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Blues Lawyer is back on Dark Entries with a new 7” EP of summery alt-pop. Fresh off the heels of their critically acclaimed Dark Entries debut, Sight Gags On The Radio expands the Blues Lawyer universe, one where lovelorn millennials struggle to find their place. The four songs were recorded one afternoon by Rob I. Miller, Blues Lawyer co-founder and chief songwriter, in the band’s Oakland rehearsal space. It was recorded just days before Elyse Schrock (singer, songwriter, drummer, and music video creator) would be leaving the Bay Area – her home for the past decade – due to the soaring cost of living. The first single, “Have Nots,” shows the band moving away from the rapid chord changes that characterized their earlier work towards hazy guitar textures. It is accompanied by a tender music video portrait of the band reuniting in Portland, where Schrock now resides. The video documents the band’s touring life: playing pizza parlors and billiard clubs, sleeping on floors, and killing time between gigs. These touching images are elevated by Schrock’s trademark animations and editing style. Blues Lawyer also experiment with new songwriting configurations on this EP. “True Love’s Only Name,” was musically developed by Blues Lawyer guitarist, Ellen Matthews, lyrically by Miller, and sung by Schrock. Sight Gags On The Radio captures the essence of the band's sound but also reflects their development as songwriters. The outcome is Blues Lawyer’s most compelling artistic proclamation to date. Each 7” is housed in a warm orange toned jacket designed by Eloise Leigh featuring lyrics on the back. Blues Lawyer - Sight Gags On The Radio 7” EP releases Friday, September 29th via Dark Entries days before the band embarks on their first tour of Europe and the United Kingdom.

With his surprising first solo album Edmund November, Edmund Lauret (Nordmann, Kosmo Sound, The Milk Factory) returns to his British roots and the music he grew up with. He also debuts as a singer. "I had been making solo songs for a while, but that process was accelerated during the corona period," he says. "I think there has always been a singer inside of me and now it has come out."

The idyllic setting of the southern English countryside where Edmund and his band recorded the album undoubtedly had an impact on the organic, vintage British character of the music.

The songs are open and expansive like the landscapes around the recording studio. The titles and lyrics also have an elusive character; Lauret prefers to leave them to the imagination of the listener.

What is also striking is that Edmund November is clearly influenced by music from the sixties and seventies, the songs Edmund grew up with. As a young guitarist, Edmund was enthralled by Jimi Hendrix, Donovan, early Pink Floyd and The Beatles.

His influences showed him how to master the balance between harmony and melody. This is how Lauret has always worked with his bands for the past fifteen years, and in that sense his solo work is no different.

Edmund November floats between psychedelic folk and melancholy pop. The songs were recorded live with minimal editing, which only adds to the liveliness of the record. Ten songs take the listener on a dreamy musical trip that showcases Edmund's singer-songwriter qualities.

Der mittlerweile 82-jährige Südafrikaner führt seine 1971 gegründete Band noch heute live an, und zum Anlass des bevorstehenden 2000sten Live-Konzert der Band erscheint diese (für Deutschland exklusiv konzipierte) Zusammenstellung von 9 erstklassigen Liveaufnahmen. Inkl. „Spirits In The Night", „Demolition Man", „You Angel You", „For You" und natürlich „Blinded By The Light". Mit dieser (auf der LP nummerierten) Veröffentlichung, bedankt sich Manfred bei seiner loyalen deutschen Fangemeinde!

Die 60er Jahre waren mit Sicherheit eine erfolgreiche Phase der Manfred Mann's Earth Band. Hits wie „Mighty Quinn", „Do Wah Diddy Diddy", „5-4-3-2-1", „Sha La La" und „Fox on the Run" u.a. sind auf dieser erfolgsversprechenden Compilation enthalten. Außerdem verfügt es über sehr unterhaltsame und informative Linernotes von Manfred Mann, Tom McGuinness und Mike Huƽ, die darin den kreativen Prozess der Aufnahmen, sowie die Hot-House-Atmosphäre und das unerbittliche Treiben der Pop-Maschine der 1960er Jahre beschreiben.

