Eurovision, fnishing fourth overall. But it is the sensibility of the sacred music of her youth that Park adds to ALTER, contributing a powerful vocal that guides the listener through the cavernous, mystical depth of their collaborative work. "Lustmord is the Gustave Doré of music", Karin Park ofers pensively. "Painting magical pictures with a sound that is so vast, it gives space for your own imagination." Brian Williams grew up in North Wales, beginning his musical career as Lustmord in 1980 and becoming a pivotal fgure and pioneer in the early industrial music scene in the UK. A former member of SPK during arguably their most crucial era, Williams went on to work with Throbbing Gristle members Chris & Cosey and appeared on early albums by Current 93 and Nurse With Wound amongst others. After relocating to Los Angeles in 1993, Williams worked on dozens of motion picture soundtracks including The Crow, Underworld and Paul Schrader's First Reformed, as well as on several video game, television scores and solo albums. Williams has also contributed to and collaborated with artists as varied as the Melvins, Clock DVA, Jarboe, John Balance of Coil, Clock DVA, Paul Haslinger (Tangerine Dream), Wes Borland (Limp Bizkit), Puscifer and more, including Grammy Award-winners Tool from their much acclaimed eforts 10,000 Days and Fear Inoculum. FOR FANS OF Lustmord, Årabrot, Dead Can Dance, Hans Zimmer, Sunn O))), Fever Ray, Chelsea Wolfe, Boards of Canada, Heilung, Zola Jesus, Swans.