quête:ura

The journey through French-speaking pop archives continues with this fifth volume, packed with fuzz, gimmicks, and dissent. Far from the charts, the selected tracks display a great creative freedom, often backed by corrosive humor. Welcome to the surprising, kaleidoscopic, and colorful world of the late sixties and early seventies, Wizzz!
Born in Montauban, Robert Pico stumbled into music by chance when he met René Vaneste, then artistic director at Pathé-Marconi. René brought him to Paris to record his first 45 RPM EP in 1964. A year later, Pierre Perret introduced him to Vogue, where he recorded his second album with Claude Nougaro’s orchestra. Sylvie Vartan then introduced him to RCA, where he recorded four singles, including the astonishing "Chien Fidèle," a track backed by a hair-rising fuzz guitar. Alongside his solo career, he also composed for other artists like Alain Delon (the song was recorded but remains unreleased), Magali Noël, Bourvil, and Georges Guétary. In the Paris of the sixties, he mingled with Mireille Darc, Elsa Martinelli, Marie Laforêt, France Gall, Françoise Hardy, Petula Clark, Régine, Dani, Serge Gainsbourg, Joe Dassin, Franck Fernandel, Charles Level, and Roland Vincent. Despite his efforts and winning a Grand Prix Sacem for his final record, Robert Pico didn’t achieve the expected success in show business and decided to leave Paris and return to the Southwest, where he devoted himself to writing. He is the author of 23 books (including Delon et Compagnie, Jean-Marc Savary Editions 2025, a memoir about his youth and his many encounters). Today, he is relieved to never have become a celebrity and devotes himself to his work with passion.
In 1969, the Franco-Italian movie Erotissimo was released, directed by Gérard Pirès (who later directed Taxi in 1998, written and produced by Luc Besson). This pop comedy features Annie Girardot, Jean Yanne, Francis Blanche, Serge Gainsbourg, Nicole Croisille, Jacques Martin, and Patrick Topaloff. The soundtrack was written by Michel Polnareff and William Sheller, with lyrics by Jean-Lou Dabadie. "La Femme Faux-cils," performed by Annie Girardot. It recounts the feelings of a rich CEO's wife who seeks to develop her sex appeal under the influence of advertisement and magazines. Groovy, sparkling and light, this track, with ITS lush arrangements humorously critiques consumer society and feminine beauty standards.
“Je suis l’Etat” (1967) is the flagship track of the first EP by singer-songwriter Spauv Georges, aka Georges Larriaga, better known as Jim Larriaga (1941-2022). Born into a family of bakers, the young man was initially planning to become a hairdresser when he discovered English-speaking music through Elvis Presley and the Beatles. After this revelation, he decided he would become a songwriter and gave himself five years to succeed. He recorded his first two EP’s independently for RCA under the pseudonym Spauv Georges; meaning “that poor George”, a nickname given to him by the mother of her friend Jean-Pierre Prévotat (future drummer of the Players, Triangle, or Johnny Hallyday). Portraying a depressed and eccentric young man, Spauv Georges created corrosive and amusing songs that didn’t reach a wide audience, despite a TV appearance with Jean-Christophe Averty.
Supported by his loyal friend and fellow songwriter Jean-Max Rivière, Georges Larriaga met the future singer Carlos in the early '70s, then Sylvie Vartan’s assistant. He wrote songs for Carlos, including the popular "La vie est belle," "Y’a des indiens partout," and "La cantine", which went onto become a huge hit in 1972. He also composed for Claude François (“Anne-Marie”, 1971), Charlotte Julian (“Fleur de province”, 1972), helped launch child singer Roméo (who sold 4 million records), and later wrote the hit "Pas besoin d’éducation sexuelle" (1975) for the young Julie Bataille. In 1971, Jim recorded an album for Disc'Az: “L’univers étrange et fou de Jim Larriaga”, which featured pop gems like “La maison de mon père”.
The story of the song "Zoé" began when Pierre Dorsay, artistic director at Vogue Records, asked Swiss singer and musician Pierre Alain to write a song for a new female singer. The inspiration came when he realized that Zoé (the artist's name) was also the name of France's first atomic battery, created in 1948, which consisted of uranium oxide immersed in heavy water! The lyrics reflect a bubbling energy that must be handled with caution, while the instrumentation echoes this atomic theme, notably with the use of a theremin.
Zoé’s career lasted only as long as a single 45 RPM, but it seems Christine Fontane was the vocalist behind this pseudonym, who is known for several EPs, a good "popcorn" album in 1964, and a handful of children’s singles in the '70s. Regardless, the photograph on the cover is of a different girl entirely.
Later, Pierre Alain continued his career, writing songs for himself, Marie Laforêt, Danièle Licari, Alice Dona, Arlette Zola (3rd place in Eurovision 1982), and achieving multiple gold and platinum records in Canada. Also an inventor with several patents, president of the Romande Academy, and head of the French Alliance in Geneva, he now composes atonal music, books, and poetry. Moreover, he is also the host of "Les Mardis de Pierre Alain" at "Le P'tit Music'Hohl" in Geneva.
Filled with oriental choruses and fuzz guitar, "Fou" is from Jacques Da Sylva's only EP released by Vogue in 1967. Despite the quality of this recording, all traces of this singer disappear after this first effort.
Valentin is a baroque pop singer born in Belgium. He is the songwriter and composer of most of the tracks on his three singles released in the late 60s in Canada. A legend says that he reincarnated himself as Jacky Valentin during the 1970s for a rock'n'roll revival career in Belgium, but his older brother sadly debunked this story. Valentin's first two singles were arranged by Claude Rogen, a Parisian session pianist who had come to Canada to promote the song “Mister A Gogo”, a cover of David Bowie’s “Laughing Gnome”, adapted by singer Delphine, his wife at the time. Far from his usual network, Claude Rogen arranged music for Polydor, including the arrangements for “Je suis un vagabond” in 1969, a jerk tune with string arrangements and a furious optimism.
Jacques Malia wrote, composed, and recorded his only 45 EP for Festival in 1966. “Histoire de gitan” is an incredible beat track with bohemian scat that tells the story of a gypsy musician who came to Paris to make it in the Music-Hall, to no avail. The hero of the song and its author probably shared a similar fate, as Jacques Malia faded into anonymity after this remarkable attempt.
Bernard Jamet recorded two EPs for Barclay in the late sixties and co-wrote several songs with Christine Pilzer, Pascal Danel, and prolific songwriters Michel Delancray and Mya Simile. The track “Raison Légale” (1968), his masterpiece, immerses the listener in a courtroom right when a murderer is being judged, with jerk rhythm and free arrangements. A unique, paranoid, judicial, and psychedelic oddity.
Jean-Pierre Lebrot-Millers started his career in show business in 1967 as a singer and songwriter for the Philips label. After three singles, he wrote several songs of a new kind with his friend Pierre Halioche, in the midst of the sexual liberation movement and the democratization of drugs. With provocative lyrics, “Les filles du hasard” and “Barbara au Chapeau Rose” were released on a Philips singles in 1968. The character of Barbara was inspired by a queen of Parisian nightlife during the psychedelic years: model Charlotte Martin, who dated Eric Clapton from 1965 to 1968, then Jimmy Page from 1970 to 1983. Jean-Claude Petit’s arrangements, with a table-filled intro, soul brass, and Hendrixian guitar, emphasize the flamboyance of a hedonistic and sexy character, whose dog is named Junkie because “Junkie est un nom exquis”! The track was recorded live in three takes with a full orchestra.
Upon its release, the record was censored by Europe 1 and RTL due to its references to drug use. Jean-Pierre Lebrot was then banned from the airwaves and later dismissed by his record label. He changed his artist name to Jean-Pierre Millers, while his companion Pierre Halioche became D. Dolby for a new dreamy composition, “Chilla”, which Jean-Pierre produced himself with arrangements by Jean Musy. Once again, the song was immediately censored everywhere. After this setback, he decided to stop singing and started taking on odd jobs to support his Swedish wife and their son until the day he met Jean-Pierre Martin, then production manager at Decca, who had worked with Manu Dibango. Martin offered Jean-Pierre Lebrot-Millers, then employed at Rank Xerox, the position of artistic director at Decca. He accepted and became, a year later, promotion director (radio, press, TV). He worked on Julio Iglesias’s first album for Decca, which became a massive hit and allowed him to meet Claude Carrère. The latter asked him to write new songs and find their performers, much like a “talent scout.” It’s through him that Jean-Pierre discovered Julie Pietri and Corinne Hermès. He composed “Ma Pompadour” for Ringo, Sheila’s husband, and took the microphone again for the syncope hit “Rendez-Vous” in 1982.
That same year, Jean-Pierre Lebrot-Millers tried to release a track for which he had heavily gone into debt: “Si la vie est un cadeau”. Having recorded it in London, he presented it to numerous professionals, all of whom refused to get involved. The same thing happened with Antenne 2 and the Sacem when he proposed the song as France’s entry for Eurovision. He then met Haïm Saban, who was producing cartoon soundtracks and had just launched the Goldorak theme song. Saban, having listened to the song, declared it had the potential to become a hit. He sent Jean-Pierre and Corinne Hermès to meet the CEO of the Luxembourg radio and television network. The latter received them, asked to hear a verse and chorus a cappella in his office, and immediately hired them to represent Luxembourg at Eurovision 1983. They reworked the arrangements and recorded a new version with Haïm Saban as co-producer. The song ended up winning Eurovision 1983, a great comeback for our hero. He continued producing and hung out with the band Nacash in Belgium when a couple came to introduce their daughter for an impromptu audition in a hotel room. The girl sang “Les démons de minuit” while dancing to a radio cassette. Impressed, he had her take singing lessons for a year and composed a song for her (for which he had the melody and title, but no lyrics). This required him to go on the hunt for a lyricist, who ended up being Guy Carlier. They recorded the song, which was initially a ballad, at Bernard Estardy’s CBE studio, and gave the singer a new name: Melody. They showed the song around their industry network without success. Later, Estardy called Jean-Pierre to suggest changing the rhythm and making it pop-rock. Orlando, Dalida’s brother, liked the result and decided to co-produce the track. “Y’a pas que les grands qui rêvent » became a classic hit. The song has since been covered by Juliette Armanet (as a ballad, like the original) and Valentina.

