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David Allred is a prolific composer and producer based in Portland, Oregon. His new album The Beautiful World captures an enriched, realised understanding of why he composes in the first place. Dedicated to the expression of existential themes such as death, grief, longing and loss, the album’s core theme centres around the suicide of a young girl Lauren, who was a family friend to Allred. For as long as he could remember, Allred always created music out of a kind of dissociative state which he finds alluringly easy to lapse into. A repetition of a motif is usually where he begins composing. But unlike his previous works, The Beautiful World firmly has one foot in reality and is deeply intertwined with Allred’s relationships, past and present. Through his correspondence with Erased Tapes label head and the album’s producer, Robert Raths, over the past year, he came to realise that everyone has a Lauren in a way – someone they’d lost. Through writing to Raths, Allred was able to draw out this thread from the work and position it more clearly as the central concept to this work. The music doesn’t reflect the chaos of trauma, instead it has a therapeutic quality. It was through this dialogue that Allred was able to create what may be his most cohesive body of work to date. The 11 track album unfolds around Oh Lauren, providing the core of the album’s sentiment – how grief returns to us throughout life over and over. Embedded more than halfway through the album, Allred allows listeners to cohabit a meditative space through ambient textures, drones and ballads echoing the vocal sincerity of Arthur Russell, Daniel Johnston and the hypnotic storytelling of Robert Ashley. To truly reckon with The Beautiful World’s emotional position, listeners must understand the importance of the figure of Lauren, and the significance she has had throughout Allred’s life. Lauren’s suicide as a child provided the catalyst for Allred’s lifelong grief. But it was death anxiety and grief itself which provided Allred a link to a universal relationship that people have with each other and the world they live in. Impermanence and loss are the driving force behind all of our connections. The trance-like nature of the album perhaps comes from David Allred’s time sense – particularly when it comes to memory and trauma. Time becomes non-linear rather than a straight line – where one can repeat or return to the same themes but older and in a different frame of mind. Grief continues to manifest itself in life and despite personal growth, there will always be moments where the same feeling will manifest itself again. The album encourages listeners to sit with the concept of grief, and Allred is hopeful they can find comfort and learn to process it in a healing way. The Beautiful World is therefore heavily influenced by Allred’s work in therapy, particularly his relationship to writing music. In the past, Allred would be composing music as a means to dissociate from his life, but the album sees him engaging and connecting more authentically than ever with others and himself. Despite his prolific previous works being made in the company of others, Allred needed to step back from the scenes that he’s worked in to discover what he really wanted to create. Allred concludes: “In the power of love, curiosity, humour, and reconciliation, we give you The Beautiful World.”

GC'mon Tigre announces their new instrumental project, Instrumental Ensemble - Soundtrack for Imaginary Movie Vol 1. This album offers an alternate view of cinematic music: a soundtrack composed for a fictional film using a challenging and inventive method. This project investigates an alternative approach in which music shapes and guides visual storytelling. It's the first in a series of albums dedicated to as-yet-unmade films, enabling listeners to explore music as a key component in cinematic narrative. The original story that inspired this music was created in partnership with a large language model, which was taught and instructed in substance and style to best fit the project's artistic concept. C'mon Tigre works with AI to achieve collaborative harmony while contemplating on the unavoidable future ahead. Each track on the album depicts a scene, delivering stories about humans juggling personal issues and contacts with advanced technology. The end result is a story told by sound and text, designed to immerse listeners in a multisensory universe.

Soolmaan is a sextet led by Belgian oud player and composer Tristan Driessens, accompanied by Nathan Daems, Christos Barbas, Annemie Osborne, Andrea Piccioni, and Levent Yildirim. Together, they create sound tableaus that float freely between the Bosphorus and India, with flute, sax, ney, cello, piano and tamburello igniting an imaginary folklore infected by jazz. Releasing their second album ‘Kashgul’ on the 24th of January with Zephyrus Records. (Vinyl / CD)

Driessens began his career immersed in the classical music of the Ottoman court, founding the Lâmekân Ensemble in 2011. After training under oud virtuoso Necati Çelik in Istanbul, he returned to Belgium in 2016 to form Soolmaan, an ensemble that reflects his multi-faceted identity. Rooted in Eastern modal traditions, Soolmaan’s music bridges jazz, folk, and classical influences, creating a unique and contemporary sound.

Their 2017 debut album, ‘Letters to Handenberg’, was described as "oriental chamber jazz," with Istanbul serving as a common thread. With Kashgul, their latest release, Soolmaan explores Ottoman makam, Indian raga and Anatolian halk muzigi, blending these traditions with a contemporary modal language. Created during Driessens' artist residency at the Concertgebouw of Bruges, the album features original compositions alongside reimagined works by Ravi Shankar, Amjad Ali Khan, and Art Pepper.
With improvisation as a connecting factor, Soolmaan’s music invites listeners into rich, boundary-crossing soundscapes where tradition and innovation meet. Kashgul exemplifies the ensemble’s ability to craft an immersive musical experience that resonates deeply with diverse audiences.

Upcoming concerts

December 8, 2024
Begijnhofkerk, Sint Truiden, BE

December 12, 2024
De Bijloke, Ghent, BE

December 14, 2024
De Bijloke, Ghent, BE

Vincent Arthur’s masterpiece LP ‘Esi Vivian’, originally inspired by and named in tribute to his daughter Vivian, was the work of a skilled group of musicians from Africa, The Caribbean and Germany. The record remained relatively unknown for 30 years, apart from a small circle of collectors, until a very well known DJ closing Dekmantel reached the climax of his set with an 'unknown' euphoric afro disco track. Taking to the forums, internet sleuths didn’t stop until it was found that this anthem was ‘Travel With The Music’!

Remastered by the ever patient and talented Frank at The Carvery, SFA002 breathes new life into the 3 standout tracks from Esi Vivian, allowing these timeless sounds to be shared on new dancefloors. It is no understatement that we shared a goosebumps moment in the studio listening to the results, where we both looked at each other and realised how special the music sounds. All three tracks have been elevated whilst staying true to the original and cut at 45rpm for ideal club playback.

‘Travel With The Music’ takes pole position on the A-side, a piece of music perfect in every way. Mixing afro, disco and that euphoric gospel-like chorus, this is the record you want to hear played out with all your friends at once.
Leading the B-side is Afro Disco, a track that always works on the floor, it’s tempo shift injecting a playful energy that leads the party into it’s next stage. Closing out the release, ‘Jubilation’ takes us deeper and in the right dance, is a powerful end-of-the-nighter.

“JUSTIFIED SINNER” WILL BE OUT ON FRIDAY JANUARY 24TH, THIS IS THE THIRD OF THE FOUR 12” VINYLS THAT ANTICIPATE THE
RELEASE OF THE NEW DEATH SS CONCEPT ALBUM “THE ENTITY”, PRODUCED BY STEVE SYLVESTER WITH TOM DALGETY. TOM IS A
GRAMMY-WINNING ENGLISH PRODUCER, ALREADY AT WORKS WITH RAMMSTEIN, GHOST, THE CULT AND OTHERS.
JUSTIFIED SINNER” IS A POWERFUL AND ANTHEMIC SONG WITH A DARK '80S ATMOSPHERE. LYRICALLY IT IS INSPIRED BY THE 1824
NOVEL “THE PRIVATE MEMOIRS AND CONFESSIONS OF A JUSTIFIED SINNER”, BY THE SCOTTISH WRITER JAMES HOGG, CONSIDERED THE
PRECURSOR TO STEVENSON'S NOVEL “THE STRANGE CASE OF DR. JEKYLL & MR. HYDE”. HERE THE PROTAGONIST, CONVINCED THAT HE
IS CHOSEN BY GOD AND UNDER THE INFLUENCE OF HIS DIABOLICAL DOPPELGANGER, COMMITS ALL SORTS OF EXCESSES AND CRIMES
AGAINST SINNERS, THINKING HE IS JUSTIFIED BY THEM.
THE 12” IS OUT TODAY IN LIMITED DELUXE PHYSICAL FORMAT ON TRANSPARENT ORANGE VINYL WITH A SPECIAL SHAPED COVER AND
CONTAINS THE THIRD PART OF THE BOOKLET WITH THE ENTIRE STORY BEHIND THE CONCEPT ALBUM, ALONG WITH TWO OTHER SONGS
TAKEN FROM THE ALBUM: “THE EVIL PAINTER” AND “THE WHITECHAPEL WOLF”, AVAILABLE ONLY IN THE PHYSICAL VERSION.

