Buscar:cinema royal

Long time friend of the label and Stones Throw alumni "Rejoicer" joins forces with longtime collaborator, fellow Apifera band member and renowned pianist Nitai Hershkovits to present a new moniker and concept piece "Cinema Royal" - a delicate yet audacious album that quietly commands attention.

Tigercub are a UK alternative rock trio known for their dark, cinematic sound that blends heavy riffs with melodic depth. Fusing elements of grunge, alt-rock, and post-punk, the band delivers emotionally charged songwriting and powerful live performances. Praised for their balance of aggression and atmosphere, Tigercub have toured with acts like Royal Blood, Chevelle, and Highly Suspect, cementing their reputation as one of the most dynamic bands in modern rock.

System Olympia presents a bold, cinematic compilation that redefines the sound of sensuality. Love Language is an
18-track double-vinyl release pressed on deluxe heavyweight black vinyl.
It’s accompanied by a provocative, limited-edition 24-page fanzine, exclusive to 18+ audiences.
This is not just a compilation, Love Language is a manifesto. A carefully curated sonic journey through eroticism, artistic rebellion,
and liberation, it spans nearly five decades of music and features exclusive edits and rare gems that illuminate System Olympia’s
radical aesthetic vision.

****
Since her emergence on the electronic underground, System Olympia has carved out a distinct, sensual sonic universe, equal parts
vulnerable and defiant. With Love Language, she presents her most audacious project to date: a compilation rooted in what she
calls The Aesthetics of Sexual Desire in Sound.

It’s a daring declaration that desire is more than a feeling - it’s a language. Across 20 tracks, including her own sultry opener “The
Heat Of The Night (feat. REINEN)” and a rare System Olympia edit of Working Men’s Club’s “Ploys”, this compilation speaks in
rhythms and textures that evoke longing, intimacy, and ecstatic release.
This is not a traditional compilation. System Olympia’s sequencing is cinematic and deliberate. Every track a scene in a film that exists
only in the listener’s imagination. From the retro-futurist seduction of Flavia Fortunato’s Italo gem “Se Tu Vuoi” to the deep, extended
tension of Musclecars’ “Running Out of Time,” each piece plays its part in an arc of anticipation, climax, and reflection.Uniting artists as diverse as Daniele Baldelli, Piero Umiliani, and DJ Rocca, Love Language refuses boundaries of genre, era, or
expectation. It dances between vintage Italo-disco, dreamy electronica, sweaty club tracks, and avant-garde jazz, forming a rich
tapestry of sound and sensation.

System Olympia explains, “This is music for lovers, outsiders, and dreamers. It's a rebellion made of velvet and
basslines.

The accompanying 24-page fanzine insert, restricted to adults, further deepens the narrative, with erotic visual fragments and
poetic texts that amplify the compilation’s raw, sensual energy. A tangible extension of the music’s spirit, the zine invites listeners to
step into Olympia’s world and engage their senses fully.

As much a provocation as it is a celebration, Love Language is a deeply personal curation and a radical act of creative freedom. It
champions eroticism as art, desire as dialogue, and music as a liberatory force.

a A1. System Olympia - The Heat Of The Night (feat. REINEN) 3:44
b A2. Flavia Fortunato - Se Tu Vuoi 3:38
c A3. See Thru Hands - Hot City 3:57
[d] A4. Daniele Baldelli, Francesca Amati - Inner Light [4:43]
[e] A5. Ruins - Sexual Desire [3:14]
[f] B1. Midnight Magic - Beam Me Up (Eli's Mix) [5:13]
[g] B2. musclecars - Running Out Of Time [5:10]
[h] B3. Working Men's Club - Ploys (System Olympia Edit) [4:56]
[i] B4. Royalty - Heart Strings [5:05]
[j] C1. Dirty Art Club - Daysleeper [3:45]
[k] C2. Admiral - Soho Girl [4:14]
[l] C3. Tom Sharkett & Raf Rundell - Where's It All Go? [3:41]
[m] C4. Gina Calabrese - Nobody Lives Forever [4:40]
[n] D1. Romolo Grano, Gianni Oddi & Edda Dell'Orso - Kilimangiaro [3:55]
[o] D2. LNDFK - Hana-bi [1:55]
[p] D3. Fitness Forever - Vederti Distante [2:47]