Born into an aristocratic Breton family, Hervé Mettais-Cartier worked as a DJ at Queen Kiss, a nightclub in Poitiers, where he formed the band Les Concentrés with Michel (an actor) and Christian (a radio technician). Together, they created a repertoire of whimsical songs (“Ma bique est morte”, “J’suis un salaud”, “Fils de dégénéré”...) that they performed on stage dressed in white (in homage to “concentrated milk”). They performed at Bliboquet and Olympia in 1968 for the 10th edition of the “Relais de la chanson Française” organized by L’Humanité-Dimanche and Nous les Garçons et les Filles, sponsored by Pepsi Cola. Winners in the author-composer category, alongside Danish singer Dorte, their visibility allowed them to record a 45, and appear on television in Jean-Christophe Averty’s show. The A-side of the disc features Bruno le ravageur, a casatchok dedicated to Bruno Caquatrix, the director of Olympia, nicknamed in the song “Coq Atroce” or “croque-actrices”. The B-side is dedicated to “Fils de dégénéré”, a quirky tribute to Hervé's aristocratic roots, mixing absurdity with sophisticated vocal harmonies.
After Les Concentrés, Hervé Mettais-Cartier formed the duo La Paire et sa Bêtise with his friend Olivier Robert. They performed in Parisian cabarets and toured with Pierre Vassiliu. In the late 1970s, Hervé began a solo career. He recorded two albums for the Motors label in 1978 and 1979, which did not achieve their anticipated success due to lack of promotion. In 1980, he met Bernadette, with whom he started a family and created a “Chansons à voir” (songs to see) show that he performed until his death at the end of 2024.

Publicité comes from the final EP by the Missiles (Ducretet Thomson, 1966), a disc that also includes “La (nouvelle) guerre de cent ans”, featured on Volume 4 of our Wizzz! series. Please refer to the booklet for the story of the band.

“He’s 1.82 meters tall, 28 years old, weighs 135 kg, is black and Belgian”: this is the description of singer Hegesippe on the back of his sole single (Decca, 1967). He appears on the album cover wearing a Greek toga, like a hippie gag – we are at the end of the year 1967. In “Le crédo d’Hegesippe”, this former bodyguard of Antoine and the Charlots plays the delightful card of the thick brute converted to Flower-Power and non-violence, with arrangements by Jean-Daniel Mercier, aka Paul Mille.
“Ethéro-disco” was released on a promotional record for clients of the Maréchal company (Liège, Belgium) for the New Year 1979. Over a funky rhythm, celebrity impersonations (Brigitte Bardot, Jacques Dutronc, Fernandel…) deliver an enigmatic text about pharmaceutical products like ether, bismuth, and aspartate. The track was composed by Dan Sarravah (responsible for Joanna's “Hold-up inusité” featured on Wizzz! Volume 3) and Tony Talado, who was also a singer (one 45 in 1967), songwriter (with over a dozen credits between 1964 and 1985 in various styles from surf music to disco), author (Devenez Végétarien, Dricot Editions, 1985), ad designer, and psychologist.

Décollez-les is on the A-side of Mamlouk's only single, a pseudonym for Marsel Hurten, who is known for his work on several EPs in the late sixties, as well as composing music for Hervé Vilard’s “Capri, c’est fini”, Claude Channes' “La Haine”, Annie Philippe’s “On m’a toujours dit”, and Nancy Holloway’s “Panne de Cœur”.
This strange song, with Afrobeat horns and absurd dialogues between a chef and his kitchen staff, is the result of a collaboration between Marsel Hurten and one of his neighbors, a photographer from Pavillon-sous-Bois (93), where the musician settled after returning from the Algerian War. A music video was shot to promote the record.
Marsel Hurten was born in Tourcoing (59) into a musical family. At a young age, he joined the brass band founded by his grandfather, playing the piston before studying trumpet at the conservatory, as well as teaching himself how to play the guitar. As an orchestra musician, he toured in France, Belgium, Germany, and England. He released a series of solo 45’s between 1965 and 1968 for the DMF and Az labels before stopping recording to focus on working for other artists (Gilles Olivier, Noëlle Cordier…).
“L’amour nu” (Vogue, 1971) is the work of the short-lived Belgian band Mozaïque. The track, written by singer Jacques Albin, closely resembles another of his compositions, “Carré Blanc”, which he recorded in 1969 for Disc’AZ.
Represented by the Lumi Son micro-label based in Marignane (Côte d'Azur), Jean-Marc Garrigues released two 45 RPMs in the late sixties, defending the French jerk sound. The song “Je dis Non” is a short, joyful ode to youth, pop music, and rebellion.
Songwriter and performer Jacques Penuel released three singles. The first one, “Astronef 328” (Fontana, 1969), features a dizzying series of chords punctuated by sound effects, a sci-fi story, and arrangements by Jean-Claude Vannier.

We would like to sincerely thank Pierre Alain, Moon Blaha, Marsel Hurten, Bastien Larriaga, Jean-Pierre Lebrot-Millers, Bernadette Mettais-Cartier, Robert Pico, Olivier Robert, Claude Rogen, Micky Segura.

A peerless debut album by Jacks, born during the dawn of Japanese rock, is reissued as a colored vinyl modeled after the original red disc released by
Toshiba Musical Industries on September 10, 1968.

Its dark and freaky lyrics and sound, as if gouging out the depths of the soul, had a profound impact on the music scene that followed.
In addition to the original 10 tracks from the album, this reissue includes the single A-side track "Kono Michi", which was released around the same time but not included in the original album.

