quête:the result

Brooklyn based drummer/producer Jason Nazary (of Anteloper) makes his We Jazz Records debut with "Spring Collection", released on 25 June. The album sees Nazary crafting some deliciously sparkly solo cuts plus working long disctance with choice collaborators Jaimie Branch, David Leon, Ramon Landolt, Matt Mitchell, Grey McMurray and Michael Coleman. This is essentially a collection of home recordings and the whole operation has an infectious feeling of immediacy to it. The result is improv adjacent electronic music, with modern production aesthetics transposed over spontaneous compositions.

Jason writes:

"With Spring Collection, my aim was to capture the spirit of spontaneity & collaboration lost in the absence of live music. Like most everyone else last spring, I suddenly had a lot of time on my hands and with all my work cancelled, and with an indefinite lockdown in effect, it became immediately apparent that most of my time – save a walk or two a day around the neighborhood – would be spent in the tiny one bedroom apartment I share with my wife and two cats.

What kind of music does one make during lockdown? I would begin my days with a cup of coffee and all the cables of my modest little modular set up in my lap, slowly discovering new sound worlds as I connected one cable after another – these became the beginnings for the pieces in Spring Collection. With these unformed sketches, I would record an improvisation, an exploration of sonics: a small kit of bells, shakers, pans, pots; their resonance captured in fine detail with ultra sensitive microphones. These became, in effect, a conversation first with myself, but later one I knew I had to open up, make social. In the desire not to diminish my collaborative impulses, I felt compelled to involve some of my favorite musicians in the process alongside me."

"Spring Collection" is released by We Jazz Records on 25 June on vinyl (neon orange & black vinyl editions), tape and digital formats. The vinyl edition comes with a booklet including original artwork and poetry by Todd Colby.

A stylish selection of city pop, funk and modern soul from Japanese label Nippon Columbia, selected by DJ Notoya and featuring cult classics and rarities by Hiroshi Sato, Hatsumi Shibata, Hitomi 'Penny' Tohyama & many more.

Annotated by Notoya with journalist Nick Luscombe and artwork by Optigram.

Newly remastered audio.
The selection on ‘Tokyo Glow’ starts with 'Kimugare' a relaxed mid-tempo track by Kumi Nakamura, actually a famous actress who only recorded one album in 1980 for Columbia.

The set continues and flows effortlessly with the sunshine grooves of Miyuki Maki, Hatsumi Shibata and cult keyboard player Hiroshi Sato before the pace starts going faster and funkier with New Generation Company, Kengo Kurozumi - with his superb boogie, 'Juggler'
- and one of the queens of the genre, Hitomi 'Penny' Tohyama with 'Tuxedo Connection'.

Another fine example on the set is the mid-tempo groove of "I Wander All Alone Part III" by New Generation Company, an aggregate group of some of the best Japanese session musicians led by arranger Katz Hoshi and including Hiroyuki Namba (key), Kazuo Shiina (gtr) and Yutaka Uehara (ds) who all played with Tatsuro Yamashita among many others.

There are many other excellent examples in 'Tokyo Glow', showcasing the diversity and specificity of Japanese City Pop during the late 70s and 80s.

Nippon Columbia opened their much-guarded vaults to curator DJ Natoya. Tracks were remastered in Tokyo and the result, ‘Tokyo Glow’, is a unique insight into a most creative period in Japanese music.

Nostalgia is a hell of a drug. No one in particular is renowned for that cliched statement, but when something is so universal, who cares who said it? And is there anything more nostalgia inciting than a blurry film, bursting with colours but aged just perfectly so that you know, it's from a past which will never return. Het Jaarronde, a 1977 short film by Dutch amateur filmmaker Jan van Keulen is a picture perfect study of Dutch rural life. Filmed at an observer's distance it, as the title states, follows the Netherland's throughout the year. It's not bombastic and grand like 1967's John Fernhout film, Sky Over Holland. Instead it's modest, even shy, as if afraid to document too much because to document means to acknowledge change and loss.

For the second time, Nous'klaer and The Netherlands Institute for Sound and Vision's RE:VIVE initiative have teamed up for a split 12" featuring two new film scores of Nous'klaer staple, Mattheis and newcomer Ranie Ribeiro. Each artist was given half the film to compose for, resulting in two sonically disparate pieces that are emotionally twinned. Mattheis offers a lush, heart melting wave of pianos and synths and field recordings to appease his own inner-nostalgia, as the images struck an immediate chord with his childhood and youth in Goeree Overflakkee, South-Holland.

Ranie Ribeiro, known under his solo moniker for his slamming chopped beats and earlier club oriented releases as D-Ribeiro unveils his talents as a harpist for the first time. His work, is an encapsulation of a calm autumn day. A work in the present rather than a reflection on the past. But as the day fades into night, one can't wish for it to stay, just a little bit longer, because who knows what tomorrow is going to bring?

London exploratory industrialist Luke Younger characterizes the creation of his latest collection, Axis, as a liberating return to roots: “It felt like going back to the beginning, it felt freeing.” Begun before the pandemic as a soundtrack to a dance performance, the initial vision was for something “visceral, with physical movement in mind.” When the project shifted to indefinite hiatus, he reimagined the material in the context of an LP, while retaining its sense of dynamic physicality. The result is grim and gripping, seasick throbs lurching in a low-ceilinged space, strafed with fractured clanging, hissing steam, and grinding spirals of granular haze. Noise in its most elevated and compelling form, from and for the body as much as the mind.

London exploratory industrialist Luke Younger characterizes the creation of his latest collection, Axis, as a liberating return to roots: “It felt like going back to the beginning, it felt freeing.” Begun before the pandemic as a soundtrack to a dance performance, the initial vision was for something “visceral, with physical movement in mind.” When the project shifted to indefinite hiatus, he reimagined the material in the context of an LP, while retaining its sense of dynamic physicality. The result is grim and gripping, seasick throbs lurching in a low-ceilinged space, strafed with fractured clanging, hissing steam, and grinding spirals of granular haze. Noise in its most elevated and compelling form, from and for the body as much as the mind.

London exploratory industrialist Luke Younger characterizes the creation of his latest collection, Axis, as a liberating return to roots: “It felt like going back to the beginning, it felt freeing.” Begun before the pandemic as a soundtrack to a dance performance, the initial vision was for something “visceral, with physical movement in mind.” When the project shifted to indefinite hiatus, he reimagined the material in the context of an LP, while retaining its sense of dynamic physicality. The result is grim and gripping, seasick throbs lurching in a low-ceilinged space, strafed with fractured clanging, hissing steam, and grinding spirals of granular haze. Noise in its most elevated and compelling form, from and for the body as much as the mind.

WRWTFWW Records is super happy to announce the official reissue of Roland Bocquet’s highly sought after solo album, Paradia. Sourced from the original masters, this very comforting and warm gem is available on limited edition vinyl housed in heavy 350gsm sleeve with holographic sticker, as well as on digipack CD.

Originally released in 1977 on the legendary Cobra label, Paradia is the first solo album by Roland Bocquet, keyboard player for cult French band Catharsis. The (mostly) instrumental album is a wonderful oddball adventure blending cosy ambient, euro-folk, synth escapades, Latin fusion with a French touch, gentle bossa, a tiny bit of minimalist chanson, and a heavy dose of je-ne sais-quoi. The result is soothing, mysterious in the sweetest ways, and fully atmospheric: a must have for fans of Pascal Comelade, Mort Garson, Dominique Guiot, ZNR, Vladimir Cosma, movie soundtracks, library music, and unclassifiable gems.