Alkisah Versi Hitam is a radical deconstruction and reimagination of Indonesian duo Senyawa's most recent album Alkisah by Hamburg's Marc Richter aka Black To Comm. The original album was released to critical acclaim in February of this year as a decentralized release on a multitude of labels from all corners of the world, Germany’s Dekorder being one of them. Richter is now completely reinventing the original album from scratch by doing an almost Teo Macero-level production job here, cutting up the originals and (re)constructing new material from scratch.

Arcane chants and vocal cut-ups, fierce freeform percussion, grimy No Wave collage, monochrome drones exploding into multicolour streams, unearthly psychedelic Noise and sheer sonic mayhem, warped discordant rhythms between moments of calming beauty - it's never easy to digest but the outcome is both ecstatic and transcendental - never sounding anything less than a fully formed singular album.

A special cassette version of the album will be released by Jordanian label Drowned By Locals.

BLACK TO COMM is the moniker of Hamburg composer/musician Marc Richter who is creating intricate multi-layered collage based works for labels like Thrill Jockey, Type and Dekorder. His 2019 album "Seven Horses For Seven Kings" revealed an increasingly angry, transcendental and fearless approach, attaining new levels of urgency through noise, volume, rhythm, repetition, atonality and beauty.

Jogjakarta’s SENYAWA embody the aural elements of traditional Indonesian music whilst exploring the framework of experimental music practice, pushing the boundaries of both traditions. Their music strikes a perfect balance between their avant-garde influences and cultural heritage to create truly contemporary Indonesian new music. Their sound is comprised of Rully Shabara’s deft extended vocal techniques punctuating the frenetic sounds of instrument builder, Wukir Suryadi’s modern-primitive instrumentation. Inventions like his handcrafted ‘Bamboo Spear’; a thick stem of bamboo strung up with percussive strips of the animal skin along side steel strings. Amplified it fuses elements of traditional Indonesian instrumentation with garage guitar distortion. Sonically dynamic, the instrument can be rhythmically percussive on one side whilst being melodically bowed and plucked on the other.

They have collaborated and performed with many notable musicians such as Stephen O'Malley of Sunn o))), Otomo Yoshide, KK Null, Keiji Haino, Rabih Beiani, Trevor Dunn, Greg Fox, Arrington De Dionysus, Melt Banana, Damo Suzuki and Oren Ambarchi.

- 2025 Repress
- Black Bio vinyl
- Cut at 45RPM for optimum sound
- Printed on heavyweight board outer sleeve
- Vinyl comes in black poly-lined protective bag
- Housed in a heavyweight PVC protective outer sleeve
- Hype front sticker

Blue Lake's new offering 'Weft' sees its creator Jason Dungan unearth new musical terrain
with a mini-album which presents the projects evolution. Finding inspiration in the craft of weaving and embracing a collective spirit as a band leader, all while readying a new studio album expected later in 2025.

It follows the lauded album 'Sun Arcs' (2023) with Pitchfork naming it (Best New Music, 8.3), amongst numerous other accolades. Blue Lake is the ongoing musical project of American born, Copenhagen based musician Jason Dungan which serves as his artistic platform as composer and collaborator. Developed over the period of 2024 and witnessed at live performances across a swath of European cosmopolitan cities and festivals, the project stands at a new creative juncture. The earthy title track 'Weft' emerges with a sense of ease and familiarity as looping guitar riffs in open tunings bed in around a warm cello pulse that provides the essential heartbeat. These interlinking parts align to create his most explicit version yet of an American writing country music in Scandinavia. Dungan named the release 'Weft' as a reference to the weaving practice of his partner, Danish visual artist Maria Zahle, whose work "Torso" is featured on the album's cover. With her works providing a constant source of inspiration to his music and practice as an instrument-builder, Dungan found a symbiotic connection between their mediums, which is reflected in the music on 'Weft'.

'Weft' is a collection of new works that casts a net into new sound territories with distinctive timbres yet always channelled through the refined lens of Dungan's prism. Infused with an ongoing connection to nature, it furthermore expands his unique meld of off-kilter folk, jazz, country and left-field experimental ambience. 'Weft' then is an accomplishment of growth, of bolder objectives and of collaboration with like minds. The Blue Lake project takes a dynamic step forward venturing into new creative spaces while leaving some clues along the way.

WRWTFWW Records is overjoyed to present the first ever vinyl release for the outstanding soundtrack of 1999 Japanese action-political-thriller anime Jin-Roh: The Wolf Brigade by Hajime Mizoguchi. The epic full-lenght album is available as a limited-edition LP cut at Emil Berliner Studios and housed in a heavyweight 350gsm sleeve.

Legendary animation film Jin-Roh was penned by Palme d’Or and Leone d’Oro award winning filmmaker, television director and writer Mamoru Oshii whose filmography includes Ghost in the Shell, Patlabor 2: The Movie, and Angel’s Egg – critically acclaimed works praised worldwide, notably by luminaries such as James Cameron, Steven Spielberg and The Wachowskis. The film was directed by leading studio Production I.G. affiliate Hiroyuki Okiura (Record of the Lodoss War, A Letter to Momo…)

The film’s score, courtesy of famed anime and tv score composer, cellist and arranger Hajime Mizoguchi, evokes the dystopian world in which Jin-Roh takes place and captures the Little Red Riding Hood theme that carries the story – a dark, atmospheric, and immensely emotional soundscape that takes you on a grand and immersive journey and stays with you forever. It blends classical, orchestrated ambient, and poignant melodies carried by ominous strings.

This new project by WRWTFWW Records follows previous Japanese soundtracks from the catalogue: Ghost in the Shell, Patlabor 2, Evil Dead Trap, Violent Cop and precedes the upcoming release of Takeshi Kitano’s Sonatine soundtrack by Joe Hisaishi.

Infinite Fog are delighted to present another piece of the intriguing COIL puzzle. In the mid 1990s the core team of John Balance and Peter Christopherson were continuing their exploration of the outer reaches of electronic sound production as exemplified by the "Born Again Pagans" release, originally an EP only, featuring both the hugely danceable "Protection" smash which had Danny Hyde's influence writ in large letters all over it, as well as the first outings of their intriguing more ambient/glitch-based ElpH material, probably their most haunting and haunted works. This new 3LP anthology re-edition collects all of the ElpH material which didn't appear on their later "Worship the Glitch" album, namely the pHILM #1 10", a host of very rare compilation tracks as well as a number of at the time unreleased pieces in the same vein. The stunningly presented release also features the ElpH entity's last ever appearance originally available as part of raster noton's award winning 20' to 2000 series of releases, the "Zwölf" EP.

All the material has been lovingly remastered by Jessica Thompson with re-imagined design-work by Oleg Galay and including a replica of the original St. Sebastian on acid poster.

WRWTFWW Records is delighted to announce the first official worldwide reissue of Satsuki Shibano’s Wave Notation 3: Erik Satie 1984, the final album from the sound-defining Wave Notation environmental music series curated by Satoshi Ashikawa. Originally released in 1984 on the Sound Process label, Wave Notation 3 followed Ashikawa’s own Still Way (1982) and Hiroshi Yoshimura's Music For Nine Postcards (1982).

The highly sought-after album, sourced from the original master tape, is available as a double LP (housed in a luxurious heavyweight sleeve) for the first time ever. Digipack CD and digital formats are also available. This exclusive reissue, including English and Japanese liner notes by the artist, was supervised by Japanese ambient legend Yoshio Ojima.

