Search:the forest

TWICE A MAN pflanzten die Saat für "The Coloured Breeze Is a New Dimension" mit dem Song 'Dahlia', einem "neuen" Stück, das sie zur Ergänzung der Albumkompilation "Songs of Future Memories" geschrieben hatten. Drei Jahre lang düngte und hegte das schwedische Dark-Electronic-Trio den Keim, bis er feste Wurzeln in ihrem musikalischen Erbe fand und damit begann, neugierige Ableger in neue fruchtbare Böden jenseits der zuvor errichteten Klanggartenmauern zu senden. "The Coloured Breeze Is a New Dimension" ist ein organisches Gebilde, das etwas Neues schafft, indem es seine musikalische DNA auf verschiedene Weise rekombiniert. Als Ergebnis erblühen die frischen Songs in vielen elektronischen Farbnuancen. TWICE A MAN waren schon immer Vorreiter. In ihrem Heimatland Schweden waren sie die anerkannten Pioniere der elektronischen Musik. Und schon lange bevor es in Mode kam, positionierten sich die Schweden als selbstbewusste Umweltschützer. Musikalisch wurden sie liebevoll mit Bezeichnungen versehen wie: "Ultravox auf Gras - wenn auch melancholisch und ohne zuckriges Pathos" oder "wie ein trauriger Gary Numan, aber mit einem warmen, organischen Touch". In ihrem Sound finden sich auch sanfte Anklänge an TANGERINE DREAM, KLAUS SCHULZE und THE HUMAN LEAGUE neben vielen anderen möglichen Referenzen. Als sich Sänger, Gitarrist und Keyboarder Dan Söderqvist im Jahr 1977 mit dem Synthesizer-Spieler Karl Gasleben zusammenkam, gründete das Duo zunächst COSMIC OVERDOSE, die erste elektronische Band Skandinaviens, aus der dann TWICE A MAN hervorging. Während ihrer bemerkenswerten Karriere veröffentlichten die Schweden zahlreiche Alben, inklusive spezieller Projekte, und zwei Kompilationen. Sie spielten zahllose Konzerte und schufen den Soundtrack für sieben abendfüllende Theateraufführungen im Königlichen Dramatischen Theater in Stockholm, Musik für Filme, Ausstellungen, Tanzaufführungen und sogar Computerspiele. Die Natur spielt auch in den Texten und im Sound von "The Coloured Breeze Is a New Dimension" wieder eine große Rolle. TWICE A MAN haben ein musikalisches Äquivalent dazu geschaffen, Trost in der Natur, Kunst und der Freude an Büchern zu finden, um zumindest für eine Weile den Übeln der modernen Welt zu entkommen.

Germany's iconic deep funk collective digs into a new soundscape: "A Higher Frequency" was recorded with a nine-piece live to tape at legendary MPS studio in the Black Forest, adding an airy, jazzy flavour to their trademark raw and breaks-heavy funk. Ten tracks full of spiritual grooves, soulful themes, loose funkiness and organic interplay, captured with state-of-the-art 1960s gear in a super-vibey room - but the title A Higher Frequency is not just about the pristine analogue sound quality of the recording, it is also a reference to a trancendant wavelength where minds meet and music connects.

Together with long-time friends and collaborators Daniel Kimaz on flute and Guillame Métenier, who worked his magic on the studio's historic Bösendörfer grand piano and Hammond organ, the group spent a week in the Black Forest, with full focus on the mission to capture the live energy and togetherness of the ensemble.

The result is an album bursting with positive energy and power, rooted in a universal funk groove with excursions into many colourful branches like outernational, cinematic, soulful jazz, psychedelic & disco.

The common thread is a propulsive, driving-forward feel: "Open The Gate" welcomes us with hard-hitting breakbeats and dramatic crime brass, followed by the cool groovin' piano-led soul jazz of "Get Loose", while "Spinning" takes us on a ride through cinematic horn choruses and folky-psych flute and guitars. "Back And Better" is Nichola Richards' time to shine, laying her sweet vocals over the sparse hiphop-infused soul beat to tell a comeback story. "Sweet Company" is a lighthearted uptempo tune inspired by TV and library themes of the 1960s. The swampy groove of "Sparks Of Joy" best reflects the fun of the band playing together and "Phantom Power" combines a trademark Mocambo breakin' theme with an unusual instrument, an electric phin from Thailand – a nod to the many so-called "world music jazz" recordings that the MPS studio gave birth to. On "Can't Stop This Fire", soul singer Carlton Jumel Smith from New York City takes over the mic as a special guest and brings the house down with a heavy funk delivery. "When We Roll" builds another highlight where bouncy drums play off disco-jazz horn themes and finally, the gospel-flavoured cine-soul epic "Homebound" drives it all home.

The vinyl record comes in a limited first edition in hand-made tip-on sleeve.

During a month living with the Wampís in the Amazon Rainforest, Aboutface and the Wampís community collaboratively captured field recordings, music instrumentation and traditional Wampis Nampets – ancient songs sung from the perspective of animals living in their rainforest environment.

These recordings then informed 4 improvised performances to articulate the story of the 4 Nampet songs from within each animal's habitat, to depict nature and culture as inseparable, and to propose that humanity is not exclusive to humans but a multinaturalist characteristic available to all living organisms.

This is the first project of its kind in Wampís history and contains sound recordings of biodiversity that no longer exist due to deforestation.

Indigenous-managed Amazonian rainforests sequester around 340 million tonnes of CO₂ each year—equivalent to the UK’s annual fossil fuel emissions. In stark contrast, non-Indigenous-controlled forests have become sources of carbon emissions, therefore accelerating our global climate crises. Among the vital custodians of these precious ecosystems are the Wampís people, who protect 1.3 m ha of precious rainforest territory currently being decimated by mining for gold. This devastating practice is currently decimating Wampís territory, destroying their river habitats, leaving toxic methylmercury pollution that strips all biodiversity, contaminates the food chain, and causes widespread harm.

100% of all sales revenues from this release will directly go to the Wampís to protect their rainforest territory, to fund Wampís-led eco-initiatives against illegal mining, alongside ways to preserve Wampís cultural heritage– embedded in their songs, art and crafts, central to their conservation of their territory called The Iña Wampisti Nunke: A system of life that encompasses reciprocal relationships between humans, plants, animals, and spirits, central to the harmony of all its multi-dimensional ecology– which they term Tarimat Pujut.

For more project information, a short essay is provided alongside a nonstop-listening version of the album as part of the free Bandcamp download with every LP.


Credits

Nampet songs
Kutir, Wancha and Pinchichi by Elizabeth Huampankit Najamtai.
Manchi by Fernando Ijisam Tsakim.

Acoustic Percussion by Wampís band Guayabita
Fernando Ijisam Tsakim, Edilberto Ijisam Tello, Larry Tello Huampankit, Jose Luis Cahuata Pipa, Tedy Tello Cahuata, Heyner Tello Cahuata, Eli Artista Antonio, Never Tello Huampankit

Violin by Taro.

Peruvian bamboo quena, classical flute, acoustic guitar, electronics, composition and arrangement by Aboutface.

Original portrait painting of Fernando Ijisam Tsakim by Nyran Loomcal.
All other artworks, analogue photography and design by Aboutface.

Rainforest field recordings identified and collected by The Wampís of Guayabal and Aboutface.