Hailed by critics and clerics upon its release, and described by the band as a maelstrom full of wreckage, it is undoubtedly their most byzantine and excessive work to date. A trip through the lavish void. Comes with printed inner sleeve, 4-page insert containing previously unpublished photos, liner notes by Dan Franklin and a testimonial by Toby Driver. Incl. Poster.

Hailed by critics and clerics upon its release, and described by the band as a maelstrom full of wreckage, it is undoubtedly their most byzantine and excessive work to date. A trip through the lavish void. Comes with printed inner sleeve, 4-page insert containing previously unpublished photos, liner notes by Dan Franklin and a testimonial by Toby Driver. Incl. Poster.

Hailed by critics and clerics upon its release, and described by the band as a maelstrom full of wreckage, it is undoubtedly their most byzantine and excessive work to date. A trip through the lavish void. Comes with printed inner sleeve, 4-page insert containing previously unpublished photos, liner notes by Dan Franklin and a testimonial by Toby Driver. Incl. Poster.

GER JUNG IN WIEN - NEUE JANGLE-POP GRUPPE MIT 80ER INDIE WAVY VIBE. IHRE ERSTEN BEIDEN MINI-ALBEN "TROUBLE" & "LIGHTNING TRAILS" JETZT AUF EINER LP. "Der gerade erst volljährig gewordene Tobias Hammermüller steht für weichgespülten Bedroom-Wave und formte für sein Debütalbum auf Siluh Records die Band Laundromat Chicks." (THE GAP) - Hinter dem Namen LAUNDROMAT CHICKS verbirgt sich das Musikprojekt von TOBIAS HAMMERMÜLLER, der gerade 19 Jahre alt geworden ist. Nach dem selbstproduzierten Debüt "Trouble" haben die LAUNDROMAT CHICKS ein neues Album vorgelegt, das deutlich ruhigere Töne anschlägt. "Lightning Trails", das Band-Mastermind Tobias Hammermüller zusammen mit Martin Rupp (Jansky) produziert hat, ist ein folkiges Manifest für die leisen Töne geworden, die wir dringend brauchen. Beide Alben sind jetzt auf einer LP verewigt. Seite A mit dem eher ruppigeren "TROUBLE", auf der B-Seite das folk-inspirierte Kleinod "LIGHNTING TRAILS" "Lightning Trails" ist ein Meisterwerk an Musikalität und Zurückhaltung zugleich, eine Ode an die Verträumtheit und Nachdenklichkeit in Zeiten des Aufruhrs und der aufeinanderprallenden Ideologien. Es ist eine Einladung, aus dem Fenster zu klettern und eine aus den Fugen geratene Welt von einem versteckten Sims aus zu betrachten. Wie das Nachglühen eines Blitzes auf der Netzhaut, in der nahen Ferne." (Paul Buschnegg) Für Freunde von PASTELS, THE RADIO FIELD, THROW THAT BEAT, COMET GAIN, UK-Indie, Teen Angst, Twee-Pop...



[ENG] BEING YOUNG IN VIENNA - NEW JANGLE-POP GROUP WITH SOME 80S INDIE WAVY VIBE. THEIR FIRST TWO ALBUMS "TROUBLE" & "LIGHTNING TRAILS" ON ONE LP "Conversational lyrics depict a night on the phone amid claustrophobic misgivings and obsessive mental wanderings. Energetic, bittersweet sentiments ignite wandering clusters of shimmering strumming riffs and jangly wistful guitar melodies to weave swaying paths of vibrant nostalgia through low pulsing bass lines, skipping drumbeats, and pinpoint synth stabs to accompany heartfelt yet angsty vocal harmonies, haloed in distant echoes of doubt, through a sad discomforting timeline of uncertainty and dread." (WHITE LIGHT / WHITE HEAT) Behind the name LAUNDROMAT CHICKS is the music project of TOBIAS HAMMERMÜLLER, who just turned 19. After their selfproducued debut "Trouble", LAUNDROMAT CHICKS has presented a new album that touches on much quieter tones. "Lightning Trails", which band mastermind Tobias Hammermüller produced with Martin Rupp (Jansky), has become a folky manifesto for the quiet nuances that we desperately need. Both albums are now immortalised on one LP. Side A with the rather rough "TROUBLE", on the B-side the folk-inspired gem "LIGHNTING TRAILS". "Lightning Trails is a masterpiece of musicality and restraint at the same time, an ode to dreaminess and thoughtfulness in times of turmoil and clashing ideologies. It is somehow an invitation to climb out the window to view an unhinged world from a hidden ledge. Similar to the afterglow of a flash on the retina, in the near distance." (Paul Buschnegg) RIYL Pastels, The Radio Field, Throw That Beat, Comet Gain, UK-Indie, Teen Angst, Twee-Pop...

