Buscar:11 am

On the outskirts of Bratislava, in the pulsating shadows of a refinery's burning chimneys, on the plot of a family house, there stood a small shack. Initially, it housed trials in domestic mushroom growing. Later, after a makeshift acoustic touch-up - lining the walls with old cardboard egg cartons - it became a shelter for music. Sensitive, evocative, nostalgic, lo-fi music by a man named Cadillac Face.

Today we would probably use the term 'safe space', but back then it was (in Cadillac's words) kutica, a cubbyhole. He hid there from a world that ached. Here, Cadillac secretly smoked, sang, and composed. And tried not to go crazy from anxiety. He wrote music unlike anything during his time.

Here, he struggled. With sound (unable to adjust it to his liking), with instruments (which he couldn't bring himself to play), with the world (with which, understandably, he was at odds).

Cadillac Face was a man who didn't belong here.

He wrote and sang in English (in a post-socialist and early-capitalist Slovakia, when command of English was no matter of course); he also wrote in Slovak (blogs and diaries, which, due to a stream-of-consciousness and surrealist style, were as incomprehensible as they were immersive and intimate); gave advice to teenagers (to their quasi-banal questions on talking forums about relationships, life and adolescence, where they were often met with ridicule and mockery); he composed electronic and noise music (at a time when no one had a clue what the abbreviation DAW meant).

This Cadillac's compilation album is not aiming to compete with/replicate Noizy Days - a compilation of Cadillac's contributions to the project Noize Konspiracy. Underground compilations circulated through a local proto-social network. Borderline music without rules - open but often inaccessible. There, Cadillac contributed mostly with experimental-electronic compositions. Noizy Days was compiled by Ďuro Ďurček, one of the initiators of Noize Konspiracy. Both Ďuro and Cadillac have been dead for years.

Songs For The Trees is a selection from Cadillac's songwriting. The most intimate of his intimate recordings. Cadillac at his most fragile, brittle, and quiet. The most romantic, the most tormented, the most painful and direct of his songs I know.

Cadillac became an anthropomorphic grotesque tree. Neither broadleaf nor conifer. Or perhaps it's a candle slowly incinerating – bored, sad, playing the guitar. A tragicomedy. Sometimes it kindles what it doesn't mean to, and it can't put itself out. Or can it?

The incendiary proto hard rock and ambitious epic journeys this album delivers are all the more uncanny and devastating when you realize Gary Del Vecchio was a mere 16 years old when the title track Buzzin was unleashed! Even more astonishing is how far he travelled over the next five years, documented in this brilliant selection of nine tracks from the classic daze of early 1970s underground rock. Ohio was a hotbed for hard rock at the time with bands like the James Gang, Glass Harp, Poobah, Left End, Damnation Of Adam Blessing… what you get here matches the style any of those bands laid down. Gary's music grabs you immediately and grows over time. Grabber and Grower… best of both worlds style! It makes sense that Gary later owned a recording studio, right out of the gate he was laser focussed on all the aspects involved in making music that stands the test of time. The guitar action is incredible, shards of sound flying free yet hitting the bullseye continuously, vocals confident with none of the macho posturing that ages poorly in much early hard rock. These tracks are all vividly recorded and meticulously mixed in a way that balances fiery performance and intelligent structure to maximum effect. The bass and drumming here are phenomenally inventive and propulsive, the several players involved across the album nail it in their support of Gary's vision. This is rock music born in the 'anything is possible' life affirming energy of the late '60s right on time with where the most enduring artists of the early '70s took it. Had he scored the major label deal he pursued with labels like Mercury or London at the time I am confident we'd be hearing his music on classic rock radio today! The music on this album is both uncompromising and accessible. In particular, the two long tracks Wasted King and Starman have all the moves needed to grab fans of Pink Floyd, Led Zeppelin and the likes by the throat and brain in the extended progressive epic department! RidingEasy Records sets a high bar when it comes to unleashing the best vintage hard rock you never heard… take my tip people, the ride this one takes you on is definitely an 11 on a scale of 1 to 10… Gary Del Vecchio really knows how to do it!