LIMITED 300 ONLY TRANSPARENT SKY BLUE LP. HOUSED IN FULL COLOUR SLEEVE WITH POLYLINED INNER BAG & DOWNLOAD CODE
Two fields of existence collide as Nolla (Finnish psych/space rockers) & Mike Vest (Maximalist guitar guru, Bong, Blown Out, Drunk In Hell, Artifacts & Uranium, Modoki, Tomoyuki Trio, Mienakunaru etc) merge their creative visions for the third time.

Creating a steady and surreal exploration through astral planes. Nolla improvised the ground layer in their signature minimal space-rock style and MikeV wrapped everything up in lavish layers of fuzz, phased and U-Wah layered guitars.
Blending octaval tones, around an array of electronics & vocal harmonies. Resulting in a constant trance like psychedelic drone rock.
It's time to join the extraterrestrial communion, beyond the skies, convert into the mode of light and pay homage to his mighty eminence.

We Are The Robots Vol. 01 – Hypnotica Colectiva 25

Hypnotica Colectiva drops a fresh wax cut: We Are The Robots Vol. 01 — a heavyweight double vinyl release that channels the raw energy of the crew’s legendary club nights and distills 15 years of sonic exploration across electro, broken beats, and IDM textures.

Marking catalogue number HCR025, the Valencia-based imprint doubles down on its underground ethos, curating a ten-track lineup from artists deeply connected to the collective’s orbit. Each contributor brings a distinct flavor of robotic sound design.

Every track has been handpicked for its club impact, conceptual depth, and ability to resonate with the aesthetic of We Are The Robots — a party series that’s been pushing uncompromising electro since 2010. Expect a full-spectrum journey: from cerebral synth workouts to gritty analog pressure, industrial atmospheres, shadowy breaks, and raw minimalism.

Artwork come courtesy of Dani Requeni, keeping the HC Records design language sharp and functional. Steve Voidloss handles mastering duties, ensuring each groove hits with precision.

Mastered by Voidloss at Black Monolith Studio, London.
Artwork, Label art & Designs by Dani Requeni.
All rights reserved.
HC RECORDS
València, 2025.

Am 21. November erscheint das neue Album "Una Storia Importante" von Eros Ramazzotti. Es wird in verschiedenen Sonderausgaben auf CD und Vinyl erhältlich sein. Ramazzottis neues Album enthält einige der bekanntesten Hits seiner Karriere, die in einem neuen Soundgewand neu arrangiert wurden, sowie unveröffentlichte Titel und prestigeträchtige italienische und internationale Kollaborationen. Zu den schon veröffentlichten Titeln des neuen Albums gehört die Single "Il mio giorno preferito", mit der er einen absoluten Rekord aufstellte: Er war der erste Künstler im Jahr 2025, der in der Woche seiner Veröffentlichung direkt Platz 1 der italienischen EarOne Airplay erreichte, und der Song "Buona Stella" (feat. ELISA) wurde in Amsterdam uraufgeführt.

Am 21. November erscheint das neue Album "Una Storia Importante" von Eros Ramazzotti. Es wird in verschiedenen Sonderausgaben auf CD und Vinyl erhältlich sein. Ramazzottis neues Album enthält einige der bekanntesten Hits seiner Karriere, die in einem neuen Soundgewand neu arrangiert wurden, sowie unveröffentlichte Titel und prestigeträchtige italienische und internationale Kollaborationen. Zu den schon veröffentlichten Titeln des neuen Albums gehört die Single "Il mio giorno preferito", mit der er einen absoluten Rekord aufstellte: Er war der erste Künstler im Jahr 2025, der in der Woche seiner Veröffentlichung direkt Platz 1 der italienischen EarOne Airplay erreichte, und der Song "Buona Stella" (feat. ELISA) wurde in Amsterdam uraufgeführt.

Am 21. November erscheint das neue Album "Una Storia Importante" von Eros Ramazzotti. Es wird in verschiedenen Sonderausgaben auf CD und Vinyl erhältlich sein. Ramazzottis neues Album enthält einige der bekanntesten Hits seiner Karriere, die in einem neuen Soundgewand neu arrangiert wurden, sowie unveröffentlichte Titel und prestigeträchtige italienische und internationale Kollaborationen. Zu den schon veröffentlichten Titeln des neuen Albums gehört die Single "Il mio giorno preferito", mit der er einen absoluten Rekord aufstellte: Er war der erste Künstler im Jahr 2025, der in der Woche seiner Veröffentlichung direkt Platz 1 der italienischen EarOne Airplay erreichte, und der Song "Buona Stella" (feat. ELISA) wurde in Amsterdam uraufgeführt.

Am 21. November erscheint das neue Album "Una Storia Importante" von Eros Ramazzotti. Es wird in verschiedenen Sonderausgaben auf CD und Vinyl erhältlich sein. Ramazzottis neues Album enthält einige der bekanntesten Hits seiner Karriere, die in einem neuen Soundgewand neu arrangiert wurden, sowie unveröffentlichte Titel und prestigeträchtige italienische und internationale Kollaborationen. Zu den schon veröffentlichten Titeln des neuen Albums gehört die Single "Il mio giorno preferito", mit der er einen absoluten Rekord aufstellte: Er war der erste Künstler im Jahr 2025, der in der Woche seiner Veröffentlichung direkt Platz 1 der italienischen EarOne Airplay erreichte, und der Song "Buona Stella" (feat. ELISA) wurde in Amsterdam uraufgeführt.

Am 21. November erscheint das neue Album "Una Storia Importante" von Eros Ramazzotti. Es wird in verschiedenen Sonderausgaben auf CD und Vinyl erhältlich sein. Ramazzottis neues Album enthält einige der bekanntesten Hits seiner Karriere, die in einem neuen Soundgewand neu arrangiert wurden, sowie unveröffentlichte Titel und prestigeträchtige italienische und internationale Kollaborationen. Zu den schon veröffentlichten Titeln des neuen Albums gehört die Single "Il mio giorno preferito", mit der er einen absoluten Rekord aufstellte: Er war der erste Künstler im Jahr 2025, der in der Woche seiner Veröffentlichung direkt Platz 1 der italienischen EarOne Airplay erreichte, und der Song "Buona Stella" (feat. ELISA) wurde in Amsterdam uraufgeführt.

Mit Yenbett kehrt die mauretanische Sängerin Noura Mint Seymali eindrucksvoll zurück. Bereits die ersten beiden Tracks - zwei Versionen des Songs "Lehjibb" - zeigen die Spannweite ihres musikalischen Ausdrucks: archaische Klanglandschaften mit der traditionellen Harfe ardine treffen auf flirrende E-Gitarren, donnernde Drums und hypnotischen Gesang. Seymali verbindet die uralte Tradition der nordwestafrikanischen Griot-Musik mit modernen, elektrifizierten Klängen zu einem tranceartigen, kraftvollen Sound, der tief verwurzelt und zugleich zukunftsweisend ist. Als Tochter des Komponisten Seymali Ould Ahmed Vall und Stieftochter der berühmten Sängerin Dimi Mint Abba trägt sie ein musikalisches Erbe weiter, das sie mit eigener Handschrift neu interpretiert. "Die Griots sind Spiegel der Gesellschaft", sagt Seymali. "Wir bewahren Geschichte, feiern Kultur und schaffen Verbindung." Yenbett, ihr drittes Album und das erste seit 2016, wurde von Matthew Tinari (Drums) und Mikey Coltun (Mdou Moctar) produziert. Es ist roh, experimentell und voller Energie - ein Beweis für Seymalis Status als eine der kraftvollsten Stimmen der Weltmusik.

【Record Day 2025 Item】
Akira Miyazawa, a master of Japanese jazz who left behind such important works as “Yamamegyo”, “Iwana” and “Kiso” a work that recalls the original
landscape of Japan, has created a unique work based on “ninkyo eiga uta”, “enka” and “gunka”, with all songs arranged by Masao Yagi in jazz rock/rare
groove style!