OVERVIEW: DUB TREES is one of Youth’s most revered dub projects, it helped define the Liquid Sound Design sound that fans around the world hold dear. This project is the third in a triptych of albums Youth has made with a specific Celtic / Hindu fusion. Starting out with the classic Celtic Cross ‘Hicksville’ 20 years ago, featuring the mythical Simon Posford (Shpongle) through to ‘East of the River Ganges’ (ft Klaus Shultz / Tangerine Dream amongst many others) in 2004 followed by the last piece of this mystical puzzle ‘Celtic Vedic’ ,released on compact disc only in 2016 , which charts the journey of the Celt from Northern India to Snowdonia. The idea stems from Youth’s firm belief that there is a strong correlation between Celtic and Vedic cultures and their Northern Indian roots. Youth has assembled a host of collaborators to weave their labrynthine magic on ‘Celtic Vedic’: Jah Wobble (PiL) on bass, Matt Black/Coldcut (Ninja Tunes) on warped soundscaping duties, Galician Celtic pipe and flute player Daniel Romar, Bollywood contemporary Indian singer Shridevi Keshavan and Elfic Circle. It features many field recordings made by Youth on his various Indian odysseys and is all harnessed together with cutting-edge electronica that the Liquid Sound Design team pioneered 20 years ago. The team today are still pioneering new directions within ‘Downtempo Electronica Music’ and beats that create 3 dimensional landscapes for the helioscopic imagination to explore and psychoactive maps for the inner astronaut in all of us. ‘Celtic Vedic’ promises unchartered bass annihilation and heliotropic soundscapes, pounding basslines overlayed on 3D holographic beats and wrestles with serpentine melodies and psychedelic textures.

Der finnische Komponist Lauri Porra lädt dich auf eine Reise durch die "Seasons in Moominvalley" ein. Pünktlich zum 80-jährigen Jubiläum der Veröffentlichung der ersten Mumin-Geschichte von Tove Jansson, komponierte Porra 21 atmosphärische Stücke für Klavier, Streichensemble oder eine Kombination aus beidem (manchmal sogar mit Naturgeräuschen), die dich die Jahreszeiten, Strände und Wälder des Mumintals ganz neu erleben lassen.Jedes Stück bezieht sich auf eine bestimmte Szene aus den Büchern - zum Beispiel ist "A Song for the Sea" inspiriert von Muminpapa, der am Wasser steht und über die Launen des Meeres philosophiert, während "A Song for Winter" eine Szene aufgreift, in der ein Charakter erkennt, dass der Winter die Jahreszeit ist, in der schüchterne und zurückhaltende Tiere und Menschen aufblühen. Dieses Album ist eine liebevolle Hommage an Tove Janssons zeitlose Geschichten.Veröffentlicht von Sony Classical, ist "Seasons in Moominvalley" sowohl physisch als auch in digital erhältlich. Die CD-Edition enthält ein wunderschön gestaltetes Booklet, das die Auszüge aus den Geschichten zeigt, die mit den einzelnen Liedern verknüpft sind. Für Vinyl-Liebhaber ist die limitierte 180g Picture Vinyl Edition ein echtes Sammlerstück, das vier exklusive Postkarten und zwei hochwertige Lithografien als Beigaben beinhaltet. Zudem besticht das LP-Design mit einem faszinierenden Zoetrope-Effekt, der die Illusion einer Animation erzeugt, wenn die Schallplatte auf einem Plattenspieler dreht.

Reissue von Sarah Davachis fünftem Album, "Let Night Come On Bells End The Day", ursprünglich 2018 auf Recital veröffentlicht und Rang 6 der Top 50-Jahrescharts des renommierten The Wire-Magazins. "Let Night..." umfasst eine Sammlung von Stunden für den Abend mit Mellotron, elektrischer Orgel, Klavier und Synthesizer. "O beautiful was the werewolf in his evil forest." Elektrische Tränen in grün und rot. Limitierte Auflage auf gelbem Vinyl in gefütterter Innenhülle.

"Throughout all my time as a musician and producer, ever since Jack the Tab, I've been focused on developing a single idea: Blending psychedelic sounds and effects with rhythm." Richard Norris, Strange Things Are Happening White Rabbit 2024

Over the past few years Eskimo Recordings have invited some of the best crate diggers around to curate compilations that don't just reveal the hidden contents of their record bags but something about themselves too. Now, following in the footsteps of the likes of Bill Brewster and Psychemagik, producer, musician, DJ, writer and more, Richard Norris, takes us on a globetrotting psychedelic journey with the epic 42 track collection, Mr Norris Changes Brains.

For over forty years Richard has played a part in many of the UK's most important music subcultures. Whether sharing stages with the likes of Tracey Thorn as a pubescent punk in St. Albans, or running freakbeat nights in Liverpool and working at the pioneering psychedelic label Bam Caruso, co-producing the UK's first acid house inspired LP with Throbbing Gristle's Genesis P. Orridge or riding the wave of creativity that the second summer of love unleashed all the way to the Top of the Pop studios as The Grid, Richard's career has continually seen him work to expand both his own and the public's musical horizons.

With Mr Norris Changes Brains it's the most recent part of his mercurial career that he's focused on. Drawing inspiration from his post 2006 adventures as one half of Beyond the Wizard's Sleeve, alongside Trash's Erol Alkan, this compilation shows how a more connected world has blown the dust off a paradoxically sometimes straightjacketed scene. The result is a dizzyingly wide-ranging collection that explores the further out there reaches of worldwide psychedelia and dancefloor mayhem.

"A lot of these tracks are fairly recent discoveries, things that I've discovered from around the time I started working with Erol and going right up to today," Richard explains. "Whether that's from going out to play and finding new records in places like Istanbul or just connecting with people online from all around the world. Psych can sometimes be a sort of narrow-minded field, with everything having to sit in its specific niche, but more and more people are open to new sounds and that's allowed for a much broader selection."

Despite their disparate origins what does unite these tracks is that they aren't just there to zone out to on a bean bag as projections of swirling coloured oils and psychedelic patterns wash over you. Mr Norris may change brains but his DJ sets also move feet, and whether it's their killer guitar riffs, oscillating synths floor shaking drums or soulful Hammond organs these are all cuts that from festival tents to underground clubs have proven time and time again to get people dancing.

"With a lot of these tracks there's a kind of fun element in them," says Richard. "It's still psychedelia, but they've also got these solid, funky grooves. They sound phenomenal on the dancefloor and as much as these records might excite old psych heads, this compilation is also for a new generation out there who might have never heard anything like this before and, just like when I was 18 and heard The 13th Floor Elevators for the first time, think 'Oh, my God, what on earth is this and more importantly what else is out there?'"

Returning to an aphotic minefield of sound – Seismic Records is back with its third release, Drum Ring, crafted by Norwegian producer and Ute Records co-founder Ekkel. Emerging from the forests of Nordic electronic heritage, Teo Bachs – aka Ekkel – channels the raw energy of ’90s progressive sounds into his mind-bending productions. From the studio, his signature blend of breaks and intricate percussion create soundscapes that are as cerebral as they are propulsive. Titled Drum Ring, the EP captures the feeling of a complete mental trip through a narrative of tension, ancient textures, and enchanting melodies.

Poised with a sense of urgency, the A-side unfolds with a neatly rolling rhythm. Hradec Fog Fever builds a controlled frenzy of percussive elements, with layers stripping in and out, consistently driving the track forward. Slipping into A2, Owl Foot casts a sonic mist, a haze that tentatively creeps forward, flickering between atmospheric dips and shadowy contours. Vocal-cut whispers transcend through the soundscape, shy yet impactful, drawing you closer. It’s a tender introduction to a minimalist, dark progressive journey – a delicate balance of intrigue and mystery, where each sound lingers like a secret waiting to be discovered.