From the bouncy, catchy acts at Motown (like The Temptations, The Marvelettes, and Stevie Wonder), to the horn-driven, gritty soul of Stax/Volt (such as Otis Redding and Booker T. & The MG’s), there was much diversity within classic soul. This essential LP edition contains 25 of the most legendary original songs of the idiom. If you’re looking for a way to start a soul music collection on vinyl, this would be a fantastic set to begin with. Here you can find the most influential artists, from the genre’s inception in the 1950s until 1962. The track listing covers the period when R&B was giving way to soul music. It includes smashes and classic soul anthems by such celebrated figures as Sam Cooke, Ray Charles, Otis Redding, Aretha Franklin, James Brown, Ike & Tina Turner, Ben E. King, and Marvin Gaye, to name a few. The underlying virtues of the R&B/soul music exposed here are represented by a direct emotional delivery, a pride and artistic integrity, and a feeling within the music which transmits itself to the listener. You can call it soul or R&B, it can be more or less intense, lively or educational, but it has to have those ingredients to truly succeed. From the explosion and growth of American soul, and its lasting impact upon the U.S. charts since then, this defining era is still regarded as one of history’s greatest musical movements. All of this remastered material represents a formidable slice of American popular culture, allowing listeners to experience some of the finest and most emblematic tunes of the soul genre.

Am 12.04.23 veröffentlicht Unter Schafen Records das Best Of-Album ''Retrospective'' von Sharon Stoned als limit. 2LPVersion bei Unter Schafen Records.

Die experimentelle Lo-Fi-Noise-Rock-Band Sharon Stoned wurde 1995 von Mark Kowarsch und Christopher Uhe direkt nach der Trennung ihrer Band Speed Niggs gegründet. Nach ihrem großartigen Debütalbum „License To Confuse“ und der Tape-EP auf dem Berliner Label City Slang unterschrieben Mark und Krite bei Sony Columbia und veröffentlichten das hochgelobte Doppelalbum „Sample & Hold“, das besondere Gastbeiträge von Künstlern wie Evan Dando enthielt (die Band unterstützte The Lemonheads während ihrer Car Button Cloth Europatour 1996), Lou Barlow, The Notwist, Tom Liwa, Furtips, Gitbox!, Tuesday Weld, Tocotronic und Mitglieder von HP Zinker und Die Goldenen Zitronen.







[g] My Style [feat. The Notwist] (05:11)
[h] Special Plan [feat. Evan Dando] (03:54)

[j] Some [feat. Lou Barlow] (02:40)

[l] Down [feat. Roeland Van Niele] (03:52)
[m] Never Dare To Ask [feat. Dirk Von Lowtzow] (04:00)
[n] Tape [feat. The Notwist] (06:45)
[o] Your Own [feat. Tom Liwa] (03:38)

JUNKYARD DRIVE ist energiegeladener als je zuvor. Das neue Album, mit dem Titel "Look At Me Now", präsentiert eine Band mit neuer Energie und Inspiration.

Seit 2014 ist Junkyard Drive entschlossen, die Band zu sein, die den Soundtrack zum Leben auf der Überholspur mit dem Publikum als Passagier liefert. Jedes Mal! Mit drei von der Kritik gefeierten Alben, vielen Konzerten und Tourneen in den meisten Teilen der Welt haben sie mehr ausprobiert als die meisten dänischen Rockbands. Jetzt ist ihr viertes Album auf dem Weg, und das Ziel hat sich geändert.

Auf "Look At Me Now" liefern Junkyard Drive zehn hochoktanige Rocksongs, die mit Flair, Präzision und viel Energie vorgetragen werden. Man ist versucht, von neuer Energie zu sprechen, denn obwohl Junkyard Drive auf den zehn im April erscheinenden Tracks weitgehend wiedererkennbar sind, ist es in vielerlei Hinsicht eine veränderte Band, die sie abliefert. Ein paar Änderungen in der Besetzung und ein dringend notwendiger Blick in die internen Beziehungen haben den Fokus wiederhergestellt und die Freude am Spielen erneuert. "Look At Me Now" begrüßt zwei neue Gitarristen:
Oliver Hartmann und Kristoffer Kristensen. Beide bringen erfahrungen aus anderen Genres als dem Rock mit, und das bringt neue Ideen beim Songwriting mit sich

JUNKYARD DRIVE ist energiegeladener als je zuvor. Das neue Album, mit dem Titel "Look At Me Now", präsentiert eine Band mit neuer Energie und Inspiration.