The theme of “Abashiri Bangaichi” is supported by an inert flute, giving it an Ethiopian funk flavor. The Latin jazz-rock style of “Ryutensha” with its impressive
congas and vibraphone. “Zatoichi Lullaby” which starts with a superb groove from the introductory drum break and features a smooth and lustrous saxophone...
each of these songs is a unique Japanese groove sound spectacle with a mysterious combination of sounds.

Regrettably, the personal credit for “Soul Leon” is unknown, but its tight sound image and strong groove have led some to suggest that it may have been recorded
on the eve of the formation of Sound Limited, given the timing of its release in 1969.

Sie sind zurück. Lauter, klarer, größer – und »immer unter Feuer«. Frei.Wild schlagen 2025 das nächste, vielleicht sogar das stärkste Kapitel ihrer Bandgeschichte auf. Geschmiedet vom Leben, mit scharfer Zunge. Das neue Studioalbum ist ein Manifest – für alle, die mit ganzem Herzen brennen.

Voller Kraft, Schmerz, Hoffnung – ein wuchtiger Mix aus hartem Deutschrock und Gänsehaut-Balladen. Texte, die Mut machen, Grenzen sprengen, Brücken bauen. Echte Geschichten, keine leeren Phrasen. Mit Haltung, mit Tiefe – mit der Freiheit, auch unbequem zu sein. 2x 12 brandneue Songs bündelt das Doppel-Album im dreifach ausklappbaren Digipack plus 32 Seiten Booklet mit allen Songtexten, Band-Fotos und heißen Insider-Infos. Das Box-Set befeuert Frei.Wild noch dazu mit 6 weiteren, exklusiven Songs, die sich ausschließlich auf dieser Fan Edition eingebrannt haben. Wer aufs Streaming hofft, muss leider sehr, sehr lange warten … falls diese 6 Tracks überhaupt jemals den Weg auf die digitalen Plattformen finden.

Seit über 20 Jahren beweisen die Südtiroler, dass man mit klarer Haltung und Meinung Großes bewegen kann. Vom Proberaum im Kinderdorf bis an die Chartspitze, durch Gegenwind und im Feuer der Kritik – wo andere verbrannt sind, geht Frei.Wild aufrecht weiter. »Immer unter Feuer« ist ihr Dank an alle, die füreinander brennen. Und ein Antrieb für die, die noch kommen. Frei.Wild-Songs beugen sich nicht, nennen beim Namen, was unausgesprochen ist. Geliebt und gemieden. Es gibt gefühlt niemanden, der keine Meinung zu diesen Rock-Revoluzzern aus dem Grenzland hat. Südtirol ist nicht Berlin – doch im Kern lodert in Großstädten wie auf dem Land dieselbe Kraft. Frei.Wild zieht seine ungezähmte Energie aus der Heimat, den Familien, der Freundschaft. Gewachsen im Schmelztiegel von Kulturen und uralten Bräuchen und Geschichten haben sie ihre ganz eigene Prägung erfahren. »Immer unter Feuer« trägt das Album das Geweih so stark wie nie!

»Immer unter Feuer« erscheint als Doppelvinyl-Version im Gatefold Cover mit UV-Spotlack Parts und zwei weißen 180g Vinylplatten mit bedruckten Innenhüllen.

Jessika Kenney ist Sängerin, Komponistin, Autorin, Klangkünstlerin und Lehrerin, deren Engagement für Improvisation, Poesie und Klangforschung eine einzigartige Perspektive hervorgebracht hat. Ihre Erkundungen von Klang, Raum und der Metaphysik des Klangs wurden in vielen Kontexten und an vielen Orten präsentiert, darunter in der Seattle Public Library, im Nottingham Contemporary und im Benton Museum. Zu ihren Kollaborationen und Projekten gehören eine umfangreiche Diskografie mit Eyvind Kang, das letzte aufgezeichnete Vokalwerk von Alvin Lucier, Auftritte mit Melati Suryodarmo, die Komposition der Vokalmusik für A24s Midsommar und die Chorleitung für SUNN O)))'s Monoliths and Dimensions. Jessika Kenney, bekannt für ihren einzigartigen Umgang mit der Stimme, hat in den letzten zwei Jahrzehnten neue Klangwelten geschaffen, die auf intensiven Studien, rituellen Praktiken und einer ungezähmten Ausdruckskraft beruhen. Von ihren gefeierten Kollaborationen mit Eyvind Kang bis zu ihrer Vokalkomposition für A24s ,Midsommar" bewegen sich Kenneys Arbeiten an der Schnittstelle zwischen dem Heiligen, dem Klangvollen und dem Unsichtbaren. Auf Uranian Void wendet sich Kenney nach innen und spürt den Konturen von Erinnerung, Resonanz und Wahrnehmung nach. Mit verschwommenen Sinuswellen, Hydrofonaufnahmen, einem Ghazal von Hafez und Originaltexten ist das Album eine Meditation über Liminalität, in der Schimmer und Schatten gleichermaßen vibrieren. Kenneys Stimme webt sich durch alles hindurch: manchmal flüsternd, manchmal strahlend , immer präzise. ,Dieses Album ist eine Übung in Transparenz innerhalb der Dunkelheit", erklärt Kenney. ,Es geht darum, offen zu bleiben für Zweifel , für Nachhall, für das, was jenseits unserer Wahrnehmung liegt." ,Uranian Void" wurde von Randall Dunn (SU NN O))), Kali Malone, Annea Lockwood) produziert und aufgenommen, dessen charakteristische räumliche Details und Tiefe dem Album seine immersive Klangarchitektur verleihen. Jeder Ton, jeder Atemzug und jede Resonanz wird mit Intimität und Dimension wiedergegeben und verstärkt Kenneys Erforschung von Präsenz und Abwesenheit. Fragmente, die während Besuchen in Spokane, ihrem Elternhaus, aufgenommen wurden, bilden die Grundlage des Albums. Im Studio transformiert, werden diese zu beschwörenden Vierzeilern - leise, aber eindringlich - die den subtilen Puls von Ort, Zeit und Körper offenbaren. Echos der Vergangenheit verschmelzen mit der Gegenwart , als ob die Wände selbst sich erinnern und mitschwingen würden. Uranian Void ist Musik für Schwellenbereiche - eine Einladung, sich mit dem Unsichtbaren und Kaum hörbar. Mit dieser kraftvollen und poetischen Aussage bestätigt sich Kenney als eine der visionärsten Vokalistinnen der Gegenwart.

Eyvind Kang ist Komponist und Bratschist, dessen Werk experimentelle, klassische und traditionelle Musikformen umfasst. Zu seinen Kollaborationen zählen unter anderem Jessika Kenney, Bill Frisell, Laurie Anderson, Bennie Maupin, Stuart Dempster, Sun City Girls und SUNN O))). Kang ist bekannt für seine Erkundungen der Mikrotonalität, der modalen Improvisation und des Klangrituals. Seine Werke wurden weltweit auf führenden Festivals und Veranstaltungsorten präsentiert. Kang ist derzeit Fakultätsmitglied am CalArts und unterrichtet Komposition und experimentelle Klangpraktiken. Seit über dreißig Jahren erforscht Eyvind Kang die verschwommenen Grenzen zwischen Komponist, Interpret und Zuhörer. Auf Riparian präsentiert er eines seiner bisher intimsten und fokussiertesten Werke: zwei Langformstücke für Viola d'amore, improvisiert innerhalb mikrotonaler Systeme, die er während der Pandemie entwickelt hat. Kang bezeichnet diese Improvisationsmethode als ,Riparian" und beschwört damit das Bild eines Flusses herauf, der in verschiedene Richtungen überquert wird - fließend, nichtlinear und lebendig mit subtilen Variationen. ,Ich stellte mir Pizzicato und Arco wie das Springen von Stein zu Stein in einem Bach vor", sagt er. ,Es gibt eine geerdete Zufälligkeit, wie bei einem Frosch oder einer Schildkröte, die sich zwischen Land und Wasser bewegt." Jedes Stück auf Riparian ist eine erste Aufnahme, die im Studio als Teil dessen aufgenommen wurde, was Kang als ,eine Art Geschichtenerzählen unter gleichgesinnten Freunden" bezeichnet. Das Ergebnis ist Musik, die mit stiller Intensität und emotionaler Klarheit fließt und Melodien entfaltet, die sich sowohl uralt als auch lebendig präsent anfühlen. Produziert und aufgenommen von Randall Dunn (SU NN O))), Omar S ouleyman, Kali Malone) produziert und aufgenommen, fängt Riparian die volle Resonanz der Viola d'amore in einem reichen, dimensionalen Klang ein. Dunns Handschrift verleiht Kangs lyrischer Phrasierung Wärme und Transparenz und offenbart subtile Klangtexturen, die ein tiefes Hören belohnen. Meditativ und ausdrucksstark zugleich lädt Riparian den Hörer in einen Raum ein, in dem die Zeit weicher wird und Klang zu einer Form der Einstimmung wird .