The B-Side strikes with poignant, powerful drum kicks that reverberate through layers of distortion. Drum Ring displays echoes of tension and unease, building a restless energy that urges deeper introspection. Ancient, enchanting tones weave through the chaos, grounding the frenetic soundwaves in something timeless and mystical. Sealing the EP, Endphase begins with faint, distant string notes that offer a fleeting, hopeful moment of rest. Growling chords and textures swirl, edging you to a meditation, only to be punctuated by sharp, deliberate drum patterns, adding a sense of momentum and purpose – a glimmer of light breaking through the mist. Experience the full cycle of a delicate trip as Ekkel guides you through Drum Ring – a precious and dark progressive journey.

The Understated Debut That Launched a Peerless Career: Bob Dylan Is the Clearest Connection to the Singer-Songwriter's Folk Roots
Pressed on MoFi SuperVinyl for Reference Playback: Mobile Fidelity 33RPM SuperVinyl Mono LP Features the Direct Sound Dylan Intended

1/4" / 15 IPS analogue mono master to DSD 256 to analogue console to lathe

Bob Dylan's self-titled 1962 debut is as understated of an entrance as any significant musician as ever made. Well-versed in American roots music, Dylan simultaneously pays homage to tradition and extends it by putting his own stamp on classic material that metaphorically functions as the soil of contemporary songs and styles. Free of ego, and performed with masterful conviction, Bob Dylan ranks with the initial efforts of giants like Elvis Presley and the Rolling Stones.

Nodding to Woody Guthrie and re-imagining Blind Lemon Jefferson's "See That My Grave Is Kept Clean," Dylan straddles the past and future. He authoritatively displays the ability to handle weighty topics such as death, sorrow, and lamentation with the vaudeville flair, bluesy mannerisms, and poignant command of an artist three times his then-20-year-old age.

Sourced from the original master tapes, housed in a Stoughton jacket, and pressed on MoFi SuperVinyl at Fidelity Record Pressing, Mobile Fidelity's numbered-edition 180g 33RPM mono SuperVinyl LP brings the contents of this seminal release as close as they've ever come to live-in-the-studio quality. Transparent to the source, Dylan's voice, acoustic guitar, and harmonica come across with exceptional realism — the "husk and bark" to which Robert Shelton referred in his legendary New York Times review of a Dylan appearance at Gerde's Folk City — courtesy of the format’s nearly non-existent noise floor, groove definition, and quiet surfaces.

Heard in the original mono configuration, Dylan’s vocals are in the heart of the musical action and as one with the accompaniment. This reissue paints an incredibly accurate portrait of the concrete mass of sound that features no artificial panning and offers a straight-ahead immersion into the music producer John Hammond recorded in just two days in November 1961.

Though much has been made of the commercial indifference that greeted the album upon its low-key release, focusing on sales figures and the reaction of a public not yet hip to Dylan's name miss the forest for the trees. Distinguished from the era's other folk efforts by way of the singer-songwriter’s determination, brazenness, and lived-through-this worldliness, Bob Dylan lays the groundwork for the path he'd soon trailblaze and everyone else would follow.

As Dylan scholar and pop-culture critic Greil Marcus observed in 2010: "Everybody knew Joan Baez and the Kingston Trio; if you knew Bob Dylan, you knew something other people didn't, something that soon enough everybody had to know. Within a year, an album could put an adjective in front of the singer's name as if it were already common coin."

Mono is how almost everyone first heard Dylan’s opening salvo. A career like none other starts here.

MoFi SuperVinyl:

Developed by NEOTECH and RTI, MoFi SuperVinyl is the most exacting-to-specification vinyl compound ever devised. Analog lovers have never seen (or heard) anything like it. Extraordinarily expensive and extremely painstaking to produce, the special proprietary compound addresses two specific areas of improvement: noise floor reduction and enhanced groove definition. The vinyl composition features a new carbonless dye (hold the disc up to the light and see) and produces the world's quietest surfaces. This high-definition formula also allows for the creation of cleaner grooves that are virtually indistinguishable from the original lacquer. MoFi SuperVinyl provides the closest approximation of what the label's engineers hear in the mastering lab.

Repress!

On New Year's morning, Cousin took a weary-eyed walk... ‘HomeSoon’ he thought, whilst cutting to the path by the Angophora Forest. As he made it down to the overgrown sidewalk, he caught a sudden sense of warmth from the surrounding flora. On closer focus, it was as if the plants and flowers had come alive...pulsing forward down the path as they bounced, smiled, and sneered all around him. Against logic, he was struck by an almost Garsonian desire to communicate with them.

This feeling lingered, persisting through several studio sessions. The music written over this period makes up this EP. How directly this experience informed the music is hard to say. What effect it had on the surrounding plant life is even harder to tell… we do hope, however, through listening to it, you’re a little more tuned in to them.

All Demilich demo material plus recordings from 2006 in a snappy double LP package. Compiled together with the band, this is the ultimate Demilich demo compilation. In the late days of the early life of death metal in the early nineties, the death metal "community" had strayed from an appreciation of the majestic possibilities of sound, and were making a mundane product instead. They wanted the most "brutal" sound so the largest crowd could hear it, consider themselves "extreme," and go back to work with a hangover. This made the music escape its tiny audience, but killed off exploration as well. In addition, it was defensive and under-confident, feeling its chops lagged behind the rock, blues and jazz genres. Stagnation struck even as the genre accelerated. Enter the dark horse, Demilich. These inventive Finns reintroduced amazement at the possibilities of music. Where most people look at a forest and see wood for sale, a death metal fan after Demilich sees an intricate organism in itself, with the smallest details corresponding to the broadest concepts. The labyrinthine riffs of Demilich corresponded to a worldview that saw the connection between details as a design, and a design as conferring a purpose to life, cycling between birth and death as it spelled out the cryptic intricacies of ancient mysteries.

All Demilich demo material plus recordings from 2006 in a snappy double LP package. Compiled together with the band, this is the ultimate Demilich demo compilation. In the late days of the early life of death metal in the early nineties, the death metal "community" had strayed from an appreciation of the majestic possibilities of sound, and were making a mundane product instead. They wanted the most "brutal" sound so the largest crowd could hear it, consider themselves "extreme," and go back to work with a hangover. This made the music escape its tiny audience, but killed off exploration as well. In addition, it was defensive and under-confident, feeling its chops lagged behind the rock, blues and jazz genres. Stagnation struck even as the genre accelerated. Enter the dark horse, Demilich. These inventive Finns reintroduced amazement at the possibilities of music. Where most people look at a forest and see wood for sale, a death metal fan after Demilich sees an intricate organism in itself, with the smallest details corresponding to the broadest concepts. The labyrinthine riffs of Demilich corresponded to a worldview that saw the connection between details as a design, and a design as conferring a purpose to life, cycling between birth and death as it spelled out the cryptic intricacies of ancient mysteries.