Seit 2014 ist Junkyard Drive entschlossen, die Band zu sein, die den Soundtrack zum Leben auf der Überholspur mit dem Publikum als Passagier liefert. Jedes Mal! Mit drei von der Kritik gefeierten Alben, vielen Konzerten und Tourneen in den meisten Teilen der Welt haben sie mehr ausprobiert als die meisten dänischen Rockbands. Jetzt ist ihr viertes Album auf dem Weg, und das Ziel hat sich geändert.

Auf "Look At Me Now" liefern Junkyard Drive zehn hochoktanige Rocksongs, die mit Flair, Präzision und viel Energie vorgetragen werden. Man ist versucht, von neuer Energie zu sprechen, denn obwohl Junkyard Drive auf den zehn im April erscheinenden Tracks weitgehend wiedererkennbar sind, ist es in vielerlei Hinsicht eine veränderte Band, die sie abliefert. Ein paar Änderungen in der Besetzung und ein dringend notwendiger Blick in die internen Beziehungen haben den Fokus wiederhergestellt und die Freude am Spielen erneuert. "Look At Me Now" begrüßt zwei neue Gitarristen:
Oliver Hartmann und Kristoffer Kristensen. Beide bringen erfahrungen aus anderen Genres als dem Rock mit, und das bringt neue Ideen beim Songwriting mit sich

New album from one of the best rock acts from Denmark. Cinematic sound, evoking the Nordic prairie images, while crossing the ocean to Americana and folk rock styles. The band has played gigs opening
for international big names such as The Eagles, Rival Sons, lackberry Smoke, and Rick Springfield

2024 Repress

Three emotional years in the making, Be With and Efficient Space finally present Steve Hiett’s Girls In The Grass. Pressed alongside the long awaited reissue of his one-shot masterpiece Down On The Road By The Beach, these ten balearic soul instrumentals are of equal necessity; unrivalled beauty rescued from the fashion photographer-guitarist’s Paris Tapes (1986-1997).

While recordings unintended for release should often be approached with caution, this is a rare case of unheard material being assembled as an indispensable and coherent piece. Girls In The Grass is something super special. The light and shadow that defines Hiett’s music is arguably more compelling here. It speaks to us in a language that feels profound, yet entirely comforting and familiar.

Girls In The Grass reintroduces Hiett’s languid electric blues boogie, crafted on Saturday afternoons with fellow art director Simon Kentish. Kentish would cook, pour some wine and then utilise his arsenal of technology. He’d dial up a chugging rhythm, together with some ambient pads or keyboard textures, and anchor the weightless gauze of Hiett’s six-stringed touch.

Hiett’s guitar sings with the same clean, crisp tone as Down On The Road, animated by a carefree weekend groove. Unlike his defining album which was boiled under pressure, these subsequent sessions have all the time in the world. The naïve melodies chart a missing link between Vini Reilly’s ventures into electronica and Booker T, sounding like sun-warped takes on wordless, fractured non-hits from his heroes The Beach Boys.

Remastered for public pleasure by Simon Francis, these private moments are adorned with Hiett’s singular photography and feature typically idiosyncratic liner notes from Mikey IQ Jones

"My Black Country: The Songs of Alice Randall" is the companion album to Alice Randall's new book "My Black Country," which offers a lyrical, introspective, and unforgettable account of her past, her search for the first family of Black country music, and the radical joy in realizing the power of Black influence on American culture. The album is a powerful compilation of Black female country artists re-recording the greatest songs of Alice's catalog, bringing to life the Black characters and portraits of the Black west embedded in her songs. The album is produced by Ebonie Smith (engineer of 'Hamilton', founder and president of Gender Amplified, and the in-house producer for the Atlantic Records studio in New York). Alice Randall is a New York Times bestselling novelist, award-winning songwriter, and educator. She is widely recognized as one of the most significant voices in modern Black fiction and has emerged as an innovative food activist committed to reforms that support healthy bodies and healthy communities. She lives in Nashville where she writes country songs.

