quête:uni son

We are very pleased here at RE:WARM Records to announce our first release of 2023 and our first full artist album from none other than David Kitt as he brings us his first album since July 2021. The Genre-bending Irish musician and producer has announced his ninth studio album ‘Idiot Check’ to be released on 31 March 2023 via RE:WARM. A unique and sincere songwriter with an expert ability to meld inspirations, eras and sounds, Kitt’s music glimmers with a sense of timelessness well-earned after over twenty years immersed in music.

Produced and recorded by Kitt himself using his “Breaking Bad mobile studio set-up”, the album was written between 2016 and 2022 in Dublin, Paris and eventually the remote town of Ballinskelligs in south-west Kerry, where the artist moved during the pandemic and has stayed ever since. Blending acoustic and electronic elements with expert precision, the record showcases both the diverse circumstances of its inception and Kitt’s personal breadth as a songwriter and producer. From the fuzzy, lo-fi “Wishing Well” fluttering with a gentle sense of magnetism, to the infectious and upbeat “Not So Soon”, and jovial, traditional folk cut “Balances”, “Idiot Check” is an evergreen album as experimental as it is ageless.

All of us carry a piece of where we’re from with us, but these parcels of fallow land often in a uniquely mysterious way become the prey that nourishes our aspirations. Agnès Gayraud a refined thinker by day that transforms into la Féline at night left Tarbes many years ago in search of greener pastures. After making a name for herself with Adieu l’Enfance (2014), Triomphe (2017), and Vie Future (2019), the author and musician has evolved once again. Her latest release Tarbes reinvents the circle of life and challenges our preconceived notions. She welcomes us to her hometown with sweet and clear melodies over the backdrop of an electronic hum, reminiscent of Mark Twain classic Tom Sawyer. Tarbes is no more than a listen away. Physically prevented from returning to her hometown by the viral threat we all know all too well, Agnès found her way back with a small Electone home organ. The constraints of off-peak hours that called for some DIY savvy, slowly but surely, roused her spirit. With a drum machine, a bass and a guitar, she succeeded in making the young girl inside her smile again. With 13 songs and just as many adventures Tarbes is a concept album that tells the story of a young woman’s formative years, as spent in her hometown. The returning hymn doesn’t only imprint nostalgia, it paints the full emotional portrait of a town. Because for Agnès, Tarbes is not just her theater, but her whole world, showing how fiercely protective she is of her hometown in the song Solazur. Under a magnifying glass of emotion, and with the sentimental testimony that is La Panthère des Pyrénées, the artiste shows us the skeletons in our own closets. Tarbes, more than a brief stopover in a rail journey to the coast, broaches issues that touch on abandonment, desertification, aging and redevelopment that many French towns and cities face today. Alexandre Guirkinger’s photographs serve as album art that illustrates this strangely unique singularity. While fine-tuning this collection of stories, in an oh-so-intimate album where solitude rips away the mask of confidence, Agnès found solace in uniting with other spirits. For 3 songs Tarbes, Jeanne d’Albret and Fum, inspired by an Occitan poem of Louisa Paulin (1888-1944), she invited the young voices of Conservatoire Henri Duparc a building she knows intimately, despite never feeling allowed to enter as a child to breathe the energy of their adolescence into this record. She also collaborated with Lyon’s own François Virot to imbue his delicate rhythms into her work, as well as Belgian guitarist Mocke Depret. Lastly, La Féline entrusted the last production stages to her eternal partner in music, Xavier Thiry, with Stéphane “Alf” Briat on the mixing board. The final piece has a complex tranquility, surrounded by non-verbality, with Jeanne d’Albret, Louisa Paulin and the Pyrénées safeguarding Agnes’ secrets. With the calm reassurance of her metamorphoses, La Féline delivers a slice of silence to her town, serving as both her cradle and theater. Tarbes’ Théâtre des Nouveautés is where Agnès Gayraud, La Féline, has decided to present Tarbes to its residents on October 14, 2022. While “nouveautés” evokes newness, this theater is reminiscent of a future which is already outdated, where modernity is only vague and fictional, carrying reminders of French haute-kitsch accordionist Yvette Horner, whose parents were the caretakers of what was then called the Cani Eldorado a bastion of virtue through the 30s, with its lineup of Catholic films. However, by the 60s, it would have become a temple of pornographic cinema. Tarbes, “Les Nouveautés”, end card. In the mid 90s, then 16 years old, Agnès discovered the volatile dust and the ghosts of the past that were hidden in this apostate theater. This phantom bequeathed song the teenager with the gift of her undeniable talent at her first appearance on stage a high school performance of a guitar-laden ballad sung in Spanish, a language her Andalusian mother has infused her with. On October 14, 2022, Agnès returns to the stage, bass in hand and joined by François Virot (drums), Mocke Depret (guitar), Léa Moreau (keyboard) and the Conservatoire de Tarbes singers to perform the album in its entirety

For over 30 years Richard Adams has been quietly documenting his own particular corner of the English countryside both with Hood, the post-rock band he formed with his brother in 1991, and since 2007 with The Declining Winter. Recorded over a five year period and inspired by rustic English alternatives such as Talk Talk and Robert Wyatt, The Declining Winter’s latest work ‘Really Early, Really Late’ is a collection of beautiful songs, immersed in a richer sonic spectrum incorporating strings, horns and lush electronic textures, alongside Adams’ own unique guitar tones and characteristic dubby bass. Though it retains the homespun scratchiness of previous The Declining Winter records, ‘Really Early, Really Late’ is also their most ornate. A remotely collaborative effort, the record is scattered with decorative embellishments from violinist Sarah Kemp (Brave Timbers), cellist Peter Hollo (Tangents), and guitarist Ben Holton (epic45), among many others. Adams’ distorted whisper of a voice has never been more exposed leading to a brutally emotive and intensely personal song-suite, both raw and beautiful in equal measure. The storybook curiosity of Mark Hollis’ work is a particular influence. Like Hollis, this music is imbued with magical realism: beholden to nature, it hints at the mysteries lurking in mundane local landscapes and the more remote Yorkshire moors and valleys. A record to hold close to your heart, ‘Really Early, Really Late’ sees Adams and his collaborators emerge from the shadows with their most complete work to date. Home Assembly are proud to present the album on lush crystal clear, double vinyl, bundled with a CD housed in an oversized vinyl-style sleeve.

Darling West decamped for a tiny island on Norway’s west coast to begin writing what was to become Cosmos, their fifth studio album. For the first time, the band’s core – married couple Mari and Tor Egil Kreken – have included band members Thomas Gallatin and Christer Slaaen in the songwriting and production process. As a larger united, Darling West has really evolved. Cosmos is indeed the sound of expansion. West coast, cosmic folk, americana… Call it what you will – there are even hints of afro blues on here – but where the band once fit firmly in the folk/americana category, you might as well just call it pop these days. Cosmos was recorded and produced in its entirety by Darling West. Vocal guests on the album include Matthew Logan Vasquez (Delta Spirit) and Jarle Bernhoft, while David Wallumrød, Lars Horntveth and Torjus Vierli all excel on keys. Finally, the one and only Rob Moose (Paul Simon, Bon Iver, Sufjan Stevens, Phoebe Bridgers) provides strings on “Till Night Turns to Day” and “Old Man”. The listener is also awarded plenty of what we’ve come to love from Darling West: Mari Kreken’s gorgeous voice and Tor Egil Kreken’s incredibly versatile playing (guitar, bass, banjo, etc.) playing. The sum of these parts makes up a magical record, with songs and melodies that will stay on your mind for the unforeseeable future. While many struggled to keep their heads up during the pandemic, the band did their best to contribute positively, and came out on the other side with a growing, dedicated fanbase, due to their incredibly popular “Family Sessions” on Youtube. A recurring concept where they featured a host of friends and other artists, thus creating a community – or family – which is still going strong. The music on Cosmos searches outward, while the lyrics look inward. The resulting record includes elements of pop, while it pushes the envelope for what Norwegian americana can sound like. Cosmos is also about loving yourself, and there are of course a handful of love songs about shaky relationships – as we’ve come to expect from Darling West. The band continues to develop their unique musicianship and Cosmos is indeed another masterstroke from the band.

(2022 REISSUE)

"...some of the most delightful electronica to arise in Britain since Aphex Twin, the Black Dog and Global Communication." - Bethan Cole, The Sunday Times

"...electronica rarely comes as intriguing and atmospheric and laden with weirdly unshakable tunes" - Alexis Petridis, The Guardian

The first in a complete series of Ghost Box re-issues, starts with the 2004 EP Farmer’s Angle by Belbury Poly. The very first release for label co-founder Jim Jupp was joyfully naïve yet oddly sinister electronica. It very much set out Ghost Box’s stall with its strong roots in library music, TV soundtracks, folk and psychedelia.

Farmer’s Angle is issued on 7inch vinyl, CD and all digital channels. Packaged in the original sleeve art by Julian House that was to establish the label’s strong visual identity. Drawing influences from library music albums and Penguin books of the 60s and 70s with a classic British modernist aesthetic, House’s work for Ghost Box predated the eventually ubiquitous use of paperback book visuals in popular commercial graphic design. Farmer’s Angle was included in an Electronic Sound magazine feature, A History of Electronic Music in 75 Records.

Belbury Poly
Jim Jupp has released EPs, singles and seven albums on Ghost Box under the name of Belbury Poly. He is also a member of The Belbury Circle along with Cate Brooks (of The Advisory Circle) and occasional collaborator, John Foxx. In 2019 he co-wrote and produced the music and spoken word album Chanctonbury Rings with Justin Hopper and Sharron Kraus. He has recorded library tracks for KPM, BMG and Lo-Editions. He has remixed tracks for several artists including John Foxx and Bill Ryder-Jones (The Coral) and co-written a song with Paul Weller for his 2020 album On Sunset.