This authorised vinyl reissue of the ultimate Finnish death metal cult LP comes with the original cover art and all the lyrics. In the late days of the early life of death metal in the early nineties, the death metal "community" had strayed from an appreciation of the majestic possibilities of sound, and were making a mundane product instead. They wanted the most "brutal" sound so the largest crowd could hear it, consider themselves "extreme," and go back to work with a hangover. This made the music escape its tiny audience, but killed off exploration as well. In addition, it was defensive and under-confident, feeling its chops lagged behind the rock, blues and jazz genres. Stagnation struck even as the genre accelerated. Enter the dark horse, Demilich. These inventive Finns reintroduced amazement at the possibilities of music. Where most people look at a forest and see wood for sale, a death metal fan after Demilich sees an intricate organism in itself, with the smallest details corresponding to the broadest concepts. The labyrinthine riffs of Demilich corresponded to a worldview that saw the connection between details as a design, and a design as conferring a purpose to life, cycling between birth and death as it spelled out the cryptic intricacies of ancient mysteries. Demilich was like finding a submerged city, or discovering a new path through the mountains, or even confronting a glowering enemy on the open plain. It brought risk, uncertainty, ambiguity and a sense of sublime beauty back to death metal, pulling it away from the slump in which it treated itself as a hammer and every listener as a nail.

This authorised vinyl reissue of the ultimate Finnish death metal cult LP comes with the original cover art and all the lyrics. In the late days of the early life of death metal in the early nineties, the death metal "community" had strayed from an appreciation of the majestic possibilities of sound, and were making a mundane product instead. They wanted the most "brutal" sound so the largest crowd could hear it, consider themselves "extreme," and go back to work with a hangover. This made the music escape its tiny audience, but killed off exploration as well. In addition, it was defensive and under-confident, feeling its chops lagged behind the rock, blues and jazz genres. Stagnation struck even as the genre accelerated. Enter the dark horse, Demilich. These inventive Finns reintroduced amazement at the possibilities of music. Where most people look at a forest and see wood for sale, a death metal fan after Demilich sees an intricate organism in itself, with the smallest details corresponding to the broadest concepts. The labyrinthine riffs of Demilich corresponded to a worldview that saw the connection between details as a design, and a design as conferring a purpose to life, cycling between birth and death as it spelled out the cryptic intricacies of ancient mysteries. Demilich was like finding a submerged city, or discovering a new path through the mountains, or even confronting a glowering enemy on the open plain. It brought risk, uncertainty, ambiguity and a sense of sublime beauty back to death metal, pulling it away from the slump in which it treated itself as a hammer and every listener as a nail.

Havukruunu is the spirit of freedom, harbinger of oblivion, and it tells you: FLY, YOU FOOLS! Svart Records is set to release the band’s fourth album TAVASTLAND in February 2025 After three albums, the pieces of the puzzle fit, and Havukruunu, the favorite band of the sensitive and sorrowful returns with a vengeance to blur the line between the real and unreal. The sorrowful guitars of Stefa and Bootleg-Henkka draw threatening dark shadows on the wall, Kostajainen's drumming bombardement pulses like embers of a dying fire in the hearth. All the while, Humö's bass guitar is clanking and wailing like the icy wind rattling windows and banging walls, as Stefa roars and channels messages from the netherworld or preaches wisdom of ancient days, backed by a choir. Lords of Hell smile approving as the flames of hatred and cunning of their beloved sons drowns a dying old world, and heart of the earth trembles the birth of new and weird. Havukruunu is the spirit of freedom, harbinger of oblivion, and it tells you: FLY, YOU FOOLS! Havukruunu’s upcoming album TAVASTLAND tells the story of a small, strange people. ”-TAVASTLAND tells how in 1237 the Tavastians rose in a rebellion against the church of Christ and drove the popes naked into the frost to die. TAVASTLAND reveals our fathers’ centuries old sins and lies of consolation. TAVASTLAND speaks of him, who has become a prisoner of his home, alienated from the land of the forest and is now afraid of the dark with all lights on, surrounded by his smart devices. TAVASTLAND tells about the freedom we lost. TAVASTLAND haunts its listener to the grave, and I will personally open that grave one bleak night, and steal the fading light of your sempiternal soul.”, says Stefa. TAVASTLAND is available on Svart exclusive ice & blood vinyl edition, limited to 666 copies. Also available on limited amber & black smoke vinyl, classic black vinyl, CD, cassette tape, and digital platforms. All vinyl editions of the first pressing include a booklet and poster. New Havukruunu T-shirt also up for pre-order now at Svart’s webstore. Release date February 28th, 2025.

Havukruunu is the spirit of freedom, harbinger of oblivion, and it tells you: FLY, YOU FOOLS! Svart Records is set to release the band’s fourth album TAVASTLAND in February 2025 After three albums, the pieces of the puzzle fit, and Havukruunu, the favorite band of the sensitive and sorrowful returns with a vengeance to blur the line between the real and unreal. The sorrowful guitars of Stefa and Bootleg-Henkka draw threatening dark shadows on the wall, Kostajainen's drumming bombardement pulses like embers of a dying fire in the hearth. All the while, Humö's bass guitar is clanking and wailing like the icy wind rattling windows and banging walls, as Stefa roars and channels messages from the netherworld or preaches wisdom of ancient days, backed by a choir. Lords of Hell smile approving as the flames of hatred and cunning of their beloved sons drowns a dying old world, and heart of the earth trembles the birth of new and weird. Havukruunu is the spirit of freedom, harbinger of oblivion, and it tells you: FLY, YOU FOOLS! Havukruunu’s upcoming album TAVASTLAND tells the story of a small, strange people. ”-TAVASTLAND tells how in 1237 the Tavastians rose in a rebellion against the church of Christ and drove the popes naked into the frost to die. TAVASTLAND reveals our fathers’ centuries old sins and lies of consolation. TAVASTLAND speaks of him, who has become a prisoner of his home, alienated from the land of the forest and is now afraid of the dark with all lights on, surrounded by his smart devices. TAVASTLAND tells about the freedom we lost. TAVASTLAND haunts its listener to the grave, and I will personally open that grave one bleak night, and steal the fading light of your sempiternal soul.”, says Stefa. TAVASTLAND is available on Svart exclusive ice & blood vinyl edition, limited to 666 copies. Also available on limited amber & black smoke vinyl, classic black vinyl, CD, cassette tape, and digital platforms. All vinyl editions of the first pressing include a booklet and poster. New Havukruunu T-shirt also up for pre-order now at Svart’s webstore. Release date February 28th, 2025.

Angelo Debarre's extraordinary guitar technique has long been the tree that hid the forest of his profound musicality and above all, his talent as a composer. Belonging to the family of Django Reinhardt's heirs, Debarre has become a legend among Gypsy Jazz fans, one of those rare musicians, who can enchant a room and make hearts beat in unison.

The New Dictionary of Jazz (Nouveau Dictionnaire du Jazz) describes Angelo Debarre as supersonic, and indeed, he is with mad virtuosity. His left hand moves up and down the fine neck of his gypsy guitar, with speed but always with musicality. But it would be an understatement to speak only of his dexterity; he has a marvellous ability to play with subtlety, and his improvisational possibilities seem endless; all done with great ease and apparent composure. Solos, counterpoint, he's everywhere.

A child from the gypsy community, Angelo started playing guitar with his family at the age of eight. In 1984, he formed the first "Angelo Jazz Quintet". In 1985, he became one of the pillars of the famous Parisian cabaret, "La Roue Fleurie" and participated in numerous tours and recordings, including the famous Gypsy Guitars, a reference album of the genre.

Very comfortable in several gypsy styles, Debarre can be found alongside fellow guitarist Petro Ivanovitch and singer and balalaika player Raya from the group Arbat. As a guest, DeBarre can be heard with the band Bratsch, in dialogue with the pianist Bojan Z, percussionist Xavier Desandre-Navarre, the violinist Florin Niculescu and other leading figures of the gypsy guitar.