It’s hard to describle but lovely to experience! Paradia, Paradia, Paradiaaaaaaaa…

All Them Witches have built a career out of playing music that cannot be pigeonholed into one specific genre.

‘Nothing As The Ideal’ was recorded in Studio 2 at the world famous Abbey Road with the help of longtime mixing engineer Mikey Allred. The history and vibe of that setting laid the groundwork for what was to come.

The band’s signature psychedelic blues riffs, relentless drums, melodic basslines and non-linear lyrics are all present.

The resulting album is a thought provoking headbanger that is the band’s most cohesive album to date.

140g black vinyl gatefold LP.

The Mighty Soulmates is a towering early 90s project from the legitimate super group of André Cymone (bass player with Prince), St. Paul Peterson (guitarist with The Family and Prince), Mic Murphy (of Sass and The System fame) and Gardner Cole (writer, producer and musician probably best known for his work with Madonna). The sound is a majestic blend of sophisticated funk, emotional R&B, New Jack Swing flava and slick deep soul.

These should-be legendary sessions have been almost a secret since they were recorded back in 1993. The first Be With knew about the project was whilst working with Mic on some Sass re-issues and he told us he had something else we might be interested in hearing.

Mic explained, “In the summer of 1993, Gardner Cole asked if I’d be interested in coming out to work with him, André, and St. Paul. So we all headed out to what can best be described as a fantasy music summer camp at Gardner’s house in Woodland Hills, California. We had all worked together in the past in some form or another so everyone was energized and enthused and excited to see what we could create together. St Paul and Andre had already begun some songwriting at Gardner’s well equipped home garage studio. The songs and ideas progressed quickly and some additional recording was completed at André Cymone’s studio in downtown LA. We ended up working on the project for about 6 months, off and on, until Gardner's house fell victim to the Northridge Earthquake in January 1994.”

There were some vague ideas at the time about turning the sessions into a finished record, but everyone went back to their day jobs and as St. Paul puts it: “for nearly 30 years it just sat there, marinating like a fine funk masterpiece. Everything has its right time and now just be the time”.

From all the tracks Mic sent over, we’ve cherry picked the absolute cream for a tight four track EP. In an alternate history all four for these would’ve been radio smashes. No doubt. But these songs never even reached a plugger. A mixture of beat ballads and uptempo non-hits, coming on like Al B Sure! or Babyface take on Shalamar or, dare we say it, The Purple One - maybe not so surprising given who’s playing!

The feel-good dancefloor dynamite of “I Wanna Be The One” is the explosive opening track. A piano-driven, groove-laden blast of yearning deep-pop, with perfectly delivered soulful vocals and an unmistakable “early 90s” sound. Indeed, fans of Eddie Chacon’s old group will dig this for days. “Back In The Day” has a timeless swing and swagger, the lyrics reminiscing about the halcyon streetlife of the Soulmates’ youth, about Curtis, Superfly and innocent days gone by, about hustling with friends. Yet more spine-tingling vocals over yet another perfectly produced musical backdrop. Stunning.

Opening side B, “Blue Tuesday” is the thrilling pinnacle of the EP, at least for us. It’s absolute soulful-pop perfection, and the one we’ve been asked about most after teasing this collection on our NTS show. A soaring beat ballad full of chiming guitars, gorgeous harmonising, falsetto “doo-doo-doo-doo do-do-do-do” backing vocals and a real steppers’ groove. Glide to this with your loved one at the next roller rink party.

Dramatic, purple-hued closer “Private Time” seems to predict the Timbaland-dominated sound of the mid-to-late 90s, all synthetic strings and squelchy, acidic-drum-machine soul. There’s even room for funky piano breaks, vocoder bridges and more cowbell than you can shake a cowbell at. You could just as easily hear Aaliyah vibing over this as much as Mic.

This EP represents the sound of four incredibly soulful, talented, and influential (soul)mates jamming together over one long hot summer and weaving pure sonic magic. André Cymone loved the “kinda pop, experimental exploration of sound and music. I think these songs make a statement. Not just because of the collection of talented musicians involved but the idea of musically branching out and experimenting; which is what I loved about the project and for people to hear and hopefully appreciate the artistic adventure this music takes, I think it’s a much needed breath of fresh air.” As Mic recalls, “it had the feeling of recovery in a circle with my dudes making music sitting around catching up on life - it felt like living a second childhood. We just wrote what we felt. I don’t remember ‘aiming’ at anything but a great song, melding all our different influences from throughout our lives. We had no restraints. For me personally, it was a time to make music and regroup. I call it the ‘Soulmate Experience’ because in many ways we are kindred souls as a band. We did have an amazing time making the record and so much fun together. Probably my best summer ever”.

The Mighty Soulmates EP has been mastered for vinyl by Simon Francis, cut by Pete Norman at Finyl Tweek and pressed at Record Industry. That early 90s gloss sounds spectacular, if we do say so ourselves.

And such a special record needed some truly almighty artwork, so thanks go to DJ Ruby Savage for directing us to London-based illustrator and designer River Cousin. This music needed something elegant and indulgent yet soulful and striking and something as simultaneously tongue-in-check and deadly-serious as the group’s name. The end result is as modern yet timeless as the music itself.

And these are just our four picks. There’s plenty more where this came from and Mic tells us he’s even picked the album title: “Earthquake Summer”.

Bill Evans catapulted to the top of the jazz world in June 1961 after reeling off three straight masterpiece sessions at New York's Village Vanguard with his trio. Yet the emotional highs came to a screeching halt shortly thereafter when bassist Scott LaFaro died in a car accident. Devastated, Evans refrained from playing for nearly a year. If not for an inspirational collaboration of tremendous creative outpouring, one wonders what fate may have befallen Evans. Undercurrent, the outcome of two studio sessions with guitarist Jim Hall, is that project.

Mastered on Mobile Fidelity's world-renowned mastering system and pressed at RTI, this Silver Label LP edition bursts forth with brilliant textures, you-are-there realism, and extraordinary tonalities. No other version outside of this analogue copy brings you face-to-face with these two jazz giants' sonic communion, a kind of spiritual musical summit on which Evans' deft keyboard touches and Hall's reliably subtle phrasings seamlessly mesh and wonderfully dance, the compositions streaked with natural instrumental decay, full-frequency extensions, and poignant emotionalism that, on this LP, you can feel.

While Evans managed to sit down for a few one-off takes between LaFaro's passing and these April-May 1962 dates, he largely remained on hiatus and abstained from recording. Whether it owes to the intimate pairing, he and Hall's brotherly chemistry, or the exquisite selection of program material, the results consistently come across as the equivalent of a private meditation - such is the level of introspective depth and quietly shaded interplay throughout. For Evans, the duet clearly functions as therapy, a healing episode in which his partner patiently lays back, shadowing moves and suggesting others, neither musician interested in the spotlight but each striving for (and achieving) transcendent beauty.

In tackling standards such as Rodgers and Hart's "My Funny Valentine" and the Broadway classic "Darn That Dream," as well as the Hall original "Romain," the pair traverses complex harmonies with the astute elegance of a figure skater. At times, Evans and Hall go for broke on a hard-swinging romps, yet it's their implied melancholy and drifting, softly struck melodic refrains on waltzes and ballads that bestows Undercurrent with a nuanced romanticism and whispered atmosphere befitting the record's title.