Still rooted in these early influences and with a consistent and strong visual identity, the label has developed over the years and now has a more international roster with a broader range of musical styles. But each new release continues to be a unique fit into the label’s distinctive parallel universe.

Néo-Romance ist das klangmalerisches Debüt-Album der kanadischen Pianistin und Komponistin Alexandra Stréliski bei XXIM Records (Sony Music). Inspiriert von den Geschichten ihrer Vorfahren in Europa und einer neuen Liebe in Rotterdam, findet die Musikerin mit polnisch-jüdischen Wurzeln darin einen neuen, romantischen Zugang zum Leben und ihrer Musik. In ihrer Heimat Kanada ist Alexandra Stréliski seit ihrem Album Inscape (2018) mit dem sie offen ihren Burn-Out thematisierte, mit über 140.000 verkauften Alben und 300 Millionen Audiostreams weltweit ein gefeierter Medienstar und erhielt 2020 den renommierten JUNO Award.Néo-Romance ist inspiriert von großen persönlichen Veränderungen im Leben von Alexandra Stréliski. Es ist die Geschichte ihrer Öffnung für die Liebe und neue Erfahrungen nach dem Rückzug durch ihren Burn-Out, verstärkt durch die Pandemie. So ist Alexandra Stréliski während der weltweiten Gesundheitskrise nach Rotterdam gezogen, um dort mit ihrer Lebenspartnerin zusammen zu leben. Ihr Weg nach Europa führte sie damit zu den Wurzeln ihrer Familie. Sie besuchte die Wohnhäuser in Amsterdam, in denen ihre Vorfahren einst lebten, und entdeckte in einer Bibliothek in Paris Kompositionen von einem ihrer Vorfahren, der Lehrer und Komponist in der Zeit der Romantik war.Die Vorstellung einer kollektiven Identität und gemeinsamen Geschichte fand in Alexandra Stréliski einen tiefen Widerhall, der durch die erzwungenen Trennungen und das Gefühl der Isolation infolge der pandemischen Abriegelungen noch verstärkt wurde. Entsprechend entstammen ihre Kompositionen für Néo-Romance "einem sehr tiefen, sehr persönlichen Raum". Diese Erfahrung versucht Alexandra Stréliski auf ihrem Album mit anderen Menschen zu teilen. Sie erklärt: "Bei Néo-Romance geht es um Geschichten gegen Einsamkeit und Isolation. Wir sollten uns daran erinnern, wie universell unser emotionales Spektrum als Menschen ist, im Gegensatz zu einer Polarisierung. Wir alle machen die gleichen Traumata durch - Leben, Tod, Trennungen - wir können also hoffnungsvoll bleiben und von unserer eigenen, wunderbaren Existenz träumen. Wir können uns verlieren und in unseren Gefühlen leben - es ist alles in uns, und darin sehe ich Hoffnung. Die Prämisse und das Setting für das Album ist: Wie kann man in dieser desillusionierten, beängstigenden Zeit, in der wir leben, einen positiven, inneren Zugang im Sinne der Romantik zur Welt finden", erklärt Alexandra Stréliski.Auch musikalisch lässt sich Alexandra Stréliski von der Romantik inspirieren und versucht ihr kompositorisches Spektrum zu erweitern. Insbesondere von Frédéric Chopin lässt sie sich beflügeln, mit dessen Musik sie aufgewachsen ist. Das Label der "Neo-Klassik" möchte sie hinter sich lassen. Für die 14 Stücke des Albums arbeitet sie strikt melodieorientiert und gibt den Themen Zeit sich zu entwickeln. Die Kompositionen sind jeweils als eine in sich geschlossene Idee und entsprechend farben- und kontrastreich zeigt sich das Album: So stehen etwa den sanften und ruhigen "Rêveries" und "Border" die bewegten Stücke "The Hills" und "The Breach" gegenüber, die von schnell auf- und absteigende Klavierarpeggien geprägt sind. Für Néo-Romance arbeitete Alexandra Stréliski auch erstmals mit einem Streichtrio zusammen, das sie in Paris aufgenommen hat. Vereinzelt setzt sie auch eine Kirchenorgel als subtile Begleitung für ihre Klavierlinien ein.

Lloyd Cole & The Commotions – Cole, Blair Cowan, Lawrence Donegan, Neil Clark and Stephen Irvine – were formed in Glasgow in 1982, where Buxton-born singer-songwriter Cole was studying Philosophy and English at the University of Glasgow -Their sound swam against the tide of shiny 80s synthesisers, offering intense, melodic, guitar-based pop, topped with droll words packed with literary references.

Given just how loved debut album Rattlesnakes was, it would have been hard for whatever followed to be received as warmly – yet Easy Pieces made a good first of it. It was to sell twice as many copies in its first two weeks as Rattlesnakes had to date, giving the group a Top 5 chart placing on its release in November 1985. Recorded with 80s super-producers Clive Langer and Alan Winstanley, its first two singles, the brooding, gospel influenced Brand New Friend and the forever-jaunty Lost Weekend reached the UK Top 20.

This re-issue faithfully replicates the original 1985 Polydor Records UK release with printed inner sleeve and is pressed onto high quality 180g vinyl.

SP-1200 beats made using postal service. Fredfades and Sraw collaborate through post, exchanging dusty beats for an experimental Hip Hop record. The process of sending floppy discs back and forth, where each producer added element over element on their own SP-1200, has been on-going for almost 10 years, slowly building a collaborative body of work.
The result is Double Density, an LP that oozes with the character of that infamous instrument which laid much of the foundation for the earliest Hip Hop artists and still manages to evoke those raw and visceral sounds of that era. Reinforcing those sounds are the voices of Planet Asia, Pink Siifu and Blue November, who deliver lyrics from US coasts to Scandanavia’s fjords.
The duos collaborative effort swims in a sea of eclectic influences where Jazz, Soul and Hip-Hop thrive in the construct of this unique instrument. The drum machine pops, crackles and hisses on a bed of big bass lines through 12 tracks that go from short instrumentals to fully arranged songs.
Taking Hip-Hop back to its origins, everything is stripped bare to its essentials and for every vocal track, there’s its antithesis in the form of an instrumental break. It’s a record that plays with the archetypes of Hip Hop and Rap as something that we’ve lost over the years that begs for revocation. Double Density sounds exotic in the world of today’s gleaming beats.

Concerto Pour Détraqués" was ranked 52nd best French rock album by Rolling Stones magazine in 2010.

Eleven tracks like so many vitriolic pictures of a sick society: rape, extreme right-wing, psychiatric confinement, security paranoia, alcoholism and all the other crap that the future seems to hold. Loran and François express more than ever their rage and their refusal of the adult world in a recital with three chords: more aggressive guitars, more incisive lyrics and voices while an armada of chorus members and a saxophone come to heckle or underline this darkness.

"Concerto Pour Détraqués" is the band's reference album, with a string of hymns to insubordination and freedom: Petit Agité, Vivre Libre ou Mourir, Les Rebelles, Porcherie, Hélène et le Sang...

The band's name alone evokes the epic of alternative rock: rebellious and committed.

Born by mistake on a February evening in 1983, Bérurier Noir soon found itself the driving force behind a vast "Youth Movement", determined to take control of its life in the face of a society that was ultra conservative at the time. Times have hardly changed.

From the first self-produced records distributed by hand to the creation of self-managed labels, from concerts in squats and wild appearances in demonstrations, on the street or in the metro to endless tours, from interviews given to fanzines and free radio stations to unclassifiable appearances in the mainstream media, Bérurier Noir has waged the most exciting war of independence in the history of French rock, with only a microphone, a guitar, a drum machine, a few red noses and patched-up theatre masks.

The last finger of honour of this turbulent and irrecoverable raia, François, Loran and their "Troupeau d'Rock" commit hara-kiri, at the peak of their glory, during three last concerts in the heart of Paris in November 1989.

Forty years after its birth, Bérurier Noir's work still resonates, whether in demonstrations or free parties, nourishing the hopes of those who wish to overthrow this world to build a truly libertarian, united and fraternal society.

The label Archives de la Zone Mondiale reminds those who missed this unprecedented adventure, 8 discographic parts of the group Bérurier Noir in the form of reissues on particularly original colour vinyls (crown finish), in a limited series and distributed throughout the year.

"Goldfish" Indie Store Exclusive Color Vinyl Brooklyn-based musician and producer Barrie Lindsay, known simply as Barrie, has a passion for creating left-of-center pop music. She spends her days writing songs and tinkering in Logic, stockpiling her creations in a vast archive of folders and hard drives. When it came time to select the songs for her sophomore LP, `Barbara,' she narrowed it down to sixteen tracks. As the record came together, it became clear that there would be two separate projects - the first being `Barbara,' an emotionally charged collection of songs dealing with the loss of a parent, the love of a new partner, and finding one's own identity. The remaining five tracks, which were more light-hearted and o the cu, were compiled into a new project titled `5K.' As an avid runner, Barrie named the EP after the common foot race. The aptly titled lead single, "Races," is a delightful synth-pop track in a unique 12/8 time, built around a bombastic drum kit and giddy key ris. "Nocturne Interlude" acts as a segue between `Barbara' and `5K,' showcasing a haunting melody amidst dark brass-like synths. Second half highlight "Ghost World" has a distorted guitar ri and classic drum pattern that evokes a forgotten 90's radio b-side. The song was recorded entirely by Barrie herself, serving as her own band on guitar, bass, keys, and drum kit. Even though most people would finish listening to the project front to back before finishing a 5k run, the short, sweet, and melodically rich EP begs to be replayed over and over. With `5K,' Barrie showcases her versatility as an artist, closing the loop between the sounds found on her debut LP `Happy To Be Here' and her follow-up `Barbara'.