Wave Notation 3 is a splendid tribute to seminal French composer and pianist Erik Satie, himself one of the main influences behind kankyo ongaku / environmental music (alongside Brian Eno, John Cage to name a few). The alphabetically-sequenced album features 26 pieces showcasing Shibano's unique piano interpretation of Satie’s works.

The artist explains: « For this album, I sequenced the compositions in alphabetical order of each title, irrespective of the period of each composition or style. By doing this, I attempted to effectively create ‘Music as an environment’ and at the same time, allow the listener to genuinely experience Satie’s music. »

Satsuko Shibano’s minimalistic approach to ambient classical is simply perfect and offers a beautiful and tranquil listening experience, furniture music with extra comfort and soothing simplicity, relaxing to the mind and to the soul. This Wave Notation deserves a spot among the pillars of Japanese environmental music, next to Midori Takada’s Through The Looking Glass, Hiroshi Yoshimura’s Green, and Satoshi Ashikawa’s Still Way.

After many releases on labels with different techno imprints such as Mord, Hex, Raw, KR/LF and now BPitch Control, in his most recent works Under Black Helmet has pushed his sound in a more essential and hypnotic direction, raising the level of processing in rhythm and sound research. That's what you will find on Tempio Omega 02.

The intrepid composer and field recordist Jacob Kirkegaard is no stranger to perilous and hostile regions of the world. His 4 Rooms invoked the radioactive decay through the amplification of architectural resonance in Chernobyl, Ukraine; and he has ventured to the arctic environments of Greenland on a number of occasions to document that barren, icy territory. His recurrent use of shadow and mystery through his work both as metaphor and as extended sonic technique reflects the complex, existential conditions that cross-contaminate what we consider civilization and what we consider wilderness. Waste disposal, firearms, the decomposition of dead bodies, the eerie stillness of morgues. These have also been the source material in Kirkegaard's formidable work.

With Snowblind, Kirkegaard turns to history, and a poetic, failed attempt for a team of Swedish explorers to reach the North Pole by balloon in the late 19th Century. Perhaps driven by blind adventurism, perhaps consumed by his own delusions, S.A. Andrée launched this ill-fated flight in July 1897, registering only two days in the air before crashing into the ice and ultimately failing to navigate the frigid waters and ice floes. Yet documentation of their expedition - photographic, scientific, and diaristic - survived, to be discovered some thirty years after their deaths.

"I wanted to created a cold and hostile album, where there is no escape, no warmth and no happy ending," as Kirkegaard explains about Snowblind. "Yet, I wanted to leave out any immediate drama. It is the creeping shock, the icy feeling from realizing what has been lost and that there's no escape."

Yes, Snowblind is a very bleak album, but one that eschews the isolationist, long-form drone of conceptually similar works by Thomas Köner, Lustmord, Werkbund, and Lull with interconnected constellations of cryptic tone, thrumming reverberation, arctic bluster, and a plethora of harrowing sonic proclamations.

The highly praised and long sold-out 2LP album of transcendental psychedelic rock from the eternal Träden, formerly known as Träd, Gräs och Stenar, is finally available again. New limited edition pressing on multi-colored vinyl. Recorded live to tape in the band’s countryside music workshop, these mind-melting improvisations travel beyond time and space through the magical unknown, a manifestation of timeless organic music and free creation.

Pink Vinyl

Drifting on oceans of thunderous stillness, carried away by endless currents, whipped up by waves of darkness devouring you until you see the light. The first album from Platoo, a collaboration between Michelle Samba and Phil Mills, has an unrelenting cadence that grabs you and refuses to let go. A distinctive combination of calming soundscapes and highly-charged energy fitting any occasion, from dancing like lost souls in the empty halls of ancient barracks to ecstatically tripping on a distant desert planet.

To Phil and Michelle creating Platoo was about being given a sense of freedom and exploration, at once shaking off habits and rediscovering forgotten values. Phil's love of the mesh of ''real'' sounds and electronics, and quest to establish a balance where both would feed off each other saw him abandon convention and standard structures, deviate from the beaten path and let things come to life. Michelle's quest to create, to inspire and be inspired, to draw her conclusions from serendipitous events allowed her to break things open and be at ease with letting herself go to create the breathing space needed for this new sound.

What makes their symbiosis fruitful is a common yearning for the unknown, a search for what works without exactly fathoming why it works. The result is something that indeed meets those needs, a strange and beautiful musical exploration.

A quarter century since their 1998 debut, No Fear of Time finally reunites one of the greatest hip-hop duos of all-time, Black Star. Group members yasiin bey and Talib Kweli first joined forces to deliver their iconic breakout, Mos Def and Talib Kweli are Black Star, which quickly became one of hip-hop's most revered works and launched both already-rising stars into the stratosphere. Although each has since enjoyed success and acclaim in their individual careers, they've never realigned for a sophomore follow-up to that release until now. Produced entirely by renowned beatsmith Madlib, No Fear of Time has a future vibe with vintage soul. The 9-track album was recorded guerrilla-style in hotels and dressing rooms around the globe, and initially saw a non-traditional release, being made available exclusively on a subscription-based podcast platform. Now, the album is officially available on physical formats for fans worldwide to own and appreciate the triumphant return of Black Star.

The Acidboychair music project started in the early noughties as a commentary on what journalist Simon Reynolds would summarise a few years later as Retromania. Initially conceived by Thomas Baldischwyler and Andreas Diefenbach as a performative revival travesty with large-format drum computers and synthesizers reconstructed from cardboard, everything took a surprising turn when DJ Mooner (the man behind the now defunct Munich music label Erkrankung Durch Musique) took an interest in the adventurous audio material produced by Baldischwyler. In 2005, the LP 1987 (EDM1016), produced almost exclusively with long-forgotten software (SoundEdit 16, RB-338, etc.), was released on Mooner's label. As a result of the growing number of bookings, Baldischwyler had to think about improving the performability of his intentionally amateurish productions. Fortunately, the Ableton Live programme became a DAW with a MIDI sequencer and support for VST plug-ins as early as 2004 - and this made it easier for him to execute his intuitive, error-friendly version of acid house. This can be heard on the first two sample-heavy tracks on the A-side of Come Down Easy, which were recorded in 2005 and 2006 respectively at Acidboychair gigs at Hamburg's Golden Pudel Club and Munich's Registratur. The first two tracks on the B-side (produced sometime between 2006 and 2008) were actually supposed to be part of a solo release on the Acido label run by Dynamo Dreesen, but this never materialised. However, the final tracks and the 133.3 BPM lock grooves that follow are the title and central to this catalogue number TBG123: Through ethno-musicologist Arthur Boto Conley, who had already released a one-sided 12 on his label with material from one of Baldischwyler's audio installations, he met Florian Meyer (Don't DJ) and Marc Matter (Spoken Matter), who introduced him to their collaborative project Institut F?r Feinmotorik (IFFM). Baldischwyler's attempt to approach the sound aesthetics of IFFM led to the tape 60 Minutes Of Barely Modified Lock Grooves (TCCC06), recorded in Rome in 2018. A buyer of this tape introduced him to the Detroit collective Pure Rave, which he immediately contacted and introduced to the work of the IFFM. It was important for Baldischwyler to have an analogue update made and so both the Detroiters and IFFM, who now live in Berlin, were given 8 copies of EDM1016's backstock to remix the material in their own way. At their jam in Detroit, Pure Rave opted for the almost identical material that IFFM had also used for a live performance in the Hamburg project space Beek. The dominant jumps in both arrangements come from the track Eightyseven, produced in the early 2000s for the LP 1987, an awkward remix of the Spacemen 3 track Come Down Easy, which is also referred to in the liner notes on the inner sleeve of TBG123. The almost two-decade-old revival idea thus turns into false memory syndrome and runs into a - in keeping with our times - clean-cut (endless) groove. Kassem Mosse (The KM of MM/KM) on Come Down Easy after a first listening session: I think it all works very well as a mix, no matter where you start it carries you further forward back in the loop. if I understand the liner notes correctly, it's about the music's turn from tradition preservation (doing everything right) to ecstatic delusion (not doing everything right when intoxicated). Now that I'm reading again instead of listening, the titles give me a different understanding of the connections; how the skipping belongs together, which playtime is connected. Now I can name my favourites. Thank you for the journey!