Indeed, even the album's cover - an iconic photograph by Toni Frissell - exhibits the surreal, almost-hallucinogenic properties of the fare contained within.

Recorded in London in the summer of 1971 by Austrian singer/songwriter Bobby Haumer and an English pick-up band, Zakarrias was issued on the highly collectable Deram label. However, Deram withdrew the album almost immediately when they discovered that Haumer didn't have a work permit. Mysteriously sounding heavy progressive with sensitive folk-psych moments. Great dynamics with contrasting guitar leads. The results have been compared to outtakes from the third Led Zeppelin album, but while the lead vocals are certainly reminiscent at times of Robert Plant, the overall sound and general air of quiet pretension is probably closer to Van der Graaf Generator leader Peter Hammill's early solo work.

Some people say it’s the hope that kills you, but statistically dreams are responsible for a lot more casualties. The second album from the Icelandic supergroup, not only acknowledges this but celebrates it. To dream is to slowly digest oneself from the inside.

In January 2021 the team was reunited and have since then been writing, recording and releasing a new song every last friday of each month, much like they did in 2018. Dream is Murder is the result a collection of all 12 songs on one album.

Sin Fang, Sóley and Örvar are all established performers, composers and producers in there own right, but their Team Dreams project is so much more than a sum of it’s parts. Even though each of their individual fingerprints can be found all over the album, the result has a distinctive sound of it’s own.

The first three songs on the album display the diverse nature of the project, Imaginary Love is a catchy pop tune, Calling for Your Touch a sprawling cinematic ballad with hints of both Top Gun and Twin Peaks, then there is Shame a gut wrenching tragedy of being born into decay. Where the Maps Run was specially recorded for Amnesty Inter-national in Iceland and given as a part of Amnesty’s 60 year anniversary.

Artwork for each of the songs was conjured up by the one and only Ingibjörg Birgisdóttir and is as much a part of the whole as the music. Each song was accompanied by a res-in sculpture with leftovers from dreams and daily life cast and preserved in with in it. The music takes up three sides of the 2xLP and the fourth and final side holds an exquisite etching by Ingibjörg, depicting the artifacts within.

After the worldwide success of their first album Puzzle (1999), which sold over 200,000 copies and went gold in Japan, Xavier Boyer (vocals, guitars), Pedro Resende (bass), Médéric Gontier (guitars) & Sylvain Marchand (drums) reunited with producer Andy Chase to record the follow-up, Wallpaper for the Soul, in New York City. Starting in November 2001 at Stratosphere Sound, the prolific sessions gave birth to twenty tracks, twelve of which appeared on the original tracklist. The eight outtakes were compiled on the mini albums A Piece of Sunshine (2003) & Extra Pieces of Sunshine (2004). This new vinyl edition will be the first time all these songs appear together.

Almost 20 years on, WFTS is a tour de force of contemporary songwriting with obvious nods to the past somehow revisited in a timeless fashion. Tahiti 80’s second effort can also be seen as an alternative and more sophisticated snapshot of an era often associated with the rebirth of rock (The White Stripes, The Strokes…). This set of songs also established them as stalwarts of the Post French Touch cannon, showcasing both their ability to write catchy songs and their knack for mélanges & experimentation. 1,000 Times or The Train are unique examples of blue-eyed soul augmented with French flair (« Prefab Sprout as produced by Thomas Bangalter » suggested Uncut which listed WFTS in their Top Ten’s albums of 2003). Listen to Don’t Look Below today, and ask yourself who was mixing Destiny’s Child with My Bloody Valentine in 2001? Delicate numbers like Open Book or live favorite Better Days Will Come both demonstrate T80’s songwriting skills and their innate sense of melancholia.

Listening back to WFTS today, one cannot help but think of it as an album recorded in a state-of-the-art fashion. All four members would typically perform together in the same room. Basic takes were printed on a 24-track analog tape machine and then bounced onto a computer for editing. A fine example of this method is the title track itself. Originally written on acoustic guitar, Wallpaper … is the result of three eight minutes synthesizer jams pieced together. The Frenchmen were keen to try out multitude of ideas and had developed a taste for experimentation. The sessions also coincide with a rich outburst of creativity from a band on top of their game after several months of touring around the world.

Another typical WFTS characteristic is Richard Hewson’s orchestration. Veteran string arranger, famous for arranging The Beatles’ The Long And Winding Road or writing RAH Band’s ‘80s classic Clouds Across The Moon Hewson gave the songs a sweeping orchestral touch. Strings, Horns & woodwinds were all performed at the now defunct Olympic Studios in London. Urban Soul Orchestra, a 24-piece ensemble who played on Oasis’ or Spice Girls’ hits can be heard on five songs: the opening trilogy Wallpaper…, 1,000 Times and The Other Side, then on the Northern Soul revival Soul Deep and lastly on the album’s closer Memories Of The Past.

Rouen’s most famous four-piece, now relocated in a house on France’s North West Coast, in the quiet seaside town of Étretat, added more bells & whistles and resumed production on the songs. With one last transatlantic leap during the summer of 2002, the boys flew to Portland, Oregon to attend the mixing sessions held by sound wizard Tony Lash (Elliott Smith, The Dandy Warhols…). Suggested by Sub Pop’s craftsman Eric Matthews, also a guest on trumpet and keyboards, Lash would later become a major collaborator on Tahiti 80’s subsequent albums.

In the meantime, Laurent Fétis, the designer behind Puzzle’s iconic artwork, had started working with artist Elisabeth Arkhipoff on a set of nostalgic photographs transfigured with a soft air-bush technique. Those visuals, like their predecessors, have since become an inseparable companion to Tahiti 80’s music.

Many musical fashions and flavors of the month have come and gone, but twenty years after its release, WFTS still sounds fresh and relevant. And always forward-looking, Tahiti 80 is currently wrapping up the recording of their eighth album, to be released in early 2022.

Fine Place is a new duo comprising Frankie Rose (Vivian Girls, Crystal Stilts, Dum Dum Girls) and Matthew Hord (Running, Pop. 1280, Brandy). Based in Brooklyn, NYC together they’ve crafted a crystalline full length of nocturnal, electronic pop music that charts a way out the post-global, cyberpunk dystopian environment it was crafted in. Their debut album This New Heaven drenches minimalist song structures in post-industrial washes of sixstring delay and gothic post-punk synths. Presiding over it is the most evocative, emotive vocal performance Frankie
Rose has committed to tape to date.

Following Hord’s relocation from Chicago, the pair wanted to explore new avenues apart from their respective bands or solo projects. “The sound we were going for was an attempt to capture the dystopian feel of New York during a period of desertion by the wealthy. It was produced in a time-frame saturated in both uncertainty and serenity, and the soundscapes we created felt fitting and almost organic as a response to our surroundings. The title also reflects this in an arguably literal, maybe even satirical way.” Sonically, Fine Place references the pioneering mid-to-late 80s pioneers of icy melodrama The Cure and Cocteau Twins, while reflecting both the individuals’; music trajectories thus far. Modular synthesis triggers rhythm boxes and fluttery arps chirp around clanging 808-patterning as Rose’s reverb-laden vocal layering envelops the remaining headroom. The result is massive; a towering, shadowy music that embraces darkness while offering Rose’s bright vocal as chinks of light in the cracks; the production filling the head space of the beholder with preternatural imagery and emotional resonances that are real but not quite defined.