Steve Gunn and David Moore’s Let the Moon be a Planet is a volume of improvisatory exchanges between classical guitar and piano, and a meeting place where two artists become acquainted through instrumental dialogue without a single expectation distracting them from the joy and open field possibility of collaboration.
A project enveloped by an aura of reciprocity, Let the Moon Be a Planet unfolded from an invitation to connect between two New York-based musicians who admired each other’s work but had never intersected: guitarist and songwriter Steve Gunn, whose solo, duo, and ensemble recordings represent milestones of contemporary guitar- guided material, and pianist and composer David Moore, acclaimed for his minimalist ensemble music as the leader of Bing & Ruth.
The exchange began remotely as Gunn and Moore responded to one another’s solo improvisations, embarking on a synergistic progression of deep listening and connection through musical conversation. “We were both fans of each other’s music and this was a chance to try a different process which was much more open,” says Moore. “It felt like something I needed personally as an artist, to not be so controlling over the final output, and to truly collaborate with somebody else.”
Similarly for Gunn, who was exploring new pastures and passages in classical guitar when the dialogue began, the project was an invitation for pure conversation and exchange, creating space for him to revisit foundational forms with his playing: “I was trying to break out of what I was doing, to have something that just pulled away all the elements of usual structured things.”
Let the Moon Be a Planet intertwines the trajectories of two musicians acclaimed for pushing the boundaries of their instruments, unified by a shift away from what they recall as more “detail- oriented” approaches to composition. Fueled by the magnetism of their call and response exercise, Gunn and Moore set out on a nomadic songwriting venture without an intended destination.
“We didn’t know it was going to be an album,” Gunn explains. “There was never pressure on us to complete or make something. It was interesting to start realizing that this could be an album and to take a step back... to arrive at a project after the fact.”

Winston Surfshirt's album Sponge Cake is a critically acclaimed and highly anticipated body of work that showcases the Australian singer-songwriter's unique blend of soul, funk, and hip-hop. The album, which was released in 2017, has been widely praised for its catchy hooks, intricate production, and thought-provoking lyrics. Now, fans of Winston Surfshirt and vinyl enthusiasts alike can purchase a physical copy of Sponge Cake on vinyl. Whether you're a longtime fan or discovering Winston Surfshirt for the first time, Sponge Cake on vinyl is an album you won't want to miss.

"Juliette’s new album. This disc displays an ability to mix the anecdotal and the tragic, objects and people. Laughter and tears. Sun and shadows. In this disc everyday life is transformed, there is life in all its paradoxes, dogs, squeakers, bells, a cello, hearts beating and refusing to give up, forgotten cars, the Devil and many other things. Each song is a new act of a play, a new curtain that opens. A universe that takes shape. Faithful, this album was produced with his accomplice Renaud Letang.
Reviews: R2, London Macadam, le Petit Journal Ads: R2, London Macadam"

Laszlo Umbreit's album Pas de Regrets combines electronic sounds with recorded memories and various materials to create a unique listening experience. The album features complex soundscapes and techniques of layering and editing, drawing on Umbreit's experience as a sound designer for films. Pas de Regrets is an immersive and rich listening experience, with a narrative quality that places it between prospective electronics and experimental radio.

Laszlo Umbreit (*1986) is a Belgian sound designer and musician based in Brussels. Laszlo's work is anchored in sound research yet usually dialogues with the moving image, whether as present or absent. His musical practice mixes improvisation on electronic instruments, field recordings and a long meticulous editing and mixing process of sonic materials.

Tape Runs Out's debut album, Floodhead On 180GSM, River Green Vinyl, with beautiful matt varnish artwork, Green vinyl strictly limited run of 350 ,. Floodhead is an exploratory sonic journey from the mind and soul of long-time band leader, Liam Goodrum-Bell (guitar, vocals). Tape Runs Out’s experimental sound comes in part from their excellent array of instrumentation - the band members bring violin (Clare Myerscough) and the hammered dulcimer (Ellie Winter), as well as bass (Takeshi Kanemoto) and drums (Laurence Moore). Recorded and produced by Liam and Dan Dawson (band’s guitarist) at Dan’s home studio over the course of a year, the album thrives off experimenting with different textures and sounds, with each song seeking to be its own microcosm of creativity, delivering its unique part within the whole. The painstaking detail and time spent by Liam and Dan between the initial recording session during the summers of 2021 and 2022 has resulted in an incredible production, and one that takes the listener through the Tape Runs Out universe. The first single from Floodhead, Souvenir made God is in the TV's track of the week and was heaped praise on by Steve Lamacq on his BBC 6 Music afternoon show and new music fix.

. Follow up EP to 2022s ‘Barbara’, which was praised by The New York Times, NPR Music, KEXP, KCRW, Stereogum, The Line Of Best Fit, Billboard, Consequence, Under The Radar, Clash and more. Fresh o­ff support tours with Alex G in the US and Japanese Breakfast in the UK. Barrie will be showcasing as an offcial artist at SXSW 2023. New EP expands on the sound of ‘Barbara’ while taking a fresh approach to songwriting and collaboration. Brooklyn-based musician and producer Barrie Lindsay, known simply as Barrie, has a passion for creating left-of-center pop music. She spends her days writing songs and tinkering in Logic, stockpiling her creations in a vast archive of folders and hard drives. When it came time to select the songs for her sophomore LP, ‘Barbara,’ she narrowed it down to sixteen tracks. As the record came together, it became clear that there would be two separate projects - the first being ‘Barbara,’ an emotionally charged collection of songs dealing with the loss of a parent, the love of a new partner, and finding one's own identity. The remaining five tracks, which were more light-hearted and o­ the cu­, were compiled into a new project titled ‘5K.’ As an avid runner, Barrie named the EP after the common foot race. The aptly titled lead single, "Races," is a delightful synth-pop track in a unique 12/8 time, built around a bombastic drum kit and giddy key ri­s. "Nocturne Interlude" acts as a segue between ‘Barbara’ and ‘5K,’ showcasing a haunting melody amidst dark brass-like synths. Second half highlight "Ghost World" has a distorted guitar ri­ and classic drum pattern that evokes a forgotten 90's radio b-side. The song was recorded entirely by Barrie herself, serving as her own band on guitar, bass, keys, and drum kit. Even though most people would finish listening to the project front to back before finishing a 5k run, the short, sweet, and melodically rich EP begs to be replayed over and over. With ‘5K,’ Barrie showcases her versatility as an artist, closing the loop between the sounds found on her debut LP ‘Happy To Be Here’ and her follow-up ‘Barbara’

Steve Gunn and David Moore's Let the Moon be a Planet is a volume of improvisatory exchanges between classical guitar and piano, and a meeting place where two artists become acquainted through instrumental dialogue without a single expectation distracting them from the joy and open field possibility of collaboration. A project enveloped by an aura of reciprocity, Let the Moon Be a Planet unfolded from an invitation to connect between two New York-based musicians who admired each other's work but had never intersected: guitarist and songwriter Steve Gunn, whose solo, duo, and ensemble recordings represent milestones of contemporary guitar-guided material, and pianist and composer David Moore, acclaimed for his minimalist ensemble music as the leader of Bing & Ruth. The exchange began remotely as Gunn and Moore responded to one another's solo improvisations, embarking on a synergistic progression of deep listening and connection through musical conversation. "We were both fans of each other's music and this was a chance to try a different process which was much more open," says Moore. "It felt like something I needed personally as an artist, to not be so controlling over the final output, and to truly collaborate with somebody else." Similarly for Gunn, who was exploring new pastures and passages in classical guitar when the dialogue began, the project was an invitation for pure conversation and exchange, creating space for him to revisit foundational forms with his playing: "I was trying to break out of what I was doing, to have something that just pulled away all the elements of usual structured things." Let the Moon Be a Planet intertwines the trajectories of two musicians acclaimed for pushing the boundaries of their instruments, unified by a shift away from what they recall as more "detail-oriented" approaches to composition. Fueled by the magnetism of their call and response exercise, Gunn and Moore set out on a nomadic songwriting venture without an intended destination. "We didn't know it was going to be an album," Gunn explains. "There was never pressure on us to complete or make something. It was interesting to start realizing that this could be an album and to take a step back_ to arrive at a project after the fact." Calibrating their focus to connect with a spectrum of inner and external emotional realities, the duo found their way into a world where the most subtle of gestures can eternally flow. Let the Moon be a Planet is an ode to experimentation over outcome; it holds a candle light to the corners of introspection and captures the patterns that flicker within. Cast across the compositions of the album is a gritty, filmic grain _ a quality that emerged partially from recording "without the greatest microphones" or their usual studio environments. For both artists, this lo-fi sensitivity felt integral to the record and its production, and they worked closely with engineer Nick Principe to preserve its otherworldly haze in the final mixes. Across the record's eight compositions, the rippling impulses of Gunn and Moore's inner worlds converge in the spirit of two strangers wandering the same path, engaged in a daydream state of natural back and forth. Melodic tableaux arise, drift and disperse across serene open spaces, painted in earthy hues of nylon string and balmy, undulating keys _ side by side, the duo converse in tessellating motifs and gestures of lucid introspection, cultivated by a shared desire for intuitive play. "This project was such a simple idea," says Gunn. "It got down to the very core of where I am or where I was, and where I'm trying to be as a musician. Making this record became a very beneficial ritual for me, almost a meditative process." As Moore recalls, "Our only motivation for making these tracks was that it felt good to make them and there was nothing else behind it_ I don't know that I've ever made a record that came about so naturally." While Let the Moon Be a Planet was envisioned through a deeply collaborative process, it uncovered a path for Gunn and Moore to respectively return home as musicians. Imbued with the forces of interconnection and balance, the record is an exploration of creative synergy while following the currents of inner experience _ of looking outwards to arrive at one's natural self. Steve Gunn and David Moore's Let the Moon Be a Planet will be released March 31, 2023 in LP, CD, and digital editions. The album represents the first volume of Reflections, a new series of contemporary collaborations orchestrated by RVNG Intl. A portion of the proceeds from this release will benefit St. John's Bread and Life, whose mission is to respect the dignity and rights of all persons by ensuring access to healthy, nutritious food and comprehensive human services resulting in self-sufficiency and stability.