A collection of Haruomi Hosono's commercial works from '82 to '85. The collection features a variety of types of music, including elegant piano, oriental tones, and tango-infused pieces.

Moody cacophonies, sonic dispatches from Japan, crystalline breakbeats that are more environment than rhythm: Jake Muir’s enmixed, described by Muir as a “(re)mixtape,” is a mind-bending deep dive into the enmossed archive. Besides reflecting the history of the label, Muir’s mix is a production in its own right. A Los Angeles native based in Berlin, Muir is a DJ and field recordist who “sees mixes as a vehicle to explore narratives outside of the album format.”

In Bathhouse Blues (2023), where Muir sampled various sources to explore gay cruising culture and sensuality, his more expansive, conceptual approach to the form is illuminated. Mixes are not just a linear succession of tracks with transitions—they’re excavations that also result in the creation of new audio artifacts. Inspired by the psychedelic impulses of illbient, Muir uses DJ and sound engineering techniques to melt down genre distinctions and create alien atmospheres.

From the enmossed community, Muir pulls from artists like bad lsd trips, Angelo Harmsworth, Nick Klein, Tetsuya Nakayama, and Patrick Gallagher to coalesce a super-compendium of the global sonic underground, all viewed through his own unique lens. Muir takes major liberties with processing and effects automation to carve new worlds from the soil of these preexisting works. Some of the tracks and material on enmixed are heavily edited, emphasizing specific harmonics or bass frequencies, and some portions contain three or four layers, putting artists in direct conversation with each other.

This heady approach—using the tools of both mixtape and remix—results in a super textual and dense palimpsest of the enmossed catalog. “Because mixes are more open- source,” Muir says, “it’s easier to express some ideas since there is more material to pull from.”

- Rob Goyanes

Silver foil printed j-cards on heavyweight iridescent ('Lapis Lazuli') recycled paper Duplicated at a carbon-neutral facility

Out of the murky, mystic world of Komodo Kolektif slides the Gamma Knife.

In the corner of a dank, dark mind, a nebulous notion condenses and solidifies, featureless and blind...and from that Komodo Klay a new kreature is hacked, molded and (mal)formed.

“The foundations of some of these pieces were laid almost a decade ago, others more recently. All of them came into being as sketches intended as Komodo Kolektif tracks to develop but for various reasons this didn't happen. The Seven Heavenly Elements was first presented to the group in 2019 but partly through personal differences in musical taste as well as COVID throwing a spanner in the works it was put aside and never worked on collectively. The two Disciple of the Drum 'dubs' are essentially rhythm tracks using the rhythm and percussion of Disciple Of The Drone, also from 2019, stripping away the drone, the gamelan melody and finally, even the bass line, which was initially intended to be the fundamental driving force of at least one of these dubs. In the end neither of these two tracks became anything like the idea that I had in mind, but that's how creativity works sometimes. The vocal parts in Cantation Dub were added most recently, just a few months ago. Fire Dub is just an exercise in me trying to rein in some insane delays and barely managing. The Ghost of Water is an anomaly because many of the fundamental parts are taken from the same jam session recorded in 2015 that led to Djakarta 3001 from the first EP. If you listen closely you'll hear Graeme Miller on guitar (back when guitar was still featured in our weekly jam sessions). I discovered this unedited hour-long jam session on an older hard drive in late 2023 and decided to fashion something from it until what became Ghost of Water materialised: the heavily delayed saron instruments, the jaw harp, the percussion and so on. What makes the track an anomaly is that it is in some ways both the oldest and newest piece of the five. The Seventh Element takes one of the seven elements of The Seven Heavenly Elements (in this case the Mopho synth tuned to the Indonesian pelog scale and ran through the Boss DE-200's depth modulator) to which I then added some gong parts and field recordings from Bali.

Once complete, I realised with an album's worth of material sitting there which was more “Komodo Kolektif” than anything I would normally produce solo, there came the problem of trying to work out what to do with this distinctly Komodo-esque, non-Komodo material. I came up with the idea of releasing it under the name Komodo Kuts...but a part of me felt I'd be cashing in on the Komodo name so ditched that part entirely...but the kuts remained, which seemed appropriate when used alongside my Gamma Knife moniker (which has a long story of its own...in a nutshell I had a benign brain tumour which only 1 in 10,000 people get and which is most frequently removed with a gamma knife (radiation). In medical parlance the device used in this treatment is often shortened to GK machine. I had been using the DJ name GK Machine, which came from my signature GK Mackinnon, since 1994, in other words long before this diagnosis. In the end I had brain surgery in Spain without use of gamma radiation...but the synchronicity of the name connection fascinated me nevertheless. Sometimes the world works in mysterious ways).

Lastly, now that I've sent these tracks out into the world, I feel somewhat liberated and can move on from this fairly niche and specific sound. The gamelan instruments have been returned to Gamelan Naga Mas, from who we'd borrowed them, and the masks hung up. This does not mean that Graeme Miller and I won't work together again in future...I'm sure we will...it just means we won't be tied to working within the constraints of gamelan, synths, percussion and dub that we became known for. So stay tuned...surely something lurks around the corner” GKM, November 2024

The 1998 Norwegian Black Metal classic ‘Soulblight’ re-issued! “Soulblight” is a worthy contender for one of the best Black Metal albums of the 90’s! 1997’s “Witchcraft” wass a challenging album to follow up with its cult status as one of the greatest Black Metal releases owing to its complex compositions and intricate orchestration. Yet Obtained Enslavement did exactly that, as “Soulblight” is a very different release but it maintained the quality and musicianship the band made themselves known for with “Witchcraft”.

This release discards the openness and mystique of the orchestral arrangements in place of a more guitar and drum-oriented sound, but this works for the much darker and aggressive tone of “Soulblight”. The structure of the album is a highlight compared to its predecessor as it feels more conceptual and complete as a whole, rather than just a collection of songs.

This makes sense as the lyrics tell an epic tale of a great war against the ‘soulblight’, a story that can be followed through the music itself too, thus making it a conceptual album in many ways. Speaking of instrumental work, the iconic and untouchable classically influenced composition (it would be insulting to call it songwriting) of guitarists ‘Heks’ and ‘Døden’, with its weaving and developed melodies to the complex chord sequences and intricate structures, is still an aspect that is so unique to this band; the composers truly have a great understanding of music in its high-art form.

The performances delivered by the band are done with terrifying precision and clarity, unusual for the genre where commonly a ‘that will do’ attitude is employed; nowhere on this album can you hear sloppiness of any kind. Pest’s vocals are consistent and hair-raising, nothing about it sounds human and this works in favour of this otherworldly suite. Pytten has once again cemented himself as one of the greats in the Black Metal world and even just knowing this album was recorded in the infamous Grieghallen, adds to its grandeur and appeal. To conclude, “Soulblight” is a worthy contender for one of the best Black Metal albums of the 90’s. The world will likely never again see two Black Metal albums as perfect as “Soulblight” and “Witchcraft”, evil in its intent yet majestic and epic in its final form.

Repress!

Compilation of 80s Turkish-Swiss band Café Türk, featuring selected works from their discography as well as previously unreleased recordings!

Café Türk's unrestrained sonic palette explores new wave, psych, disco and reggae with influences from Anatolia and Azerbaijan.2xLP includes a 4-page booklet with extensive liner notes and photos.