HEAVY TEMPLE sind zurück - von einer ausgiebigen Tournee durch die USA und zum ersten Mal auch durch Europa. Sie sind aber auch zurück aus dem Proberaum, wo das Schmieden neuer Songs viel mehr aus der ganzen Gruppe kam, als es auf dem Debütalbum der Fall war. Und schließlich sind sie zurück aus dem Animal Farm Studio, wo John Forrestal dem neuen Album "Garden of Heathens" einen reichen und warmen, organischen Sound verpasst hat, der gleichzeitig aber auch knackig frisch und kristallklar rüberkommt. Während das Debütalbum "Lupi Amoris" noch wie ein wildes Mastodon heran stürmte, wirkt "Garden of Heathens" abwechslungsreicher und deutlich ausgefeilter - jedoch ohne an Wucht oder Härte zu verlieren. Obwohl die kraftvolle Stimme von Frontfrau High Priestess Nighthawk weiterhin für eine starke Anziehungskraft sorgt, stehen bei HEAVY TEMPLE immer die Gitarrenriffs im Vordergrund. Dabei hat das Trio aus Philadelphia, Pennsylvania seinen Fahrplan nochmals erweitert und fährt eine große Zahl von Rock- und Metal-Stationen an, die von BARONESS über THE BEATLES und von BLACK SABBATH bis FU MANCHU reichen - mit allerlei Weichen dazwischen. Inhaltlich ist "Garden of Heathens" sehr persönlich ausgefallen. Sängerin Nighthawk schrieb ihre bisher persönlichsten Zeilen, die sich thematisch um Dinge drehen, die nicht real sind - vom amerikanischen Traum bis hin zu Beziehungen. Egal wie glänzend eine Sache auch aussehen mag, lauern unter der Oberfläche oft genug Ängste, Verrat und Zweifel. HEAVY TEMPLE entstand zur Wintersonnenwende 2012 in einer Nacht der puren Freude am Erschaffen und Spielen harter Musik. Kaum war die Band gegründet, ging es auch schon auf die Bühne: erst lokal und bald auch auf Tour mit so bekannten Szenegrößen wie RUBY THE HATCHET, ROYAL THUNDER und CORROSION OF CONFORMITY. Auch auf namhaften Festivals wie dem Maryland Doom Fest und dem Psycho Las Vegas und vielen anderen war das Trio bald zu finden. Nach den beiden EPs "Heavy Temple" (2014) und "Chassit" (2016) und einer Reihe von Singles nahmen sich HEAVY TEMPLE eine Auszeit vom ausgiebigen Touren, um endlich ihren ersten Langspieler aufzunehmen. "Lupi Amoris" ("Wölfe der Liebe"), wurde im Jahr 2021 unter großem Beifall sowohl von Anhängern als auch Kritikern veröffentlicht. Das Album öffnete den Amerikanern neue Türen: weitere Festivalauftritte, eine US-Tour mit THE OBSESSED und die erste Europatournee mit ihren Freunden und Label-Kameraden HOWLING GIANT. HEAVY TEMPLE sind nicht nur zurück, sondern gekommen, um zu bleiben. "Garden of Heathens" legt ein starkes Zeugnis für den hart arbeitenden Dreier ab, der sein Spektrum stetig erweitert und alle Hindernisse aus dem Weg räumt. "Garden of Heathens" wirft ein neues Licht auf Heavy und Desert Rock, Psychedelia und Doom Metal. Hört es euch an!