Es weihnachtet sehr in Rocky Beach: Auf der Suche nach den passenden Geschenken geraten die drei ??? in einen neuen Fall in 24 Kapiteln.Beim Einkaufsbummel im Kaufhaus Garcy's werden Justus, Peter und Bob Zeugen eines Überfalls. Kein geringerer als der Weihnachtsmann des Garcy´s wird angegriffen. Jemand hat es auf den Sack voller Geschenke abgesehen ... und dieser jemand ist ausgerechnet als Weihnachtself verkleidet. Die drei ??? heften sich an die Fersen des Diebes und finden heraus, auf welches Weihnachtsgeschenk es der Elf abgesehen hat ...Sprecher:innen & MitwirkendeErzähler Axel MilbergJustus Jonas, Erster Detektiv Oliver RohrbeckPeter Shaw, Zweiter Detektiv Jens WawrczeckBob Andrews, Recherchen und Archiv Andreas FröhlichTante Mathilda Karin LienewegOnkel Titus Erik SchäfflerSanta Claus Claus WilckeFotograf Stephan SchadSandy Angela StresemannMutter Pamela PuntiMr. Puckle Christian RudolfMrs. Hatchett Petra KleinertMatty Yoshua Rudolf 1.Security Patrick Berg2.Security Philipp Stumpp3.Security Max König4.Security Tony Curting Pater Achim Schülke Engel Theresa Underberg1.Polizist Patrick Baehr2.Polizist Alexander Mettin3.Polizist Douglas WelbatAngestellte Katrin DeckerLarry Jan LangerLuke Bigelow Harald EffenbergMolly Regine LamsterEmmett Reinhold KammererDurchsage Andrea LüdkeKrankenschwester Scarlett LubowskiMann Helge HalvéBandenchef Lars SchmidtkeBuch und Effekte: André MinningerRedaktion: Maike MüllerRegie und Produktion: Heikedine KörtingTitelmusik: Simon Bertling & Christian Hagitte (STIL)Musik: Constantin Stahlberg, Jens-Peter Morgenstern und Thomas KörtingCover-Illustration: Andreas RuchDesign: Atelier SchoedsackBasierend auf dem gleichnamigen Buch von Marco Sonnleitner, erschienen im Kosmos Verlag, Stuttgart. © 2021Mit freundlicher Genehmigung der Universität Michigan. Based on characters created by Robert Arthur.Die drei ??? © 2022 Franckh-Kosmos Verlags-GmbH & Co. KG(P) & © 2022 EUROPA a division of Sony Music Entertainment GmbH

After the ambitious A Distant (Dark) Source (2018) and the subsequent artistic triumph of its live recording in 2021, French avant-garde metal outfit HYPNO5E return with their sixth studio album. Once more, these four visionary musicians and cinematographers take us back to the lost shores of the palaeolithic Lake Tauca, where we dive deeper into its dark source to fnd vibrant visions of a memory both distant and hazy as well as warm and evocative. Sheol shows HYPNO5E at the top of their game, revealing the epitome of their idiosyncratic sound while also exploring new and exciting aspects of their artistic identity. Since 2006 HYPNO5E have been taking grand strides in honing their brand of cinematographic metal, with each of their albums developing elements that would become essential building blocks to their sound. Their 2007 debut album Des Deux l'Une Est l'Autre harnessed a raw, chaotic energy, while the following Acid Mist Tomorrow (2012) saw them apply a hazy filter to their ferocious sound. On Shores of the Abstract Line (2015) HYPNO5E already transformed into the true modern metal grandmasters they are today, while the special soundtrack album Alba - Les Ombres Errantes explored a more subdued acoustic side of the band. Sheol sees the band sounding warmer and brighter than anywhere else in their storied discography, and the arrival of new drummer Pierre Rettien and bass player Charles Villanueva adds a fresh touch the classic HYPNO5E sound. The sweeping finales of «Lands of Haze» and «The Dreamer and His Dream» as well as the pastoral qualities of the quiet finger-picked parts on «Bone Dust» and «Lava From The Sky» hearken back to the old prog rock records of the seventies, albeit with an updated sonic palette and modern production parameters. Besides, these eight tracks also see the band carefully exploring new patterns, shapes, and forms within their own musical universe: from the alternating use of ritardando and accelerando on the aforementioned rim-clicks to the increased employment of string sections and vocal harmonies. With the addition of a whole new palette of warmer and brighter tones, HYPNO5E superbly bridge the sounds of the modern progressive metal and retro prog-movements creating an evocative sonic experience. FOR FANS OF Gojira, Opeth, Periphery, Uneven Structure, Steven Wilson Limited (100 copies ww) Single Colour (Gold Vinyl) Edition!

Ever since the first white labels appeared at the end of Summer 2013, Emotional Especial has been putting out music that is slightly left of (club music) centre. Influenced as much by and including dub, electro, disco, proto-house, house and techno, guided more by a feeling than a sound.

This thinking has been that exemplified by every 10th release being a label sampler - a showcase of unreleased tracks or remixes of what has come before, plus the odd one off cut by an artist to watch. Some 4 years since the last Sampler, the label's 40th release presents new label heads Giraffi Dog, returning after their recent "live" Multiverse EPs, here teaming up with GF Rich for a breaks anthem. Sub bass rising, the persistent build leads to piano before drop and Acid mayhem ensues, highlight why G Dog are such a producer to watch.

Label mainstay Alphonse returns, with White Pepper from the "Stolen Sunrise EP", here remixed by House stalwart Toby Tobias. Having released for a who's who of labels including REKIDS, ESP Institute, Delusions Of Grandeur and Futureboogie, the illusion these past years of who is Alphonse can finally revealed as Toby himself. The remix of his alter ego takes the 'Balearics' of the original and adds breaks and 303, all retaining a laid back feeling for summers return.

On the flip, the label welcomes rising star, Remotif. With a series of EPs showcasing a growing talent, his recent Coymix release sealed the deal. Here, his comedically titled Beam Me Up Softwoiii belies a party anthem, where breaks and arps rise in unison before an Aphex sunrise burst, drops and heads down in pure dance.

Akio Nagase returns to close with another of his Japanese folk meets lilting 303 Acid House. An Okinawa traditional folk song, conveying a life lesson, here to Hosenka flower is laid across slo-mo acid bubbles to quirkily and perfectly complete another 10th release of the Especial path.

With the release of Piero Umiliani’s ‘Discomania (Jolly Mare Lifting)’ Four Flies launched RELOVED, a vinyl series where contemporary DJs and producers rework tunes from Italian golden age soundtracks and library music.

The aim of the series is to spark a conversation between past, present and future, joining the dots between Italy’s great film and library-music tradition and a global scene of forward-thinking producers - the names confirmed so far include Dengue Dengue Dengue, Free The Robots, Jolly Mare, Koralle (feat. Illa J), Fratelli Malibu, Mounika, Oké aka Deda, Luke Beats, Ollie Teeba of The Herbaliser
and Deca.

First in line is the 7” ‘Autumn 2001 / Autumn 2021’, with an original track from Italian jazz pianist and electronic music pioneer Gianni Safred and a rework from musician, DJ and beat maker Free The Robots.

‘Autumn 2001’ comes from the 1978 Italian library LP Futuribile (The Life To Come), a retro-futuristic masterpiece by Gianni Safred, one of the great pioneers of Italian electronic music.

Chris Alfaro, aka Free the Robots, is a musician, beat maker and DJ known for his ability to jump in and out of different sonic worlds, creating a unique signature sound blending electronic, hip hop, jazz and psychedelia.

An incredible heart 'n' soul story continues this spring with the release of Reel People's first original album in over a decade, Love2.

Produced by core collective Oli Lazarus, Mike Patto and Toni Economides, and with a fresh vocal line-up including Raheem DeVaughn, Muhsinah, Chantae Cann,

Michael Champion, Paula, Jill Rock Jones, Eric Roberson and Arrested Development's Speech, this super- fine, 10- track opus marks a further powerfulevolution of the Reel People sound.

Weaving contemporary R&B sensibilities into the collective's classic grooved-out flow, Love2 embraces the out- and- out euphoria of love but offers an entirely unique voice.
Love2 is a monumental addition to the Reel People canon, following acclaimed album releases Second Guess, Seven Ways To Wonder and Retroflection. New

songs and sounds, but the same soulful passion and craftsmanship. New friends and flourishes but the same mission to move hearts, minds and dancefloors.

First original Reel People album since 2008 !

Featuring a plethora of US Vocal talents including Raheem DeVaughn, Eric Roberson, Speech from Arrested Development, Chantae Cann, Michael Champion, Paula, Muhsinah & Jill Rock Jones

New year, new energy, new music...

We’re all waiting for that tune to land in our lap, reach up and slap us simultaneously in the ears, feels, souls and feet. That big sonic blast of emotion and inspiration that sets the tone and gets us excited about a new season of shows.

Hard Times Records present ‘All I Need’, a powerful, slab of house music positivity that smacks of ‘first anthem of the year’ vibes and comes courtesy of one of house music’s biggest pioneers AND a certified UK House music institution that permanently changed the face of global club culture over 30 years ago... Steve ‘Silk’ Hurley and Hard Times.