ENG The new Will Toledo from Austria? - LAUNDROMAT CHICKS is the music project of TOBIAS HAMMERMÜLLER, who just turned 18 and still goes to school. He recorded most of the songs from his debut on Siluh Records by himself. Live he performs them with his band featuring Lena Pöttinger (drums), Theresa Strohmer (guitar, vocals) and Felix Schnabl (bass). Felix Schnabel, on the other hand, has his own garage punk project called SALAMIRECORDER, with Tobias playing bass. Musically, the whole thing sounds like an exquisite jingle-jangle indie/twee-pop sound. It almost seems like a lost album from early influential labels like Flying Nun, Cherry Red, Postcard Records. The songs from "Trouble" were mostly written at home, in the bedroom, in front of the TV and at his favorite spot at the movies. The basic mood of the songs is mostly melancholic, though that you can still cook or dance to, or listen to on the bus when you're on your way to going out with your friends. Tobias Hammermüller took inspiration from the indie rock sound of the 2010s (Snail Mail, Chastity Belt, The Babies, Best Coast, The Drums) and from many new wave hits (Aztec Camera, Psychedelic Furs, Echo and the Bunnymen, Prefab Sprout). The lines of text are largely based on quotes from films. He is particularly fond of the old strips by Éric Rohmer and Wim Wenders, and from New Hollywood/Nouvelle Vague movies, because they often deal with identity crises and escapism, just like his songs.

Oneohtrix Point Never aka Daniel Lopatin stellt sein neues Album AGAIN vor, das für ihn zum Teil 'eine spekulative Autobiografie' ist, eine Übertragung, ein gebannter Rückfluss digitaler Sprachen und Klangparanoia, dessen, woran man sich erinnert und was vergessen wird, alles präsentiert in der für OPN typisch melodischen Note. Ähnlich wie GARDEN OF DELETE aus 2015 entstand auch AGAIN als Zusammenarbeit zwischen Lopatins aktuellem und jüngerem Ich – diesmal als Meditation über seine musikalische Identität im jungen Erwachsenenalter aus der Perspektive des mittleren Alters. AGAIN folgt auf die zahlreichen von der Kritik gefeierten OPN Alben, die ihm renommierte Kollaborationen (The Weeknd, James Blake, Ishmael Butler, Charli XCX, Kelsey Lu, Iggy Pop, Rosalia) und Produktionsaufträge (Anohni, FKA Twigs, David Byrne, Ryuichi Sakamoto, Moses Sumney, Nine Inch Nails) einbrachten.

Demon Records präsentiert eine brandneue Originalgeschichte, Teil des Doom's Day-Handlungsbogens, präsentiert auf unterschiedlich farbigem Vinyl. Diese vier Originalabenteuer wurden von Darren Jones geschrieben und von Sooz Kempner, Jaye Griffiths und Silas Carson gelesen. Sie sind Teil des plattformübergreifenden Doom's Day-Abenteuers zur Feier des 60-jährigen Jubiläums von Doctor Who. 2 x 140Gr. Translucent Purple & Blue Vinyl-LPs, in vollständig illustrierten Inner Sleeves.

Die einzigartige Kunst von Kai Schumacher beeindruckt als geheimnisvoller Grenzgänger der internationalen Pianistenszene. Sein individueller Stil fasziniert mit virtuosen Darbietungen, die musikalische Genre sprengen. Kais kreative Kollaborationen mit Künstlern wie Francesco Tristano, Moritz Fasbender und Philo Tsoungui verschmelzen nahtlos mit seinem Spiel und defi nieren moderne Klaviermusik neu.

Tauchen Sie ein in Kais musikalische Revolution, wo Leidenschaft Innovation begegnet.