Acclaimed guitar duo Loren Connors and Alan Licht celebrate their 30-year collaboration with release of their eighth album - At The Top Of The Stairs. Across the decades, their improvisations turned increasingly abstract and atonal, while still maintaining complex, ethereal arrangements. The harmonious blend of Licht's meticulously crafted feedback and harmonic patterns with Connors' ghostly blue tones remains the core sound of this partnership. At The Top Of The Stairs was recorded live in 2018. Across two side-long pieces, the duo ascends slowly, through layers of atmospheric tension punctuated by thunderous waves of Connors' effects. For fifty years, Connors's adaptation of acoustic Delta blues has transmuted into miniature gray scale compositions and howling riffs. His collaborators include Oren Ambarchi, Keiji Haino, and Kim Gordon. Rock/experimental musician Alan Licht was a member of the bands Love Child, Run On, and Lee Ranaldo & the Dust, and has released a range of acclaimed rock and experimental albums. He is an author with books published by Rizzoli, W.W. Norton, Faber & Faber and Blank Forms.

Irish dark pop sensation LYRA announces her highly anticipated debut album 'LYRA'. Hailing from County Cork, LYRA has rapidly become one of Ireland's standout talents, showcasing her extraordinary vocal presence and inimitable songcraft. As the anticipation for her album builds, LYRA's evolution as an artist is evident.

'This Is Mod' ist Teil einer neuen Serie, die sich an Vinylkäufer richtet, die eine genrespezifische Compilation suchen. Kuratiert von Dean Rudland, der auch die Liner Notes schrieb, führt 'This Is Mod' in die dunklen Keller von Soho, wo jeder die schicksten Klamotten trägt und zu den feinsten, tanzbarsten Klängen aus dem schwarzen Amerika tanzt. Soul, R&B und ein Hauch Jazz sind an der Tagesordnung. In den Grooves finden wir düsteren Southern Soul von Clarence Carter und Jimmy Hughes, den Sound von Memphis mit freundlicher Genehmigung von James Carr, Danny White und Timmy Thomas sowie R&B von Lowell Fulsom und Richard Berry. Dazu Northern Soul, unter anderem von Mary Love und Darrow Fletcher. Klassisch, schwarzes Vinyl!

In the enigmatic realm of electronic music, The Black Dog stands as a visionary act, responsible for crafting, among other things, the mesmerising album "Silenced". Notably, this release marks a significant milestone in the band's evolution, being the first album from the new line-up and their collaboration with the fledgling label Dust Science.

Defying industry norms, The Black Dog embodies a Do-It-Yourself (DIY) ethos. Their artistic journey remains steadfast, with a commitment to originality and creative freedom, unfettered by the limitations imposed by the commercial music industry.

The record label Dust Science takes pride in championing The Black Dog's musical prowess, with its first release being the band's 4-track EP "Bite Thee Back". However, this EP was only a prototype for the revitalised collective, eventually leading to the composition of Silenced, which followed soon after.

This creative period denotes a fresh start for The Black Dog, a testament to their resilience and a commitment to evolving their sound. The resulting album represents a new beginning, celebrating and transcending the echoes of the past. It redefines the band's sonic landscape and establishes a distinct musical narrative that resonates with dedicated followers and newcomers alike.

a A1 The Black Dog Trojan Horus Part 1 (Album Mix / Remastered) 00:05:42
b A2 The Black Dog Trojan Horus Part 2 (Album Mix / Remastered) 00:02:29














q D2 The Black Dog 4 3s 555 Part 1 (Album Mix / Remastered) 00:02:57
[r] D3 The Black Dog 4 3s 555 [Part 2] (Album Mix / Remastered) 00:08:16

[a] A1 Trojan Horus [Part 1] (Album Mix / Remastered) 00:05:42
[b] A2 Trojan Horus [Part 2] (Album Mix / Remastered) 00:02:29














[q] D2 4 3s 555 [Part 1] (Album Mix / Remastered) 00:02:57
[Part 2] (Album Mix / Remastered) 00:08:16

[a] A1 Trojan Horus [Part 1] (Album Mix / Remastered) 00:05:42
[b] A2 Trojan Horus [Part 2] (Album Mix / Remastered) 00:02:29