A reissue of a cassette that was originally released on Uramado in 2020, this is the first time this live session appears on vinyl. The performance, featuring Kudo on piano and 3C123 on clarinet, was recorded on October 18, 2009, at the Uramado venue in Shinjuku. A beautiful and quixotic forty-minute set, that reconnects both Kudo and 3C123 with various musical histories, including those of classical composition and free improvisation.

The performance documented on Tori Kudo & 3C123 is a curious one. While they both appear to slip into improvised ruminations at times, for the most part, Kudo performs pieces by Erik Satie on the piano, over which 3C123 teases an excoriating stream of improvisation from the clarinet. His playing here is wild in its poetry: sometimes lushly nestly alongside Satie’s melodies, elsewhere loosing Ayler-esque squalls from the instrument, it’s a bravura performance that is matched, in an indirect manner, by the poise and pacing of Kudo’s generous, fluent recital.

When asked about the thinking behind the performance documented here, Kudo explains by describing the historical juxtaposition of Satie with Takehisa Kosugi’s improvised violin as “an essence of the Japanese art of collective improvisation.” The playing here, as within Japanese collective improvisation, is about sitting ‘alongside’ each other, not necessarily in direct (or even indirect) reference, but rather sharing the space; “just being there together,” Kudo says, and letting go of the need for performers to engage in interplay.

Tori Kudo & 3C123 is certainly part of that tradition, and this is where its curious poetry resides; in that ‘third space’ that sits in between, but not directly connecting, the two performers. Kudo makes an analogy with Fluxus, which is appropriate. But you can also hear their shared history here, somehow, as Kudo and 3C123 have known each other since the eighties, when they shared a house in Kunitachi City, Tokyo. Their musical paths have been multiple – Kudo, of course, best known perhaps for his Maher Shalal Hash Baz ensemble; 3C123 as a member of Vedda Music Workshop, and with other Japanese musicians like Koichiro Watanabe.

Die gefeierte Sängerin und Komponistin Ganna Gryniva präsentiert mit UTOPIA ein Album zwischen ukrainischer Folklore, Indie-Pop und improvisiertem Electro-Folk. Uralte Melodien aus Archiven treffen auf Eigenkompositionen - mal verträumt, mal treibend, immer voller Emotion. Seltene Ritualgesänge wie Malanka mischen sich mit peruanischer Percussion, der Opener Mermaids entführt in eine magische Welt, Stücke wie Baba und Mother ehren starke Frauen. Zemlya erzählt von Grynivas Rückkehr in die Ukraine nach der russischen Invasion. Überraschend fügt sich das deutsche Gedichtlied Der Mann im Mond ein - Ausdruck einer Identität zwischen zwei Kulturen. Mit Gästen wie Ambrose Akinmusire (Trompete) und Maxym Berezhnyuk (Flöten) entsteht ein poetischer, kraftvoller und grenzenloser Sound zwischen Folk, Jazz, Synths und Loops. UTOPIA erscheint am 17. Oktober 2025 bei BERTHOLD records.

"Crisis Del Nuevo Siglo" is the first installment of a conceptual EP produced by Impakto 83.

Inspired by the rhythmic harshness of new beat and the mechanical of EBM, this work reflects the industrial impact of a fractured era — the crisis of a future past.

A distorted criticism to the age of mass production.

Here, an endless workday.

In truth, singing is not all that different from acting. Performing a song is very similar to playing a role in a theatrical production. A singer's delivery — the way they interpret and emphasize certain parts of a song — is much like what an actor does with their character.

That's why we often find singers who go on to gain popularity as performers — some on stage, but more often on the silver screen (film).

These are called 'singing stars' — vocalists who are also featured actors, usually given roles specially created to suit their primary strength: singing.

Among them, a few have become even more famous for their acting talents, which sometimes surpass their singing ability. However, the number who manage to do this successfully is very small. Oslan Husein is lucky enough to be counted among that small number. As his fame as a singer began to rise sharply, he also began his film career as an actor. It's true that he had previously appeared in a film, but only as an extra, alongside the orchestra he performed with.

Following that, he appeared in several other films, including Detik-detik Berbahaya, 1000 Langkah, Kasih Tak Sampai, Hadiah 2.000.000,-, Maut Menjelang Magrib, and Antara Timur dan Barat. Six films over a span of just about 2.5 years — quite an impressive achievement.

Over time, a number of songs that Oslan had performed in his films began to accumulate. Together with a few additional songs — also from films — there were eventually enough to compile into one long-playing (LP) record.

And so, accompanied by Jack Lemmers — who, for this project, created special arrangements and musical treatments unlike the usual (for example, the use of four guitars at once) — Oslan carried out the recordings at Irama studios.

By releasing this LP of songs from the silver screen, Irama took an exciting step forward and opened many new possibilities in its history. Because the world of recorded music and the world of film, wherever they are in the world, are like siblings — and they work best when they collaborate, shoulder to shoulder, in harmony.

"Pentatonic Ruins" is MANSUR’s 5th release on Denovali - it follows the 2022 "Oscuras Flores" album. "Pentatonic Ruins" is more of a song adaptation album than a new material album. It highlights the vocals of Martina Horvath and presents a collection of Mansur songs in a more hypnotic and trance like manner. This album can be seen as songs for transcendental rituals.

KILN return with an opulent new display of hue and swing on Lemon Borealis , a sumptuous
gallery of dazzling motifs that display a finely hewn concoction of visual tones and vital pulse.

Across its 12 cuts, this collection utilizes a fresh process of condensing immersive sprawl into compact, punchy and colorful sound.
Using aspects of live performance, beatmaking and waveform sculpting, the troika of Kevin Hayes, Kirk Marrison and Clark Rehberg III create
evocative and invigorating dioramas, continuing to surprise and enchant listeners after over thirty years into their collaboration.

Deep in waves of Hi-meets-Lo Fi, KILN delivers a panchromatic daymark arranged to biochemically align and stimulate your personal syntax, forging
a tapestry of sonic reveries ranging from the aquarium-on-fire radiance of DrnkGrlfrnd, a garden groove of field-recorded percussion in
Maplefunk Diptych, to the sizzling guit-noise whiteout of Deacon Rayhand.

Their eighth album, and first for A Strangely Isolated Place, on Lemon Borealis, KILN expands upon the long-explored themes of mosaic
texture, subtle melancholy, eroded consonance, and vivid cadence to reveal yet another aperture to their unique magnetic universe.

Lemon Borealis will be available on 12” Transparent Ochre Smoke vinyl and digital on July
18th. Mastered and cut by Andreas Lupo Lubich, and featuring artwork by KILN.

Im oberfränkischen Sulzbach-Rosenberg, dem Standort der Maxhütte, brannte Ende des Jahrzehnts natürlich nichts außer dem Feuer in den Hochöfen, in denen Stahl geschmolzen wird. Floh de Cologne sahen sich über viele Monate dort um, die fünf Langhaarigen aus Preußen (Enxing) redeten mit Gott und der Welt. "Wir waren mit der Zeit integriert." So entstand Koslowsky.