The timeless artistry of Billie Holiday is something that every generation gets to discover for themselves. The iconic songs on this collection showcase Holiday's unique ability to infuse every lyric with unparalleled emotion and depth. With her distinctive voice and incomparable phrasing, Holiday remains an enduring performer and a powerful influence on generations of musicians. Great Women Of Song is a testament to Holiday’s profound legacy and an essential addition to any music collection

As Duke Ellington would have said, Dinah Washington was “beyond category”. Subtle and inventive enough to hold an honored place in the jazz pantheon yet tough and forceful enough to command the attention of blues, R&B and rock & roll audiences. Equally at ease performing Broadway songs, pop tunes or jazz material, Washington combined urbane finesse with down-home grit to make music that reflected her strong-willed, larger-than-life personality.

David Eugene Edwards has always been larger than life. His music with innovative heavy droning folk band Wovenhand, and before that the haunting revivification of high lonesome sound antique Americana of 16 Horsepower breathed a near apocalyptic sense of urgency and power into musical archetypes long abandoned in the latter-20th Century. On his first-ever solo album under his own name, Hyacinth, David Eugene Edwards delivers a sound uniquely his own, with a vulnerability and introspection unheard from him before. Stripping back the heavy rock of his recent work with Wovenhand, Hyacinth puts the man's voice, and sparing instrumentation into the main focus. There's a somber beauty and world-weary tone throughout these songs. The album could've been considered a slight return to the more melodic sounds of 16 Horsepower's Secret South (2000) and the first, self-titled Wovenhand album (2002). But there's more going on here: a rhythmic, pulsating undercurrent reminiscent of the tape loops and rudimentary rhythms of 80s Industrial post-punk as well as 808 Drill Style beats. The overall effect is often as if we're hearing the clock ticking away our own mortality. "Hyacinth was a sort of vision," Edwards says. "A dream. I sought out of my old wooden banjo and nylon string guitar a hidden path. Secrets they had kept from me within themselves all these years and created a new Mythos to myself of philosophical and spiritual ideas or concepts." Once he'd harnessed the music within, he enlisted multi-instrumentalist and producer Ben Chisholm (The Armed, Chelsea Wolfe, Converge) to help him realize the album's recording and mix. "Overall, the album is a weaving of narratives ancient and modern, of humankind's search for understanding of this world we find ourselves in and of each other. In all its simplicity and complexity," Edwards continues. "Hyacinth is a reference to the Greek myth of Apollo. And, the word meaning a precious stone and blue larkspur flower of purple and pall."

Die 2023er Deluxe-Edition des Daves East-Albums 'Book Of David' (2022) enthält neun neue Tracks und Kollaborationen von und mit Styles P, Millyz, Berner, B-Real, Katt Rockell und Derrick Millano, produziert von Dave East und seinem Team, darunter Buda & Grandz und Mike Kuz. BOD ist eine Hommage an einige der einflussreichsten Labels und Produzenten in der Hip-Hop-Geschichte, wie Bad Boy, Ruff Ryders, Roc-A-Fella, Wu-Tang Clan, Dipset und State Property und ein Muss für jeden Hip-Hop-Enthusiasten. Schwarzes Doppelvinyl.

Auf "Hunter Gatherer" aus dem Jahr 2020 verfeinerten dieSschweden von AVATAR ihren genreübergreifenden Angriff zu einer unbarmherzigen Salve moderner Metal-Meisterschaft. Angeführt von den Gassenhauern "God Of Sick Dreams" und "Silence In The Age Of Apes" trifft es härter als jedes andere AVATAR-Album und wurde schnell zu einer ihrer meistverkauften Veröffentlichungen.
Hunter Gatherer", ein Juwel in ihrer Karriere, ist nun erneut auf limitiertem Gate-Fold-Vinyl erhältlich.

Auf "Hunter Gatherer" aus dem Jahr 2020 verfeinerten dieSschweden von AVATAR ihren genreübergreifenden Angriff zu einer unbarmherzigen Salve moderner Metal-Meisterschaft. Angeführt von den Gassenhauern "God Of Sick Dreams" und "Silence In The Age Of Apes" trifft es härter als jedes andere AVATAR-Album und wurde schnell zu einer ihrer meistverkauften Veröffentlichungen.
Hunter Gatherer", ein Juwel in ihrer Karriere, ist nun erneut auf limitiertem Gate-Fold-Vinyl erhältlich.