Café Türk are an inimitable Turkish-Swiss band formed in the 1980s, whose genre-bending sonic palette draws from Anatolia, the Caucasus and Western Europe. The group’s frantic trajectory connects Switzerland and the Turkish city of Kars with a background story as rich and unexpected as their sound. After three decades since they disbanded, Zel Zele Records have collaborated with Turkish crate-digger Grup Ses to give the music of Café Türk a new lease of life. This eponym compilation features original album tracks, singles and previously unreleased takes that trace the outline of the group’s history. From the rolling disco of the group’s debut recording “Haydi Yallah”; to the previously unreleased kosmiche of “Yıldızlar”, “Ali Baba From Istanbul”s Azeri grooves and German language vocals, to the psyched-out interpretation of Causaccian folk tune “Şamil”, Café Türk showcases the endless stream of ideas the band had during their time together between 1983 and 1989. Tracks come with an unrestrained spirit, weaving in the crackling energy of new wave, rock, disco and reggae with influences from Turkey and Azerbaijan.

This fascination in pulling different worlds together goes right back to the formative days of Metin Demiral, founder of Café Türk. Metin grew up in Kars, a provincial town in the Northeastern part of Turkey. Kars was once known for its multicultural communities; where you could hear locals speaking a range of languages, from Turkish to Azeri, Russian and Kurdish. In 1983 Café Türk won a contest set for Turkish groups based in Europe, organised by the label Türküola, home to Turkish stars like Cem Karaca, Selda Bağcan and Barış Manço. The resultant recording sessions gave birth to his new band and debut LP, Pizza Funghi. But Metin turned down Türküola’s offer to put the record out and instead self-pressed 1000 copies on his own Sound Concept label - driving as far as Berlin to sell them face-to-face to record shops. The record was picked up by a member of the German city of Nuremburg’s Cultural Department and soon Café Türk were invited to play for the local workers’ unions, many of whom represented immigrants from Turkey. These events only grew in popularity, the group ultimately spending five years touring similar shows in Europe, alongside more conventional tours and festivals. Metin had hoped to bring his new record to audiences in Turkey again, however, he found it impossible to get any of his songs played on state-sponsored radio, something he attributed to the infamously strict supervisory board of TRT, Turkey’s state-funded broadcaster. TRT tended to not accept songs that blended both western and traditional Turkish music in order to avoid “degenerating” Turkish folk music. Cafe Türk tried to fight this conservative mindset, but progressively resigned themselves to the political restrictions of the time

Cuban music has a new global ambassador: Cimafunk. With a name and image that pays tribute to the Cimarrons – Cubans of African descent that resisted slavery – and music and showmanship that re-embodies funk legends from the last century, the medical-school student turned funk artist has developed into a musical force crafting the sonic future of the island and a global, cultural phenomenon that unites and celebrates blackness across borders, oceans and languages.

After the success of El Alimento, Cimafunk delves even further into his exploration of the intersections between funk and the sounds of the continent and gives us Pa' Tu Cuerpa (Mala Cabeza Records), his most polished and mature production to date. For this occasion, Cimafunk has summoned a constellation of extraordinary artists and musicians.

"Collaboration is something I really enjoy," he confesses. "This album has artists that I had always wanted to work with, of whom I am a fan and of whom I have a lot of influence from them." From the legendary touch of funk master George Clinton, who also appeared on Cimafunk’s last album, to the jazz mastery of top AfroCuban pianist Gonzalo Rubalcaba, through the vibe of Colombian rockstars Monsieur Periné, to the Caribbean rhythms and melodies of Haitian producer Michael Brun, and the youthfulness from Havana’s urban street scene of Cuban newcomer Wampi, each guest works like a piece of clockwork in this masterpiece.

“Cuchi Cuchi” is the track that immediately takes you to the Cimafunk of 2024. Catchy, danceable and super funky, “Cuchi Cuchi,” which is a playful way to say “hooking up,” is a Cuba meets New Orleans mashup ready to explode when performed live. “It’s really funky and you can envision me on stage with my band and feel the way I dress, dance and live life just by playing the track,” says Cimafunk. “My musical director Dr. Zapa is the producer and he’s been with me since the beginning. ‘Cuchi Cuchi’ is Cimafunk & La Tribu after a few years of exploring the world thru festivals, venues, dressing rooms and parties.”

New Orleans – Cimafunk’s new home – jumps out track-after-track on “Pa’ tu cuerpa.” The explosive flow of New Orleans bounce-icon Big Freedia on “Pretty” and the unreplicated, powerful horns of Trombone Shorty on “I don’t care” highlight Cimafunk’s affinity with and full-on embrace of New Orleans music and culture. He’s now a regular performer at the New Orleans Jazz Festival and leads an annual New Orleans – Cuba festival and cultural exchange program, Getting Funky in Havana, that has brought New Orleans top artists and musicians to Cuba to perform for the Cuban people and do work in the schools. The result is a sonic experience as innovative as it is impossible to label; Caribbean but borderless, rooted in Havana but with echoes of Detroit funk and New Orleans bass, horns and street-corner vibes.

Dance and drama began for Paulo Alvarado in 1992 when Sabrina Castillo, Bettina Barckhausen, Joam Solo, Xavier Pacheco, and Alfredo Porras invited him to create the music for their choreographic and theatrical productions as an ethereal actor who is not seen but heard; a sound that is not merely an occasion to "musicalize" the stage production; music that does not merely adorn or incidentally accompany the movement and text, but that acts.

This is how he soon had the opportunity to work on the stage production of Sophocles’ OEDIPUS REX (Edipo Rey), the first of several plays for which Alvarado composed music at the request of Luis Tuchán one of the revered theatrical directors from Guatemala. With him, they also worked on Shakespeare’s Macbeth, which carried the subtitle "Asesino del Sueño" (Sleep Murderer). Later, as an example of another area of action, and at the request of Dennis Leder one of Guatemala's leading artists from the past three decades and Ana Asturias who had worked with the Guatemalan Dance Company, he created the music for a dance-installation called, fittingly, "Lederana" mixing both words from their name. Around that time, he also began composing and presenting music for productions by Guatemalan authors, such as the drama by Rubén Nájera, "Sacra Conversación", directed by Joam Solo.

These pieces, contained on Side A of the album, represent only a very brief sample of an era immersed in theatre and other performative projects where more than forty theatrical and choreographic pieces where created in a span of three decades, and consist of his valuable contribution to the soundtrack of dramatic theater and contemporary dance in Guatemala.

Separately, the title piece of this album, ANTIGUA, found on Side B, was designed for the exhibition of
engravings, lithographs, and digital prints by Roberto Godoy, Antigua Estampa de la Vida Mía. It gathers musical extemporizations for the dance we invented at the moment of inaugurating the photographic exhibition by Rocío Villanueva, Los Mutantes de los Apegos; the fifth movement of my String Quartet No. 5 (version for six cellos); Exiliados en Tierra Propia(introduction to my song Púrpura de Vida y Sentimiento); and Las 56 (from the film Después del Fuego), dedicated to the young women wounded and killed on March 8, 2018, in a so-called "safe home" in Guatemala City. This LP unites many of Paulo's most experimental works and serve as a small tribute to his life, trajectory and to all those who, without reservation, dedicated and invested resources in his music catalogued by himself as one of the main ways to celebrate human life: art.

New Source gladly welcomes Juan Bozzolasco aka Juan Dairecshion, unveiling a four track in which he confirms his innovative approach to electronic music production. His works, full of creativity and unexpected interactions between elements, are shown here in full display. His music is a result of a life-long exposure to some of the most seminal works of dance-floor oriented electronic music, ranging from Chicago’s and Detroit’s House and Techno passing through mid-century American Jazz and avant garde Latin-American music. House music composed by a techno-head and housey techno for your grooving pleasure are unequivocally found in his release.

Roberto Cacciapaglia is an Italian composer and pianist who started out in the fertile Milan avant-garde scene of the 1970s, which included Franco Battiato, Giusto Pio, Lino Capra Vaccina, Francesco Messina, among others. After studying at the conservatory, he worked at RAI's Studio of Musical Phonology – an electronic music laboratory similar to NDR/WDR in Germany, GRM/IRCAM in France or BBC Radiophonic Workshop.