The title song propels forth out of the fog, scintillating with delayed guitar before the reverb-immersed vocal injects the human drama. The chorus constantly teases a big release but holds back creating a taut, dynamic tension. Cover Blind’s slow march makes full use of Rose’s layered vocal sinking and emerging from Hord’s bank of synths. Stand out It’s Your House is pure honey pouring from the speaker on a bank of of arps and near-hymnal vocal layering, a syrupy light offering in the mist. It’s an emotive highlight that only increases as the album progresses; Impressions Of Me is the Lynchian ballad that glides onward into the sunset. The album finishes on a choice re-interpretation of the 1989 track The Party Is Over by Belgian group Adult Fantasies, one of the great over-looked ballads of the era given an almost ecclesiastical makeover by Matthew Hord and Frankie Rose in 2021.

Says Hord: “This record was an incredibly challenging endeavor to make, as I had just come home from a European tour with another music project and wanted to invest into and focus on this collaboration with Frankie. I essentially reimagined how to approach writing basic sequences with the synthesizers I had been rehearsing and performing with for months prior to make something more accessible and pop- like for Frankie to build upon. Frankie is an unsung hero when it comes to mixing, and she was constantly mixing down and processing elements of the tracks to create different atmospheres as we forged forward with every song.”

This New Heaven is an ecstasy of sorts, a half-dream in the border between sleep and daylight.

Sometimes, the best place to begin is at the end. If you really want to dig deep into Illusory Walls, the fourth album by THE WORLD IS A BEAUTIFUL PLACE & I AM NO LONGER AFRAID TO DIE, it definitely helps to do that. That's because epic closer "Fewer Afraid" -all 19 minutes, 44 seconds of it-doesn't just revisit the themes and ideas on the ten songs that precede it, but also offers a self-aware summary of the Connecticut band's entire history. It's the conclusion of all the stories within the record as well as a nod to all the lives that helped make them-little glimpses of everything that's come before, on both a micro, immediate level, and a more universal one. "That song is a higher level look at my whole life and the whole world," explains vocalist/guitarist David F. Bello, "as well as the album, our band and our discography. It places the band in the context of the rest of the world, as if we're listening to everything that came before. It touches on all the themes of the previous songs, but there are also callbacks to songs from earlier in our career. But in this song, they're the object, not the subject-I'm talking about a world in which these things happen, not talking about these things happening." Due to the coronavirus pandemic, the band-completed by Steven K. Buttery (drums and percussion), Joshua Cyr (bass/vocals) and Katie Dvorak (vocals/synth)-had nothing but time to realize the full extent of their musical and thematic aspirations. And so, four years on from lauded third album Always Foreign, they were able to make what is undoubtedly the band's most ambitious and epic record to date. Written and recorded remotely-a first for the band-Illusory Walls takes on the weight of human existence while it's buckling under the pressure of today's near-dystopian society. Personal anxieties and political struggles collide with a series of portentous, apocalyptic and dramatic tunes, resulting in some of the darkest music the band has made since forming in 2009.

UK label Wisdom Teeth returns with its third long-form offering - Sculpturegardening: a new LP by Mexico City-based artist and producer, Tristan Arp. Incorporating elements of ambient, glitch, microhouse and downtempo, it’s an otherworldly record populated by knotty modular textures, blossoming floral melodies, tight pointillist rhythms and glossy acoustic instrumentation. The record was born from a process of “collaborating with machines”: using modular synthesisers to generate probabilistic melodies and rhythms, with the artist taking on the role of sculptor and curator. Throughout, the boundaries between the organic and digital are playfully blurred: we hear synthesisers played by guitars; emotive and distinctly human melodies generated by modular circuits; digital percussion drummed by hand; and live cello processed with a digital finish. The results sometimes recall Roman Flügel at his most colourful, or Benge’s meandering synth workouts, and even at times echo the dubbed-out cello experiments of Arthur Russell.But really sculpturegardening occupies a sonic world of its own, born from a unique web of happy accidents and incidental arrangements. The record’s bright colours and subtle rhythms make it a fitting follow-up to K-LONE’s 2020 LP Cape Cira and Facta’s 2021 LP Blush, and place it neatly alongside the work of label mates Duckett, Benoit B, Steevio and Iglew.
“With sculpturegardening, my concept was to approach music like gardening. I collaborated with machines inspired by the way a gardener collaborates with the earth. A gardener creates the conditions for the plants to come to life and develop on their own. In a similar way, I created a set of conditions and probabilities for the music to make itself. Who is making the music here? “A sculpture garden to me can be a really beautiful environment of balance between randomness and order––between nature and human interaction. Things that are either extremely organized or completely random tend to not resonate with us. On the other hand, something very interesting happens when a balance between the randomness and organization is struck. I invented this verb sculpturegardening to represent creating with the aim of this balance, and the with the aim of building a world in which each piece is a zone, or a sculpture in a garden.” The record will be twinned with a physical iteration - a sound installation at an exhibition curated by Tristan Arp titled Nada Se Pierde; Todo Se Transforma. The show opens on 9th October in Mexico City at Avant.dev. The physical sculpture garden will be a collaboration with Mexican sculptor Pablo Arellano. The sound installation will centre around a 4-channel audio system that gives voice to different sculptures and allows visitors to create a mix of the sounds depending on their position in the garden.

Bumps Per Minute is a full-throttle reinvention of the traditional fairground dodgems, from Mercury Award-shortlisted composer, producer and musician Anna Meredith. The music is part of the DODGE installation, which can be experienced until 22nd August at Somerset House.

For Bumps Per Minute, Meredith has collaborated with BAFTA-winning sound artist Nick Ryan to design a bespoke tracking technology so that every thump, bump and swerve of the 18 dodgems around the track can trigger a separate composition. This results in a kind of ultimate shuffle where high octane music and ideas compete for airtime and each performance is unique. The installation will occur approximately every hour at DODGE through the day/evening.

The idea for Bumps Per Minute came about when the composer was thinking about what might be a more pandemic friendly replacement for the ice rink at Somerset House where she has her studio. The idea grew from there and now this summer DODGE is taking over the main courtyard at Somerset House, featuring a full smorgasbord of Yinka Ilori designs, DJs, food, drink and of course, dodgem rides.

Today, Meredith announces that she will be releasing a special extended cut of her material via Moshi Moshi out on the 15th July 2021. Bumps Per Minute: 18 Studies for Dodgems will feature full-length individual musical identities of all 18 dodgems – each one a bold and distinct musical track in its own right as well an intro and outro track (voiced by comedian Rob Broderick).

The key to both the dodgems themselves and the release is a user ‘driven’ triggering and shuffling of the material. Meredith encourages the listener to ‘take the driving seat’ and jump from one track to another, mirroring the real dodgem ride, shuffling and curating their own listening experience via the virtual interactive dodgems page or their preferred listening platform.

Bumps Per Minute: 18 Studies for Dodgems explodes out of the starting gate with Meredith’s uncategorisable sound and signature energy, combining fairground wildness with a healthy dose of the nostalgic electronics of old school gaming.

