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A full collection of crazy remixes from Ganez. Superb tunes ; Must have !

YELLOW VINYL
A taste from his upcoming debut album, Biesmans’ ‘Cold Void’ EP is brilliantly wistful and nostalgic, traversing indie dance, rock, electro and pop-tinged cuts.
Released in February, the artist’s ‘Planes, Trains & Automobiles’ EP laid the retro groundwork, taking inspiration from ‘80s video games. ‘Cold Void’ takes the baton and runs with it. The title track sees
Biesmans team up with guitarist Boi Wonder and Tom The Bomb, front man of Belgian rock outfit The Guru Guru. The resulting track is driven by steel blue synths, a massive guitar riff and memorable vocal
hook. A certified gem.
Disco Halal label founder Moscoman links up with emerging Ukrainian producer Komilev to beef up ‘Cold Void’s’ bottom end, adding ascendent pads and lush melodies, shifting the vibe into punchier dancefloor territory. ‘When Will It Stop’ is a woozy indie dream, propelled by robotic vocals and ‘80s piano chords. A handy radio edit of Moscoman & Komilev’s remix rounds out the package, promising broad appeal.

10Questions is a record label by Dam Swindle's Lars Dales and graphic designer Bas Koopmans. After an amazing first release, 10Questions ventures deeper into Italo territory with signing one of the scene's longest running duo's: 'PBR Streetgang'. PBR has been known for big dancefloor tracks, whether it's house or disco, they always deliver. This EP will surely add to this legacy.

The title track 'Dayskipper' sets the mood with it's 707 drum programming and rolling Italo bassline. The track slowly progresses to show it's dancefloor pedigree. A catchy synth hook combined with synth choir stabs drives the theme home. What makes this a standout track is that the hook is not an obvious one. The ominous chords are very well crafted and will cut through you like a knife through butter.

'Dayskipper' shares the A side with 'Knockout'; a track that is both a tribute to the early history of house and a contemporary piece of music in one. The 'Moog' style bassline sets the mood for a playful approach but it's the addition of the vocal hits and the piano hook that drives that theme home. Add a pinch of hip-house and you have the recipe for a good time.

On the third track (and a full side on the record) 'Chi-Lite' you can hear that PBR still knows how to get the most out of a house beat. The theme however is more a dreamy proto house track than anything else. The syncopated synth stabs set the perfect mood for the DX7 style bells that are played on top. PBR masterfully shift from floating moments to dancefloor energy within a matter of minutes.


10Questions is a label build on the concept that the record and record sleeve are an integral part of the full experience of an EP. The artist is given a questionnaire and depending on his/her answers the artwork is made. This way the music and art co-exist in the same creative universe, that of the artist and the label alike.

Distorted classical choral recordings, synths, processed guitar… The exquisitely complex human-machine interface experiments conducted by Stefano Pilia are kept in a delicate balance by John Duncan‘s lyrics and the soulful quality of his vocals, for an album of electroacoustic songs that are a unique blend for both artists. Seeds and memories from the past are re-actualized in the present through a machine electroacoustic compositional process creating a dark, gloomy and terrifying image of the future. Duncan’s lyrics offer a counterpointing liberation to the machine processes in action here, poetically revealing the dark and intimate struggle between the human soul and its rapport with the machine.

These recordings are a point of departure for Matilde Piazzi‘s inspired liner notes and photos, that take this release to another level entirely, becoming a metaphor for contemporary efforts to reach the limits of knowledge and discovery, their heroic nature and their inevitable failure.
Both artists worked on their respective sections in isolation, Pilia in an industrial area of central Bologna, Duncan in the wilderness several kilometers south of the urban sprawl. Together, their recordings developed an almost magnetic attraction that seemed to meld effortlessly.


The experience of listening quickly takes on a cinematic quality, exquisitely moving from an oceanic uplifting (Try Again) to the depths of apocalyptic, unsettling vocals (Fare Forward), constantly maintaining a lush, richly complex tapestry. The linear understanding of time is suddenly gone, dominated by a crushing machine-defined present, with Duncan’s lyrics and vocals becoming a shamanic portal to a possible future.
‘Try Again’ is released on digital/LP and was written, recorded and mixed by Stefano Pilia and John Duncan. Mastered by Ivan Pjevcevic. LP edition comes with insert, lyrics obi and text/photography by Matilde Piazzi.

On “Skeleton Elevator”, a hair-tingling, spine-popping, ribcage-rattling slab of twisted tundra boogie, Finland’s Cosmo Jones Beat Machine have their bony fingers on the global pulse of underground rock’n’roll, invoking the spirits of Beefheart, the Fall and Funkadelic. Cosmo Jones Beat Machine have a history that spans over two decades and starts in the woods and the wild in eastern Finland. Over the years the band have lived through five album releases, countless lineup changes and furious live appearances around Scandinavia and Europe that have brought the band a minor cult following. Skeleton Elevator is their sixth album altogether and the first in six years. The six years spent in cultivating the album now at hand have further tempered the band’s trademark sound, which is comprised of primitive but captivating rhythms and a terrifying racket. The vocalist Pharaoh Pirttikangas’ trademark raspy delivery, which has deepened over the years, weaves stories dug up from the Mississippi Delta in the pale moonlight and distilled through an eastern Finnish swamp. The new album’s Beefheartian clatter is at times spiced with influences from unexpected directions such as disco (Minimal Brain Dysfunction Generation) and Funkadelic-style space funk (Transformed). The band recorded the bulk of the album during a 24-hour session without sleep, which only adds to the record’s pleasantly unpolished, frantic edge.

Sci-Fi and library funk specialists Eleven76 return with an otherworldly breakdance double-sider. Their debut album 'Space Voyage' for Warner's music library covered extra-terrestrial spheres and found its way into many films, TV programmes and documentaries. The scarce promo vinyl copies on Mocambo Records are already priced collector's items among DJs. This 45s contains two hot slices of insect-themed outernational grooves with tropical and arabian flavours. Vintage synthesizers and hot tape-recorded drums continue to lead Eleven76's mystique travels through unknown funk territories, all while frenzied percussion-heavy break beats keep b-girls and b-boys moving on the floor.

Goldlettered label & brown paper sleeve.

All music improvised by Michael Wollny, Emile Parisien, Tim Lefebvre
and Christian Lillinger (except ‘Nostalgia for the Light’, written and
arranged by Michael Wollny).
The music we hear doesn’t fit into any category. We’re in uncharted
territory, so a good way to capture its essence might be to break it
down into its four component parts. First there’s Michael Wollny, here
for the very first time playing only on electronic keyboard instruments.
He creates a characterful world of retro-futuristic sounds that is very
much his own. We find the occasional nod to early Jean-Michel Jarre,
references to science fiction and horror movies and also vivid
memories of the sounds of avant-garde Krautrock: Can and Irmin
Schmidt and Klaus Schulze.
As for Tim Lefebvre, here is a musician who has plied his very great
craft with stars such as David Bowie, the Tedeschi Trucks Band, John
Mayer, Knower, Steely Dan, Elvis Costello and Wayne Krantz. Here
he is like a rock in a tempestuous sea. He propels the music forward
with a combination of bass and effects. He builds structures and
tames unruly elements. The way he lays down a groove is
overwhelming.
As a counterbalance we find the explosive yet highly sensitive playing
of drummer Christian Lillin-ger. He stacks layer upon layer of rhythms
and textures.
And the melodic lines of Emile Parisien on soprano saxophone
always have an astonishing springy inventiveness. Such is Parisien’s
latent energy, it seems as if at any moment he could suddenly
become airborne.
The players’ eager curiosity as to what the next turn, the next
impulse, the next push will be is palpable to the listener. One can
sense the tension between the urge to construct forms, lines,
grooves, harmonies, textures, versus the illicit joy of tearing such
fragile structures apart before they have even been heard. There are
beats and patterns from the 90s, 80s and 70s, all coalescing into
cinematic bacchanalia of sound. These four master improvisers and
composers all have the urge to rewrite the rules of their musical world
- and to do so in real time.
LP pressed on 180g vinyl with digital download code.