[a] A1. System Olympia - The Heat Of The Night (feat. REINEN) [3:44]
[b] A2. Flavia Fortunato - Se Tu Vuoi [3:38]
[c] A3. See Thru Hands - Hot City [3:57]
[d] A4. Daniele Baldelli, Francesca Amati - Inner Light [4:43]
[e] A5. Ruins - Sexual Desire [3:14]
[f] B1. Midnight Magic - Beam Me Up (Eli's Mix) [5:13]
[g] B2. musclecars - Running Out Of Time [5:10]
[h] B3. Working Men's Club - Ploys (System Olympia Edit) [4:56]
[i] B4. Royalty - Heart Strings [5:05]
[j] C1. Dirty Art Club - Daysleeper [3:45]
[k] C2. Admiral - Soho Girl [4:14]
[l] C3. Tom Sharkett & Raf Rundell - Where's It All Go? [3:41]
[m] C4. Gina Calabrese - Nobody Lives Forever [4:40]
[n] D1. Romolo Grano, Gianni Oddi & Edda Dell'Orso - Kilimangiaro [3:55]
[o] D2. LNDFK - Hana-bi [1:55]
[p] D3. Fitness Forever - Vederti Distante [2:47]

[a] A1. System Olympia - The Heat Of The Night (feat. REINEN) [3:44]
[b] A2. Flavia Fortunato - Se Tu Vuoi [3:38]
[c] A3. See Thru Hands - Hot City [3:57]
[d] A4. Daniele Baldelli, Francesca Amati - Inner Light [4:43]
[e] A5. Ruins - Sexual Desire [3:14]
[f] B1. Midnight Magic - Beam Me Up (Eli's Mix) [5:13]
[g] B2. musclecars - Running Out Of Time [5:10]
[h] B3. Working Men's Club - Ploys (System Olympia Edit) [4:56]
[i] B4. Royalty - Heart Strings [5:05]
[j] C1. Dirty Art Club - Daysleeper [3:45]
[k] C2. Admiral - Soho Girl [4:14]
[l] C3. Tom Sharkett & Raf Rundell - Where's It All Go? [3:41]
[m] C4. Gina Calabrese - Nobody Lives Forever [4:40]
[n] D1. Romolo Grano, Gianni Oddi & Edda Dell'Orso - Kilimangiaro [3:55]
[o] D2. LNDFK - Hana-bi [1:55]
[p] D3. Fitness Forever - Vederti Distante [2:47]

[a] A1. System Olympia - The Heat Of The Night (feat. REINEN) [3:44]
[b] A2. Flavia Fortunato - Se Tu Vuoi [3:38]
[c] A3. See Thru Hands - Hot City [3:57]
[d] A4. Daniele Baldelli, Francesca Amati - Inner Light [4:43]
[e] A5. Ruins - Sexual Desire [3:14]
[f] B1. Midnight Magic - Beam Me Up (Eli's Mix) [5:13]
[g] B2. musclecars - Running Out Of Time [5:10]
[h] B3. Working Men's Club - Ploys (System Olympia Edit) [4:56]
[i] B4. Royalty - Heart Strings [5:05]
[j] C1. Dirty Art Club - Daysleeper [3:45]
[k] C2. Admiral - Soho Girl [4:14]
[l] C3. Tom Sharkett & Raf Rundell - Where's It All Go? [3:41]
[m] C4. Gina Calabrese - Nobody Lives Forever [4:40]
[n] D1. Romolo Grano, Gianni Oddi & Edda Dell'Orso - Kilimangiaro [3:55]
[o] D2. LNDFK - Hana-bi [1:55]
[p] D3. Fitness Forever - Vederti Distante [2:47]

System Olympia presents a bold, cinematic compilation that redefines the sound of sensuality. Love Language is an
18-track double-vinyl release pressed on deluxe heavyweight black vinyl.
It’s accompanied by a provocative, limited-edition 24-page fanzine, exclusive to 18+ audiences.
This is not just a compilation, Love Language is a manifesto. A carefully curated sonic journey through eroticism, artistic rebellion,
and liberation, it spans nearly five decades of music and features exclusive edits and rare gems that illuminate System Olympia’s
radical aesthetic vision.