Sonanze (Sonatas) is Cacciapaglia's debut album, a monumental work that was recorded over a two-year period and released in 1975 via seminal German label Die Kosmischen Kuriere (Ohr). While a "sonata" is traditionally performed by easily distinguishable instrumentalists (often soloist and accompaniment) and with repeated structural themes, Cacciapaglia flips this hierarchical form on its head – blending harpsichord, strings, brass and analog synths to create ambient mini-soundtracks.

As the composer writes in the original sleeve notes, "I am aware, unfortunately, that I am a few millennia late in how I would like music to be understood, which today I find diluted in its primary powers, in an era that is destructive of essential values. Precisely for this reason, I want to search for it in depth and not on the surface, perhaps alternating the knob of a synthesizer with a marranzano (mouth harp)."

Mixed in quadrophonic surround-sound under the auspices of Rolf-Ulrich Kaiser (celebrated producer of Tangerine Dream and Ash Ra Tempel), Sonanze remains on the fringe of Kosmische realms. Each movement explores hypnotic rhythms, intuitive arrangements, musique concrète techniques and a pure psychedelic awakening.

Following his recent EP, The Circle of Life, on Pushmaster Discs, Milan's rising techno star Maike Depas returns with a brand-new release on his renowned The Innovation Studio Records. Titled “Sexy Devil Horse”, it is a powerful 10-track collection, featuring many iconic international artists from the Hard Techno space such as Etruria Beat’s headmaster Luca Agnelli, Dutch-based sensation OGUZ and the “Demon of hard techno” also known as Michael Katana, as well as Southern Italian talents CHRS and Gianni Di Bernardo.
This release marks a pivotal moment in Maike Depas’ journey to become one of the highest rated talents in the Hard Techno scene. It will also be followed by a key paradigm shift his label’s business model in 2025. For this occasion, Maike has lined up an amazing group of artists to celebrate those who have shared his musical vision along the way.

The title is meant to be provocative and captivating, just like its content: catchy and fresh enough to attract ravers and clubbers from around the world. Its artwork was created by the master Luden Works. It features a plastic female figure with an undefined appearance, yet with sensual curves and a powerful surge of energy, like a wave enclosed in a sphere, representing Maike’s and The Innovation Studio Records’ logos.
From the galloping rhythm of “Sexy Devil Horse” and “Hear The Sound” to the groovy and elegant “Ce Soir” there is an immediate feel about the artist’s singular touch and eclecticism. Same goes for the tangible contrasts which make a key element of this release, where the minimalistic mood of “StarKiller” and its maximalist counterpart “Dark Serenade” carry the listener through a full-spectrum emotional rollercoaster.
Hard Techno and Psy Trance vibes go hand in hand with ‘90s Trance and Rave echoes, creating a blend of recognisable and innovative samples that can resonate with many different types of audience and like-minded artists. This aspect is fundamental in the direction Maike and his team have decided to take.

It all comes from afar: starting with a classical musical background – playing the piano at Conservatory level for many years, including Berlin’s own Funkhaus. This theoretical and practical knowledge, mixed with a long-time passion for electronic music, made it easier for Maike to shape and cultivate his authentic sound since a very young age.

As part of its evolution, The Innovation Studio Records will officially open its doors to new talent and renowned artists starting in 2025. The team’s vision is to create an international reference point for quality and innovation, shaping a brand-new artistic movement based on combining the modern vision of our generation with our cultural heritage from the past, thanks to the team that we put together, both in terms of approach and technique.
It'll be a structure built from the ground up, combining the best of analogue technology in a modern workflow with the highest level of music hardware, audio monitoring and studio design. In their view, there are two types of productions: those that stay ‘inside the box’ and those that get into your heart.

The desire to unite instead of dividing, to join forces instead of competing, is the key to Maike’s success and a real drive to turn the studio lights on every single day. Despite playing a lot with dystopic, cyberpunk-like atmospheres throughout his artistic journey, music doesn’t feel like a means to escape reality for Maike. In fact, it’s quite the opposite.

The definition Maike uses the most to describe what The Innovation Studio Records wants to become is “a mysterious display cabinet”: a place where an artists will never know what emotion will arise or what direction will be taken next. Although hard work, professionalism and common inspiration will ultimately still be its main fuel, a true sense of community and empathy will be crucial to shape the future Maike and his team have in mind for it.
In a very romantic way, the idea is to re-create the same atmosphere from the Italian Renaissance masters’ workshops. Places where different artists - with opposite backgrounds and styles - could all mingle and inspire each other, in order to foster the creation of something unique. A collective effort for a greater good.

About MAIKE DEPAS
Young hard techno DJ-producer Maike Depas (born Michelangelo De Pasquale) has seen the future of music and it’s called metaverse: “In the future it will blow up,” he predicts. “And it’s going to revolutionize the way we experience music.” Bowled over by Skrillex and Martin Garrix by the age of eight, and DJing at smaller Milan clubs by the time he was eleven, Depas went on to study composition and piano at the prestigious

Milan Conservatory before learning ‘life- changing” lessons from the best in the business at Catalyst’s 4-week Advanced Sound Design course in Berlin’s Funkhaus . His production gets inspired by huge 90s trance synths as much as pounding hard techno from artists such as Kobosil, In Verruf and Amelie Lens.
2024 marked the launch of MAIKE DEPAS 2.0, a tectonic audio-visual shift that entails a wide array of content from DJ sets livestreamed from Berlin’s Teufelsberg and other dystopic locations around Europe to cyberpunk-inspired outfits designed by Demobaza, a cyberpunk-inspired casual couture brand best known for their sustainable Dune X Demobaza collection. Over the course of a developing metamorphosis from a flesh-and-bone individual to a mysterious CGI character, Depas is another step closer to revolutionize the dance music scene through the metaverse.

The prolific, virtuosic original Bjarki Sigurðarson returns to the concept album format, with ‘A Guide To Hellthier Lifestyle’. It’s the first LP to be released on Differance.

‘A Guide To Hellthier Lifestyle’ explores the psychological landscape of contemporary social issues, offering a sideways rumination on lifestyle dilemmas and wellness obsessions, presenting itself as a response to the modern condition. It combines storytelling with innovative sound textures – encouraging listeners to pause and contemplate the absurdities of contemporary life. Neither a critique nor an endorsement, it represents an honest exploration of our world through Bjarki’s sonic lens, gleaming a heart of darkness, but eventually finding light.

The album utilises hyper-stereo techniques, soothing melodies, complex audio structures, AIgenerated voices and sampled vocals – influenced by Coil, Genesis P- Orridge, and Paul Lansky. Bjarki investigates how specific frequencies can impact consciousness, awareness, mood, and mental state, thereby influencing our perception of reality. His vaporous sound design provides a listening experience that bridges the physical and imaginative realms; sometimes placing the listener in contemplative sanctuary, and at others making them lost – somewhere strange, uneasy, disconnected.

Bjarki on his Guide To Hellthier Lifestyle

“This new album has been two years in the works. It’s sort of my take on all the social weirdness and wellness obsessions happening right now. It kicked off with a track I started in California – the story of a soul that got born into the wrong womb. During that time, I was noticing more and more of this whole ‘wellness religion’ everywhere – people trying to sell you ‘good vibes’ and random people offering you life coaching sessions on Instagram who maybe have less life experience than a houseplant. All these apps that track our every move; it’s like they’re repackaging control and calling it ‘self care’. Capitalism in yoga pants. Thats when I started putting ‘A Guide To Hellthier Lifestyle’ concept together. A never ending, self improvement rabbit hole. We are all being sold this idea that we are not quite enough and we need to buy our way out to being better.

At one point, I took a break from the album and started working on another album full of satirical speeches, AI generated voices, where I create my own voices and type in some ideas of speeches, taking the piss out of wellness gurus and life coaches. I messed a lot with these AI voice generators, creating these deep, faux serious monologues. Proper weird stuff, but it cracked me up. Reminded me of the early days, when I was 13, making tracks on Fruity Loops, mucking around with text-to- speech generators. After the break I came back to finish ‘The Guide’ on a much deeper level.