 In November, the new ABBA album, ‘Voyage’, will
be released, after 40 years. Just in time for the
music comeback of the year, and as a tribute to the
Swedish supergroup, a classic is now being
released on vinyl for the first time: ‘Funky ABBA’ by
the Nils Landgren Funk Unit from 2004.
 Fans and music magazines count the cover
numbers by Mr. Redhorn and his cult band among
the best in the world, and even today they are
played on the radio and in clubs by DJs. Landgren,
who once played trombone himself on the ABBA
hit ‘Voulez-Vous’, personally asked ABBA
mastermind Benny Andersson for his blessing for
the album: “ABBA was never funky. But if you can
do it, then do it!” replied Andersson. Andersson
was so enthusiastic about the project that he was
also present at the legendary Polar Studio during
the recording sessions and did not miss the
opportunity to record a bonus track for the album
himself as a duo with Viktoria Tolstoy.
 The result was celebrated, and ‘Funky ABBA’
became the best-selling Funk Unit album of all
time. “It's hard to believe: ABBA grooves, and
how!” claimed STEREO in their review after the
CD’s release.
 For this vinyl edition, the album has been
remastered.
 180g vinyl with digital download code.

Westbound 1976 Funk classic - Featuring an all-star Parliament/Funkadelic line-up - Limited 180g TANGERINE COLOR Vinyl Edition (400 copies) - Comes in Deluxe Gatefold Jacket with Obi Strip - Comes with liner notes // A co-founder of the P-Funk movement, Clarence Eugene "Fuzzy" Haskins was born in West Virginia in 1941 and started as a singer in the doo-wop vocal group The Parliaments, led by George Clinton in the late 1950s. He was a founding member of the groundbreaking and influential 1970s funk bands PARLIAMENT-FUNKADELIC. Fuzzy Haskins toured and appeared on P-Funk albums as a singer, and occasionally as a guitarist, throughout the 1970s. He is a member of the Rock and Roll Hall of Fame, inducted in 1997. Despite the success of Mothership Connection, Fuzzy Haskins was growing frustrated that his songs were no longer being featured on albums by Funkadelic and Parliament. He also watched as Bootsy Collins, a relative newcomer to the family, embarked upon a solo career. This added to Haskins' frustration and at the height of P-Funk's popularity, Fuzzy left the ensemble to pursue a solo career. Fuzzy Haskins released his first solo album, A WHOLE NOTHER THANG, in 1976. The album features funk `all-stars' from the likes of Bernie Worrell, Donald Austin and Bootsy Collins. Haskins wrote eight of the nine songs and served as producer, singer, songwriter, guitarist and even drummer. The result was an album that oozed quality. With his brand of earthy and heavyweight funk, Fuzzy Haskins' solo work fits right in with many of the other great P-Funk side projects. Also featured on the album is the track "Cookie Jar", which was later recorded by Prince. Despite the quality of music, the album didn't sell in vast quantities and didn't find the audience it deserved. `A Whole Nother Thang' is a true gem to funk fans, mint vinyl copies are hard to find and pricey these days. If you are a Funkateer_this one's for you. Originally released on Westbound Records in 1976, now back available as a limited deluxe 180g TANGERINE COLORED vinyl edition packaged in a gatefold jacket featuring the original artwork and liner notes.

 A fascinating thing about jazz is what can arise through force of
circumstance rather than the result of planning. The drummer
scheduled to appear in a trio with Jan Lundgren at the Ystad
Sweden Jazz Festival had to cancel because of the pandemic,
which forced Lundgren to rethink the gig. The pianist - who is
also artistic director of the festival - quickly realised that things
could also work without a drummer. Serendipitously, the name
of Emile Parisien came to his mind... and a new trio was born.
The three musicians had never played together in this
configuration before; so, after a single day of rehearsals, the
band took to the festival’s main stage on 1 August 2020.
 Jan Lundgren is one of those pioneers who gave European jazz
its distinct identity and freed it from American jazz. The Ystadbased pianist combines virtuosity, an acute sense of tonal
colour, awareness of form from European classical music and
his own folk music tradition. For him, to make music where
many different genres coalesce is both inevitable and natural.
 Lars Danielsson’s bass playing is unmistakably melodic and
lyrical. He is one of just a handful of bassists who stand out
both as creative composers and as distinguished band leaders.
Technical brilliance, outstanding musical imagination and an
almost telepathic understanding of his fellow musicians - his
presence is ideal in this trio.
 Soprano saxophonist Emile Parisien found his way into this
band practically out of nowhere. The vivacious Frenchman lives
jazz with body and soul and his honesty and authenticity ring
true in every note he plays. Parisien is a visionary of jazz,
aware of its legacy but always looking forward in an innovative
way.
 This unique performance leaves the listener begging for more.
Having started this new venture so auspiciously, Jan, Lars and
Emile are surely going to want to aim even higher.
 Recorded live in concert by Mattias Dalin (Eurosound AB) at
Ystad Sweden Jazz Festival, August 1, 2020. Mixed by Bo
Savik, Jan Lundgren and Lars Danielsson at Tia Dia Studios,
Mölnlycke, Sweden. Mastered by Bo Savik.

Turquoise Vinyl

The "Tetragonal EP" marks the fourth and final release of the Stone Techno series for this year. Together with the Ruhr Museum foundation we were able to create a very unique concept which refers to the notable history of the Ruhr Area. The collaboration with each artist was a great pleasure and experience for us and as you might already know if you're following this project since the first release: all of the results that reached us were impressively various and ingenious.

On the "Tetragonal" EP you will find a nicely curated mixture of artists and tracks, which takes you on a mesmerizing journey. In the beginning our dear friend Dax J delivers a straightforward 6-minute banger that he's known for. Followed by an anthemic and yet percussive piece of Hadone which reminds us of the long raving nights we all have missed so much.

On the B-side Colin Benders ennobles mineralogy with a carefully composed arrangement which drives you deep into modular synthesis, while Felix Fleer takes you on a late night trip with oscillating tones and harmonies.

We hope you enjoy our last Stone Techno release for this year and don't worry: there's a lot more to come in 2022 with a new sample library as well. Stay tuned!

Each release is limited to 300 copies (180gr marbled 12" Vinyl, Full Cover Print).

Geese are a band that begins and ends in Brooklyn, as a
project between friends to build a home studio out of a
basement.
 Their debut album, ‘Projector’ (from which this single is
taken), is born from the same ambition: make music by
any means necessary. The songs were recorded with
sneakers as mic stands and blankets draped over the
amps, all within the afternoon following a school day, up
until they ran the risk of noise complaints.
 As a result, ‘Projector’ is as much a moment in time as it is
an album. It represents five teenagers whose love of
music touches every part of their lives: their restless
anxiety about their futures, and their pent-up frustration
with their present - a perspective all too familiar in today’s
uncertain world. Perhaps then it only makes sense that the
figure on the album cover was born from a dream:
curiously alien, yet strangely familiar.
 Creative direction by Matt De Jong and Jamie JamesMedina (Fontaines D.C., Arlo Parks, Mura Masa, FKA
Twigs).
 Two sold out London shows at The Windmill and The
Sebright Arms. First time ever playing in the UK.
 7” features ‘Low Era’ on the A side and a never before
heard bonus track called ‘Smoke In Japan’ on the B side.