[q] D2 4 3s 555 [Part 1] (Album Mix / Remastered) 00:02:57
[Part 2] (Album Mix / Remastered) 00:08:16

In 1975, Joyce Moreno, who had just wrapped up a tour with legendary Brazilian composer Vinicius de Moraes, found herself in a studio with producer Sergio Bardotti in Rome, Italy. She had been taking a break from writing and she decided to pick up a selection of her favorite compositions from contemporary Brazilian writers who‘s songs were beacons of hope in times of an ongoing intense Military leadership in her home country. Unlike their previous albums, these recordings live from their reductiveness and intimacy. For a long time, Passarinho Urbano was considered a secret masterpiece and was highly sought after by record collectors, now Week–End Records is glad to be making it available internationally on vinyl for the first time ever.

Here at Four Flies, we kind of feel we need a bigger word than 'proud', this time, to present, in collaboration with Beat Records, the first-ever release of the original soundtrack written in 1976 by Guido & Maurizio De Angelis for the legendary Squadra Antifurto, the second chapter of the comedy-infused crime saga directed by Bruno Corbucci and starring Tomas Milian as the iconic Italian Police Marshal Nico Giraldi.

The excitement in this case is nothing short of gigantic, difficult to rein in for those who, like ourselves, grew up adoring the character played by Milian as one of our cult heroes, and dreaming that the soundtracks of the first three films in the saga – the only ones composed by the De Angelis brothers – would one day be released.

Since the launch of our label, Squadra Antifurto has been at the top of the list of film scores we most wanted to release. Until a few months ago, this dream of ours seemed destined to remain just that, so strong was the conviction in all of us that the master tapes were definitively lost, that they had forever vanished into thin air. That's why their recovery, made possible by Maurizio De Angelis himself and the persistence of our friends at Beat Records, is an extraordinary feat.

Nearly 50 years after it was first heard in cinemas, the soundtrack penned by the De Angelis brothers is resurrected in its entirety and can finally shine its incredible power all over us.

Beautifully seeping through this score – like many others composed by the golden duo in the 1970s – are elements from the Italian, and especially Roman, folk tradition, for instance in the warm, heartfelt ballad sung by Alberto Griso, "E nun ce voio sta," which first plays in the opening credit sequence and is then reprised in various forms throughout the film, culminating with the soul-stirring orchestral version that closes the album's tracklist.

But as in any Italian crime film worthy of that name, a different soundscapetakes centre stage: it's the music that accompanies the countless scenes of tension, action, and pursuit that punctuate the film, and which has made us fall madly in love with this score.

The main theme is a prog-funk joyride, drawing inspiration from the traditional tarantella but elevated to irresistible energy thanks to a rock orchestration featuring psychedelic flutes, wild percussion, distorted electric guitars, piano chords, and various feedback and delay effects.

The resulting groove is just mind-blowing, and we almost can't believe it's finally available on a record, completely remastered for vinyl.

We really couldn't be prouder, and dedicate this release to all passionate fans of Italian crime films, the De Angelis brothers, and Tomas Milian aka Nico Giraldi.

Available starting April 12th on standard black vinyl and limited coloured vinyl (transparent amber, limited to 300 copies).