Die schwedische Sensation AVATAR sorgt seit zwei Jahrzehnten für Aufsehen und bricht alle Erwartungen. Ihr 2018 erschienenes Album "Avatar Country" wird weithin als ihr vielseitigstes Werk angesehen.
Es durchquert eine Vielzahl von Stilen von Melo-Death über Groove-Metal bis hin zu geradlinigem Rock und darüber hinaus und nahm ihre wachsende internationale Fangemeinde mit auf ihre bisher überraschendste Reise. Avatar Country" ist jetzt wieder auf Vinyl in limitierter Auflage in einem Deluxe-Gate-Fold erhältlich.

Die schwedische Sensation AVATAR sorgt seit zwei Jahrzehnten für Aufsehen und bricht alle Erwartungen. Ihr 2018 erschienenes Album "Avatar Country" wird weithin als ihr vielseitigstes Werk angesehen.
Es durchquert eine Vielzahl von Stilen von Melo-Death über Groove-Metal bis hin zu geradlinigem Rock und darüber hinaus und nahm ihre wachsende internationale Fangemeinde mit auf ihre bisher überraschendste Reise. Avatar Country" ist jetzt wieder auf Vinyl in limitierter Auflage in einem Deluxe-Gate-Fold erhältlich.

„Dick This!“ von dem Rockabilly-Projekt Dick Brave and the Backbeats wurde erstmals 2003 veröffentlicht und erreichte Platz 1 der offiziellen deutschen Album-Charts und wurde mit Doppel-Platin ausgezeichnet. In dem Album wurden Pop-Klassiker im Rockabilly-Projekt neu interpretiert. Jetzt wird es als 1LP auf schwarzem Vinyl wieder neu aufgelegt.

Peter Schilling gehört zu den großen Stars der Neuen Deutschen Welle. 2023 legt der deutsche Sänger sein Debüt »Fehler im System« neu auf als 1LP auf schwarzem Vinyl. Das Album produzierte und veröffentlichte Schilling im Jahr 1982. Die erste Single »Major Tom (völlig losgelöst)« erreichte im selben Jahr Platz eins der Charts in Deutschland, Österreich und der Schweiz und ist bis heute einer der erfolgreichsten Hits der Neuen Deutschen Welle. Single Nummer zwei, »Die Wüste lebt«, erreichte im Sommer 1983 Platz sieben. Das Album »Fehler im System« landete in Deutschland auf Platz zwei, in Österreich auf der Vier.

“Für mich soll‘s rote Rosen regnen – Ihre 20 schönsten Songs“ ist eine 1993 erschienene Compilation der 20 schönsten Songs von Hildegard Knef. Diese wird nun wieder neu aufgelegt als 2LP auf schwarzem Vinyl und als 1CD.

Schallplattensammler haben sie eifersüchtig gehütet, die Original-LP „Träume heißen Du“, so der damalige Titel des Cole-Porter-Albums von Hildegard Knef. 28 Wochen hielt es sich auf den vorderen Rängen der Charts. Heute ist die Scheibe ein absoluter Klassiker. "Sei mal verliebt" ("Let's Do It), "Nichts haut mich um ­aber du" ("I Get A Kick Out Of You") und "Ich bin leider viel zu faul" sind aufgrund ihrer humorvollen, aber auch emotional-nachdenklichen Übertragungen unübertroffene deutsche Versionen aus dem American Songbook. Hildegard Knef singt Cole Porter wurde nun wieder neu aufgelegt und erscheint als Gatefold-2LP auf rotem Vinyl und als 1CD.

„Dein ist mein ganzes Herz“ ist das 5. Studio-Album von Heinz Rudolf Kunze aus dem Jahr 1985. Es wird nun wieder neu aufgelegt als 1CD und als 1LP einmal auf schwarzem und einmal auf blauem Vinyl. Die gleichnamige auf dem Album enthaltene Single erreichte Platz 8 in Deutschland und wurde wie auch das Album mit Gold ausgezeichnet.