Geese are a band that begins and ends in Brooklyn, as a
project between friends to build a home studio out of a
basement.
 Their debut album, ‘Projector’ is born from the same
ambition: make music by any means necessary. The
songs were recorded with sneakers as mic stands and
blankets draped over the amps, all within the afternoon
following a school day, up until they ran the risk of noise
complaints.
 As a result, ‘Projector’ is as much a moment in time as it is
an album. It represents five teenagers whose love of
music touches every part of their lives: their restless
anxiety about their futures, and their pent-up frustration
with their present - a perspective all too familiar in today’s
uncertain world. Perhaps then it only makes sense that the
figure on the album cover was born from a dream:
curiously alien, yet strangely familiar.
 Creative direction by Matt De Jong and Jamie JamesMedina (Fontaines D.C., Arlo Parks, Mura Masa, FKA
Twigs).
 Two sold out London shows at The Windmill and The
Sebright Arms. First time ever playing in the UK

Geese are a band that begins and ends in Brooklyn, as a
project between friends to build a home studio out of a
basement.
 Their debut album, ‘Projector’ is born from the same
ambition: make music by any means necessary. The
songs were recorded with sneakers as mic stands and
blankets draped over the amps, all within the afternoon
following a school day, up until they ran the risk of noise
complaints.
 As a result, ‘Projector’ is as much a moment in time as it is
an album. It represents five teenagers whose love of
music touches every part of their lives: their restless
anxiety about their futures, and their pent-up frustration
with their present - a perspective all too familiar in today’s
uncertain world. Perhaps then it only makes sense that the
figure on the album cover was born from a dream:
curiously alien, yet strangely familiar.
 Creative direction by Matt De Jong and Jamie JamesMedina (Fontaines D.C., Arlo Parks, Mura Masa, FKA
Twigs).
 Two sold out London shows at The Windmill and The
Sebright Arms. First time ever playing in the UK

In 2012 Claus Fovea self released a cassette containing 10 tracks, he was at his Swedish beginnings. 9 years later Lux Rec re-discovered his tape and it still sounded so true and relevant to them that they decided to release it on vinyl. Claus then reworked some tracks, scrap some, and made few new. Florin Buchel mixed them down and Andrea Merlini mastered them. The result is a picture frozen in time, in between now and then, the struggle, and sadness, that fragile construction of hope shattered as time goes by, like nothing ever change. It is indeed, as he sings, just the same song playing all the time. Over and over.

Piero Piccioni undoubtedly was the most “dandy” of Italian film music composers. The most stylish one, in art as in life. On the centenary of the composer’s birth, CAM Sugar celebrates his art with a compilation that draws from both his well-know and lesser-known works, alongside a precious handful of tracks that, surprisingly, have remained fully unreleased until today. The result is a journey of rediscovery of the unique, dazzling and unmistakable sound of the Turin-born composer. The silky, sensual and emotional “Piccioni's touch” can be detected in every single composition he happened to work on during his long career which spanned jazz, bossa nova, funk, disco, and orchestral music. It is a touch that gives harmony and coherence to a corpus of soundtracks that stands out as one of the most prestigious and important discographies in the world: eternal music destined to last forever, without ever sounding out of place, just like the timeless elegance of Italy and Piccioni.

Whoop whoop, it’s the sound of the inimitable KRS One’s ‘Sound of da Police’ and the mind bogglingly clever ‘Hip Hop vs Rap’, reissued here for the first time ever on 7 inch vinyl, housed in an original artwork picture sleeve this is a must have for anyone in the know.

First up ‘Sound of da Police’. A song that spoke out against the long running history of the Black community experiencing police brutality, violence and racism at the hands of those that were meant to be protecting them. The hard-hitting words from KRS touch on the history of slavery and it’s manifestation into systemic racism throughout the ages since.

“Change your attitude, change your plan
There could never really be justice on stolen land”

Couple that with a rough breakbeat, chopped through the MPC alongside choice funk samples and that legendary police siren ‘Whoop, Whoop’ and you had a certified golden era rap classic that ignited the fire in the belly of many across the globe.

On the flip, ‘Hip Hop Vs Rap’. A bumping hip hop loop lays the foundation for KRS to work his genius melding all manner of classic hip hop lines that are the perfect ammunition to cut up on the decks and results in a flow that certifies that hip hop is the culture that you live and breathe.

“Rap is something you do,
Hip-Hop is something you live!”

It’s a true, headsy b-boy gem which deserves a place in every collection.

Best Record Italy presents a reissue of Model 11-29's "Wot Times," a particularly inspired work by the legendary Sangy that transforms "Rapper's Delight" into a slice of Italo-balearic ecstasy. On the vocal version, drums sit between disco and electro as they boogie down to a breakdance beat, with greasy funk basslines slapping and sliding in support. Solar dub chords pulsate through anthemic pattens, pads blow across the mix like a warming ocean breeze, synth leads sparkle in coral colorations, and those classic Sugar Hill Gang lyrical flows are reconfigured into an ebullient spoken word rap, which is then morphed by futuristic fx and interspersed with shouts, grunts, and call-and-response chants. On the flip, the instrumental version walks with more of a sexual disco strut, resulting in a summertime seaside cruiser overflowing with dazzling synthesizer displays, as organ chords generate mirage visions, gemstone leads shimmer through swells of tropical mist, and acid-laced Italo pulsations work the spirit into euphoric beach dance hypnosis.

Comes with 10'' booklet and download code. Limited 500. - "Those awaiting", the name chosen by the musicians of Sabreen, still rings true forty years after the foundation of this group in Jerusalem. Voice of the hopes as well as the anger of the Palestinian youth, this group has recorded four self-produced albums. With the weapons of poetry, they will embody the voices of resistance against the occupation but also the desire for emancipation from tradition.Emblematic of this state of mind, their second album Death Of The Prophet was released on cassette at the beginning of the first intifada. It will be the soundtrack, while providing the tuning fork of the future generations. Whether meditative beaches or collective outbursts, joyful outbursts or more serious moments, the band goes through the range of feelings, drawing its inspiration from the sources of classical Arabic music and popular folklore. The result is a unique style, irreducible to any category. All that makes that forty years later, this cult album, never released on vinyl, remains very current. Including booklet with extended liner notes by Jacques Denis and rare photos.

In 1977, in the midst of a period of political turmoil and social unrest that went down in Italian history as "years of lead", screenwriter and director Massimo Pirri made a film no one else had the courage to make: Italia: ultimo atto? (Could It Happen Here?). Here, Pirri explores the controversial (and, in the 70s, very current) topic of left-wing armed struggle. He does so through a storyline that is almost prophetic: in the film, a mysterious ultra-leftwing armed group plans and executes the killing of the Ministry of the Interior; in 1978 Christian Democrat leader and former premier Aldo Moro was kidnapped and killed by the Marxist-Leninist Red Brigades).

The violence of Pirri's storyline is fully captured by the score composed by Lallo Gori, who uses obscure synths, analog keyboards, and dry-sounding acoustic drums to create an extremely tense and frenzied soundscape of electronic textures.

The result is an album that combines dark, haunting jazz-funk with ambient atmospheres and suspenseful electronic sounds, and which ends up sounding like an instrumental proto-hip hop record where Moog synths take the lead together with drums.

At the time, this must have seemed like a low-budget, ramshackle soundtrack – essentially, a B-movie soundtrack. Indeed, the extensive use of electronic sounds was meant to compensate for the lack of acoustic instruments, such as the bass or (alas!) brass, which were replaced by keyboards and MiniMoog synths. Today, however, Lallo Gori's odd and minimalistic style of arranging makes this score sound unexpected, avant-garde, and innovative. In short, modern and contemporary.

Previously unreleased in any format, all tracks have been remastered from the original master tapes.