Angelo Debarre: guitar
Serge Camps: guitar
Frank Anastasio: bass

Skyjoggers, the innovative band from Tampere, Finland, fuses the exhilarating elements of space rock and psychedelic soundscapes. Their music captures the essence of cosmic exploration, characterized by hypnotic riffs and an experimental approach that pushes boundaries. With a focus on dynamic performances and rich instrumental textures, Skyjoggers invites listeners on a journey through uncharted musical territories.
On ”12021 : Post-Electric Apocalypse” Skyjoggers focus on themes such as death, loss and despair. Writing of the album took place during the pandemic, forest fires in the Amazon and wars around the planet - the band took inspiration from such themes trying to channel the hard topics into something beautiful shining a ray of hope and light into the world through music. The album showcases the heaviest side of Skyjoggers heard to this day, bringing elements of black and doom metal into the band's unique mix of modern space rock.
Skyjoggers are:
Alexi Belle - guitars & effects - Juan Rico - bass, synth & vocals - Gabo Sabor - drums & vocals

Als Watchtower im Jahre 1985 ihr Debütalbum "Energetic Disassembly" veröffentlichen, stellen sie die Metal-Welt auf den Kopf. Das Material setzt völlig neue Maßstäbe. Innovativer (und extremer) geht zu dieser Zeit niemand zu Werke. Unbeholfene Stilbeschreibungen wie "Jazz Metal" oder "Techno Thrash" werden kreiert. Ursprünglich werden Watchtower im Mai 1982 in Austin, Texas, aus der Taufe gehoben. In jenem Monat schließt sich Sänger Jason McMaster Bassist Doug Keyser, Schlagzeuger Rick Colaluca sowie Gitarrist Billy White an. In ihrem frühen Stadium zeigen sich Watchtower stark von der NWOBHM inspiriert und spielen Songs von Iron Maiden, Angel Witch und Raven nach - dazu natürlich etliche Nummern der kanadischen Prog-Götter Rush. In der Folge entwickelt die Band sukzessive ihren individuellen Stil und nimmt Demos mit eigenen Stücken auf. Aber die Plattenfirmen wollen nicht anbeißen. Aus diesem Grunde entschließt man sich dazu, auf dem eigenen Label Zombo Records das wegweisende Album "Energetic Disassembly" zu veröffentlichen (gepresst werden 3.500 LPs und 1.000 Kassetten).
"Ich kann mich noch lebhaft daran erinnern, wie ich Demokassetten an Fanzines verschickt habe und nahezu täglich Briefe mit Tapetradern ausgetauscht wurden," erinnert sich Sänger Jason Mc Master heute. "Ich erhielt u.a. Briefe von Gene Hoglan, Mike Portnoy, Jason Newsted und sogar Alan Tecchio Die Reaktionen waren fantastisch, aber wir klangen einfach so andersartig. Die Labels wussten nicht, wie sie uns seinerzeit hätten vermarkten sollen. Waren wir zu extrem? Ich denke schon." Pünktlich zum 40. Jubiläum von "Energetic Disassembly" erscheint über High Roller Records nicht nur eine De-Luxe-Edition des originalen Albums, sondern auch eine neue Abmischung. Die Re-Mixes wurden im Jahre 2009 von Jared Tuten, einem engen Freund von JasonMcMaster, in den Top Hat Studios angefertigt. Als Sahnehäubchen gesellen sich dazu vier Bonus-Stücke: eine Art Drum-Soundcheck namens "Rick On Parade", das kurze Gitarren-Instrumental "BW115" sowie frühe Fassungen von zwei Songs, die später auf dem zweiten Watchtower-Album landen sollten, hier aber noch mit Jason McMaster am Gesang - "Instruments Of Random Murder" und "The Eldritch". Jason McMaster verließ Watchtower im Jahre 1988 in Richtung Dangerous Toys. Sein Nachfolger war Alan Tecchio (von Hades). Zusammen mit ihm wurde 1989 in West-Berlin das zweite Album "Control And Resistance" für Noise Records aufgenommen.

Als Watchtower im Jahre 1985 ihr Debütalbum "Energetic Disassembly" veröffentlichen, stellen sie die Metal-Welt auf den Kopf. Das Material setzt völlig neue Maßstäbe. Innovativer (und extremer) geht zu dieser Zeit niemand zu Werke. Unbeholfene Stilbeschreibungen wie "Jazz Metal" oder "Techno Thrash" werden kreiert. Ursprünglich werden Watchtower im Mai 1982 in Austin, Texas, aus der Taufe gehoben. In jenem Monat schließt sich Sänger Jason McMaster Bassist Doug Keyser, Schlagzeuger Rick Colaluca sowie Gitarrist Billy White an. In ihrem frühen Stadium zeigen sich Watchtower stark von der NWOBHM inspiriert und spielen Songs von Iron Maiden, Angel Witch und Raven nach - dazu natürlich etliche Nummern der kanadischen Prog-Götter Rush. In der Folge entwickelt die Band sukzessive ihren individuellen Stil und nimmt Demos mit eigenen Stücken auf. Aber die Plattenfirmen wollen nicht anbeißen. Aus diesem Grunde entschließt man sich dazu, auf dem eigenen Label Zombo Records das wegweisende Album "Energetic Disassembly" zu veröffentlichen (gepresst werden 3.500 LPs und 1.000 Kassetten).
"Ich kann mich noch lebhaft daran erinnern, wie ich Demokassetten an Fanzines verschickt habe und nahezu täglich Briefe mit Tapetradern ausgetauscht wurden," erinnert sich Sänger Jason Mc Master heute. "Ich erhielt u.a. Briefe von Gene Hoglan, Mike Portnoy, Jason Newsted und sogar Alan Tecchio Die Reaktionen waren fantastisch, aber wir klangen einfach so andersartig. Die Labels wussten nicht, wie sie uns seinerzeit hätten vermarkten sollen. Waren wir zu extrem? Ich denke schon." Pünktlich zum 40. Jubiläum von "Energetic Disassembly" erscheint über High Roller Records nicht nur eine De-Luxe-Edition des originalen Albums, sondern auch eine neue Abmischung. Die Re-Mixes wurden im Jahre 2009 von Jared Tuten, einem engen Freund von JasonMcMaster, in den Top Hat Studios angefertigt. Als Sahnehäubchen gesellen sich dazu vier Bonus-Stücke: eine Art Drum-Soundcheck namens "Rick On Parade", das kurze Gitarren-Instrumental "BW115" sowie frühe Fassungen von zwei Songs, die später auf dem zweiten Watchtower-Album landen sollten, hier aber noch mit Jason McMaster am Gesang - "Instruments Of Random Murder" und "The Eldritch". Jason McMaster verließ Watchtower im Jahre 1988 in Richtung Dangerous Toys. Sein Nachfolger war Alan Tecchio (von Hades). Zusammen mit ihm wurde 1989 in West-Berlin das zweite Album "Control And Resistance" für Noise Records aufgenommen.