Crumb’s second album, Ice Melt, takes its name from the coarse blend of salts that you can buy from your local hardware store for $9.99. When sprinkled on your wintry steps, this mixture absorbs water and gives off heat, transforming the ice into a viscous, briney


slush and, eventually, nothing at all. Beginning with the dynamic chaos of “Up & Down,” and ending with Crumb’s closest thing to a lullaby, Ice Melt’ s ten tracks combine, like ice sculptures melting into a glistening puddle.

From the start, the group knew that cohesion was best achieved through plumbing their individual strengths— frontwoman Lila Ramani’s earliest songwriting, which catalyzed the group’s first two EPs; Bri Aronow’s knack for building (dis)affecting soundscapes; the hypnotic grounding of Jonathan Gilad’s drums, a Crumb mainstay; and Jesse Brotter’s distinctive bass playing, which subtly traces Ramani’s vocal melodies while providing an unrelenting pulse. These collective skills make Crumb a project of independent self-discovery, four creative minds converging around an idea that is always shifting and reforming.

Convening in Los Angeles to work with producer Jonathan Rado, Crumb tapped into atmosphere-creation like never before, building experimental compositions that are at turns head-nodding and surrealist, energetic and euphoric. Ramani characterizes the album as a “return back down to earth,” a deeply felt examination of “real substances and beings that live on this planet.” It is also the cultivation of road-worn musicians exploring brand-new sounds and thematic concepts, pushing themselves into territory they could never have anticipated five years ago.

Crumb’s second album, Ice Melt, takes its name from the coarse blend of salts that you can buy from your local hardware store for $9.99. When sprinkled on your wintry steps, this mixture absorbs water and gives off heat, transforming the ice into a viscous, briney


slush and, eventually, nothing at all. Beginning with the dynamic chaos of “Up & Down,” and ending with Crumb’s closest thing to a lullaby, Ice Melt’ s ten tracks combine, like ice sculptures melting into a glistening puddle.

From the start, the group knew that cohesion was best achieved through plumbing their individual strengths— frontwoman Lila Ramani’s earliest songwriting, which catalyzed the group’s first two EPs; Bri Aronow’s knack for building (dis)affecting soundscapes; the hypnotic grounding of Jonathan Gilad’s drums, a Crumb mainstay; and Jesse Brotter’s distinctive bass playing, which subtly traces Ramani’s vocal melodies while providing an unrelenting pulse. These collective skills make Crumb a project of independent self-discovery, four creative minds converging around an idea that is always shifting and reforming.

Convening in Los Angeles to work with producer Jonathan Rado, Crumb tapped into atmosphere-creation like never before, building experimental compositions that are at turns head-nodding and surrealist, energetic and euphoric. Ramani characterizes the album as a “return back down to earth,” a deeply felt examination of “real substances and beings that live on this planet.” It is also the cultivation of road-worn musicians exploring brand-new sounds and thematic concepts, pushing themselves into territory they could never have anticipated five years ago.

"We want to make people feel good about things that we feel terrible about." says David Brewis, who has co-led the band Field Music with his brother Peter since 2004. It's a statement which seems particularly fitting to their latest album, Flat White Moon released on 23 April via Memphis Industries. Sporadic sessions for the album began in late 2019 at the pair's studio in Sunderland, slotted between rehearsals and touring. The initial recordings pushed a looser performance aspect to the fore, inspired by some of their very first musical loves; Free, Fleetwood Mac, Led Zeppelin and The Beatles; old tapes and LPs pilfered from their parents' shelves. But a balance between performance and construction has always been an essential part of Field Music. By March 2020, recording had already begun for most of the album's tracks and, with touring for Making A New World winding down, Peter and David were ready to plough on and finish the record. The playfulness that's evident in much of Flat White Moon's music became a way to offset the darkness and the sadness of many of the lyrics. Much of the album is plainly about loss and grief, and also about the guilt and isolation which comes with that. Those personal upheavals are apparent on songs like Out of the Frame, where the loss of a loved one is felt more deeply because they can't be found in photographs and compounded by the suspicion that you caused their absence, or on When You Last Heard From a Linda, which details the confusion of being unable to penetrate a best friend's loneliness in the darkest of circumstances. Some songs are more impressionistic. Orion From The Streets combines Studio Ghibli, a documentary about Cary Grant and an excess of wine to become a hallucinogenic treatise on memory and guilt.. Others, such as Not When You're In Love, are more descriptive. Here, the narrator guides us through slide-projected scenes, questioning the ideas and semantics of 'love' as well the reliability of his own memory. The result is a generous record of bounteous musical ideas, in many ways Field Music's most immediately gratifying to date.

LTD EDITION TRANSPARENT VINYL

"We want to make people feel good about things that we feel terrible about." says David Brewis, who has co-led the band Field Music with his brother Peter since 2004. It's a statement which seems particularly fitting to their latest album, Flat White Moon released on 23 April via Memphis Industries. Sporadic sessions for the album began in late 2019 at the pair's studio in Sunderland, slotted between rehearsals and touring. The initial recordings pushed a looser performance aspect to the fore, inspired by some of their very first musical loves; Free, Fleetwood Mac, Led Zeppelin and The Beatles; old tapes and LPs pilfered from their parents' shelves. But a balance between performance and construction has always been an essential part of Field Music. By March 2020, recording had already begun for most of the album's tracks and, with touring for Making A New World winding down, Peter and David were ready to plough on and finish the record. The playfulness that's evident in much of Flat White Moon's music became a way to offset the darkness and the sadness of many of the lyrics. Much of the album is plainly about loss and grief, and also about the guilt and isolation which comes with that. Those personal upheavals are apparent on songs like Out of the Frame, where the loss of a loved one is felt more deeply because they can't be found in photographs and compounded by the suspicion that you caused their absence, or on When You Last Heard From a Linda, which details the confusion of being unable to penetrate a best friend's loneliness in the darkest of circumstances. Some songs are more impressionistic. Orion From The Streets combines Studio Ghibli, a documentary about Cary Grant and an excess of wine to become a hallucinogenic treatise on memory and guilt.. Others, such as Not When You're In Love, are more descriptive. Here, the narrator guides us through slide-projected scenes, questioning the ideas and semantics of 'love' as well the reliability of his own memory. The result is a generous record of bounteous musical ideas, in many ways Field Music's most immediately gratifying to date.

Rich in musical associations yet utterly singular in its voice, joyous with an inner tranquility, the music of Natural Information Society is unlike any other being made today. Their sixth album in eleven years for eremite records, descension (Out of Our Constrictions) is the first to be recorded live, featuring a set from London’s Cafe OTO with veteran English free-improv great Evan Parker, & the first to feature just one extended composition. The 75-minute performance, inspired by the galvanizing presence of Parker, is a sustained bacchanalia of collective ecstasy. You could call it their party album.

This was the second time Parker played with NIS. Joshua Abrams: “Both times we played compositions with Evan in mind. I don’t tell Evan anything. He’s a free agent.”