I moved part of my studio to Latvia and continued in the countryside for few months. I realised that I just wanted something beautiful. So, yeah, this album is all of that. It’s spiritual, bits and pieces from the past, all these weird cultural moments, and whatever strange places my head goes. It’s a reflection, a rebellion, a bit of a piss take. But mostly, it’s just me, doing what I do.” - Duncan Clark

The album will be released only in its entirety, December 13th digi, with no advance singles.

Ashram Sun’, Surya Botofasina's much-anticipated album follows his hugely acclaimed debut ‘Everyone’s Children’ and his first offering since his contribution to ‘New Blue Sun’ and global touring alongside André 3000. It is an ode to Surya’s upbringing and musical teachings in the tradition of Swamini Turiyasangitananda - aka Alice Coltrane, by the spiritual jazz colossus Herself, at Her Sai Anantam Ashram in California. ‘Ashram Sun’ is a deep listening, spiritual masterpiece with close collaborators Carlos Niño and Nate Mercereau, and is produced by the prolific Carlos Niño, whose vision has become a pivotal point for contemporary progressive jazz music.

Ashram Sun features appearances from musical luminaries, including multi-instrumentalist Angel Bat Dawid, Los Angeles saxophonist Randal Fisher, vocalist Mia Doi Todd, as well as collaborations with vocalist MidnightRoba and acclaimed harpist and vocalist Radha Botofasina, among others. The album continues to expand on and conversate with the innovative spiritual-jazz configurations of recent works by Shabaka Hutchings, André 3000 and Carlos Niño —all of which Surya plays on. This evolution follows from his debut album ‘Everyone’s Children’, also produced by Niño, which was one of the earliest offerings of this fresh, spiritual approach. As the keyboardist on André 3000’s New Blue Sun and an integral member of André’s touring group, Surya has already directly brought the legacy of Alice Coltrane/Turiyasangitananda into this rich new current in creative music.

The music on Ashram Sun is tuned into these wavelengths, consolidating a new jazz lineage with energies directly from the source. The album blends improvisation in the creative music tradition with washes of cleanly spiritualised keyboard work, atmospheric percussion, and sanctified vocalisation. As Surya Botofasina explains, "Swamini (Alice Coltrane) and the Ashram have taught me that the only place worth going to, is within… I am always going to be an Ashram Sun."

Thoughts of You, as a phrase, might immediately associate one with feelings of love, endearment, fantasy or even obsession. These are the very sentiments that lay as cornerstones in Salvator Dragatto's debut LP for Colemine Records. The allure and drama of black & white photography have always played a vital role in how Salvator (aka Joseph Reina) not only views the world but how he hears music. Parallels in film processing to his own recording methods started becoming more and more apparent as the record was being formed; Limitations in exposures rivaling limitations in tracks. Film grain and dust sediments rivaling tape hiss and dirty EQ pots. What most would consider to be imperfections, Dragatto leaned into and found inspiration. This record is an homage to the likes of Andre' Kerte'sz, Robert Frank, Jean-Luc Godard and Rene' Groebli, who's works have impacted Dragatto's world so greatly both visually and sonically. Thoughts of You is an unabashed reflection of the noir. From the powerful thematic horn lines to the gentlest string passages, this record is a collection of themes and vignettes that explore the emotions set upon by black and white imagery.

Thoughts of You, as a phrase, might immediately associate one with feelings of love, endearment, fantasy or even obsession. These are the very sentiments that lay as cornerstones in Salvator Dragatto's debut LP for Colemine Records. The allure and drama of black & white photography have always played a vital role in how Salvator (aka Joseph Reina) not only views the world but how he hears music. Parallels in film processing to his own recording methods started becoming more and more apparent as the record was being formed; Limitations in exposures rivaling limitations in tracks. Film grain and dust sediments rivaling tape hiss and dirty EQ pots. What most would consider to be imperfections, Dragatto leaned into and found inspiration. Opaque Natural Vinyl. This record is an homage to the likes of Andre' Kerte'sz, Robert Frank, Jean-Luc Godard and Rene' Groebli, who's works have impacted Dragatto's world so greatly both visually and sonically. Thoughts of You is an unabashed reflection of the noir. From the powerful thematic horn lines to the gentlest string passages, this record is a collection of themes and vignettes that explore the emotions set upon by black and white imagery.

Acclaimed musicians Nitai Hershkovits and Daniel Dor will release their highly anticipated album, “The Garden Suite”, on Circus Company. Following their previous collaboration on Daniel Dor’s debut album, “Four Petals”, this new project sees the duo exploring uncharted musical territory with an innovative, Moog-based sound.
Inspired by the groundbreaking work of synth pioneer Malcolm Cecil, “The Garden Suite” marries electronic textures with the richness of orchestral sound. Drawing from a vast range of influences, including the works of Benjamin Britten and Fredrick Delius, Hershkovits and Dor meticulously composed each track, layering Moog synthesizer melodies to emulate various instruments from the orchestra - from French horn to percussion, guitar, brass, and woodwinds. The result is a sound that is lush yet light, deeply textured yet not dense.
“The Garden Suite” marks a significant evolution in the partnership between Hershkovits and Dor, with their new compositions shifting from the rhythmic focus of “Four Petals” to a more texture-driven approach. The album showcases their ability to create genre-defying soundscapes, blending Daniel’s rhythmic system, “The Flower,” with lush, ambient layers of sound created on the Moog.
Nitai Hershkovits, known for his extensive work in jazz and classical music, began his musical journey as a clarinetist before transitioning to piano at the age of 15. His early passion for improvisation and jazz earned him several jazz competition awards in Tel Aviv. Nitai’s career highlights include his fiveyear tenure with the Avishai Cohen Trio, and his numerous projects as a solo artist, including work with ECM and his band Apifera.
Daniel Dor, a drummer and multi-instrumentalist, was born into a family of musicians in Tel Aviv. He began exploring rhythm at the age of 10, building his first drum set out of household objects. His innovative rhythmic method, “The Flower”, gained attention with his debut solo piano album, “Four Petals”, which led to his collaboration with Hershkovits. Daniel has performed with notable artists such as NOA, Avishai Cohen, and Chano Dominguez, and regularly lectures on rhythmic symmetry and music.
With “The Garden Suite”, Hershkovits and Dor offer a unique listening experience that challenges traditional genre boundaries. Their seamless fusion of rhythm, melody, and texture creates a soundscape that is as experimental as it is captivating.

For the 6th release, Mung Records presents the Future Empire EP by acclaimed Italian DJ and producer Gianmaria Coccoluto, known in the scene as GNMR.

Raised in a musical environment, Gianmaria’s passion for music developed from an early age, shaping his profound sensitivity to sound, which reflects in every creation. GNMR’s productions entail an accurate musical exploration, blending various arrangement techniques with both analog warmth and digital precision. His works are characterized by an exquisite aesthetic and an intuitive mastery of groove.

« Most aresting, however, is the film's use of sound and music, which give each scene an atmospheric lilt. »

Maya Phillips

In order to celebrate the first anniversary of Sirocco and the Kingdom of Winds, the animated film by benoît Chieux, Stereo Rônin Records partners with Cristal Publishing, Sacrebleu Production, Take Five, and Ciel de Paris to offer a limited vinyl edition of the original soundtrack composed by Pablo Pico.

The soundtrack of Sirocco and the Kingdom of Air Currents, composed by Pablo Pico, stands out for its melodic richness and immersive atmosphere. It accompanies the journey of Juliette and Carmen through a fantastical world. The music blends traditional instruments with modern sounds, creating a nostalgic yet dynamic ambiance. The themes evoke adventure, discovery, and magic, enriching the film’s visual narrative. With his captivating compositions, Pablo Pico captures the essence of the story, providing an auditory experience that perfectly complements the film's universe.