„Wunderkinder“ ist das 6. Studio-Album von Heinz Rudolf Kunze aus dem Jahr 1986. Es wird nun wieder neu aufgelegt als 1CD und als 1LP auf schwarzem Vinyl. Das Album erreichte Platz 18 der deutschen Albumcharts und wurde mit Gold ausgezeichnet.

This concert from 2016 marks the first time Heart played at London’s famous Royal Albert Hall.

To make the sold-out night even more special, the band was accompanied by the Royal Philharmonic Orchestra, who added further depth and an epic scale to Heart’s songs.

The set included hits, fan favourites and both new and reinterpreted tracks from their most recent album at that time: “Beautiful Broken”. The chemistry between the band and orchestra added a truly magical quality to a concert that will live long in the memory of those Heart fans lucky enough to have been present.

"Raw talent and power on display: Savatage’s first album!
Mastered for vinyl and reissued with the original 1983 design, including new extensive liner notes by Clay Marshall.
The album will be released on Strictly Limited Heavyweight Collector’s LP Edition on Turquoise Translucent Vinyl with LP-sized 4-page-booklet."

Jazz, funk, and bossa vibes kiss each other, all wrapped up in JLR's trademark cinematic feel. In his colourful Un Hombre de Buenos Aires, recorded in 1978, JLR puts the political outcry of his early 70s works aside and focuses on his love for the city of Buenos Aires.

Jorge López Ruiz gets far less credit than he deserves. His crucial role in shaping Argentina's jazz history should place him right next to Gato Barbieri and Lalo Schifrin, who found success abroad. It's an honour do dig deeper into his vast discography after having already reissued his masterpiece Viejas Raíces and his historical milestone album Bronca Buenos Aires.

As always, Jorge López Ruiz enroled for the recording of Un Hombre de Buenos Aires some of the best musicians in the country. The line-up includes Dino Saluzzi on bandoneon, Domingo Cura on percussion and his lifelong friend Pocho Lapouble on drums.

a-Musik, the Cologne-based bastion of sonic exploration, unveils a new chapter in their quest for boundary-pushing sounds.

Timekeepers II, a split LP featuring recordings of two duos by Marcus Schmickler with Jaki Liebezeit and with Hayden Chisholm. Side A bears the imprint of Liebezeit's rhythmic flow fusing with Schmickler's digital Shepard Tone interpretation. A studio recording taken before a performance at Moers Festival in 2014. On side B, Schmickler's electronics converge with Chisholm's bagpipe drones. The piece was composed for their show at Art's Birthday at Berghain and a-Musik's 20th anniversary at Gebäude 9.

Tim Berresheim's artwork serves as a visual backdrop. Berresheim mostly works with computer rendered images, which have been created for a solo exhibition at JUBG in Cologne in 2022.

Twenty-two rare and unreleased vintage tracks from the secret vaults of one of the most enigmatic composers in 60s/70s/80s European cinema. Originally recorded in the best studios in Poland, Italy and France for experimental film, political allegories, lost television shows, sound libraries and radio – these tracks have been hidden behind the Iron Curtain on lost master tapes and film reels until now! »Secret Enigma«, the first ever dedicated anthology of this great composer’s work, is now back in print.

Originally released exactly 30 years ag In artistic cinema Andrzej Korzyński’s unique experiments with jazz, pop, rock, orchestral and electronic music make his name synonymous with the most praised (Andrzej Wajda) and the most provocative (Andrzej Żuławski) Polish filmmakers (counting many more in between). As an early patron of the Polish New Wave and a key exponent of the development of conceptual Polish pop music his expansive portfolio has remained commercially unreleased and untravelled (like many of the original socialist era Polish made films) and has yet to find its deserved place next to the work of Ennio Morricone, François de Roubaix and John Barry. Now enhanced by a renewed interest in vintage art house film and a subculture of open minded music collectors many Easter European artists, such as Krzysztof Komeda (Poland), Zdeněk Liška (Czechoslovakia) and now Andrzej Korzynski,have finally begun to earn their place alongside their Central European peers.

For lovers of film music and experimental pop this debut anthology and appraisal of Andrzej Korzyński.