The music is focused & malleable, energized & even-keeled, drawing on concepts of ensemble playing common to musics from many locations & eras without any one specific aesthetic realization completely defining it.

“The rhythms that Mikel plays are not an exact reference to Chicago house, but that’s in there,” Abrams says. “I like to take a cyclic view of music history, can we take that four-on-the-floor, & consider how it connects to swing-era music? Can we articulate a through line? I dee-jayed for years in Chicago & lessons I learned from playing records for dancing inform how I think about the group’s music. The listener can make connections to aspects of soul music, electronic music, minimalism, traditional folk musics, & other musics of the diaspora as well. It’s about these aspects coming together. I don’t need to mimic something, I need to embody it to get to the spirit, to get to the living thing.”

For jazz fans, the sound of Parker’s soprano & Jason Stein’s bass clarinet might evoke Coltrane & Dolphy, even though they didn’t necessarily set out to do that & they play with complete individuality. Abrams sees a bridge to the historical precedent, too. “Since we first met in the 1990s, one of the things that Evan and I connected on was Coltrane’s music,” he says. “I hoped that we would tap into that sound world intuitively. In this case, I think that level of evocation adds another layer of depth, versus a layer of reference.”

Indeed, this is a performance in which the connections among the ensemble & the creative tension between improvisation and composition build into a complex mesh of associations & interactions. While the band confines itself to the territory mapped out by Abrams’ composition, they are remarkably attentive & responsive, making adjustments to Parker’s improvisations. When Parker’s intricate patterns of notes interweave with the band, the parts reinforce one another & the music rockets upward. Sometimes, Parker’s lines are cradled by the group’s gentle pulse & an unearthly lyrical balance is struck.

Drummer Mikel Patrick Avery is locked-in, playing with hellacious long-form discipline, feel & responsiveness. Jason Stein’s animated, vocalized bass clarinet weaves in & out with Lisa Alvarado’s harmonium to state the piece’s thematic material; the pulsing tremolo on the harmonium brings a Spacemen 3 vibe to the party. Abrams ties together melody & rhythm on guimbri, a presence that leads without seeming to. Like his bandmates, he shifts modes of playing frequently, improvising & then returning to the composed structure.

“As specific as the composition is, the goal is to internalize it & mix it up,” Abrams says. “The idea is to get so comfortable that we can make spontaneous changes, find new routes of activity, stasis & byways every gig. It’s like a web we’re spinning. If someone makes a move, we all aim to be aware of it, make room for it. Experiencing & listening is what it’s about, & Evan supercharges that.”

& “supercharged” is the word for this album. With Parker further opening up their music, descension (Out of Our Constrictions) is the sound of Natural Information Society growing both more disciplined and freer, one of the great bands of its time on a deep run.

Aguirre edition: Mastered by Helge Sten, Audio Virus, Oslo. Lacquers by Dubplates & Mastering. Liner Notes by Theaster Gates. LPs pressed on premium audiophile-quality vinyl at Pallas Records. US 2xLP edition available thru Eremite records.

Angel Guts: Red Classroom is the beginning of Xiu Xiu’s descent from grayness into the deepest blackness endurable. It is the sound of Xiu Xiu’s death. Primary songwriter Jamie Stewart relocated to Los Angeles this past year, moving blindly into a neighborhood

whose notoriously dangerous reputation was unknown to him. The aura of his new home bleeds into every pore of the album, each lyric and note bearing traces of its essence: the terrible beauty, the despair, the violence, the ultra humanity, the uncertainty.

Working with only analog synths, drum set, and 1970’s analog drum machines, Xiu Xiu has never before sounded so focused, so captivating, so intent on delivering a kick to the throat. Unbearably dark, yet incredibly illuminating, AG: RC is the work of a band unraveling to its core and exposing the boldness within.

On the Corner have taken a deep dive into the murky waters whereancient percussion are jolted through history with a high voltageshock of experimental electronics. Across the territory of 'When theWaters Refused Our History', Sunken Cages channels his ownjourney and that of the world of his ancestors and adroitly breachesthe porous frontiers being pushed by the cosmic adventures-led OntheCorner. Sunken Cages is the moniker for Ravish Momin, an Indian-borndrummer, electronic music producer and educator. For the pastdecade, Momin has been experimenting with enhancing his acousticdrum sounds with electronic ones, and has crafted a unique electro-acoustic approach. He triggers sounds and textures, layers live-loops and manipulates them 'on the fly', to blur the lines betweencomposition and improvisation. While rooted in Indian folk and BlackMusic traditions, Sunken Cages is also influenced by the streetsounds of South African G'com, Angolan Kuduro and Egyptian Mahraganat. He currently leads the electronic music focussed duo 'TurningJewels Into Water' with Haitian percussion virtuoso Val Jeanty.Ravish's unique approach quickly led him to work as a sideman witha diverse cast of musicians ranging from pop-star Shakira tolegendary avant-saxophonist Kalaparusha Maurice McIntyre (of theAACM).

Kink Gong is back with his unique take and re-interpretation of the music he’s been recording and documenting for years in the South East Asian highlands.

Zomia Vol.1 takes the conceptual idea of ZOMIA, proposed by James C Scott in The Art of Not Being Governed, an Anarchist History of Upland South East Asia, to construct its very own mythological soundscape inspired by a semi-utopic region where state rules don’t apply. Zomia might be (almost) gone but Kink Gong is keen keep its spirit alive by releasing a series of albums celebrating the region’s quasi mythological features.

‘’Zomia is an idea, a concept that, not so long ago, there were two very distinct worlds in southeast Asia, the valley VS highland/hinterland, the civilisation VS the primitive, paddy rice VS slash and burn agriculture, Buddhism VS Animism, fixed territory VS movement/migration, written system VS oral culture, the state VS anarchy, property VS squat, controlled population VS autonomy, bricks VS bamboo and wood and, at my level museumified traditional mainstream music VS real emotions/songs of devastated lives and/or gongs ceremonies with buffalo sacrifices, extreme heat in the valleys VS shade in the jungle. I could go on and on but let’s not forget that ZOMIA is disappearing fast, if not altogether already. How many of the people I’ve recorded are still alive?

As you might know, before composing new music from my own ZOMIAN experience (from 2001 to 2014 in Cambodia, Laos, Vietnam, Thailand and China) I had to find those musicians, be able to communicate with them, record them as good as I could with very limited finances and gradually release a collection of 160 CDrs. It is very important for me to make sure you to listen to the fantastic original recordings before or after you’ve listened to this experimental reconstruction I called ZOMIA!

Expect more volumes to come, this is my biggest source of inspiration, and the reason why I’ve been involved for years in constructing a mythological experimental musical ZOMIAN soundscape.’’
Laurent Jeanneau, Berlin 2020

MICROCORPS is the new project by artist and musician Alex Tucker (Grumbling Fur, Alexander Tucker, Imbogodom) exploring electronics, cello and voice. The debut release XMIT, an eight-track album featuring collaborations with Gazelle Twin, Nik Void, Simon Fisher Turner and Astrud Steehouder, is out on 16 April 2021. Tucker's ever-evolving soundworld continues to unfold with this collection of harsh realms centred around processed electronic systems, strings and vocal manipulations. On the new album, MICROCORPS employs altered voices, sound synthesis and atomised beat constructions. In a move away from previous projects XMIT investigates erasing the self, removing obvious traits of the hand and voice, and allowing a focus on the humanoid rather than the human. Instead of recognisable lyrics and coherent imagery, MICROCORPS evolved synthesised voices to generate alternate characters. He expands, "I was investigating how language brings our world into being and how manipulating the actual grain of the voice could open up momentary shifts in perception." Each track is born from a balance between composition and improvisation within set parameters. At each stage audio is heavily processed and then reconfigured. Setting up systems that are non-repeatable, where decisions can be premeditated and intuitive but never the same with each performance, using hardware and instruments outside of the computer to make live stereo takes that have limited room for editing and mixing. "I'd been looking into combining dream music with machine rhythms, but there are so many great examples out there of both music forms, so I started to cut up the drones and really filter the drum patterns to create a hybrid space." The album artwork features manipulated ink drawings by Tucker that originally featured in his recent comic ENTITY REUNION 2. XMIT refers to a time in which information both physical and nonphysical transfers at an alarming rate beyond human comprehension into an age which is at once banal and terrifyingly alien.