Synopsis

Juliette and Carmen, two fearless sisters aged 4 and 8, discover a secret passage to the Kingdom of Air Currents, their favorite book. Transformed into cats and separated from each other, they must show courage and daring to reunite. With the help of the singer Selma, they will try to return to the real world by confronting Sirocco, the master of winds and storms... But is he as terrifying as they imagine?

“Being able to release this magnificent soundtrack composed by Pablo Pico is a great pride and a real pleasure. I want to open our catalog to unique works and universes. Being able to do this from our second published title, with a first foot in the world of animation, with Sirocco is an important shift for the label”

Frédéric Claquin – Stereo Ronin

“Sirocco’s music is like a deep breath. It was inspired by the fantastic universe of the film, the epic breath and the fantasy of the characters. I hope that with this vinyl edition, you will be able to relive the adventures of Juliette and Carmen and that the songs of Selma will take you far to the Kingdom of Air Currents”

Pablo Pico – Composer

“Cristal is a music publishing house, specializing in music for images, committed to working alongside composers for over 25 years. Our mission is to highlight the emotions sought in audiovisual productions, we choose our projects carefully, Sirocco was a real favorite, both on the subject and on its treatment, where music has its place, and becomes a real actress in the film. The talent of Pablo Pico brings this accuracy to the story”

Eric Debègue – Cristal Group.

ROUND RECORDS IS PROUD TO REINTRODUCE THE RECORDINGS OF DAVID GRISMAN & JERRY GARCIA AT RETAIL WITH THE DEBUT OF BARE BONES, a collection of duo performances exploring the foundation of their beloved studio recordings. After over 30 years, Grisman has opened the Dawg Vault to curate a collection honoring the magic of their studio works. They are presented for the first time in their original unadorned state as part of a vinyl series.

Destroy All Neighbors is a twisted splatter-comedy about a deranged journey of self-discovery full of goopy practical FX, a well-known ensemble cast, and LOTS of blood. William Brown (Jonah Ray Rodrigues), is a neurotic, self-absorbed musician determined to finish his prog-rock magnum opus, facing a creative roadblock in the form of a noisy and grotesque neighbor named Vlad (Alex Winter).

He finally works up the nerve to demand that Vlad keep it down, and William inadvertently decapitates him. But, while attempting to cover up one murder, William's accidental reign of terror causes victims to pile up and become undead corpses who torment and create more bloody detours on his road to prog-rock Valhalla. The soundtrack is an infectious slice of progressive rock cues, EDM freakouts, 80’s synth pop and so much more by the brilliant Ryan Kattner & Brett Morris. Released in conjunction with SUB POP Records, and features an original song by MAN MAN, artwork by Johnny Dombrowski, and pressed on coloured vinyl.

All the music in the world is at your fingertips, and it's up to you to set the vibe_ So, what should we listen to? If you're having trouble deciding, turn on the radio. It's the perfect place to discover something new, or jam along to a tried-and-true station that'll never let you down.Tune In is due out 11/1/2024 via Chiefdom Records. The second of three installments in the Terrestrial Radio series, it's a carefully curated collection of instrumental fusion, designed to serve as the perfect radio mix for fans of jazz, hip hop, funk, soul, reggae and beyond. It's the latest release from Cincinnati based executive producer Doctor Bionic (Jason Grimez). As a DJ, producer, and former member of 90s rap group MOOD, Grimez' musical career revolves around hip hop. He's always preferred to sample songs from the late 60s and early 70s because of the authentic tone. "Growing up collecting and sampling records was an education, whether we realized it or not," he explained. Grimez records and produces music using analog gear to emulate the instrumentals that he's always loved as he works with some of the best musicians in the Cincinnati area to bring his ideas to life. Among others, Jonathan Luck Spaulding and Josh "Mojo" Cole made several appearances on guitar throughout the record. Every Doctor Bionic release is accompanied by a unique, thought-provoking album cover. For Tune In, Grimez worked with Refael Idan Suissa, a painter and digital artist based in Israel.Next time you're looking for some new instrumental tunes to set the tone, you can count on the growing catalog from Doctor Bionic. Tune In is available everywhere on 11/1/24.

Celebrating the 20th anniversary of Callisto's impactful debut album, Svart Records is proud to bring it to you for the first time ever on wax! Callisto is a post-metal band from Turku, Finland formed in 2001. They've headlined several tours in Europe, opened for High On Fire on their UK tour, and showcased in Canada and the United States. Whilst their early works are hardcore and metal, the debut album True Nature Unfolds has a strong sludge metal and doom influence. It was recorded in 2004 by the late Mieszko Talarczyk (Nasum) and introduced to Earache Records a year later through Johannes Persson (Cult Of Luna), earning the band worldwide distribution. True Nature Unfolds was originally released only on CD in 2004 by Fullsteam Records in Finland and Earache Records in the US and UK a year later. The album delivers a breathtaking mix of atmospheric soundscapes, heavy riffs, and haunting melodies. Each track invites you on an emotional journey, blending post-metal intensity with introspective lyricism. Don’t miss this powerful musical experience—let the journey begin! The 20th anniversary edition of True Nature Unfolds is presented on double vinyl in a glorious gatefold cover, with new album art by the band's drummer Ariel Björklund. Available versions are the Svart exclusive green/red/black marble vinyl, limited golden yellow vinyl, and classic black vinyl. Release date December 13th, 2024.

14 songs deep and proudly devoid of gimmicks or distractions, Slaughter On First Avenue is a riveting and raw account of Uncle Acid in full flight. From early classics like I'll Cut You Down and Death's Door (both from Blood Lust), to more recent works of lysergic aggro like Shockwave City (from Wasteland) and sinister epic Slow Death (from The Night Creeper), this amalgamation of two fiery and unforgettable live shows has a mesmerising momentum all of its own. A throwback to the days when live albums were magical things, rather than cynical stopgaps, Slaughter On First Avenue is a jolting dose of dark electricity and psychedelic terror. Swollen with the greatest of riffs and performed with grit, power and haughty disdain, it loudly confirms that Uncle Acid & The Deadbeats have the raw, fuzzed-out power to drag everybody into their bewildering, bewitched vortex of doom. A dazzling, devilish squall to mark the beginning of a new chapter, Slaughter On First Avenue also clears the decks for this band's next malevolent move. Don't say we didn't warn you. "Yes, There will be another record which will hopefully appear at some point without warning or explanation," Kevin Starrs avows. "It will be completely different to anything else we've done. You can think of it as a late-night detour. Its appeal will be extremely limited but that's OK... 'When you're slapped, you'll take it and like it!'".

For Fans Of... 60's and 70's French Noir Scene / Black and White film photography, The Rugged Nuggets, Dirty Art Club, Massive Attack, Misha Panfilov, The Ironsides, Doctor Bionic, Blockhead, DJ Shadow, Sven Wunder. First Salvator Dragatto full length LP to be released on Colemine. All members of The Rugged Nuggets (205k monthly listeners / 8.4k followers on Spotify) played on this LP. 60's French Noir Cinematic Soul. Produced by Joey Reina. This record is an homage to the likes of André Kertész, Robert Frank, Jean-Luc Godard and René Groebli. Artist has previously released three successful 45s. Thoughts of You, as a phrase, might immediately associate one with feelings of love, endearment, fantasy or even obsession. These are the very sentiments that lay as cornerstones in Salvator Dragatto’s debut LP for Colemine Records. The allure and drama of black & white photography have always played a vital role in how Salvator (aka Joseph Reina) not only views the world but how he hears music. Parallels in film processing to his own recording methods started becoming more and more apparent as the record was being formed; Limitations in exposures rivaling limitations in tracks. Film grain and dust sediments rivaling tape hiss and dirty EQ pots. What most would consider to be imperfections, Dragatto leaned into and found inspiration. This record is an homage to the likes of André Kertész, Robert Frank, Jean-Luc Godard and René Groebli, who’s works have impacted Dragatto’s world so greatly both visually and sonically. Thoughts of You is an unabashed reflection of the noir. From the powerful thematic horn lines to the gentlest string passages, this record is a collection of themes and vignettes that explore the emotions set upon by black and white imagery