Darin gehört das Epos "Prinzessin auf der Nadel" zum Besten, was die deutsche Rockmusik hervorgebracht hat. Der Text stammt von Peter Maiwald (1946–2008). Er porträtiert die Umstände, die eine junge Frau aus Sulzbach in die Droge als »Aus- weg« führt. Uraufgeführt an zwei Abenden im Dezember 1979 im Saal der Gaststätte "Josefshaus", gewerkschaftlich unterstützt wie manche andere Floh-Produktion, er- reichte sie auch die Belegschaft des Stahlwerkes – bis spät in die Nacht unterhielt ich mich danach mit einem Stahlwerker bei gutem bayrischen Bier. Im Betrieb hatte er so einiges mitbekommen von der Vorgeschichte. Das Programm steht für die Brillanz, die Floh de Cologne musikalisch wie textlich im Laufe der Jahre erreicht hatten, erhielt den deutschen Kleinkunstpreis und wurde fürs Fernsehen aufgezeichnet. Ins erste Programm schaffte es Koslowsky nicht, aber immerhin in mehrere dritte.

A young doctor on the verge of greatness finds his career and life shattered after choosing to treat two children rather than the town mayor. The deaths of one of the children are inexplicable. What if he had saved a monster?

Monster, the manga created by Naoki Urasawa, is an acclaimed psychological thriller that has been a huge critical and commercial success. The complex and gripping story, which follows the moral choices of a surgeon confronted with a serial killer he has saved, has attracted a wide international audience. Monster has won several awards and is regarded as one of Urasawa's major works, affirming her place as a master of suspense in the world of manga.

Kuniaki Haishima is a Japanese composer best known for creating the soundtrack to the anime Monster. In addition to his contribution to Monster, Haishima has also composed music for TV series (Terra Formars and S-CRY-ed) and films (Tokyo Tribe and Helter Skelter).

New Vienna ist die vierte Konzertveröffentlichung von Keith Jarretts triumphaler letzter Solo-Tournee durch Europa. Das Album folgt auf München 2016, Budapest Concert und Bordeaux Concert. Weshalb der Titel New Vienna? Jene, die mit Jarretts Musik näher vertraut sind, wissen, dass seine Diskografie bereits ein legendäres Wien-Konzert (aufgenommen in der Wiener Staatsoper) enthält, von dem er einmal behauptete, seine Musik spreche ”die Sprache der Flamme selbst”, nachdem er jahrelang ”mit Feuer gespielt” hatte. Keith Jarretts Rückkehr in die österreichische Hauptstadt im Jahr 2016 brachte die Flammen der Inspiration an einen anderen historischen Ort mit legendär lebendiger Akustik, den Goldenen Saal des Wiener Musikvereins, wo zu Beginn des vergangenen Jahrhunderts Werke von Schönberg, Berg und Webern uraufgeführt wurden, die den Kurs der modernen Musik herausforderten und veränderten. New Vienna, ein Konzert in dem neue Musik im Moment geformt wird, hat im Kontext der Jarrett’schen Idiome eine nahezu enzyklopädische Gestalt. Das Album erscheint anlässlich des 80. Geburtstags von Keith Jarrett.

Multi-instrumentalist and composer J.H. Burch gives new intensity to a neglected ethnographic and folklore reality: the rural Amazigh poets of the Ait Bouguemez valley of Morocco. His vision of cultural exchange led him to the vocal repertoire of the all-female Troupe Asnimer, whom for decades have been amongst the most important custodians of the various Amazigh oral art forms in the region. The Asnimer women recite in chorus songs written by numerous anonymous authors, some dating back centuries, making their tradition and a fluid and constantly evolving collective oeuvre. Each of the tribal forms has its own time and place, some like Tamawayt are poems of travel and lamentation, Timnadin of daily labour, others are sung as Sufi rites. From the Asia and the Pacific, J.H. Burch succeeds here through his knowledge of different sound traditions and a varied use of instrumentation (baglama, santur, tanpura, kamanche, organ, deyurey, electronics, percussion), and in becoming a conduit for Asnimer, frames the collaboration without distorting its ancestral and rural physiognomy. On the contrary, the songs of the Amazigh tribes of the Haut-Atlas are colored through afro-asiatic spiritual arrangements of meditative sensitivity. Limited to 200 copies.

Follow up to the debut 12" EP that was pressed, sold out, repressed, sold out, and pressed again.
They're currently mastering their debut album (recorded by Sam from Pigsx7), it's due in the Autumn on Wrong Speed.
To keep the merch table hasslers happy WSR have pressed this super limited 7", with two cover versions on the B-Side.
In the last 12 months the band have been named One's To Watch by BBC Introducing, had numerous Radio One plays, had a live 6Music Session for Riley + Coe, and have shared stages with Benefits, Big Joanie, Swami John Reis, House Of All, Uranium Club, and more.
The next 12 months for IRKED are gonna be big

Der Dresdner Komponist und Produzent Sven Helbig kreierte anlässlich des 80. Jahrestages des Endes des Zweiten Weltkriegs das Requiem A, das die Opfer des Krieges ehrt und ein tiefes Plädoyer für den Frieden darstellt. Requiem A vereint liturgische und neue Texte. Das ‘A’ im Titel steht für ‘Anfang’ und mahnt in poetischen Bildern zu Versöhnung und Neubeginn. „Aufbruch“, „Asche“ und „Atmen“ sind Schlüsselwörter in den Texten, die einen Weg aus der Trauer in das Leben suchen.

Die Uraufführung fand am 9. Februar 2025 in der Dresdner Kreuzkirche statt, aufgeführt vom Dresdner Kreuzchor, der Sächsischen Staatskapelle und dem gefeierten Bassbariton René Pape. Am 8. Mai, dem 80. Jahrestag des Ende des Zweiten Weltkrieges, wird das Werk auf dem Heldenplatz vor der Hofburg in Wien aufgeführt. Die Aufnahme erscheint am 9. Mai 2025 bei der Deutschen Grammophon. Dieses ergreifende Werk soll als universelle Botschaft der Erinnerung, der Versöhnung und des kulturellen Austauschs dienen.

Alexandre Tharaud mit drei Uraufführungen
Das neue Album des vielseitigen französischen Star-Pianisten Alexandre Tharaud enthält drei Klavierkonzerte, allesamt Uraufführungen, die für ihn geschrieben und ihm gewidmet wurden. O-Töne der Komponisten zu ihren Werken:

Alex Nante: „Das Spiel von Alexandre Tharaud war für mich während der gesamten Komposition des Stücks eine Inspiration. Von der ersten Toccata im Barockstil über die geschmeidige, kristalline Atmosphäre von Anunciación bis hin zu den energischen und kraftvollen Klängen von Toccata II war es meine Absicht, in diesem Werk besondere interpretatorische Facetten zu erforschen, über die er verfügt."
Thierry Pécou: “Cara Bali“ könnte man mit ‚Bali-Stil‘ übersetzen. Mir ging es nicht darum, das Unnachahmliche zu imitieren, sondern im Kopf Assoziationen zu wecken (...) - eine Art imaginärer Umweg oder Szenenwechsel bei einem Projekt, das mich glücklicherweise wieder mit meinem treuen Komplizen Alexandre Tharaud zusammengebracht hat...“
Ramon Lazkano: „Dieses Konzert ist in erster Linie die Frucht einer großen Freundschaft zwischen Alexandre Tharaud und mir und unserer Liebe zu unserem Instrument, dem Klavier, mit all seinen vertrauten Merkmalen, aber auch mit seinen verborgenen Formen der Verzauberung.“