Winter Family is a duo made up of Ruth Rosenthal and Xavier Klaine, who met in Jaffa in 2004. Their dark, saturated and dense music is described as "Death Swing", "Weird Wave" or "Funeral Pop".

They recorded new parts of this new album in St Martin church of Maxéville, France. Xavier: "I recorded the pipe organ there, inspired by the Alsatian philanthropist organist Albert Schweitzer whose slow, bombastic performances, limited by faulty technique have always touched me deeply. In 2006, my aunt Loulou agrees to lend me the keys to the church. Ten years later, Loulou passes away, I play on this same pipe organ during her funeral. During the fall of 2018, in her room with old floral wallpapers, so cold, that I empty, surrounded by her missals and huge crucifixes I remix this pipe organs and the voice of Ruth. Through this late remixing, we wanted to deliver this woman from her agony, her eyes turned to the milkish Lotharingia sky and beyond, trying to illustrate this Catholic France of yesterday, as vain and terrifying as a month of November in this cold and humid garden, within reach of the incessant song of the A31 highway."

MICROCORPS is the new project by artist and musician Alex Tucker (Grumbling Fur, Alexander Tucker, Imbogodom) exploring electronics, cello and voice. The debut release XMIT, an eight-track album featuring collaborations with Gazelle Twin, Nik Void, Simon Fisher Turner and Astrud Steehouder, is out on 16 April 2021. Tucker's ever-evolving soundworld continues to unfold with this collection of harsh realms centred around processed electronic systems, strings and vocal manipulations. On the new album, MICROCORPS employs altered voices, sound synthesis and atomised beat constructions. In a move away from previous projects XMIT investigates erasing the self, removing obvious traits of the hand and voice, and allowing a focus on the humanoid rather than the human. Instead of recognisable lyrics and coherent imagery, MICROCORPS evolved synthesised voices to generate alternate characters. He expands, "I was investigating how language brings our world into being and how manipulating the actual grain of the voice could open up momentary shifts in perception." Each track is born from a balance between composition and improvisation within set parameters. At each stage audio is heavily processed and then reconfigured. Setting up systems that are non-repeatable, where decisions can be premeditated and intuitive but never the same with each performance, using hardware and instruments outside of the computer to make live stereo takes that have limited room for editing and mixing. "I'd been looking into combining dream music with machine rhythms, but there are so many great examples out there of both music forms, so I started to cut up the drones and really filter the drum patterns to create a hybrid space." The album artwork features manipulated ink drawings by Tucker that originally featured in his recent comic ENTITY REUNION 2. XMIT refers to a time in which information both physical and nonphysical transfers at an alarming rate beyond human comprehension into an age which is at once banal and terrifyingly alien.

Master craftsman James Welburn’s new LP, Sleeper in the Void, marks the 50th Miasmah release.The six years after his monumental debut have bred six tracks Welburn brings to fruition with the help of past co-conspirators from the Norwegian underground scene - Tomas Järmyr (Motorpsycho, Zu, Barchan), Hilde Marie Holsen (Hubro Records), and vocal artist Juliana Venter (W/V, Phil Winter).

On Sleeper in the Void, Welburn expands the domain of his sound, unveiling surprises until the very end of the album’s 36 minute playtime. While the character of the record is unmistakably his own, the tracks veer into many different territories, including a banging foray to the dancefloor.

The LP begins slowly with Raze, where Järmyr’s ritualistic cymbals introduce layers of Welburn’s signature sculpted bass drones and noise, building into a heart-wrenching epic of a track. This is perhaps the closest we ever get to Hold - Welburn’s previous LP. Falling from Time immediately surprises with it’s subdued mechanical techno beat, stark and cold as a glacier. Welburn’s texture-work is the star of the show, creating curious nooks and crannies of drone adorned with eerie melodies straight out of oblivion. This sense of wonder shines through to the album’s title track as well, where Welburn and Järmyr build another patient, echoing, and deeply cinematic piece, the drum patterns slowly shifting around a metallic hum that evokes the vision of church bells, ringing out under tonnes of seawater.

Sleeper in the Void feels like a story in two parts, rising lethargically, but with gargantuan power. The second begins with the momentous In and out of Blue, where Juliana Venter’s disembodied, spectral dirge takes center stage among the furious drums and bassy riffs, reaching a full crescendo with seconds to go. Parallel marks a release - Hilde Marie Holsen’s nostalgic soundscapes, pristine as glass, meeting the distant thunder of Welburn’s strings on the horizon. And finally, Fast Moon ends the record in a most surprising way - a tribal industrialized banger, complete with vile distorted beats and every other spice in demand on a blackened dancefloor.

Welburn’s Sleeper in the Void is a generous shapeshifter. Every inch of its soundwave breathes emotion and imagery - an invitation to take a dive and linger.

Island of the Hungry Ghosts is a hybrid documentary that moves between the natural, human and spiritual worlds. Located off the coast of Indonesia, the Australian territory of Christmas Island is inhabited by migratory crabs traveling in their millions from the jungle towards the ocean, in a movement that has been provoked by the full moon for hundreds of thousands of years. Poh Lin Lee is a trauma therapist who lives with her family in this seemingly idyllic paradise. Every day, she talks with the asylum seekers held indefinitely in a high-security detention centre hidden in the island's core, attempting to support them in a situation that is as unbearable as its outcome is uncertain. As Poh Lin and her family explore the island's beautiful yet threatening landscape, the local islanders carry out their "hungry ghost" rituals for the spirits of those who died on the island without a burial. They make offerings to appease the lost souls who are said to be wandering the jungles at night looking for home. This album presents the original score Aaron Cupples created for the film. Rich in texture and harmonics, the music is characterized by the bespoke instruments and recording techniques employed in its creation. The soundtrack also features sound recordist Leo Dolgan's vivid field recordings. All captured on Christmas Island, the four pieces recall insect choruses, strange and ominous bird calls, erupting blowholes, fire, ocean, and Buddhist prayers for the dead. The album is mastered by Rashad Becker, featuring design by N MRE 08. *LP comes with an obi strip, a booklet containing stills from the documentary & liner notes, as well as a postcard granting access to the full film*

After a long hiatus, Romain Azzaro is reactivating his Rouge Mécanique Musique imprint with an exciting collaborative project, exploring new musical territories.

As the world started to flip on its head early in 2020, a quintet of musicians formed in Berlin : Paul Behnam (guitar), Sacha Hladiy (grand piano), Nicolai Johannsen (vibrating metal plates), Ruth Mogrovejo (viola), and Azzaro himself (zither) recorded their first album over 3 months in Azzaro’s living room, studio and basement. In Hladiy’s words, “a magical musical circus”. The collision of these different personalities and sensibilities makes Colours Of Now a singular, spontaneous and inimitable object, exploring neoclassical, ambient and experimental music.