Als Watchtower im Jahre 1985 ihr Debütalbum "Energetic Disassembly" veröffentlichen, stellen sie die Metal-Welt auf den Kopf. Das Material setzt völlig neue Maßstäbe. Innovativer (und extremer) geht zu dieser Zeit niemand zu Werke. Unbeholfene Stilbeschreibungen wie "Jazz Metal" oder "Techno Thrash" werden kreiert. Ursprünglich werden Watchtower im Mai 1982 in Austin, Texas, aus der Taufe gehoben. In jenem Monat schließt sich Sänger Jason McMaster Bassist Doug Keyser, Schlagzeuger Rick Colaluca sowie Gitarrist Billy White an. In ihrem frühen Stadium zeigen sich Watchtower stark von der NWOBHM inspiriert und spielen Songs von Iron Maiden, Angel Witch und Raven nach - dazu natürlich etliche Nummern der kanadischen Prog-Götter Rush. In der Folge entwickelt die Band sukzessive ihren individuellen Stil und nimmt Demos mit eigenen Stücken auf. Aber die Plattenfirmen wollen nicht anbeißen. Aus diesem Grunde entschließt man sich dazu, auf dem eigenen Label Zombo Records das wegweisende Album "Energetic Disassembly" zu veröffentlichen (gepresst werden 3.500 LPs und 1.000 Kassetten).
"Ich kann mich noch lebhaft daran erinnern, wie ich Demokassetten an Fanzines verschickt habe und nahezu täglich Briefe mit Tapetradern ausgetauscht wurden," erinnert sich Sänger Jason Mc Master heute. "Ich erhielt u.a. Briefe von Gene Hoglan, Mike Portnoy, Jason Newsted und sogar Alan Tecchio Die Reaktionen waren fantastisch, aber wir klangen einfach so andersartig. Die Labels wussten nicht, wie sie uns seinerzeit hätten vermarkten sollen. Waren wir zu extrem? Ich denke schon." Pünktlich zum 40. Jubiläum von "Energetic Disassembly" erscheint über High Roller Records nicht nur eine De-Luxe-Edition des originalen Albums, sondern auch eine neue Abmischung. Die Re-Mixes wurden im Jahre 2009 von Jared Tuten, einem engen Freund von JasonMcMaster, in den Top Hat Studios angefertigt. Als Sahnehäubchen gesellen sich dazu vier Bonus-Stücke: eine Art Drum-Soundcheck namens "Rick On Parade", das kurze Gitarren-Instrumental "BW115" sowie frühe Fassungen von zwei Songs, die später auf dem zweiten Watchtower-Album landen sollten, hier aber noch mit Jason McMaster am Gesang - "Instruments Of Random Murder" und "The Eldritch". Jason McMaster verließ Watchtower im Jahre 1988 in Richtung Dangerous Toys. Sein Nachfolger war Alan Tecchio (von Hades). Zusammen mit ihm wurde 1989 in West-Berlin das zweite Album "Control And Resistance" für Noise Records aufgenommen.

Musique Pour La Danse is proud to present the definitive edition of the highly acclaimed and globally beloved Donkey Kong Country soundtracks, meticulously recreated by composer and producer Jammin' Sam Miller. Released in 1994 for the Super Nintendo Entertainment System (SNES), Donkey Kong Country was celebrated not only for its groundbreaking quasi-3D graphics but also for its exceptional soundtrack.
The soundtrack featured a variety of compositions, and has been highly praised for its diverse and high-quality music, with tracks like "Aquatic Ambiance" and "Fear Factory" standing out as fan favorites. The influence of the Donkey Kong Country soundtrack extends beyond the gaming world, having inspired modern artists and changed the way video game music was perceived.

This limited edition boxset, limited to 500 copies, comes as a triple DLP set, containing Volumes 1, 2, and 3. Pressed on red, green, and blue marbled vinyl, it is housed in a hardboard slipcase featuring new and original artwork by Andrew Beltran.

Don't sleep on this ultimate release-the previous boxset edition has been sold out for a long time, and if you can find it, it's being sold for crazy money.

Using hex SPC data converted to MIDI, Jammin' Sam Miller painstakingly recreated the DKC soundtrack note by note, sourcing the original equipment used to create it. He then translated the MIDI into a modern studio context, incorporating keyboard samples, remixing the sounds with added effects, and mastering the tracks. To learn more about his process, watch the explanatory video here: cutt.ly/ulUHE6J.

Stereogum: »Here’s a cool new musical project that feels both out-there and extremely mundane. In 2022, the great Colorado experimentalist M. Sage teamed up with Lieven Martens (Dolphins into the Future) under the name Sage Martens. Their album, »Riding Fences«, was an ambient classical exercise designed to explore the idea of ›Western‹ music. They’re back this year with another conceptual offering (...)«

»Chamber Music for Lawn Mowers« is the second album by Sage Martens. This time, Matthew Sage (RVNG, Fuubutsushi) and Lieven Martens (Edições CN, Dolphins into the Future) sing the lawn.

Did you know a clean-cut lawn is a desire we inherited from the British?

Yes, the British dumped this pleasure into our collective consciousness. Those humorless Victorians who enjoyed having their black pudding on the lawn. They came to this uninspired impression while mis-looking at Italian paintings. Yes indeed, while gazing at these paintings they mistook green lanes for green lawns. Thus it became hip. Every stuffed truffle commanded his gardener to cut the grass.

As a result, this Victorian lust for sterile gardens with pretty green lawns nudged our world into water spillage and pesticide clouds. This new priority produced exhaust clouds and prudish monocultural landscapes. Just by looking at Italian paintings.

As with most of Western history, the practice was exported to America and then turbocharged. By shearing clear the prolific brush of pastures, prairies, forests and glens, biodiversity becomes an aesthetic casualty with long-suffering ecological ripples. An inherited practice narrows the bandwidth of experience.

And so, the childhood habit of humming along in key to the drone of a gas-powered mower while trimming a suburban lawn extrapolates into something expanded — an unanswered question about the harmonics of landscape practices.

M. Sage: Bb clarinet, alto saxophone, sine wave, lawn mowing, processing L. Martens: computer, analog synthesis, digital processing With W. Van Gils: lawn mowing

K.K. Hammond is a slide guitar playing songstress living in the backwoods of the UK. She takes her influence from the Delta Blues players of the 1930s, the roots music of Appalachia and its ancestors fusing the vibe of the swamp with a sprinkle of Southern gothic horror, K.K. writes traditionally inspired roots music but twists it her own unique way for an untapped sound that appeals to contemporary music listeners as well as classic blues fans.

K.K's music has garnered critical acclaim worldwide as well as airplay on a multitude of blues radio shows internationally. This includes the Cerys Matthews BBC Radio 2 Blues Show and the award winning Gary Grainger Blues Show.
A video of K.K. playing a slide guitar cover of "Nothing Else Matters" with her good friend Kaspar "Berry" Rapkin accompanying her on banjo was shared by Metallica on their official TikTok and described by them as "Incredible"!

K.K.’s biggest success to date arose from the release of her debut album Death Roll Blues. The vinyl and CD run sold out via pre-order prior to the album's official release date. Upon its release, the album hit the #1 spot in the UK iTunes Blues chart and subsequently bagged another #1 spot in the US iTunes Blues chart. It also exceeded her expectations by breaking into the #12 spot in the mainstream iTunes charts (across all genres) and the #18 spot in the UK iTunes mainstream chart. It was also the #3 best seller of all time for an iTunes Blues album pre-sale. Death Roll Blues also enabled K.K.’s first breakthrough into the Billboard Blues Charts with a #7 position.