As one of the most triumphant and beguiling directorial debut features to emerge from the fruitful Polish New Wave, Andrzej Zulawski’s 1971 film Third Part Of The Night not only earned the thirty-year-old filmmaker a place next to other radical Polish directors such as Polanski, Skolimowski and Has, but also galvanised a creative bond with long running collaborator and composer Andrzej Korzyński, providing fans of foreign abstract/suspense cinema with a potent creative fusion to match those of Polanki/Komeda, Fellini/Rota and Argento/Goblin, amongst others.

Quite simply one of the heaviest psych rock film soundtracks of all time Andrzej Korzyński’s short and unreleased score matched the blueprint that adorned the drawing boards of conceptual French jazz orch rock composers like Jean-Claude Vannier, Francois De Roubaix and Alain Gourageur, creating a soundtrack that unknowingly begs comparison to Masahiko Satô’s Belladonna Of Sadness and Billy Green’s Stone. As one of the first progressive pop writers to come out of the vibrant (but carefully scrutinised) Polish beat scene with his bands Ricecar 64 and later Arp Life (and composing for national heroes such as Czeslaw Niemen, Niebiesko-Czarni and Test) Korzyński’s growing passion for conceptual rock and jazz music soon lead to instrumental composition and soundtrack scores.

His cinematic debuts scoring two consecutive transitional new wave films for Andrzej Wajda (in collaboration with the radical Polski pop groups Trubadurzy and Grupa ABC) also provided Korzyński with another significant cinematic muse in that of the stunning actress Malgorzata Braunek with whom they would both eventually achieve their finest performances under the direction of the ravenous first-timer Żuławski. Third Part Of The Night (1971) perhaps epitomises that triangular on-screen unison in its vibrant youth and feeds it through a hallucinogenic mangle finding astonishing beauty (within a repulsive synopsis) against a bleak and shattered backdrop and accompanied by progressive, psychedelic orchestral rock music – elements which would intensify for all three creatives with the next film, Diabel, which was banned by the Polish government the following year until 1988.

Third Part Of The Night also marks the public unison of Żuławski and Braunek whose later private romantic relationship is said to form the basis for another defining Żuławski/Korzyński defining endeavour with the 1981 film Possession exactly a decade later, encapsulating a period that bequeaths a previously unopened vault of some of the composers finest and most inspired sonic adventures.

Martina Berther and Philipp Schlotter are prolific in their respective ways, having been active in pop and jazz music, respectively, as well as playing in bands and exploring the outer fringes of sound art or composing music for film. Their first joint album »Matt« was recorded over the course of four days in a church in the Swiss village after which the album was named. Berther and Schlotter worked with the buildingʼs organ as well as synthesizers and electric bass to follow an experimental approach that oscillated between composition and free improvisation. The five pieces, recorded directly to tape by Flo Götte without any additional overdubs, are characterised by an intimacy and rawness that calls to mind the introspective atmosphere of Hallow Ground label mateʼs FUJI||||||||||TA or mastering engineer Lawrence Englishʼs latest album for the Swiss label. »Matt« is the result of two versatile composers and musicians executing minimalist ideas by giving them plenty of space to unfold.

The album opens with »Unruhe,« a composition that is based on the twelve-tone technique. Using a stopwatch to ensure the adherence to the pre-determined temporal intervals between the individual notes, Berther and Schlotter used the church organ and synthesizers for an ominous piece that traverses different moods and levels of intensity throughout its 14-minute run time. »LFO1« and »LFO2« are different variations of the same concept: Based on a synthesizer preset and structured by an organ drone, two tone generators slowly fall silent, resulting in elegiac pieces that call to mind the work of Éliane Radigue. »Frachter« and »Gallia« put more emphasis on percussive elements. Again working with organ as well as Bertherʼs prepared electric bass, this improvisation comprises interlocking textures that sound almost menacing on »Frachter,« while they create a very different atmosphere on »Gallia.« These notable discrepancies in sound and mood are even more astonishing if you consider that the two pieces are based on the exact same recording, played at different speeds.

As two variations on the same idea with very different results, these two pieces perfectly represent how the duo effectively creates emotionally affective sound worlds with very few means. Berther and Schlotterʼs conceptual minimalism yields rewarding, multi-faceted aesthetic results. »Matt« is an intimate album, marked by a sense of vividness and spontaneity, but also the product of compositional conciseness.