“Romain had a wide open vision for a brand new project, connecting musicians from different horizons,” says Paul Benham, “a lot of different processes and beautiful vibrations were shared at this moment in his place.”

Nicolai Johannsen adds: “Colours Of Now is a portrait of a time which was and wasn’t; an alternation between existence and its opposite. The album is a collective formation, realized through different energies drawn to the same centre.”

“This album has become a compilation of people,situations and emotions to me,” explains Ruth Mogrojevo. “2020, the year in which we all met, has been an orderly metamorphosis from which we cannot exclude our professional activities. We all met playing music and deep down we knew that the whole project could be something great and actually meaningful.”

« Colours of Now » is a quintet that formed in early 2020 during quarantine in Berlin. The self-titled album, produced and mixed by Romain Azzaro, explores the different shades of sound in a time where uncertainty leads to the present moment.

Raf Rundell announces the release of his second album, ‘O.M. Days’,
released on Heavenly Recordings.
Features guest appearances from Chas Jankel, Lias Saoudi, Terri Walker,
Andy Jenkins and Man & The Echo.
The cover features a striking Keith Haring-meets-the Green Man image from
acclaimed artist and longtime collaborator Ben Edge, the picture was
inspired by the folk tale of the giant of Dawson, who is both male and
female, human and vegetation and lived in the imagination of Dawson’s Hill,
a stretch of South London parkland a stone’s throw away from Dawson’s
Heights, the flats featured on the cover of the debut album ‘Stop Lying’.
Edge and Rundell, for reasons they can’t entirely comprehend, concocted a
rite which took place the first full moon after this year’s summer solstice
(the results of which can be seen in the short film trailer for the album).
This involved the giant - also known as Tommy Hill Figure - being created
on Dawson’s Hill. “Ben’s been digging deeper and deeper into ancient
myths, the green man, all the stuff that’s been co-opted by organised
religion,” Rundell explains. All this chimed with him because he is a magnet
for signs and symbols. He has been ever since his Mod-loving parents
named him after the RAF roundel symbol.
“We’d been talking about this sort of stuff a lot,” Rundell continues. “The
rite was about the birth of the new and using the coronavirus as a catalyst
for that change, like a full stop to the way things were before. The corona
was called the spark in the ceremony, although we’re not being too specific
about the virus because this is a thing we hope to do annually.”
This is the backdrop to the album, a record far larger and more confident
than its creator could ever have imagined. Unlike his itinerantly created
previous records, ‘O.M. Days’ was entirely recorded in the same Forest Hill
studio, with the aforementioned collaborators. “I love collaborating with
people - like Lias Saoudi or Andy Jenkins, who are both on this record -
that’s where it’s at for me,” Rundell says. “I worked really hard on this one.
And although I had no plan about where it was going, I always have a
notion about how I want things to sound. I had a particular idea about
that.”
Initial copies are eco-wax vinyl, reverting to standard vinyl (HVNLP181)
when sold out.
Digital download code included.

Jeremy Earl (Woods) and Glenn Donaldson (Skygreen
Leopards, The Reds, Pinks & Purples) met sometime in
the mid-oughts and bonded over a love of tambourines and
DIY sounds. They shared many stages since, and their first
serious collaboration was on the 2011 Woods album Sun &
Shade. Around 2018, Earl was restless in upstate NY and
accepted an invite to record in Donaldson’s studio in an
undisclosed rural coastal town in Northern California. In a
week they emerged with nearly an album’s worth of hazy
folk-rock and psych-pop with touches of more outré lofi
noise. Jeff Moller (The Papercuts) added bass, and they
put the finishing touches on during quarantine. Heaven And
Holy ebbs and flows like coastal fog between songs and
dreamy instrumentals, splitting the difference between The
Clean’s Unknown Country and The Byrds Fifth Dimension.

DEVIL SOLD HIS SOUL (London, UK) blend huge soundscapes, earth-shattering riffs and soaring melodies.
DEVIL SOLD HIS SOUL begin a new chapter in their highly-acclaimed career, signing to metal heavyweights Nuclear Blast Records. 2021 will see the band release their fourth studio album ‘Loss’, their first with the dual vocal attack of Ed Gibbs and Paul Green.

DEVIL SOLD HIS SOUL burst onto the UK underground metal and hardcore scene in 2004 growing a cult following from their first record, ‘Darkness Prevails’ EP released through Visible Noise (BRING ME THE HORIZON) in 2005. Their debut album, ‘A Fragile Hope’ saw the band take their position as one of the most respected underground bands in the UK with their visceral and captivating live shows. DEVIL SOLD HIS SOUL’s sophomore album, ‘Blessed and Cursed’, elevated their sound and audience to new heights, voted into RockSound Magazine’s top 10 albums of 2010.
In 2012 the band unleashed their self-produced third album, ‘Empire Of Light’. Received to critical acclaim across the board, the album cemented their position as one of the UK’s most respected and revered metal acts.
With Ed Gibbs departing the band early in the year, 2013 saw the first new material featuring singer Paul Green with single ‘Time’, followed by 2014’s ‘Belong Betray’ EP and 2016’s ‘The Reckoning’. After welcoming Gibbs back to sing on the 2017 ‘A Fragile Hope’ anniversary tour, the band asked Gibbs to continue the dual vocals with Green for the remaining festivals and tours that year, with the line-up then becoming a permanent fixture.
2018 saw the band travel beyond Europe with their first touring in Asia, they also began to put the foundations down on what would become their new record ‘Loss’. Written about the grief and struggles faced in recent years, ‘Loss’ treads old ground and explores exciting new territories for DEVIL SOLD HIS SOUL, including for the first time the dual vocals of Gibbs and Green on record. Recorded, engineered and mixed by guitarist Jonny Renshaw at his UK based Bandit Studios, DEVIL SOLD HIS SOUL have poured heart and sincerity into every atom of this their fourth album, with songwriting elevated to new levels.
Having toured with the likes of CULT OF LUNA, ARCHITECTS, NORMA JEAN, BRING ME THE HORIZON, UNDEROATH, GALLOWS, ENVY and EMMURE, as well as headlining a stage at DOWNLOAD FESTIVAL l (UK) and numerous European festival appearances including SUMMER BREEZE and WITH FULL FORCE (Germany) and PUKKELPOP (Belgium), DEVIL SOLD HIS SOUL have built a huge reputation for their captivating live shows, over 16 years:

The Black Bones story is born out of a shared obsession for crate digging, collecting, and the playing of weird and wonderful music. Their releases so far have manifested in a highly-sought series of seven psychedelic disco 12"s - picking up numerous Record of the Week plaudits on the way. This considered curation and skill for pulling together far-flung sounds fully informs their first original material. These four bold and adventurous club cuts are a thrilling mix of straight-up house sounds, new beat, industrial, dub, sleaze and all the other good shit that comes with low-lighting and a heavy sound system. Kicking off with the full throttle 120 bpm of 'ABTS' - the duo take you straight to the 'floor with one of the wildest rides we've heard in some time. 'Denied' pulls us in to darker territory - chest pummelling bass, ominous high-pitched warnings and a chuggy acid throw-down finding us once again lost in that 5am dance floor fog. Over on the flip and 'Punghi' combines a hypnotic groove, dubbed out FX, percussion and a tripped-out Eastern breakdown. One for the more adventurous DJs and dance floor! The EP is closed by 'Gabi' which sounds like minimal gone maximal with an insane industrial switch-up. Enough words! As always, Black Bones let the music do the talking and this ambitious debut can quickly find itself shelved alongside the records that have fuelled their lifelong obsession.