K.K.'s has also had some great successes with her self produced and directed music videos. The music video for Heart Shaped Box winning a multitude of awards including wins at the Video Nasties Genre Film Festival, the David Film Festival in Turkey, the Euro Music Video Song awards, the Anatolia Film Festival, The Golden Wheat Awards, as well as K.K. receiving an honorable mention at the London Director Awards.
U.K. born, K.K. took an interest in guitar, Americana and roots Blues from an early age. She spent some years exploring the back roads of the USA eventually settling in the remote, forested English Countryside, where she works her farm. A self-professed hermit living in an isolated spot in the woods, K.K. enjoys exploring the wilderness surrounding her home to seek inspiration for her song writing.

'Heartstrings' is the fourth album from London-based Snowpoet, led by the creative partnership of Lauren Kinsella and Chris Hyson Since their debut EP in 2014, the band has built a devoted audience drawn to their emotionally rich songwriting, intricate production, and distinct sonic identity. With 'Heartstrings', they take a bold step forward, writing and recording in the studio as a collective for the first time, capturing the raw immediacy of live performance while expanding their sound with lush textures, layered harmonies, and deeply personal storytelling. "We wanted to capture the moment to create something that feels real, unfiltered, and alive," says Chris Hyson.

This album marks an evolution in Snowpoet's approach. Instead of the fragmented process of previous records, 'Heartstrings' was born in the moment, with the full band improvising, shaping, and refining ideas together in real time. The result is an album that feels alive - organic, immersive, and deeply human. Sonically, the group leans into rich, analogue synth tones, intricate drum textures, and a dynamic push- and- pull between electronic and acoustic elements. Lyrically, it is their most personal work to date, weaving themes of life, loss, and renewal with poetic honesty. "The sound of this record is richer, bigger, more expansive, representative of the culmination of everything we've done so far," reflects Lauren Kinsella. At the heart of 'Heartstrings' is a powerful contrast - moments of deep emotional weight balanced with luminous joy. Songs like "Host" dive into themes of grief and the body as a vessel for experience, while tracks like "New Tree" radiate warmth and rebirth. The band's signature harmonies and layered production give the album a three- dimensional quality, pulling the listener into a space where vulnerability and beauty coexist. With 'Heartstrings', Snowpoet solidifies their position as one of the most innovative and emotionally resonant bands in the UK's jazz- adjacent and electronic-acoustic crossover scene. This is an album for listeners who crave depth, sonic richness, and lyrical honesty.

The visionary Walter Maioli (Futuro Antico, Aktuala) and the eccentric electronic musician John Zandijik first met in 1984 when they both gravitated toward the experimental Sound Reporters collective, participating in the release of Ethnoelectronics (1986). Shortly afterward, the two met at Zandijik's studio in Rotterdam, where they completed their journey of exploration to the edge of the Universe in just three nights. The recordings were made only after 3 a.m., when psychic energy is at its peak, and inspiration belongs solely to the realm of dreams. It was a ritual of long galactic fluctuation, where the mystical sound of the flute was filtered and expanded by the Aureal system, a device capable of breaking it down into cascades of aureal harmonies. Through its extemporaneous approach, the music transforms perceptions of ancient pyramids or tropical forests into phosphorescent nebulae, luminous fountain openings, and unprecedented planetary interstices—interstellar portals leading to new archetypal-ancestral visions. It feels like sailing through colored orbits in the red gases of Jupiter and Mars, lost and dissolved forever in the engines and gears of the most secret cosmos. Between Pink Floyd-esque psychedelic flashes and Tangerine Dream-inspired sidereal architectures, Maioli and Zandijik reveal the most phantasmagoric and unknown side of Sound Reporters.

Brooklyn-based musician and producer Eliot Lipp has spent the last two decades crafting a signature sound that fuses hip-hop, synthwave, glitch, and electro. His breakthrough came in 2004 when Prefuse 73 released his debut album on Eastern Developments, a then-subsidiary of Warp Records. Since then, he has built an extensive discography across influential independent labels like Hefty Records, Mush Records, Pretty Lights Music, Young Heavy Souls, and his own Old Tacoma Records. Lipp's music, described by Billboard as "funky and experimental, crunchy and distorted, romantic, thoughtful, and all around playful," blends vintage and modern influences, with Kaltblut Magazine noting his inspiration from "sci-fi soundtracks and '70s and BDs funk" to create "weird, high-definition, melodic beats." His work has been featured by Bandcamp, Magnetic, XLR8R, and major radio stations like BBC Radio 6, KEXP, and KCRW. A seasoned performer, Lipp has toured extensively for over 15 years, playing in cities like New York, Los Angeles, Seattle, and Denver, as well as major festivals such as Electric Forest, Forecastle, and SXSW. With a career rooted in both classic beat-making and forward-thinking electronic production, Eliot Lipp remains a vital force in the independent music scene.

On his first release with Bastard Jazz, veteran Brooklyn producer Eliot Lipp delivers Kona, a bright blend of guitar samples, breakbeats, and his signature Korg MS-20 synth lines, evoking the feeling of kicking back on a beach at sunset. The beat hits hard from the start, but as the track unfolds, it eases into a more laid-back, summery vibe. Lipp's signature fusion of retro synth textures and crisp modern rhythms shines through, capturing an effortless, sun-soaked energy perfect for a night drive or a rooftop party. The B-side, Silver Bass, takes a different approach—starting with live drums, electric bass, and a groovy guitar and piano arrangement before morphing into a futuristic, digitally sequenced version of itself. With dueling saxophone and Moog melodies weaving between organic and electronic elements, the track transforms into a breezy electro jam that feels both nostalgic and forward-thinking, solidifying Lipp's ability to craft timeless, genre-blending sounds.

Forrest VanTuyl is a Western songwriter, poet, and working cowboy based in the Inland Northwest. His work has been featured in the New York Times, at The National Cowboy Poetry Gathering, and he has written music for the US Forest Service.

In a world where physical experiences are becoming rarer, artists are looking to connect their process to something more tangible, and with A/V rinsed, scent is an obvious next sense to plunder. Florian TM Zeisig - who last appeared on Somewhere Press as Angel R, goes the extra mile, teaming up with perfumer Angel Paradise to develop a suite of music that plays like a bouquet of memory-triggering aromas, coupled with a fragrance that captures the oily essence of their bucolic alpine setting. The project came about when both artists were living in Hinang, a small farming village in the rural Bavarian alps. Paradise was studying alpine plant behaviour and using her research to inform her approach to scent creation, developing natural perfumes based on the landscape. Zeisig, meantime, composed his own response to the mountains and forests that surrounded them. He wrote ‘Spool’ as a poignant farewell (or spiritual rebirth) as they prepared to leave, considering teenage nostalgia as well as the idyllic locale, and the pastoral suite of lulled loops, field recordings and dissociated instrumental vamps plays like a contemporary Heimatfilme soundtrack, locking into the genre’s idyllic, fantastical simplicity and romance. Drunken horn loops and mushy piano chords concertina around a wobbly axis on ‘Oneandhalf’, met by dreamy guitars and whispered, lysergic vocals. The sweet-smelling notes form an enigmatic compound, prompting us to think of Codeine or Galaxie 500 without solidifying completely. It’s music that works with outlines and traces, catching us off guard with flickers of samples and veiled base notes: the Cocteau Twins-like phased piano on ‘Threeandhalf’ that’s drowned out by gunked tape fog, or the smudges of ‘Spirit of Eden’ ambience on ‘Alright’ that creep between tweezed piano phrases. There’s depth too; Zeisig doesn’t restrict himself to Romance-cum-Basinski loopmuzak, he intersperses his GASeous orchestral waves with serene, relatively demure reflections that capture the pristine beauty of a dewy alpine morning. ‘Four’ is an ASMR-rich blend of crunching leaves and mossy, decelerated pads, and ‘Plus’ burns its drones down to crackling embers, letting the faint harmonies flicker through the coal dust. Importantly, it’s emotional music, but not overly melodramatic, finding peace in nostalgia and the calm of nature.