You know you're into something good when you open the album you just bought and find a lyrics sheet, then play it and quickly realise the record is actually instrumental. The unruliness that defined Costa Blanca's short-lived career resulted in such nonsensical contradictions, and helps understand why one of Spain's best jazz-rock bands of the 70s never had a proper breakthrough.

Im Mai 2020 erschien das Doppelalbum Figures der legendären belgischen Band Aksak Maboul. Nun folgen gleich zwei Alben mit Remixen, Coverversionen und neuen Versionen von fünfzehn ganz unterschiedlichen Musiker*innen auf Vinyl (jeweils streng auf 500 Exemplare limitiert). Betitelt sind sie Redrawn Figures 1 und Redrawn Figures 2. Mit von der Partie sind u.a. The Notwist, Cate Le Bon, Felix Kubin, Tolouse Low Trax und Matias Aguayo. Zu ihren Versionen kommen vier weitere von Aksak Maboul-Gründer Marc Hollander selbst. Wie im Albumtitel bereits anklingt, bat Aksak Maboul die Musiker*innen, sich nicht nur die Musik, sondern auch das von Véronique Vincent gestaltete Artwork von Figures vorzunehmen. Die daraus resultierenden sechzehn Bearbeitungen zieren das Cover von Redrawn Figures 1. Das Cover von Redrawn Figures 2 wiederum stammt vom französischen Maler Hervé Di Rosa, einem der Mitbegründer der "Figuration Libre"-Bewegung.

strumentalist Teddy Lasry's story is noteworthy not just in regards to the music he released, but in the ways approached the craft of composing and experimenting with sounds and sonics.
Always intrigued with the capabilities of instruments, their groove and their feel, it was very much his family’s influence that helped to fuel these life long affections. As a performer in a parisien cabaret, Teddy’s father Jacques would mingle with giants like Serge
Gainsbourg and Charlie Chaplin (impressed by his ability to improvise, Chaplin wanted him to become his accompanist, but the pianist politely refused). Jacques and his wife (Teddy’s mother Yvonne), would later become members of the innovative experimental group Les Structures Sonores, and surround their children’s lives with sounds. Electronic music was still in its infancy and Les Structures Sonores, with their resonators that produced long, mysterious tones, were deemed ‘cosmic’. It was the era of the launching of the first Russian Sputnik and every time a radio or television station wanted music for their science fiction programs, they turned to one of their compositions. Showing a natural ability with multi instrumentalism, Teddy was rewarded with a spot in the band, allowing him to really explore unconventional methods of composition.
Following a brief stint with Ariane Mnouchkine's avant-garde Théâtre du Soleil after graduating school, Teddy joined the pioneering prog band Magma, with whom he would record three groundbreaking records during the early 1970s (According to former member
Laurent Thibault, their album Mëkanïk Dëstruktïẁ Kömmandöh and its sound were strong influences on David Bowie during the recording
of Low and Iggy Pop’s The Idiot at Hérouville). Despite the successes with these projects, Teddy was constantly searching for new ways
of expressing himself through music, leading him into the beginnings of a solo career that would last the better part of three decades.
Teddy’s transition into his solo career came with contrasting fortunes, in that he was now becoming a music to image composer but with the unfortunate realisation that his eyesight was gradually worsening (due to being diagnosed with retinitis pigmentosa at an early age). Nonetheless, his solo career would begin in 1975, and for the rest of the decade his sound would become increasingly mired in electrified Funk-Fusion and its endless sonic possibilities. The resulting music would serve to highlight Teddy’s love affair with the possibilities found within tireless instrumentation, with the flute and particularly synthesisers becoming a mini-obession of his (he once spent a 7,000 Francs loan, which was meant to be spent on fixing his roof, on synths).
To this day Teddy continues to record and experiment with music, a passion which in many ways has never left his sid, even at the age of 75. His career was one that was fuelled by innate curiosity and an intrinsic desire to discover new methods of expressionism, be it through the realms of Jazz-Funk, ambient electronics, Swing music or indeed through the medium of instrumentation itself. On this compilation, we look to encapsulate the essence of his innovative sound, and from start to finish a sense of his ingenious approach to composing structure and mood is made abundantly clear. The funk-jazz fusion style that embodied the majority of his 70s work is on full display here, with the vibrant flute driven "Los Angeles", the Miles Davis inspired "Blue Theme", the progressive and driving
"Chamonix", and the deeply intricate "Krazy Kat", along with one of his finest 80s slow jams, "Funky Ghost". Two cuts off the ‘Back To
Amazonia’ album are also featured (Teddy’s last album including his Prophet T8, Yamaha DX7 and Oberheim drum machines). "Raising
Sun in Bali" and the title piece both emphasise an ever present passion for synthesisers. "Birds of Space", a standout track off the e=mc2 album, closes the comp, and is a fitting way to end this journey.
Pulled together in close collaboration with Teddy and his family, this collection of songs looks to introduce new listeners to his work and we are proud to present this limited and carefully remastered compilation on vinyl, including extensive liner notes.

Deviation Records is pleased to present you their latest and exiting collaboration with the Mieruba Label Team.
The Super Biton has existed since the 60s, like Ségou, its orchestra, the Super Biton has always remained behind what was done in Bamako and in the big cities of Africa. The Ségou orchestra developed and incorporated amplified instruments that mingle with brass, in particular electric guitars, symbols of modernity at the time. It opens up to Cuban music, and congas and bongos complement the sound of the orchestra. The group drew a unique sound from it, a perfect balance between tradition and the modern. There are about fifteen artits on stage, singers, guitarists drummer and percussionists. The Super Biton has for years been the best known and most sought-after orchestra of Mali outsid the country's borders, the Super Biton transcends the only Bambara heritage with its repertoire. Ségou is crossroads between Bambara, Fulani, Mandingo and Somono cultures and Biton has drawn on all these traditions to creat a repertoire extremely rich in rhythms and words. Some musicians completed their training in Cuba. They play "bambara jazz", incorporating a lot of
brass instruments such as saxophone, trumpet, clarinet. The compositions are modern and sophisticated.
Mieruba Art Center is a place dedicated to the transmission and safeguarding of Malian musical heritage through musical exchange between the older and newer generation - Artist residences, music lessons, rehearsals, Workshops, Masterclasses - and so on. Just as happy former musicians of Mali, the members of Super Biton give lessons on site. It is also the office of the Mieruba-ML label in the same place where Deviation Records is collaboration for the second time on the album - After the « Lost Maestros Collection » - with the
support of La Manufacture de Vinyles. Phil of Deviation Records tells: "I am very enthusiastic at the idea of offering you these two volumes of the History of the Super Biton of Ségou, Clique of Super Heroes of sound,
a source of inspiration for generations of musicians, DJs and also griots and storytellers of great renown! This double LP compiles the first Chapter of the rich Afro-Jazz-Folk Collection whose tapes have been remastered by Monsieur Jonin and cut at the MB Mastering Studio in Aubervilliers .The gatefold artwork is conceived by
Ewwanuelle Collage and formatted by Bertrand Tondeur, Graphic designer of Les Mouches. All that’sleft to say is that i hope that you enjoy listening to the final result !"

Mind Control is the amalgamation of Samo DJ and Morgan Wright. That formed while on tour together in Ausralia during 2018. After spending a day at Healesville WildLife Sanctuary.Samo and Morgan were inspired by the playful movements of kangaroos, wombats and foxes and decided to interpret these together in a hot studio on a 39 degree day in coburg. The results of which were two functional dance floor tracks combining the signature rhythms of Samo DJ and the delicate melodies Morgan is known for.