Neither Hurley or Hard Times need any introductions, but both have histories that deserve so much more than this hype-fuelled promo blurb. Steve ‘Silk’ Hurley is a certified legend. As one of the pioneering House music artists to emerge from Chicago’s primordial 80s phenomenon and the first ever to score a UK number one Hit with ‘Jack Your Body’, the multiple Grammy nominated artist has been a powerful source of energy and inspiration ever since as one of the most consistent forefathers of this scene.

Hard Times have played an equally influential role and are arguably responsible for some of the most defining moments in uk House Music. One of the first club nights to import the US titans to UK dancefloors, the Yorkshire brand were instrumental in creating a blueprint in international DJ culture as they invited the biggest pioneers and legends to their events that began in the sleepy town of Mirfield, but eventually sprawled across the UK with line-ups that ranged from Todd Terry to Masters at Work to Deep Dish and every titan in between. A dominant force throughout the 90s, Hard Times wound down in the 2000s as its founder Steve Raine took a break from the industry to become a sheep farmer, which he still does to this day... Safe in the knowledge that he helped to create an ethos for uncompromising underground House Music that remains steadfast to this Day.

The Hard Times label originated back in 1994 And ran alongside the club night, boasting a small but elite catalogue. It’s about to thrive on a whole new level as Hard Times returns as a label with its first new material for over 20 years with ‘All I Need’.

Timeless yet forward-thinking, loaded to the brim with precision groovemanship, glazed with a strong Latin twist and sprinkled with the gorgeous vocals of Sara Garvey, who many will instantly recognise from her Nightmares On Wax collaborations, ‘All I Need’ is a pedigree house anthem-in-waiting. Universal in vibe and spirit, fully transcending trend or flavour-of-the-month fickleness, this taps into the source and has full potential to be the first big boundary-breaking house hit of 2023... 36 years after Steve ‘Silk’ Hurley topped the charts with ‘Jack Your Body’!

It comes complete with a rainbow of remixes from some equally eye-opening heavyweights: Alex Arnout, Eddie Leader, Terry Farley & Kevin Swain and DJ Skip (who runs S&S Records with ‘Hurley) all provide different perspectives on ‘All I Need’, giving it even more scope and depth to slap us simultaneously.

White Vinyl
300 copies, red cardboard folder, foil embossed, incl. 6 prints & 17-minute digital bonus track
arbitrary presents »Delirious Cartographies« by composer, improviser and synthesist Richard Scott. Part of the Danish imprint’s Framework editions, this release includes three pieces on 12” vinyl and 6 printed drawings – as well as a text by Scott – published as a limited edition portfolio folder.

"These compositions capture aspects of my personal sonic experience of specific times and places. Extending beyond my usual work with analogue synthesizer, these pieces open the doors and windows to the outside world, incorporating field and live recordings made in various locations and situations. Rather than intending any clear sense of narrative, these are molecular dialogues between elements and geographies which do not necessarily share organic points of connection, other than my own incomplete experience and memory of them."

The final piece »6 Graphic Etudes« (included as digital prints) is intended as a set of visual / sonic sketches, each of which describes a discrete kind of movement or texture. These may have a variety of uses; as musical exercises, as scores, combined as parts of scores, or simply as stand-alone visual propositions / artworks.

The pieces were composed between 2017 and 2021 at Sound Anatomy, Berlin, Spektrum Berlin, EMS Stockholm, NOVARS, University of Manchester University, Boliqueime, Portugal and the Electronic Music Studios University of Huddersfield.

As well as various microphones, hydrophones and recorders, the instruments used on this recording are mostly analogue and modular synthesisers: Hordijk Modular, Serge Modular, EMS Synthi A, various Eurorack modules, Buchla Thunder midi controller, Oberheim Xpander, Clavia Nord Micro Modular, CataRT and maxMSP, Rob Hordijk Blippoo box. On “Thunder, actually bicycles...” Axel Dörner plays a Holton Firebird trumpet with additional live-sampling via maxMSP and a controller interface developed by Sukandar Kartadinata.

Written & produced by Richard Scott. Drawings by Richard Scott. Graphic design by Mads Emil Nielsen. Mastered & cut by Kassian Troyer at D&M, Berlin.

Thanks to Axel Dörner, Rob Hordijk, Beatriz Ferreyra, Ricardo Climent, David Berezan, Joseph Hyde, Richard Whalley, Pierre Alexandre Tremblay, Tim Scott, Andy Adkins, Electric Spring Festival, Sines & Squares Festival, Basic Electricity and Sound Anatomy.

Rowee returns to All Day I Dream with a new four-track EP.

The EP features contributions from rising Berlin vocalist Eleonora, as well as Greek artist and past collaborator One of Vas.
Begin The Life is a sonic journey through Rowee’s musical universe, filled with ethereal pads, hypnotizing melodies, and euphoric instrumentation.
The focus track of the EP, “Faded,” features the mesmerizing vocals of Eleonora and sets the tone for the rest of the journey. Each subsequent track takes the listener deeper into Rowee’s unique soundscape, with a perfect balance between deep and dance floor-ready vibes.
Through its dreamy synths, haunting vocals, and melodic instrumentation, Begin The Life takes the listener through a blissful sonic world that is sure to resonate with fans of All Day I Dream’s unique sound and be a welcome addition to their already impressive catalog.

Ability for the impossible.

Ukrainian folk instruments dissolve into abstract psychoactive sounds from the improvisational universe. The meditative engine of multi-instrumental music drives the magical means of influencing perception. This is the sonic amulet, which is decorated with radiant tones and the colorful ceremonial musical outline. Mythological music is spirited by epic historical times and ideas of freedom, dignity, and bravery. The acquired knowledge of ancient generations is infused into the present tense and crystallized into the art of liberation.

Transform pain into gratitude, fear into love, rage into action, self-importance into empathy, fatigue into inner peace, anxiety into courage, and hatred into strength. Say "no" to darkness and direct the light on it, disagree to compromise with yourself, create on the destroyed, free yourself from stipulations, believe in wonders, burn and resurrect free. Always remember your own path to walk. And plant the blossoming cherry tree in the funnel from the bomb on the heart.

Dedicated to free Ukraine.

The Space Lady began her odyssey on the streets of San Francisco in the late 70s, playing versions of contemporary pop music an accordion and dressed flamboyantly, transmitting messages of peace and harmony. Following the theft of her accordion, The Space Lady invested in a then-new Casio keyboard, birthing an otherworldly new dimension to popular song that has captured the imaginations of the underground and its lead exponents ever since, with the likes of John Maus, Erol Alkan and Kutmah being devotees.

Of her early street sets, only one recording was made, self-released originally on cassette and then transferred to a home-made CD. "The Space Lady’s Greatest Hits"(LSSN021) features the best of these recordings - mostly covers but with some originals - pressed on vinyl for the first time and features archival photographs and liner notes from The Space Lady herself. “Greatest Hits” contains The Space Lady’s personal favourites; her haunting take on The Electric Prunes’ “I Had Too Much To Dream (Last Night),” a frantic “Ballroom Blitz” amidst other reconstructed pop music. Included are also 4 originals that easily match for the Pop canon. Following the release of this archive, The Space Lady will be issuing new material and travelling the world to present her message outside the United States for the first time.

It’s been nine years since Antoni Maiovvi released Trauma on Bordello A Parigi. Since then, and before, the Bristol born artisan has been honing and refining his audio craft with explorations into electronics, soundtracks and rock. Now, in his latest musical incarnation, Maiovvi returns with Birds of Paradise. This avian themed four tracker is beyond anything you’ve heard from this synthesizer wizard. Complex, deep and layered, the EP is testament to a talent rarely heard. From the sheer elation of “Flycatcher”, which pivots and weaves, the listener is taken away. Throbbing rhythms and astral melodies are unfurled, arpeggios rumble as key scale ever higher in the heady notes of “Widowbird”. A steady kick is the morning song of “Streamertail”, warm computer tones scudding next chords that trill with optimism. Birdsong, a feature of the EP, is ever present in this agile and textured close. Drawing on his predilection for movie scores, “Quetzal” completes this feathered foray. Pulsating, drums offer the updraft for a spread of sounds and shape to takes to the wing. A unique record from an artist soaring to ever greater heights.

The incongruous, yet glorious, creative partnership between Nancy Sinatra and Lee Hazlewood was well underway when the two singular artists reunited to record 1972’s Nancy & Lee Again, a follow-up to their bestselling duet debut, Nancy & Lee. Nancy, the eldest daughter of Frank Sinatra, had been working with the Oklahoma-born songwriter since 1965, when she topped the pop charts with “These Boots Are Made For Walkin’.” Over the next five years, the two artists forged a prolific relationship in the studio, with Hazlewood writing and producing many of Nancy’s solo hits. Soon, the duo found success with a series of duets, including “Sand,” “Summer Wine,” and “Some Velvet Morning” – all of which appeared on their highly-influential 1968 debut.

Not long after the critical acclaim and chart success of Nancy & Lee died down, however, Hazlewood unexpectedly relocated to Sweden, leaving his musical partner in the proverbial dust. America, meanwhile, was in the midst of a cultural shift, as the Vietnam War waged on. By the turn of the decade, the musical landscape had changed significantly. “Trivial music and not profound music became unimportant,” recalls Nancy, speaking to Hunter Lea. “It was a tough time.” And yet, despite the circumstances, the stars somehow aligned for the duo to record some of their most magnificent music together.

Returning to Los Angeles for the project, Hazlewood – who reprised his role as producer – chose to take a new direction with the duo’s sophomore album. Nancy recalls, “It was more dramatic; it was more fun to do, more challenging to do…. It was more grandiose.” For the lush, orchestral arrangements, they collaborated with Larry Muhoberac (an original member of Elvis Presley’s TCB band, whose early ‘70s credits also included Barbra Streisand, Neil Diamond, and Lalo Schifrin) and Clark Gassman, who had worked on Hazlewood’s 1970 LP, Cowboy in Sweden. Backing vocals from brothers John and Tom Bahler, who remain two of the most recorded singers in history, added additional texture to several songs.