FJLP-05 continues with Forest Jams recent trend of Japanese re-issues from the 90’s. This one is E.S. Island’s “Southwind from Hachijo” a deep ambient exploration that is more tribal and spiritual than prior E.S. Island releases. This was recorded on Hachijo Island featuring several traditional instruments with the bulk of the music being played by Eisuke Takahashi (R.I.P.) and Nene Sanae. Limited copies.

Three LPs packed in a trifold jacket. Pressed on Deep Ocean Pearl, Gold & Dark Green Vinyl. Take up your sword, channel your magic or board your Mech. Chained Echoes is a 16-bit style RPG set in a fantasy world where dragons are as common as piloted mechanical suits. The game is set on the continent of Valandis during the time of a multi-generational war between three kingdoms, Taryn, Gravos and Escanya. After a great catastrophe caused by Grand Grimoire shakes the continent, the kingdoms agree to sign a peace treaty. One year later, an unknown force strives to begin a new war. A group of unlikely heroes joins forces and eventually becomes the clan of Crimson Wings in order to stop it. The outstanding soundtrack for Chained Echoes was passionately composed, arranged and recorded over four years by Eddie Marianukroh as well as many other musicians who worked under his direction. It includes 50 tracks at two hours in length. Even the game has been out for a while, Marianukroh's admiration and enthusiasm for the game and his addition to it remain undiminished: "It has been over two years now since the release of Chained Echoes, which is rather difficult for me to believe. Time really flies, and it's honestly a bit frightening when I think about it. But, despite that, when I listen to the music I've written for this game, I still very much remain proud of what I composed. I really did give my all for this soundtrack. I will forever be grateful to Matthias for trusting me with the music for his game. I can vividly remember how I felt when I first came across his project, and how I nervously reached out to him about the composer position. I truly, truly cannot thank him enough for giving me this memorable experience that I will always hold dear. Thank you, my friend."

TOTEMIC MODULATIONS, UNEARTHED FROM WIND AND WORDS

“The album Chênes mainly brings together songs. These songs are narratives of scenes that unfold in the forest, or in the city but with animal and plant protagonists. One song also tells the story of a solitary walk in the mountains. They are like zoomed-in snapshots of the world of insects, amphibians, birds, and mammals. They are also celebrations of growing life, and the pleasure and joy it brings.

Composed over the course of about two or three years, it was a deliberate choice to bring them together for this album, even though they were not initially connected to one another. One of them is an exception and is more of a collection of vocalizations and cries without actual words, composed in a language incomprehensible to humans because it is nonverbal.

This collection of imitated chants and sung songs had to be illustrated by the collages of my friend Fen. Even though the stories describe real species and elements, they are indeed imagined tales. Her collages are, too. There’s also the violin that adds a wandering touch to the pieces, and other instruments that shape the environment and setting of these stories. Bells, bird calls, whistles, flutes, jaw harp, harmonica — all imitate more or less imaginary species. Each has its role and its life, down to the horsehair of the bow that rubs the strings of my violin to bring forth the sound.

Chênes is a title that pays homage to trees I love so much, though without preference over others. They have embodied several giants that I’ve often come across, greeted, and embraced” ~ Roxane Métayer

The long lost and foresaken Rico Puestel LP from 2021 finally released, peaking aesthatically! Incl. part 1+2 of the album key track ADISTA...

Brand new Emika EP ‘Frames’ just for RSD25.

* Comes with two remixes from the hugely adored Italian DJ Producer Adiel, and Ukrainian Electronic sound artist Hanna Svirska, who is newly signed to Emika Records.

* Brand new bass-heavy, moody pop songs, taking it back to her Bristolian roots: Emika delivers 4 tracks ‘Frames’ which documents her life in sound, lyrics and minor chords as she transitioned from Berlin after 17 years, to The Black Forest. Having unknowingly let the devil in the back-door, the EP tells the story of how self-taught spirituality and meditation brought no light, and a return to nature saved her. ‘Frames’ is about putting hard experiences into a frame, to respect and remember them. Emika put them here into some heavy songs.

* Emika included an instrumental and vocal acapella like in the good old days.

In the madrigal-strewn world of neo folk-psychedelia, the queen of drones holds court…In this late teen decade, as green men are burnt, resources dwindle and naturalists plunder for authentic Englishness, the hunt for the grail-like Silver Globe continues. Back in 2014, the story was first whispered; A mythical jaunt set to a motorik rhythm, played out in an overgrown forest of ideas: Jane Weaver’s ‘The Silver Globe’ was a conceptual delicacy – “a synth-ridden post-apocalyptic prog-pop opus based on tightly embroidered, non-linear recurring themes inspired by esoteric stories, cosmic imagery and re-filtered past experiences”. Since those heady beginnings, our heroine has time travelled to darker times and been celebrated for her glorious ‘Modern Kosmology’ (top album of 2017, here, there, everywhere).
“A full-scale leap into the cosmic void of contemporary space rock” The Quietus

“As a child of the 1970’s I can thank my friends’ brothers for their space rock record collections and concept album sleeves that I would spend hours looking at, then my first love for Kate Bush followed by a heavy dose of disco and synth pop. I guess ‘The Silver Globe’ is just a subconscious inspired imprint of those things that have never left me, married with an accidental viewing of a vintage Polish sci-fi film that was so bizarre I couldn’t stop thinking about it and so it became my muse...” Jane Weaver. Set the controls…

Transversales Disques proudly presents the first official LP reissue of "Deserted Palace", studio album written & performed by Jean Michel Jarre in 1972, during his work experience at G.R.M. (Groupe de Recherches Musicales).

In 1971, an order was placed with producer Francis Dreyfus to provide sound for public places such as airports and libraries. He decided to pass the project on to Jean-Michel, who had recently been signed by his record company.

These fifteen tracks are made with only two synthesizers (EMS VCS3 & Farfisa organ) in an experimental and very minimal style.

"It was a crazy album, totally homemade, with rhythms that I made in my student room, with a minimum of equipment and at the same time electronic sounds that I stole from the GRM where I went at night after stealing the keys to the studios. It is a pirate record, in every sense of the word, in which we find what I did afterwards.” JMJ

Audio restored & remastered

Forms is the debut release from Naturalisten. Behind this name is Rado, one of the founders of the Unknown Species collective. They’ve put together some great underground parties in London through the years, giving space to new talents and sounds, and blissfully ignoring trends and fads.
Rado’s colourful and imaginative take on deep techno shines through all the six tracks here. Fans of the sounds we often hear on the likes of Delsin, Nous’Klaer Audio, Spazio Disponibile, Bitta, Animalia, are likely to find plenty to love here. Starting with the subtlety of “Release The Tension”; passing through the swampy “Against The Tide”, the bleepy minimal drum’n’bass of “Woodpecker”, the acid deepness of “Aves Acid”; and landing on the early-morning atmospheres of “Canopy Dreams”, which we find very much reminiscent of some exquisite James Holden moments from a time long gone.

The final touch to an already beautiful body of work is added by Forest Drive West with his remix of the opening track “Release The Tension”. His reinterpretation slowly creeps in and wraps you up in a wave of low frequencies, before blossoming into an epic outro.

Early support for this release came from Sunju Hargun, Sybil, Aaron J, Benedikt Frey, among others.