Marvin & Guy return to Permanent Vacation with the "Migration" EP, which marks their third ep for the label and a new evolution in the M&G sound.

Migration means moving, understand when a territory is no longer hospitable and find new livelihoods. In this specific case means new inspirations, new ideas, exploring new sounds.
Marvin & Guy take birth from a synergy between two eclectic minds, more into sounds than technique that after several years into a specifically Dance scenario they’ve decided to start a transition towards a purer form of sound, more ancestral. To do this they’ve just benched all dogmas from the beloved Dance Music and they focused more on just playing and having fun with Synthesizers and Drum Machines to create a fully analog session like it was made 40 years ago. Migration was born out of jam sessions recorded in real time and then make them work it out with an intense postproduction and scrupulous editing.

Migration is the transition, their prelude of the very first M&G Album which will comes out in 2022.

Luca Yupanqui was not yet born when she recorded her debut album. The music on the aptly titled Sounds of the Unborn is the expression of life in its cosmic state _ pre-mind, pre-speculation, pre-influence, and pre-human. It is the first album created by a person while they were still inside the womb, the expression of a soul that hasn't yet seen the light of day nor taken a single breath of air. It is a message that comes from a different realm, a sublayer of our existence. Sounds of the Unborn was made with biosonic MIDI technology, which translated Luca's in utero movements into sound. With the help of her parents, Psychic Ills bassist Elizabeth Hart and Lee Scratch Perry collaborator Iván Diaz Mathé, Luca's prenatal essence was captured in audio. They designed a ritual, a kind of joint meditation for the three of them, with the MIDI devices hooked to Elizabeth's stomach, transcribing its vibrations into Iván's synthesizers. They let the free-form meditations flow without much interference, just falling deeper into trance and feeling the unity. After five hour-long sessions, the shape of an album began to emerge. Elizabeth and Iván then edited and mixed the results of the sessions, respecting the sounds as they were produced, trying to intervene as little as possible, allowing Luca's message to exist in its raw form. This cosmic soul summoning created new sounds, striking into uncharted territory for Elizabeth and Iván as musicians. A new language was being created, a new form of communication. It was a music without intellect or intentionality behind it, with no preconception or attempt to create any specific sound or melody. Every note on Sounds of the Unborn occurred naturally. It is human nature to wonder what life is like inside another human being's consciousness. How does it feel? What does it sound like? All these questions became stronger and more important to Elizabeth and Iván while they were waiting for Luca to come into the world. At a certain point the questions turned into, What would she say if she could speak? How would she react to the outer world? And ultimately, What kind of music would she play if she was able to? This album is an attempt to answer those questions. RIYL: Brian Eno, Mort Garson, Kaitlyn Aurelia-Smith

Reuben Sawyer is nothing if not prolific. He's also a man of many talents - his various projects have included the coldwave sounds of The Column, Hollow Sunshine's blown-out psych-noise, Anytime Cowboy's take on countrified weirdo-pop, and even ambient house courtesy of Rose. Oh, and he's a visual artist too, of course. Pfft, who needs an attention span anyway? One thing he's also dabbled in, however, is post-punk. Human Trophy is firmly in line with that tradition, but pulling from multiple directions at once - one minute this album rattles along like Big Black with the tempo down and the textures dialled up, the next we're firmly in Christian Death territory. The twisting guitar lines and pummelling bass of 'Forming Horrors' even call to mind his blackened punk project Dry Insides, but with less velocity and a helluva lot more menace. Is 'Corpse Dream' a goth record? Possibly. Whether goth is a lifestyle choice for Sawyer or not, he's certainly adept at immersing himself in sounds and making them feel like a comfortable fit. As with all his projects, it feels like another effortless facet of Reuben Sawyer - and in keeping with the rest of his output, it's absolutely packed with songs you'll wanna play again and again. Penultimate track 'The Roads' is built on a none-more gloomy pile-up of darkly portentous rhythms and a firm sense of disquiet, but once you're locked into its circular riffage you'll feel an urge to keep the loop going endlessly. Then there's the closer 'Blood Apex', a dual-vocal nightmare set to music which draws you back in even as it attempts to push you away. Yeah, it's pretty great.

In 1984, German band Alphaville released their iconic debut album "Forever Young" that enjoys international popularity to this day. The album contains some of their biggest 80's classics such as the first single "Big In Japan", which went to number one in several territories, and the timeless 80s-anthem "Forever Young"!

Even before the album was released, the band unveiled their second single "Sounds Like a Melody" that topped the charts in Sweden yet again and reached the Top 10 in several European countries. The title track "Forever Young" was released along with the album on September 27th, 1984. Since then the track has become one of the greatest pop anthems of all time.

"Forever Young" the album hit the Top 20 in six European countries, went triple Gold in Germany and was awarded a Swedish Rockbjörnen as "best foreign album". The iconic album from 1984 has been remastered for the first time ever including additional bonus material.












CD1 & LP
Original Album Remastered

01-A Victory Of Love
02-Summer In Berlin
03-Big In Japan
04-To Germany With Love
05-Fallen Angel
06-Forever Young
07-In The Mood
08-Sounds Like A Melody
09-Lies
10-The Jet Set

CD2
Original Singles, B-Sides, 12" Versions

01-Big In Japan (Single Version)
02-Seeds
03-Sounds Like A Melody (Single Version)
04-The Nelson Highrise Sector 1-The Elevator (Single Version)
05-Forever Young (Version Rapide)
06-Welcome To The Sun
07-The Jet Set (Single Remix)
08-Golden Feeling
09-Big In Japan (Extended Remix)
10-Sounds Like A Melody (Special Long Version)
11-The Nelson Highrise Sector 1-The Elevator
12-Forever Young (Special Extended Dance Mix)
13-The Jet Set (Jellybean Mix)
14-Big In Japan (Extended Instrumental)
15-The Jet Set (Dub Mix)


CD3
Demo Versions

01-A Victory Of Love (Demo Remix)
02-Summer In Berlin (Original Demo)
03-Big In Japan (Demo Remix)
04-To Germany With Love (Original Demo)
05-Fallen Angel (Demo Remix)
06-Forever Young (Demo Remix)
07-In The Mood (Demo Remix)
08-Sounds Like A Melody (Original Demo)
09-Lies (Original Demo
10-The Jet Set (Original Demo)
11-Leben Ohne Ende/Seeds (Original Demo)
12-Traumtänzer (Original Demo)
13-Blauer Engel (Original Demo)
14-Romance (Demo Sketch)
15-Colours (Instrumental)
16-Into The Dark (Demo Remix)

DVD
New 60 min documentary "Never grow up - The story of Forever Young" incl. new interviews with Marian Gold & Bernhard Llyod (both Alphaville), Wolfgang Loos & Colin Pearson (both original album producers) and the original artwork designer

Original music videos: Forever Young, Big In Japan & Sounds Like A Melody



ALPHAVILLE FOREVER YOUNG (Remastered) Release Date: 15th March 2019 Format: 1LP 180g black vinyl PPD: £13.00 UPC: 0190295526283Track List

Original Album Remastered

01-A Victory Of Love
02-Summer In Berlin
03-Big In Japan
04-To Germany With Love
05-Fallen Angel
06-Forever Young
07-In The Mood
08-Sounds Like A Melody
09-Lies
10-The Jet Set