The big sound that Nancy describes above is exemplified in the album’s cinematic opener, “Arkansas Coal (Suite).” Clocking in at nearly six minutes long, the dynamic overture tells the tale of an ill-fated coal miner (sung by Hazlewood), while Nancy adjusts her vocals to sing as both the miner’s daughter and his wife. Hazlewood’s knack for vivid, nuanced storytelling shines throughout Nancy & Lee Again, particularly in “Paris Summer,” which details the conflict that a married woman faces, as she engages in a passionate affair. Another highlight is the country-inspired hit, “Did You Ever,” which was released as the album’s lead single. After it landed at No.2 on the U.K. pop charts, the song served as an alternate title track in several countries, including LP pressings in the U.K., Germany, and Canada.

One of the most emotionally-charged moments on Nancy & Lee Again is a cover of Dolly Parton’s “Down From Dover.” The heartbreaking tune tells the tale of a pregnant teenager, who has been abandoned by her lover and her family and ultimately gives birth to a stillborn baby. While Parton’s 1970 version was sung from the teenager’s point of view, Hazlewood and Sinatra transformed the country song into a duet. Hazlewood, who offers the man’s side of the story, sings in a notably deeper octave than his signature baritone.

Another poignant selection is “Congratulations,” which describes a soldier coming home from Vietnam. “His face has grown old and his eyes have grown cold/And they tell you of where he has been/Congratulations, you sure made a man out of him,” Hazlewood sings, pointedly. Nancy, who performs as the vet’s wife, argues that the song had a deeper meaning for her duet partner. “Lee started out a hawk, he was an army guy, so he was all for the war in the beginning. We didn’t talk about it, but at some point, he changed radically. ‘Congratulations’ was almost like an apology from him. I don’t want to put words in his mouth, but it was as though he was saying ‘I’m really sorry.’”

The song “Friendship Train” could also be interpreted as an apology of sorts – this time to Nancy. “You’ve been hurt and I’ve been hurt/Now we’re living pain,” the tune opens. When Hazlewood moved to Sweden without telling his longtime musical partner, Sinatra was understandably upset. “I felt pretty betrayed. I mean, who does that? Who just up and disappears like that? I’ll never understand it,” she reveals. But the uplifting duet – a slice of ‘70s pop perfection – offers reaffirming words of love between friends. “Lee felt things very deeply and tended to express his feelings in song instead of in real life,” explains Nancy.

The 10-track album closes with the stripped-down “Got It Together.” Backed by an acoustic guitar, the song is equal parts playful and candid, as the duo has an impromptu, spoken-word conversation about their lives. “I wish that we’d quit getting so old,” laments Nancy, who later shares her wish to have children (she would do so in the next few years). Hazlewood, meanwhile, attempts to remedy his past wrongdoings – this time asking his partner, “Can I go back to Sweden?” With that, Nancy gives her blessing.

This definitive reissue of Nancy & Lee Again also includes two bonus tracks. Both are stylistic departures for the duo – but fit right in with the psychedelic pop of the era. The first one, “Think I’m Coming Down,” is a harmony-filled reflection on a toxic relationship. “I think that was one of [Lee’s] drug things. I don’t mean that he used drugs; I mean that he was trying to be part of that culture. Trying to be hip,” explains Nancy, who delivers an emotive vocal performance on the solo track. Also included is “Machine Gun Kelly,” penned by a staple of the 70s singer-songwriter movement, Danny Kortchmar (James Taylor, Carole King, Linda Ronstadt). Recorded several months after the release of the album, the song found Nancy reuniting with Billy Strange, who arranged many of her solo albums, as well as Nancy & Lee. Sinatra and Hazlewood first performed “Machine Gun Kelly” during their residency at Las Vegas’ Riviera Hotel in February 1972 (later released as a concert documentary on Swedish television). While the recording has long remained a career favorite of Nancy’s, it would be decades before it was officially released.

Nancy & Lee Again remains a creative high point in the careers of Sinatra and Hazlewood and, upon its release, garnered rave reviews from Billboard, Record World, and Cash Box, among others. Yet, Nancy & Lee Again never received the spotlight it so utterly deserved. “We didn’t have label support at all in those days,” recalls Nancy. “Without the strength of a label, records die. We were old. We were old-fashioned. We were just not what was happening. It’s a very ageist kind of business.” Nevertheless, she adds, “I think it’s a very good album. I think it’s timeless.” Now, after years of being a sought-after rarity, this gem in the Sinatra-Hazlewood canon can finally get its due.

Five decades later, Nancy’s legacy only continues to grow, as new generations discover her impressive catalog (which boasts nearly 20 studio albums – her duets with Hazlewood among them – and dozens of charting singles, including the theme song to the 1967 James Bond film, You Only Live Twice). In 2020, Sinatra was recognized by her peers when “These Boots Are Made For Walkin’” was inducted into the GRAMMY® Hall of Fame. That same year, Sinatra partnered with Light in the Attic for Nancy Sinatra: Start Walkin’ 1965-1976, a definitive survey of her most prolific period. LITA has also reissued Sinatra’s classic debut, Boots, and her iconic, 1968 album with Lee Hazlewood, Nancy & Lee. The label looks forward to celebrating Nancy over the coming years with a variety of special releases, exclusive merchandise, and more.

The incongruous, yet glorious, creative partnership between Nancy Sinatra and Lee Hazlewood was well underway when the two singular artists reunited to record 1972’s Nancy & Lee Again, a follow-up to their bestselling duet debut, Nancy & Lee. Nancy, the eldest daughter of Frank Sinatra, had been working with the Oklahoma-born songwriter since 1965, when she topped the pop charts with “These Boots Are Made For Walkin’.” Over the next five years, the two artists forged a prolific relationship in the studio, with Hazlewood writing and producing many of Nancy’s solo hits. Soon, the duo found success with a series of duets, including “Sand,” “Summer Wine,” and “Some Velvet Morning” – all of which appeared on their highly-influential 1968 debut.

Not long after the critical acclaim and chart success of Nancy & Lee died down, however, Hazlewood unexpectedly relocated to Sweden, leaving his musical partner in the proverbial dust. America, meanwhile, was in the midst of a cultural shift, as the Vietnam War waged on. By the turn of the decade, the musical landscape had changed significantly. “Trivial music and not profound music became unimportant,” recalls Nancy, speaking to Hunter Lea. “It was a tough time.” And yet, despite the circumstances, the stars somehow aligned for the duo to record some of their most magnificent music together.

Returning to Los Angeles for the project, Hazlewood – who reprised his role as producer – chose to take a new direction with the duo’s sophomore album. Nancy recalls, “It was more dramatic; it was more fun to do, more challenging to do…. It was more grandiose.” For the lush, orchestral arrangements, they collaborated with Larry Muhoberac (an original member of Elvis Presley’s TCB band, whose early ‘70s credits also included Barbra Streisand, Neil Diamond, and Lalo Schifrin) and Clark Gassman, who had worked on Hazlewood’s 1970 LP, Cowboy in Sweden. Backing vocals from brothers John and Tom Bahler, who remain two of the most recorded singers in history, added additional texture to several songs.

The big sound that Nancy describes above is exemplified in the album’s cinematic opener, “Arkansas Coal (Suite).” Clocking in at nearly six minutes long, the dynamic overture tells the tale of an ill-fated coal miner (sung by Hazlewood), while Nancy adjusts her vocals to sing as both the miner’s daughter and his wife. Hazlewood’s knack for vivid, nuanced storytelling shines throughout Nancy & Lee Again, particularly in “Paris Summer,” which details the conflict that a married woman faces, as she engages in a passionate affair. Another highlight is the country-inspired hit, “Did You Ever,” which was released as the album’s lead single. After it landed at No.2 on the U.K. pop charts, the song served as an alternate title track in several countries, including LP pressings in the U.K., Germany, and Canada.

One of the most emotionally-charged moments on Nancy & Lee Again is a cover of Dolly Parton’s “Down From Dover.” The heartbreaking tune tells the tale of a pregnant teenager, who has been abandoned by her lover and her family and ultimately gives birth to a stillborn baby. While Parton’s 1970 version was sung from the teenager’s point of view, Hazlewood and Sinatra transformed the country song into a duet. Hazlewood, who offers the man’s side of the story, sings in a notably deeper octave than his signature baritone.

Another poignant selection is “Congratulations,” which describes a soldier coming home from Vietnam. “His face has grown old and his eyes have grown cold/And they tell you of where he has been/Congratulations, you sure made a man out of him,” Hazlewood sings, pointedly. Nancy, who performs as the vet’s wife, argues that the song had a deeper meaning for her duet partner. “Lee started out a hawk, he was an army guy, so he was all for the war in the beginning. We didn’t talk about it, but at some point, he changed radically. ‘Congratulations’ was almost like an apology from him. I don’t want to put words in his mouth, but it was as though he was saying ‘I’m really sorry.’”

The song “Friendship Train” could also be interpreted as an apology of sorts – this time to Nancy. “You’ve been hurt and I’ve been hurt/Now we’re living pain,” the tune opens. When Hazlewood moved to Sweden without telling his longtime musical partner, Sinatra was understandably upset. “I felt pretty betrayed. I mean, who does that? Who just up and disappears like that? I’ll never understand it,” she reveals. But the uplifting duet – a slice of ‘70s pop perfection – offers reaffirming words of love between friends. “Lee felt things very deeply and tended to express his feelings in song instead of in real life,” explains Nancy.