tapetopia 006 In 1983, some more subdued sounds began to waft from the GDR punk underground into the second half of the ’80s. At five to the end of time, it was perpetually striking midnight and the occasional punk band would mix a little laudanum into their potential for aggression. Portents in this vein preceded a dark wave whose foamy crest would break on fog walls of dry ice. Especially in Leipzig and East Berlin, a chain-rattling zeitgeist produced bands that drew from a dark well. Many of these bands arose from the still hot or already cold ashes of punk. The two founding fathers of Neuntage Alt, René Glofke and Taymur Streng (nicknamed “Strangler”), knew each other from the East Berlin punk scene. The third man aboard, Mike Sauer, played drums in the early 1980s for Sendeschluß, a punk band that, lost in thought somewhere in the no-man’s land between punk and post-punk, faded away in 1984. Punk was no longer the order of the day, but it was a form of expression among many and easy to combine. Glofke and Streng found common ground in experimental set-ups with such otherworldly names as Medusa Brahma or Die zeitweilige Erscheinung.
From this far-flung point of departure, a short tunnel led straight into the black light of Neuntage Alt, the coldest star in the low-hanging sky above East Berlin. Neuntage Alt appeared at the end of 1986, during the last blackout phase of the GDR, on the threshold between the underground and the so-called “other bands” – a scene that used the non-socio-critical approach of German Wutwave (“anger wave”) in order to be allowed to perform publicly. In the context of this scene, Neuntage Alt did not belong to the inner circle. Moreover, the band’s subcultural base was initially in Mahlsdorf, on the south-eastern edge of East Berlin. This was where the DIY sound studio of amplitude apostle and great modulator Taymur Streng was situated. Strangler held the position of house electrician and keyboard god in various projects. One of them had the bland alias Mahlsdorfer Wohnstuben Orchester, behind which the avant-garde court chapel of the bungalow studio was concealed. There Taymur also conspired with the East Berlin underground band Ornament & Verbrechen (tapetopia #001). Ronald Lippok of Ornament & Verbrechen remembers how once, at the opening of a joint session, he and his brother Robert attended Taymur’s engaging slide show of his collection of test patterns. Afterwards, they created a piece with the psychedelic title “Das sentimentale UfO”, which sheds an iridescent light on the bizarre atmosphere in the studio. Taymur’s obsession with technology was legendary. The home studio was also his living space; a circuit, a machine park of screwed and soldered equipment, a single keyboard orgy. His own creations were also based on circuit diagrams found in the radio amateur magazine “Funkamateur”. Its somewhat clueless subtitle “Praktische Elektronik Für Alle” (Practical Electronics for All)

Founded in 2018 by Dutch violinist Floortje Beljon, Ensemble Ambidexter is an eight-piece ensemble from Leipzig/Germany on a radical borderline between contemporary classical music, jazz and quotes from such a colorful palette of genres and eras that the attempt to
clearly classify a musical style will leave the listener in joyful confusion. Chamber music meets jazz quartet. Or vice versa?
Four classically trained and four jazz musicians open doors, take a quick look inside to take in the most interesting forms they can perceive and put them together in their music. Somehow organized like a band, but at the same time like an orchestra, freedom and
improvisation can be found in the music, as well as the realization of written, precise visions of the composers (including Teresa Allgaier, Oene Van Geel) who have been writing for this peculiar line-up.

Limited edition tri-color splatter vinyl. The vinyl edition of Daedelus' new LP "Xenopocene" features a die cut cover title album text which allows the viewer to see the multi color swirling vinyl beneath. Xenopocene means Alien Age. Some have theorized our current is the Anthropocene; however in an era where artificially generated and deep faked, what is terrestrial in origin vs u.f.o.? Daedelus’ latest LP ‘Xenopocene’, inspired by their artist-in-residency with S.E.T.I. follows a timeline from an extraterrestrial first contact thru to 10k days hence and spiraling towards the nearest exoplanet 6,000+ years away. Attempting to parse out science informed fiction from the fact that in an unfathomable universe life exists outside our confines. Actually there are guidelines in place for receiving such a communication. In S.E.T.I.'s Protocols for an ETI Signal Detection (which first line reads "Declaration of Principles Concerning the Conduct of the Search for Extraterrestrial Intelligence...") well measured steps from such an awesome event could almost be read as unexceptional. Hyperbole has little place in the sciences whereas music makes the most from. Daedelus across 11 tracks deftly deals with space inspired sounds pulling equally from Gustav Holst and Sun Ra as Alice Deejay and Amon Tobin. No techno-optimism here, ultimately this is Earth music made to dream upwards. Asking us to reckon with our humanity while daring us to envision a new epoch. Interlaced throughout are quavering violins by Vivek Menon. Featuring words from the singular R.A.P. Ferreira on "Starfire" and extra instrumentation from Eli Henry Goss of the Breathing Effect in "Float