Im Oktober 2023 kehrte der weltberühmte Cellist Yo-Yo Ma in die Boston Symphony Hall zurück, um mit
dem Boston Symphony Orchestra und seinem Musikdirektor Andris Nelsons die beiden Cellokonzerte von
Schostakowitsch zu spielen. Die kontrastierenden Werke erscheinen nun anlässlich des 50. Todestages des
Komponisten bei der Deutschen Grammophon auf CD und Vinyl.
Schostakowitschs Cellokonzert Nr. 1 in Es-Dur stammt aus dem Jahr 1959. Der Komponist widmete
es seinem langjährigen Freund Mstislaw Rostropowitsch, der auch die Uraufführung spielte. Für Yo-Yo Ma
war das anspruchsvolle Werk ein früher Meilenstein in seiner Karriere. Mit der ihm eigenen virtuosen Brillanz bringt er die kontrastreichen Stimmungen der Komposition, von dunkler Ironie bis hin zu ergreifender
Lyrik, zur Geltung.
Mit dem Cellokonzert Nr. 2 in G-Dur, das 1966 ebenfalls von Rostropowitsch uraufgeführt wurde, machte
sich Schostakowitsch selbst ein Geschenk zum 60. Geburtstag. Dieses eher reflektierende, in sich gekehrte
Werk wird seltener aufgeführt als sein Vorgänger. Wie der Boston Globe jedoch feststellte, ”hätte man
sich kaum einen besseren Weg durch dieses weniger vertraute Gebiet wünschen können als den Weg, den
Ma mit Nelsons und dem BSO einschlug“.

Carrying on their longstanding dedication to the seminal output of Merzbow, Urashima returns with what is unquestionably their most ambitious release to date: “Collection 001-010”, a deluxe, 10 LP vinyl box set limited to 299 copies, gathering together the entirety of the project’s first ten releases, originally released in 1981. Encountering the band in its early incarnation of the duo of Masami Akita and Kiyoshi Mizutani, raw, exposed and bristling with energy, foreshadowing numerous trajectories they would follow over the coming years, these astounding full lengths - the majority of which have never been released on vinyl - come housed in a beautifully produced, deluxe wooden box, with each LP in its own individual sleeve reproducing the original artwork, and a LP-sized 32-page book containing reproductions of artworls and collages by Masami Akita, an interview conducted by Jim O'Rourke, and liner notes penned by Lasse Marhaug, Thurston Moore, and Akita himself, amounting to what is unquestionably one of the most historically significant releases we’re likely to encounter in 2025.

Deluxe Edition of 299 copies, remastered from the original analog tapes by Masami Akita, each LP comes in its individual sleeve reproducing the original artwork, also includes a LP-sized 32-page book. ** Since its founding during the late 2000s, the Italian imprint, Urashima, has become a definitive voice in the landscape of noise. Bringing forth beautiful limited edition releases, they’ve sculpted a singular vision of one of the most vibrant and revolutionary bodies of experimental sound to have graced the globe. Among the many projects that they have supported over the decades, there has been an undeniable dedication to the output of the seminal Japanese noise outfit, Merzbow, making a significant amount of the project’s out of print back catalog available across a range of formats. Now they return with what is arguably their most stunning and ambitious release dedicated to the project to date: “Collection 001-010”, gathering the entirety of Merzbow’s first ten releases, largely privately released by the band on cassette across 1981, in a deluxe, 10 LP vinyl box set. Representing what is effectively ground zero in Japanese noise and collectively amounting to some of the most sought after releases ever produced within that movement, Urashima’s truly beautiful collection comes fully remastered by Masami Akita himself from the original tapes, presenting all but a small number in their first ever vinyl pressings, with each LP housed in its own individual sleeve reproducing the original artwork, alongside a LP-sized 32-page book containing reproductions of artworks and collages by Masami Akita, an interview conducted by Jim O'Rourke, and liner notes penned by Lasse Marhaug, Thurston Moore and Akita himself. Towering with energy and groundbreaking creative vision, within the realms of noise and experimental music, releases don’t get more monumental or historically important than this!

Merzbow came roaring onto the Tokyo scene in 1979, and remains, to this day, one of the most prolific and aggressively forward-thinking projects in experimental music. Eventually becoming the solo vehicle for the efforts of Masami Akita, in its earliest incarnation the project was the duo of Akita and Kiyoshi Mizutani, taking their name from German artist Kurt Schwitters' pre-war architectural assemblage, The Cathedral of Erotic Misery or Merzbau, and quickly set out to challenge entrenched notions of what music could be. Embracing technology and the machine, even in its earliest iterations, Merzbow pushed toward new territories of the extreme, arriving at a space of pure, unadulterated sonic onslaught that has continued, for over 40 years, to set the pace for the entire genre of noise, and has remained one of the movement’s most important, definitive voices, continuously laying the groundwork for countless artists who have followed in its wake.

When dealing with historical gestures, there’s an invertible aura surrounding original line-ups and early statements, and rightfully so. It is often within a band’s debut that we catch the purest glimpse of the raw energy and creative ferment that made them what they are. This is certainly the case when regarding the coveted early releases of Merzbow, capturing the emergence of the project in its form as the duo of Masami Akita and Kiyoshi Mizutani as they helped set the blue print from the then emerging movement of Japanese noise. Over the course of its nearly five decades of activity, Merzbow has always been noted for how prolific and ambitious the project is. This was no less the case in the very beginning. While they were active for roughly two years prior, in 1981 alone they issued ten self-released cassettes numerically titled “Collection 001-010”, albums which have both individually and collectively become holy grails in the realms of noise, with only two - “Collection 007” and “Collection 009” - ever receiving vinyl reissues prior to now.

As Lasse Marhaug deftly articulates in the newly commissioned liner notes for “Collection 001-010”, despite having been recorded in different location across a span of time, the sum total of Merzbow’s first ten releases might be best regarded as a single release to be listened to in the same, durational sitting, with the material standing well apart from what most came to expect from Merzbow, while foreshadowing numerous trajectories the project would take over the coming years. Not only do these recordings feature a vast array of instrumentation - tapes, acoustic and electric guitar, violin, drums, voice, recorder, organ, found sounds, clarinet, homemade and prepared instruments, a vast arsenal of effects and electronics, and piano, to only begin to scratch the surface - the majority of which would disappear from the project’s active sources of sound generation over the subsequent years, but there is a slow pacing and raw sense of openness and exposure that reveals strong connections to the avant-garde improvisations of groups like AMM, Musica Elettronica Viva, and Gruppo di Improvvisazione Nuova Consonanza, the psychedelia of groups like Taj Mahal Travellers and Flower Traveling band (both of whom Akita mentions having seen in youth within his interview with Jim O’Rourke), and rock in general - albeit in fully abstracted forms - unspooling as brittle, pointillistic, textural, raw and abrasive forms, that occasionally flirts with unexpected tonal sensibilities. As Marhaug describes it in his excellent liner notes: «Sonically, “Collection” sounds more sparse and stripped. It’s dry sounding, up-front, no reverb, and there’s less heavy low-end grime and thin on the signature frequency sweeps. Viewed in a 1981 context, musically, it’s more akin to what the LAFMS (Los Angeles Free Music Society) pool of artists were doing at that time than what was happening in industrial music... There’s a strong playfulness throughout, like the sound objects are being explored for the first time, without neither restraint nor hurry. Events are allowed to be fully examined before the music moves on, or simply cuts off. To a large degree, the music on “Collection” feels acoustic in nature, although a Electro-Harmonix ring-modulator features prominently throughout.»

Easily described as a rarely encountered revelation into the original and earlier documented studio sound of Merzbow, “Collection 001-010” collectively amounts to an engrossing sonic journey in its own right, while also allowing for important, often overlooked connections drawn from numerous other creative wellsprings, notably free jazz, underground rock, the output of European and Japanese avant-garde music, as well as Dada, Fluxus, and Mail Art, much of which, beyond the illumination made possible by the sounds, Jim O’Rourke’s fantastic interview with Akita, published in the booklet, further explores, offering great insights into the origins of Merzbow and the thinking behind the project, as well as aspects of the earliest days of Japanese noise.