Truly adventurous and life enhancing music that invigorates your soul. TIP!

Press Release:

Gordan join traditional Serbian singing with abstraction, energy and minimalism. Their music is marked by radical reduction, seemingly endless ascension and a passion for experiments.

The Serbian singer Svetlana Spajić is an internationally recognized and acclaimed artist. She, like almost no other contemporary singer, is a master of all the complex local stylistic variations of singing from Balkan music. Guido Möbius plays bass and various electronic sound generators. Additionally he uses guitar amps, microphones and effects to provoke feedback which either harmonize or are juxtaposed with the song. It is a dialogue between sound and noise which is accentuated or fragmented by means of Andi Stecher’s expressive drumming. With a rich pool of ideas the percussionist drives the sound forward breathlessly and grounds it. Together the trio form a dynamic body of sound.

Gordan recorded their debut during the first wave of the Covid19 pandemic in Europe in March 2020. Due to the lockdown in Berlin at that time the city didn’t have many distractions to offer, so the trio just concentrated on work. The atmosphere of being isolated in a recording studio had a big impact on the musical results. All three band members came up with ideas for new pieces, which were immediately tested, worked out and recorded. On abstract instrumentals provided by Stecher and Möbius, Svetlana Spajic sometimes reacted with personal interpretations of serbian traditionals, and the other way around. Most of the time it was as if the music just happend to the band; playing together felt natural from the first moment on.

Some of the old serbian traditional songs that Spajic sang are extinct forms with a specific local melodic mode. The skillful improvisation of their lyrics and ornaments was of great importance and very estimated among village singers. The title song Down In The Meadow for instance originally is a love song from the village of Odevce in eastern Kosovo, Serbia. The singing manner is of a great intensity and sonority, with lots of specific local ornaments. It disappeared along with the village communities from the area. Oh, my Rose flowers is from the region of Kopaonik mountain (southwest Serbia) and the mode, scale is known as ”kopaonički glas” (Kopaonik mountain air). Svetlana adopted the style from the late singer Veličko Veličković from the village of Ostraće. It is an old mountain solo chant, rich in fast ornamentation movements and microtonal intervals. Don’t ask how I live is Svetlana’s homage to the new popular folk music movement from the 80ies known as Južni Vetar (Southern Wind) led by a musician and composer Mile Ilić, known as Mile Bas (“Mile the Bass”) which revolutionized popular music introducing tabooed oriental music and original arrangements.

All music by Spajic Stecher Möbius except ‘Don’t Ask How I Live’ by Miodrag M. Ilić, original title Što me pitaš
All lyrics are traditional, except ‘Don’t Ask How I Live’

Svetlana Spajic — vocals
Andi Stecher — drums & percussion
Guido Möbius — bass, feedback, electronics

Recorded by Alberto Lucendo at UFO sound studios Berlin in March 2020 mixed by Morphosis
Mastering by Neel at Enisslab, Rome
Artwork by Lorenzo Mason Studio

For its 20th anniversary, Keplar presents an absolute milestone in the history of IDM and ambient music for the first time in its definite form: »Together Is the New Alone« by Donnacha Costello was originally released on Mille Plateaux in 2001 as the second LP under the Irish producer’s given name and firmly established him as one of the leading artists in the field of forward-thinking electronic music after he had primarily made a name for himself with house and techno releases under the Jayrod moniker. This vinyl reissue with an entirely new artwork comprises all ten tracks originally only included on the CD version in their edited and final form in which they were last presented on the digital re-release under the name »Together,« remastered by Stephan Mathieu and self-published by Costello, in 2015.

Truly prescient artists rarely opt for introspective sounds, however that was the case when Costello set out to produce »Together Is the New Alone« during nightly session in his hometown Dublin between April and July in 2001, and it also explains the album’s enduring appeal and unwavering radiance twenty years on. While many of his contemporaries dedicated themselves to explore the musical zeitgeist and notions of the future in conceptual terms, Costello made them emotionally tangible, allowing his audience to feel their underlying ambiguity rather than just reflect on it. »Together Is the New Alone« is an album that wordlessly speaks of the paradoxical sense of social alienation and isolation expressed by its title and thus seems even more topical today than it did at the time of its release.

Working with elements from techno culture, glitch aesthetics, intricate IDM rhythms and lush ambient textures, Costello never once throughout the album adheres to tried and tested formulas and conventions, but holistically moulds complex compositions out of distinct and discrete parts. The result is a record that is at once easily accessible and deeply affecting, but also infinitely rich and stunningly sophisticated in musical terms. A personal record expressing a universal sentiment—a truly timeless statement that will reverberate for decades to come.

(Kristoffer Cornils)

Apart from a series of successful studio albums and worldwide hit-singles such as ‘Wind Him Up’, ‘On The Loose’, or ‘How Long’, it’s mainly been SAGA’s haunting concerts that have inspired their fans and – as a direct result – have been the reason for the outstanding success of their live albums. ‘Detours (Live)’ was recorded over the course of eight shows in Germany, Austria and France, using a mobile recording studio. It was originally released in 1999 as a truly worthy SAGA live album that captures the fantastic atmosphere at the concerts and leaves nothing to be desired thanks to its captivating set list. For the first time ever, this brilliant live album is now available on vinyl – as a 3LP gatefold edition on heavyweight vinyl. The reissue also comes with enhanced artwork and personal liner notes by Jim Crichton.

An hour of finely crafted grooves where cosmic atmospheres meet late night bangers !

While on a break due to a certain pandemic, L’Eclair threw itself in the making of a new album. Until that point recording sessions were usually really short. Former albums were made in only a few days and recorded mostly live on tape. That changed as the band decided to do four recording sessions over nine months, hence allowing the group and its sound engineer/manager Benoit Erard to spend more time and energy on the production. With the ability to step back and reflect on the work in progress, L’Eclair had the occasion to take things a step above in terms of arrangements, compositions and structures. The result is an hour-long 12 tracks record, which is more diversified and concise than previous efforts.

Titled “Confusions”, the album shows L’Eclair’s obsession with groove in all its forms. It blends club vibes with psychedelic grooves, rhythmic trances and ambient comedowns while retaining a true coherence. Produced and organic, danceable and ethereal, spontaneous and cerebral, joyful and melancholic, “Confusions” is always on the fence between very different moods without ever wandering off. The band’s never fading influences are still there: you can hear hints of CAN, Piero Umiliani or Tangerine Dream here and there. But it’s melted with different universes, such as late 80s Madchester or Aphex Twin and Boards Of Canada’s textured worlds. There is also a strong Hip Hop feel with sampled-based tracks and non-binary beats that recall the likes of great producers like Madlib, MF DOOM, J Dilla or even Timbaland. The record also has its fair share of dub and house influences, which connect with the group’s attachment to the club vibe.

"The Best Driving Music in the World Ever" was written and recorded during a 48 hour lock-in session, having never left the studio until completion. The artist stated, "This all came together due to a bout of loneliness and depression that swept over me one Friday evening. Being lonely sometimes can render positive results, something I am learning. I decided to go and make a guitar-based record and not leave the house until it was done. I succeeded and this is what was made." The tracks were then sent over to be mastered by Rafael Anton Irisarri at his incredible studio, Black Knoll in New York, US.