ALPHAVILLE FOREVER YOUNG (Deluxe) Release Date: 15th March 2019 Format: 2CD digipack PPD: £12.50 UPC: 0190295509040


Track List


CD1
Original Album Remastered

01-A Victory Of Love
02-Summer In Berlin
03-Big In Japan
04-To Germany With Love
05-Fallen Angel
06-Forever Young
07-In The Mood
08-Sounds Like A Melody
09-Lies
10-The Jet Set
CD2
Original Singles, B-Sides, 12" Versions

01-Big In Japan (Single Version)
02-Seeds
03-Sounds Like A Melody (Single Version)
04-The Nelson Highrise Sector 1-The Elevator (Single Version)
05-Forever Young (Version Rapide)
06-Welcome To The Sun
07-The Jet Set (Single Remix)
08-Golden Feeling
09-Big In Japan (Extended Remix)
10-Sounds Like A Melody (Special Long Version)
11-The Nelson Highrise Sector 1-The Elevator
12-Forever Young (Special Extended Dance Mix)
13-The Jet Set (Jellybean Mix)
14-Big In Japan (Extended Instrumental)
15-The Jet Set (Dub Mix)

From Tumaco, in the deep pacific coast of Colombia, Plu con Pla carries forward essential styles such as Bunde and Currulao, which were created by the African diaspora in response to the realities of life in this coastal jungle territory. The musical language of the South Pacific region is traditionally interpreted with a marimba handmade from the wood of the Chontaduro palm tree and resonating tubes of Guadua (similar to bamboo), a large, two-sided bass drum called the bombo, two slender, high-pitched drums called cununos, and cylindrical shaker called a guasá, along with powerful call and response vocals. Plu con Pla brings a mastery of this language and repertoire together with an urgency of exploration and growth, incorporating hard-hitting urban styles such as Hip Hop and Reggae into their expression, and bringing Bass, Drum Set, Keys, and more into the mix. True to their roots, collective process and social justice consciousness is central to both their music and their actions, with lyrics that address hard themes such as racism and civil war, and a continuing commitment to teaching, leading workshops and accompanying the peace process in Colombia.

10Questions is a record label by Dam Swindle's Lars Dales and graphic designer Bas Koopmans. The first release promises a lot for the coming series with signing the first EP with Demi Requisimo. Demi is one of the rising stars in dance music due to his energetic tracks and signature style, combining italo and electro with chopped up disco samples from around the globe.

The EP starts of with it's namesake track. 'Dictionary of fools' is a great example of Demi's knack for creating dancefloor bombs. The razor sharp bassline cuts through the track like a knife through butter but it's the female vocal that covers the track like a warm blanket. This track will get anyone's blood pumping and makes you wish you heard it first on a sunny festival.

'Noisey Cricket' ventures more into the 80's proto-house territory with it's distinctive drum programming and italo style bassline. The pads and vocal chops elevate the track to another level and underscore Demi's nose for finding just the right balance between electronic sounds and samples.

The final track of the EP, 'Atomic' is one of those tracks that sneak up on you. Demi takes a ballsy approach and let's you wait a full 3 minutes before the bassline comes in but lord it has never sounded sweeter. This is a party starter if you ever heard one and a beautiful example of how well Demi understands crafting a deceptively simple track with maximum impact. A master of his craft.

10Questions is a label build on the concept that the record and record sleeve are an integral part of the full experience of an EP. The artist is given a questionnaire and depending on his/her answers the artwork is made. This way the music and art co-exist in the same creative universe, that of the artist and the label alike.

Luca Yupanqui was not yet born when she recorded her debut album. The music on the aptly titled Sounds of the Unborn is the expression of life in its cosmic state _ pre-mind, pre-speculation, pre-influence, and pre-human. It is the first album created by a person while they were still inside the womb, the expression of a soul that hasn't yet seen the light of day nor taken a single breath of air. It is a message that comes from a different realm, a sublayer of our existence. Sounds of the Unborn was made with biosonic MIDI technology, which translated Luca's in utero movements into sound. With the help of her parents, Psychic Ills bassist Elizabeth Hart and Lee Scratch Perry collaborator Iván Diaz Mathé, Luca's prenatal essence was captured in audio. They designed a ritual, a kind of joint meditation for the three of them, with the MIDI devices hooked to Elizabeth's stomach, transcribing its vibrations into Iván's synthesizers. They let the free-form meditations flow without much interference, just falling deeper into trance and feeling the unity. After five hour-long sessions, the shape of an album began to emerge. Elizabeth and Iván then edited and mixed the results of the sessions, respecting the sounds as they were produced, trying to intervene as little as possible, allowing Luca's message to exist in its raw form. This cosmic soul summoning created new sounds, striking into uncharted territory for Elizabeth and Iván as musicians. A new language was being created, a new form of communication. It was a music without intellect or intentionality behind it, with no preconception or attempt to create any specific sound or melody. Every note on Sounds of the Unborn occurred naturally. It is human nature to wonder what life is like inside another human being's consciousness. How does it feel? What does it sound like? All these questions became stronger and more important to Elizabeth and Iván while they were waiting for Luca to come into the world. At a certain point the questions turned into, What would she say if she could speak? How would she react to the outer world? And ultimately, What kind of music would she play if she was able to? This album is an attempt to answer those questions. RIYL: Brian Eno, Mort Garson, Kaitlyn Aurelia-Smith

Dalmata Daniel presents the new album by Dutch West Coast mid-veteran Roberto Auser as an opening act in the label's LP series that comes with colored sleeve and limited to 200 copies. Also includes a hand-numbered riso-print as insert.

Auser (born Derk Reneman) has been into cinematic (or b-videomatic) electro for more than a decade now, with releases on Viewlexx, Pinkman, Gooiland Electro/Enfant Terrible and more, ranging from atmospheric and hypnotic to tight and grim, but always loaded with a vision of a storyteller. In a Dutch way, for sure. Though Second Sun is, again, an audiovisual trip, that's not the primary concept here - it's probably the purest album-like experience of Robert Auser so far, presenting most of his characteristics and sounds, and also new elements, still, all are coherent and organic parts of Reneman's projective language of electronics.

Tortoise's third full-length release, TNT, was written and recorded during a 10-month interval in 1997. This longer-than-usual writing/production schedule was purposefully undertaken by the group in the hopes of crafting an expansive, diverse, yet thematically coherent offering. Clocking in at 65 minutes, TNT builds upon the spare, instrumental framework of the group's first, self-titled album, and the extended edits, melodic adventures, and klangfarben of the subsequent full-length release, Millions Now Living Will Never Die. Further to this, Tortoise's interest in the possibilities offered by the remixing of tracks was realized within the actual production of TNT; individual elements, sections, or sometimes whole compositions mutate within the album's shifting framework. These techniques were suitably realized thanks in part to the use of non-linear digital recording and editing methods, the first example of such work for the group. In addition, many of the arrangements push the group's standard instrumentation into new territories with the inclusion of strings, woodwinds, and brass. The permanent addition of guitarist Jeff Parker (New Horizons ensemble, Chicago Underground Orchestra, Isotope 217) to the group's lineup should be noted; his unique contributions can be felt throughout the album. Tortoise's long-standing interest in electronic and computer music is revealed during the unbroken suite of tracks beginning with "In Sarah, Mencken, Christ, and Beethoven There Were Women And Men," and ending with "Jetty." Yet TNT remains very much a record produced by a group of musicians who enjoy presenting their material in a live context. To this end, the axis of drums-basses-guitars-keyb oards-mallets-percussion continues to provide both the backdrop and the inspiration for points of departure in style and sound.