The 10-track album closes with the stripped-down “Got It Together.” Backed by an acoustic guitar, the song is equal parts playful and candid, as the duo has an impromptu, spoken-word conversation about their lives. “I wish that we’d quit getting so old,” laments Nancy, who later shares her wish to have children (she would do so in the next few years). Hazlewood, meanwhile, attempts to remedy his past wrongdoings – this time asking his partner, “Can I go back to Sweden?” With that, Nancy gives her blessing.

This definitive reissue of Nancy & Lee Again also includes two bonus tracks. Both are stylistic departures for the duo – but fit right in with the psychedelic pop of the era. The first one, “Think I’m Coming Down,” is a harmony-filled reflection on a toxic relationship. “I think that was one of Lee’s drug things. I don’t mean that he used drugs; I mean that he was trying to be part of that culture. Trying to be hip,” explains Nancy, who delivers an emotive vocal performance on the solo track. Also included is “Machine Gun Kelly,” penned by a staple of the 70s singer-songwriter movement, Danny Kortchmar (James Taylor, Carole King, Linda Ronstadt). Recorded several months after the release of the album, the song found Nancy reuniting with Billy Strange, who arranged many of her solo albums, as well as Nancy & Lee. Sinatra and Hazlewood first performed “Machine Gun Kelly” during their residency at Las Vegas’ Riviera Hotel in February 1972 (later released as a concert documentary on Swedish television). While the recording has long remained a career favorite of Nancy’s, it would be decades before it was officially released.

Nancy & Lee Again remains a creative high point in the careers of Sinatra and Hazlewood and, upon its release, garnered rave reviews from Billboard, Record World, and Cash Box, among others. Yet, Nancy & Lee Again never received the spotlight it so utterly deserved. “We didn’t have label support at all in those days,” recalls Nancy. “Without the strength of a label, records die. We were old. We were old-fashioned. We were just not what was happening. It’s a very ageist kind of business.” Nevertheless, she adds, “I think it’s a very good album. I think it’s timeless.” Now, after years of being a sought-after rarity, this gem in the Sinatra-Hazlewood canon can finally get its due.

Five decades later, Nancy’s legacy only continues to grow, as new generations discover her impressive catalog (which boasts nearly 20 studio albums – her duets with Hazlewood among them – and dozens of charting singles, including the theme song to the 1967 James Bond film, You Only Live Twice). In 2020, Sinatra was recognized by her peers when “These Boots Are Made For Walkin’” was inducted into the GRAMMY® Hall of Fame. That same year, Sinatra partnered with Light in the Attic for Nancy Sinatra: Start Walkin’ 1965-1976, a definitive survey of her most prolific period. LITA has also reissued Sinatra’s classic debut, Boots, and her iconic, 1968 album with Lee Hazlewood, Nancy & Lee. The label looks forward to celebrating Nancy over the coming years with a variety of special releases, exclusive merchandise, and more.

Balearic believers rejoice! Japanese tropical-fusioneers Coastlines are back with the worldwide vinyl release of Coastlines 2. The follow-up to their classic debut, this is the sound of Coastlines's global influences. If the dedication to intricate sonic details is particularly Japanese, the overarching feel captures the sprawling grandeur of the international balearic community. As they put it, Coastlines 2 presents "a more precise and beautifully polished magic hour." If that isn't Balearic, we don't know what is.

Takumi Kaneko and Masanori Ikeda don’t radically alter their sumptuous template with this second LP; and we wouldn't want them to. Yet with a more focused flow from first track to last, both Coastlines and Be With feel this is an even stronger album than their first. One thing that hasn't changed is the use of instrumentals instead of words to express their themes; namely, "the emotional expression of being soaked."

Opener "Tenderly" is appropriately titled, a gentle Latin shuffle easing you back into the Coastlines sound. An organ-heavy synthy exotica that's in step with Lovelock's contemporaneous "Washington Park". Their über-horizontal take on Hawkshaw & Bennett's "Mile High Swinger" (from Synthesiser And Percussion, reissued by Be With!) evokes cocktails-by-the-pool as the sun slowly sets. The blunted deep jazz-funk swing of "Alicia" is a rearranged reimagining of the Gabor Szabo song from his classic Jazz Raga LP. This here sounds like an outtake from The Chronic.

As the sun goes down, "Combustione Lenta" soundtracks the relaxing slow burn of an idyllic bonfire on an isolated beach. Displaying a beautiful new side of Coastlines, we're treated to Moments In Love vibes and melancholic guitar arcs. The piano-laden early morning wonder of "Night Cruise" started life as a completely different song, but the duo found a particularly good loop from the initial sketch and reconstructed it into this sophisticated 80s instrumental soul groove. "Waves And Rays" is all undulating acid waves and lighthouse light. A chopped and screwed steel drum G-Funk with soaring synths and nods toward the squelchy machine soul of Mtume and Jam & Lewis. Yes, *that* good.

The bouncy futureboogie cosmic chug of "Sky Island" represents the beginning of the sunrise, casting images of 80s Japanese fusion and definitely one to play out early doors to get the crowd stepping. "Area Code 868" is the strutting staccato sound of Joe Sample waking up in the Caribbean to craft his piano funk drenched in sunshine. Accordingly, the tentative, naive melodies of "Sand Steps" represent that vivid feeling first thing in the morning, as you step on to the sandy beach in the sunshine and take a deep breath. The world is yours.

The emotional, organ-piano-steel drum-driven "Song For My Mother" is a slo-mo show of sincere gratitude to all the great mothers. "Yasmin's Theme" is Coastlines's Brazilian homage, recalling for them that early summer feeling. It's propelled laconically by the carnival beat of batucada`s big bass surdo drum and complimented by sweeps of warm keys and radiant vocal harmonies. Blissful beatless closer "Asafuji" conjures a scene from a wonderful morning spent with the people of Shizuoka, the symbolic mountain of Japan, Mt Fuji and its inhabitants. It sounds like Dâm-FunK jamming with Sabres Of Paradise.

Coastlines 2 was painstakingly crafted, across the pandemic, at Masanori's rented place in Tokyo and then brought back to his home studio and worked on slowly and repeatedly. With limited time to see each other, the duo became more united in their "consciousness with natural progress."

Mastered by Simon Francis and cut by Cicely Balston at Air Studios, this magnificent double LP has been pressed by the good people at Record Industry.

Space Adventure Cobra is the animated series from the masterpiece of Buichi Terasawa, produced by the prestigious studio TMS Entertainment and broadcasted from 1982. The series was a huge success and remains to this day one of the most appreciated in the world of Japanese animation.
In order to celebrate the 40th anniversary of Space Adventure Cobra, we are pleased to offer this sublime vinyl box set of the OST with its 3 discs gathering a very large selection of music, all the songs (long versions) as well as several covers and rare unused tracks composed at the time, all completed by a 12-page booklet, illustrated with the most beautiful artworks of the master Terasawa!
The legendary soundtrack of Space Adventure Cobra, composed by Kentarô Haneda and YûjiÔno, has greatly contributed to the reputation of the series with notably rhythmic tracks, sublime jazz pieces and unforgettable songs.
Here it is now completely remastered in vinyl format & double CD in this collector's edition!

Last year BABYMETAL concluded their 10-year journey culminating in the celebration of the formation of the revered Japanese metal band with the vinyl release of their retrospective album 10 BABYMETAL Years. Later they released a cryptic video that announced BABYMETAL will be "sealed" from the world until further notice. Today, BABYMETAL break the seal, making their return to Earth. Their official website has revealed a LEGEND MAP depicting all of BABYMETAL"s future activities, including the news that BABYMETAL"s first concept album THE OTHER ONE will be released worldwide on Friday, March 24th, 2023. The concept album reveals the other side of the BABYMETAL story that until now remains untold. A total of 10 songs have been discovered within THE OTHER ONE restoration project, with each song representing a unique theme based on 10 separate parallel worlds that they have discovered. Full length audio of each of the 10 songs will finally be revealed when fans get their hands on the album next March. Leading up to the concept album"s release, five pre-release digital singles will be available worldwide for download and streaming, each respectively scheduled to release in October 22, November 22, January, February 23, and March 23.

Big Red Balloon Swirl Edition! Light in the Attic Records is proud to present the next installment of the Nancy Sinatra Archival Series with the first ever reissue of the classic 1972 album Nancy & Lee Again. Recorded during a 1972 reunion between Nancy and the enigmatic Hazlewood, the album contains some of the pair's most enduring and ambitious duets including the epic "Arkansas Coal (Suite)," the sensual "Paris Summer" and the incredibly powerful Dolly Parton-penned "Down From Dover." Equal parts daring, psychedelic, cinematic, and sweet, Nancy & Lee Again reveals with each track a timeless, natural chemistry between two artists who would remain influential for generations to come. Nancy & Lee Again is available in a variety of formats, including vinyl and CD. The vinyl LP is presented in an expanded gatefold jacket and is accompanied by a 20-page booklet, featuring an array of photos from the legendary singer, actress, and activist's personal collection, as well as in-depth Q&A with Nancy Sinatra, conducted by the reissue's GRAMMYr-nominated co-producer, Hunter Lea (also available in the CD package). All formats have been beautifully designed by Darryl Norsen of D. Norsen Design, and include two bonus tracks, "Machine Gun Kelly" (first time on vinyl) and the previously unreleased "Think I'm Coming Down." Nancy, the eldest daughter of Frank Sinatra, had been working with the Oklahoma-born songwriter since 1965, when she topped the pop charts with "These Boots Are Made For Walkin'." Over the next five years, the two artists forged a prolific relationship in the studio, with Hazlewood writing and producing many of Nancy's solo hits. Soon, the duo found success with a series of duets, including "Sand," "Summer Wine," and "Some Velvet Morning" - all of which appeared on their highly-influential 1968 debut. Not long after the critical acclaim and chart success of Nancy & Lee died down, however, Hazlewood unexpectedly relocated to Sweden, leaving his musical partner in the proverbial dust. America, meanwhile, was in the midst of a cultural shift, as the Vietnam War waged on. By the turn of the decade, the musical landscape had changed significantly. "Trivial music and not profound music became unimportant," recalls Nancy, speaking to Hunter Lea. "It was a tough time." And yet, despite the circumstances, the stars somehow aligned for the duo to record some of their most magnificent music together. Returning to Los Angeles for the project, Hazlewood - who reprised his role as producer - chose to take a new direction with the duo's sophomore album. Nancy recalls, "It was more dramatic; it was more fun to do, more challenging to do_. It was more grandiose." Nancy & Lee Again remains a creative high point in the careers of Sinatra and Hazlewood and, upon its release, garnered rave reviews from Billboard, Record World, and Cash Box, among others. Yet, Nancy & Lee Again never received the spotlight it so utterly deserved. "We didn't have label support at all in those days," recalls Nancy. "Without the strength of a label, records die. We were old. We were old-fashioned. We were just not what was happening. It's a very ageist kind of business." Nevertheless, she adds, "I think it's a very good album. I think it's timeless." Now, after years of being a sought-after rarity, this gem in the Sinatra-Hazlewood canon can finally get its due.