Basse Brevis der kanadischen Komponistin Sarah Davachi wurde im Rahmen des Festivals Présences 2024 uraufgeführt, das Steve Reich gewidmet war und von Radio France und INA grm gemeinsam in Auftrag gegeben wurde. Ausgehend von ihrem eigenen minimalistischen Ansatz erkundet Sarah Davachi mit äußerster Sorgfalt die Verflechtungen und komplexen Beziehungen zwischen den klanglichen, räumlichen und zeitlichen Komponenten der Musik. Mit Hilfe von Entwicklungen, die im Laufe der Zeit nachvollziehbar sind, gelingt es der Komponistin, eine äußerst präzise, subtile und lebendige Musik zu schaffen. Was jedoch auffällt und in Basse Brevis besonders deutlich wird, ist die Tatsache, dass ein derartiger Ansatz, der sowohl abstrakt als auch zurückhaltend ist, dennoch zuweilen äußerst ergreifend ist. Das Werk verbindet Momente der formalen Erkundung mit Momenten reiner Emotion auf perfekt beherrschte Weise und erzeugt eine sanfte Spannung, während es zwischen zwei Arten des Hörens schwankt, die sich unentschlossen zwischen instrumentalen und konkreten Ansätzen bewegen und parallel dazu eine Diagonale des Klangs nachzeichnen, die sich um Wahrnehmung, Empfindung und Gefühl herum entfaltet.

Also known as "Portland's Pillar Of Soul", Ural Thomas is a widely esteemed Portland based r&b singer-songwriter and musician, active since the 1950s. Still going strong over almost three-quarter century's worth of performing and releasing, Thomas' breathtaking oeuvre comes to a recent head on this latest LP+7" via Cairo, 'Nat Ural'. Eschewing his latest incarnation with backing The Pain (making up Ural Thomas and the Pain), which was formed after a long hiatus, we return to Thomas' solo sensibility here. A new LP backed up by a sneaky extra 7", Thomas' distinctive, homely brand of strutting vocal soul is once more put on display here.

Haken-Gitarrist Charlie Griffiths kehrt mit einem Nachfolger zu seinem Soloalbum von 2022 zurück. Diesmal wählt Charlie Grif-fiths den Künstlernamen "Tiktaalika" und präsentiert "Gods of Pangaea". Das Album knüpft dort an, wo das Vorgängeralbum auf-gehört hat und erzählt von einer uralten, vergessenen Welt, die mit dem heutigen, von Menschen bewohnten Planeten kollidiert. Musikalisch ist das Album eine Hommage an die Kunst der Gitarrenriffs, deren DNA bis in die goldene Ära des Metal zurück-reicht, mit Einflüssen von Mercyful Fate, Judas Priest, Megadeth und Metallica. Charlie wird wieder von dem hervorragenden Schlagzeuger Darby Todd (Devin Townsend) unterstützt, und die Bassfrequenzen werden diesmal von Haken-Bandkollege Conner Green beigesteuert. An den Vocals wird Charlie von einigen der Besten im Geschäft unterstützt: Tommy Rogers (Between The Buried & Me), Daniël de Jongh (Textures) und Vladimir Lalić (Organised Chaos) sind alle wieder mit von der Partie und Rody Walker (Protest The Hero) steuert seine Vocals zu einem Track bei. Erhältlich als limitierte CD & Gatefold transparent-magenta LP-Edition (beide mit Bonustrack) sowie digital.

"There is great power in secrecy. Detached from the world, brewed under a strict code of confidentiality, a new lifeform came into existence. Led by none other than Sonata Arctica frontman Tony Kakko, this new beast of his gained momentum in the massive shadow of his wildly successful power metal superheroes, slowly, steadily, biding its time, waiting for the right moment. This moment is now: With his self-titled debut, Tony Kakko opens the curtains into this strange new world of his just enough to take a first peek – and instantly hunger for more. A master story teller and a wizard of conjuring musical emotions, Himmelkraft stages Kakkos trademark talents in a wholly new, unexpected and thrilling way. To him, the sky truly is the limit, bestowing upon us an album that sounds like nothing else out there – brooding and dark, menacing and eerie, stomping and monumental.




This project sees Tony Kakko enter a fascinating new era. Much like the legendary Elven smiths of old, forging away in solemn silence, Kakko has stopped the wheel of time to reinvent himself and his bold musical vision. Shrouded in mystery, a new being appears in the fog, barely discernible and yet distinct the very moment Tony Kakko starts to sing.

Yet, everything else remains just what it was from the very start – a mystery. Call them songs for a dying world or songs for a world reborn – either way, you will be intrigued how this extraordinary project will develop. And that’s a promise
"

Attention space cadets!
Following last year's much lauded Kaliyuga Express debut 'Warriors & Masters', Nolla (Finnish psych/space rockers) & Mike Vest (Maximalist guitar guru, Bong, Blown Out, Drunk In Hell, Artifacts & Uranium, Modoki, Tomoyuki Trio, Mienakunaru etc) combine their visions once again and explore dark futuristic mindscapes.
They set their sights to the looming eons and gaze through an occult lens. Inspired by classic space rock, driving hypnotic krautrock and bleak synth soundscapes.
The ground was laid in improvised Nolla sessions and further ascended with gloomy prophecies and lyrical explorations by Ilkka and Otto. With Ohto’s assertive drums and Teemu's solid guitars the canvas was set for Mike to paint his transcendent multilayered guitars.
Bleak and overbearing sights are explored, but the future holds a speck of hope if you are prepared to embrace the darkness.
For fans of: Hawkwind, Can, Sun Dial, Bevis Frond, Space Rock, Krautrock etc.
Otto Juutilainen - Vocals, Synth, Lyrics, Mix, Mastering, Ilkka Vekka - Bass, Electronics, Lyrics, Art, Mike Vest - Guitar, Teemu Vilmunen - Guitar, Ohto Pallas - Drums
Recorded in Finland & the United Kingdom Winter/Spring 2024

Transport, partly staffed by former members Ural Thomas' 1960s band, was a fairly short-lived Portland phenomenon. The incarnation heard here was an eleven-piece stone Disco-Funk powerhouse that tracked a whole album's worth of smashers in 1978, which sadly lay untouched for over 40 years. The steady-rolling A-side is emblematic of their original sound, but the cake is rather taken here by their awesome reading of 'Always There,' arguably one of the best versions of the much-covered Ronnie Laws classic yet.

First time ever on 7" 45rpm vinyl, dinked centre hole with picture sleeve, 500 numbered copies only.

Die Wilde Jagd ist das Musikprojekt des Produzenten und Songwriters Sebastian Lee Philipp. In einem dichten, atmosphärischen Netz verwebt Die Wilde Jagd Dramatik, Romantik, Ekstase, Melancholie und dunkle Intensität. Nach drei Studio-Alben, mehreren EPs und zahlreichen internationalen Tourneen veröffentlicht die Band nun eine spezielle Performance namens ATEM, die als Auftragskomposition im Rahmen des Roadburn Festivals im April 2021 in Tilburg uraufgeführt wurde. Nachdem die 2022er LP schnell ausverkauft war, freuen wir uns, ATEM jetzt als limitierte gelbe LP veröffentlichen zu können.

Die Wilde Jagd veröffentlicht gemeinsam mit dem Grammy-prämierten Metropole Orkest unter der Leitung von Simon Dobson das neue Album Lux Tenera - A Rite to Joy, eine Auftragsarbeit des Roadburn Festivals. In Lux Tenera, das am 21. April 2024 in Tilburg uraufgeführt wurde, verbindet Sebastian Lee Philipp, der kreative Kopf hinter Die Wilde Jagd, seine visionäre Musik mit den orchestralen Klangfarben des 50-köpfigen Metropole Orkests. Mit lyrischen Elementen auf Deutsch und Englisch sowie instrumentalen Besonderheiten wie Taiko-Trommeln und der historischen Carnyx führt das Werk die Zuhörenden in eine meditative Klangwelt voller Freude und Tiefe.