La Morte Viene Dallo Spazio (Death Comes From Space)’s name is taken from an a late 50s Italian sci-fi b-movie, and this ensemble’s cinematic odyssey of sound is like Argento, Fulci and Bava taking acid with Magma and Jodorowsky. A solid departure from anything you will be listening to right now, La Morte Viene Dallo Spazio’s free-form journeys leave you in unknown astral territory and bake your brain. Composed of an open gathering of players, the Italian quintet combines flavours of Middle Eastern scales, droning theremin and guitars. Their flute-player’s frantic, progressive and abstract elements tear open the cosmic gates like Jethro Tull in a Giallo nightmare. The first album, ‘Sky Over Giza’, released in 2018, was a synth laden soundscape full of ancient mysticism and alien apparitions which gained them a rabid following in their home country of Italy and beyond. La Morte Viene Dallo Spazio’s second album on Svart Records; ‘Trivial Visions’, is a wholly unique experience. An enthralling listen in a confluence of sound and ritual atmospheres that craft a both vibrant and hypnotic effect with nods to black metal and extreme ends of the sound spectrum. This vivid, dreamy and cosmic material will transfer the listener to vast sonic dimensions where one could easily lose the way back to reality. Is this Jazz, Stoner-Rock, Psych-Rock or Progressive Rock? This is La Morte DalloS pazio and they’re in a universe of their own. Start receiving your deathly visions when the new album drops via Svart Records on the 26th of March 2021.

"Terrific!"- Steve Lamacq, BBC 6 Music. Double header 7" from NY production duo The Still Brothers. 'Wake Up' Mixed by Skinshape. The Still Brothers are Andrew LeCoche (Ula Ruth) and Evan Heinze (The Shacks). 'Wake Up' was created in a New York winter on a cloudy day. The song's bones were sculpted in the classic Still Brothers' fashion making use of a collection of favourite sounds. It came to life when Brazilian friend and collaborator Marina B heard the track in her sleep and thought of the song's lyrics as she woke up. It might take you to that place in-between dreams and the waking life, where you are pulled in and out of a state of slumber. It incidentally speaks to the abrupt change that was about to fall upon the world in early 2020. Between the singing in Portuguese and the sounds of subway doors, the song is just alienating enough to make anyone these days to feel right at home. 'Wake Up' was mixed by Will Dorey aka Skinshape and mastered by Alex DeTurk. The cover art was designed by Sofia Ohanna. Inspired by subway preachers, jazz funerals and Hip-Hop 'The Deep' serves as an introduction to the dazzling skills of New York production duo The Still Brothers. Their debut track breaks open with a reverend crying out about the transgressions we have committed against each other. He then observes that so many of us are throwing up our hands in an act of surrendering. A poignant sentiment in these troubling times and one that will resonate throughout the world.

Altar De Fey originated in San Francisco in the early 1980’s as part of the emerging musical form that would come to be
known as Deathrock. Out of the Zeitgeist flash of 70’s Punk Rock the new sound took the darkest elements of the counter
culture into ever deeper, gloomier and more mature territory.
Performing at legendary San Francisco venues Mabuhay Gardens, Graffiti, The Nightbreak and the rest billed with
Christian Death, 45 Grave, and all the fellow architects of West Coast Post Punk.
The original incarnation passed through a rotating cast of characters centered strongly by the vision and experimental
guitar of founding member Kent Cates. Eschewing the conventional chord progression/solo form entirely Cates’s guitar spins
strands of melody and rhythm, tone and texture in a style that to this day is all his own. The mood was perfected with the
innovative tribal drumming of Aleph Kali and Butch Mason’s haunted confrontational vocals.
Though the band had a strong base of support, no original recordings were ever released and the young members
carried on into new musical endeavors. By 1988 ADF disbanded.
Years upon years passed yet the name was never completely forgotten. As Goth Punk culture persisted, grew and
developed over time the band began to take on a kind of legendary hue among fans in the know; The lost mysterious
phenomenon of Altar De Fey. -There was a kind of poetry to it. Finally in 2011, when asked if they would play a reunion for a
festival in San Francisco Kent and Aleph surprised everyone by answering yes.
Reforming originally as a 2 piece with a drum machine Kent on guitar and Aleph on vocals to an enthusiastic reception,
the duo enjoyed it so much they decided to continue the momentum and quickly added Skot Brown on bass, Aleph switched
over to live drums, and Jake Hout was added on vocals. The new line up debuted in April of 2012 and has continued
regularly performing songs from the original 80’s catalogue and steadily adding new material ever since.
A new generation of underground Deathrock music is growing across the world, in closer, more direct communication
than ever before, and interest in the band has quickly escalated.
This unique compilation brings you 11 original ADF songs recorded between 1984-1986 (demos, rehearsal records, live
records). If you are into classic Christian Death, 45 Grave, Kommunity FK, Burning Image etc. grab this gem now before it’s
too late!

"Lesbo" is a 1969 erotic film directed by Edoardo Mulargia, his only experiment in this genre within a filmography mostly focused on Western films and sentimental/romantic comedies. Calling "Lesbo" an underground film is practically an understatement, as no official home video releases of this movie seem to exist; its soundtrack instead has luckily survived to the present day and, given the caliber of its two composers, it could only be a terrific work.

The friendship between Francesco De Masi and Alessandro Alessandroni is even more dated than the artistic partnership that was later born between the most famous spaghetti western whistle and Morricone, and "Lesbo" is 'only' one of the various collaborations between these two composers.

Introduced as usual by a sensual theme sung by a seducing female voice, this warm and Mediterranean-flavoured soundtrack has numerous variations with a romantic/symphonic, lounge, even jazz taste, with some typically 'Morriconian' moments of tension too.

An extremely varied work, therefore, of which in 1969 - the year the film was released in theaters - only eight tracks were published on the single side of an LP containing, in addition to the soundtrack of "Lesbo", also that of "L'amore questo sconosciuto" on side B. Recently reissued with the addition

of numerous bonus tracks, it is here in its full version - 24 tracks! - on vinyl for the first time ever.

Snips is the founder of Barbershop Records and co founder of Livin Proof, with over 15 years experience as one of Londons most prolific DJs and over 10 years worth of production credits across Hip Hops underground. 2018 has seen Snips emerge as a budding solo artist, fusing the production styles of Hip Hop, House, Soul and Funk in the same fashion as he is known to do behind the turntables.

With his debut album "The Barbershop" making waves on both sides of the Atlantic and his Single "The Product" On Classic Records garnering support from a cross genre selection of heavyweights such as Karizma, Benji B, Eli Escobar, House Shoes, J Rocc, DJ Spinna and Henry Wu, Snips returns on his own label Barbershop Records and delves into Edit territory once again with a second limited 45'. This release delves into some modern soul and jazz, flipping some new age cult classics to club friendly future anthem

After the worldwide techno hit that was Darc Marc's "Dirty Rocking Bass" comes the next Cluster X instalment from French legend GANEZ THE TERRIBLE. "The Rave..." is another prime time techno monster from the Acid Techno/Techno underground that is going to cause massive dancefloor mayhem with its cheeky 'The rave, the sound, the people, the party" sample and hard funky beats and 303 stabs. With pounding remixes from D.A.V.E. THE DRUMMER, and new kid-on-the-block SEON, and a kicking bonus track "Elevator" from Ganez himself this gives a nod to all areas of harder techno.