Revered composer, pianist, DJ and acknowledged bridge between jazz, dance and hip-hop, Mark de Clive-Lowe (MdCL), links up with jazz vocalist/flautist Melanie Charles and Detroit drummer/producer & DJ, Shigeto on Hotel San Claudio, a collaborative LP of spiritual jazz and live deconstructed beats. Following Melanie Charles" formidable Verve album Y"all Don"t (Really) Care About Black Women and MdCL"s lauded 2022 Soul Bank album, Freedom - Celebrating the Music of Pharoah Sanders, the three forward-thinking musicians unite for a sonic exploration across jazz, hip-hop and soulful house.

Revered composer, pianist, DJ and acknowledged bridge between jazz, dance and hip-hop, Mark de Clive-Lowe (MdCL), links up with jazz vocalist/flautist Melanie Charles and Detroit drummer/producer & DJ, Shigeto on Hotel San Claudio, a collaborative LP of spiritual jazz and live deconstructed beats. Following Melanie Charles" formidable Verve album Y"all Don"t (Really) Care About Black Women and MdCL"s lauded 2022 Soul Bank album, Freedom - Celebrating the Music of Pharoah Sanders, the three forward-thinking musicians unite for a sonic exploration across jazz, hip-hop and soulful house.

World-renowned horn player Mats Gustafsson teams up with Joachim Nordwall to create THEIR POWER REACHED ACROSS SPACE AND TIME- TO DEFY THEM WAS DEATH- OR WORSE- an avant-garde masterpiece. Gustafsson and Nordwall push their instruments to the limit, almost mirroring the title of the record by "reaching across space and time". The duo creates a sense of vast, three-dimensional auditory expanses. "This is where acoustics and analog synths meet. It is unique music. Unheard Vibes. Perfect for special venues and good PAs..." -Gustafsson & Nordwall. We encourage listeners to take multiple journeys through the expansive spacial exploration that is THEIR POWER REACHED ACROSS SPACE AND TIME- TO DEFY THEM WAS DEATH- OR WORSE. Joachim Nordwall has been active in creating psychedelic electronic music since the late 80s- A cornerstone of the Swedish musical underground, exploring the extremities of guitar music with The Skull Defekts and solo recordings as The Idealist that access the spiritual and political dimensions of electronic music and dub. Nordwall also runs the esteemed and boundary pushing iDEAL Recordings, cementing his position as a major player in the contemporary scene. Mats Gustafsson is a prominent figure in the modern jazz scene, working as a composer, improviser, and saxaphone player. He has been involved in hundreds of projects, including work with Sonic Youth, Neneh Cherry, Peter Brötzmann, and Merzbow, as well as being an active member of groups such as FIRE!, The END, and Swedish Azz.

World-renowned horn player Mats Gustafsson teams up with Joachim Nordwall to create THEIR POWER REACHED ACROSS SPACE AND TIME- TO DEFY THEM WAS DEATH- OR WORSE- an avant-garde masterpiece. Gustafsson and Nordwall push their instruments to the limit, almost mirroring the title of the record by "reaching across space and time". The duo creates a sense of vast, three-dimensional auditory expanses. "This is where acoustics and analog synths meet. It is unique music. Unheard Vibes. Perfect for special venues and good PAs..." -Gustafsson & Nordwall. We encourage listeners to take multiple journeys through the expansive spacial exploration that is THEIR POWER REACHED ACROSS SPACE AND TIME- TO DEFY THEM WAS DEATH- OR WORSE. Joachim Nordwall has been active in creating psychedelic electronic music since the late 80s- A cornerstone of the Swedish musical underground, exploring the extremities of guitar music with The Skull Defekts and solo recordings as The Idealist that access the spiritual and political dimensions of electronic music and dub. Nordwall also runs the esteemed and boundary pushing iDEAL Recordings, cementing his position as a major player in the contemporary scene. Mats Gustafsson is a prominent figure in the modern jazz scene, working as a composer, improviser, and saxaphone player. He has been involved in hundreds of projects, including work with Sonic Youth, Neneh Cherry, Peter Brötzmann, and Merzbow, as well as being an active member of groups such as FIRE!, The END, and Swedish Azz.

YoshimiOizumikiYoshiduO"s debut album To The Forest To Live A Truer Life combines the thrill and precision of masterful improvised music practitioners unearthing new sonic possibilities. Yoshimi P-We, now known as YoshimiO, is best known for her work as one of the founders and drummer in the Japanese rock band Boredoms alongside IzumikiYoshi (synthesizer, sampler, and programmed midi instruments on Vision Creation Newsun and Super æ), and multi-instrumental work in the all female group OOIOO. She has worked as a session player and vocalist on Yoshimi Battles the Pink Robots by The Flaming Lips. A balance of YoshimiO"s live improvisations and IzumikiYoshi"s correlated processed sounds give the pieces a sense of grounding and weightlessness in tandem. Being described by Wayne Coyne (The Flaming Lips) as "one of those strange genius musicians", YoshimiO uses the piano as her primary instrument in addition to her singular voice- every move is bent, stretched, and mutated by IzumikiYoshi"s modular synthesizer into cascades of brightly colored waves and dotted constellations of sound. Rather than taming YoshimiO"s spirited performances, IzumikiYoshi adorns every unique flutter with complementary otherworldly textures. Recorded primarily in a cafe nestled in a forest in Japan, To The Forest To Live A Truer Life is a celebration of pure potential, of music born of the moment expanding in every direction. YoshimiO has collaborated with and worked on numerous projects, most notably a raga band called SAICOBAB, an ambient project called Yoshimi and Yuka, the tribal drum OLAibi, and indie supergroup Free Kitten.

A Late Lunch’ is the soundtrack to Akiko Iimura’s eponymous movie realized in 1978. It is based on acoustic instruments and field recordings, brilliantly reconfigured and mixed by Bekaert to create a surreal, immersive soundscape. The technique used includes superposition and speed change of recordings, radical sound effects and juxtapositions of sounds. The players were prominent musicians of the 1970’s, including Maggi Payne, George Lewis, David Rosenboom and Blue Gene Tyranny.

‘A Summer Day at Stony Point’ was composed in 1969, with participation of David Behrman, Shigeko Kubota and Charlotte Warren. The piece was commissioned by English composer Hugh Davies who presented it at the Harrogate festival the same year. Stony Point is a small village in New York State where John Cage co-owned a small pseudo-commune art resort where like-minded artists gathered. ‘A Summer Day at Stony Point’ is nothing more than a page of a journal, a fragment of a notebook that utilizes a series of sound sources recorded at Stony Point on one beautiful day in the summer of 1968. Other electronic sound sources were recorded at the Brandeis University where Alvin Lucier was professor. The final realization of the piece was done at Henri Pousseur’s APELAC Studio in Brussels, 1969.

The soundtrack for Akiko Iimura’s ‘Mon Petit Album’ was composed on the basis of a simple description of the technique of the film and its time span. It includes David Behrman on alto, from an outdoor recording at Stony Point, plus excerpts from a Transition concert in London, the band Bekaert formed in 1971 with Michel Herr, Takehisa Kosugi and Ryo Koike, both members of the Taj Mahal Travelers. The atmosphere is quiet and pastoral throughout with a very dreamlike flavour.

Jacques Bekaert (1940-2020) was a man of many gifts: author, journalist, composer, photographer, visual artist, wine connoisseur, radio talk show host, diplomat and expert in Southeast Asian affairs. His whole life Bekaert has been actively involved in music but not much of his work got recorded or published. In the early 60’s Bekaert studied with Pousseur and through his frequent visits to the US he became friends with artists like John Cage, David Tudor, Charlotte Moorman and most of all David Behrman with whom he had a close friendship ever since. Bekaert helped organize the first European tour of The Sonic Arts Union (David Behrman, Robert Ashley, Gordon Mumma, Alvin Lucier) and in the early 70’s he formed the group Transition (with Belgian jazz pianist Michel Herr, Takehisa Kosugi and Ryo Koike, both members of the Taj Mahal Travelers). His meeting with Japanese experimental film-maker Akiko Iimura resulted in two film soundtracks featured on this one of a kind discreet avant garde album.

When asked in a 1979 interview about his double life as a musician and a journalist, Bekaert replied, “I suppose they’re both unsafe, unstable, questioning jobs—composing and reporting. Journalism takes me to places, shows me the world as it is. My music is my wish for the kind of world I’d want to live in. The little peaceful state I dream for everyone, where you can be yourself, and happy, and as collective as possible without giving up total privacy.”

Originally released in 1981 on the Belgian Igloo label this reissue comes with the same sleeve as originally designed by Alain Géronnez.