****
Since her emergence on the electronic underground, System Olympia has carved out a distinct, sensual sonic universe, equal parts
vulnerable and defiant. With Love Language, she presents her most audacious project to date: a compilation rooted in what she
calls The Aesthetics of Sexual Desire in Sound.

It’s a daring declaration that desire is more than a feeling - it’s a language. Across 20 tracks, including her own sultry opener “The
Heat Of The Night (feat. REINEN)” and a rare System Olympia edit of Working Men’s Club’s “Ploys”, this compilation speaks in
rhythms and textures that evoke longing, intimacy, and ecstatic release.
This is not a traditional compilation. System Olympia’s sequencing is cinematic and deliberate. Every track a scene in a film that exists
only in the listener’s imagination. From the retro-futurist seduction of Flavia Fortunato’s Italo gem “Se Tu Vuoi” to the deep, extended
tension of Musclecars’ “Running Out of Time,” each piece plays its part in an arc of anticipation, climax, and reflection.Uniting artists as diverse as Daniele Baldelli, Piero Umiliani, and DJ Rocca, Love Language refuses boundaries of genre, era, or
expectation. It dances between vintage Italo-disco, dreamy electronica, sweaty club tracks, and avant-garde jazz, forming a rich
tapestry of sound and sensation.

System Olympia explains, “This is music for lovers, outsiders, and dreamers. It's a rebellion made of velvet and
basslines.

The accompanying 24-page fanzine insert, restricted to adults, further deepens the narrative, with erotic visual fragments and
poetic texts that amplify the compilation’s raw, sensual energy. A tangible extension of the music’s spirit, the zine invites listeners to
step into Olympia’s world and engage their senses fully.

As much a provocation as it is a celebration, Love Language is a deeply personal curation and a radical act of creative freedom. It
champions eroticism as art, desire as dialogue, and music as a liberatory force.

a A1. System Olympia - The Heat Of The Night (feat. REINEN) 3:44
b A2. Flavia Fortunato - Se Tu Vuoi 3:38
[c] A3. See Thru Hands - Hot City [3:57]
[d] A4. Daniele Baldelli, Francesca Amati - Inner Light [4:43]
[e] A5. Ruins - Sexual Desire [3:14]
[f] B1. Midnight Magic - Beam Me Up (Eli's Mix) [5:13]
[g] B2. musclecars - Running Out Of Time [5:10]
[h] B3. Working Men's Club - Ploys (System Olympia Edit) [4:56]
[i] B4. Royalty - Heart Strings [5:05]
[j] C1. Dirty Art Club - Daysleeper [3:45]
[k] C2. Admiral - Soho Girl [4:14]
[l] C3. Tom Sharkett & Raf Rundell - Where's It All Go? [3:41]
[m] C4. Gina Calabrese - Nobody Lives Forever [4:40]
[n] D1. Romolo Grano, Gianni Oddi & Edda Dell'Orso - Kilimangiaro [3:55]
[o] D2. LNDFK - Hana-bi [1:55]
[2:47]

[a] A1. System Olympia - The Heat Of The Night (feat. REINEN) [3:44]
[b] A2. Flavia Fortunato - Se Tu Vuoi [3:38]
[c] A3. See Thru Hands - Hot City [3:57]
[d] A4. Daniele Baldelli, Francesca Amati - Inner Light [4:43]
[e] A5. Ruins - Sexual Desire [3:14]
[f] B1. Midnight Magic - Beam Me Up (Eli's Mix) [5:13]
[g] B2. musclecars - Running Out Of Time [5:10]
[h] B3. Working Men's Club - Ploys (System Olympia Edit) [4:56]
[i] B4. Royalty - Heart Strings [5:05]
[j] C1. Dirty Art Club - Daysleeper [3:45]
[k] C2. Admiral - Soho Girl [4:14]
[l] C3. Tom Sharkett & Raf Rundell - Where's It All Go? [3:41]
[m] C4. Gina Calabrese - Nobody Lives Forever [4:40]
[n] D1. Romolo Grano, Gianni Oddi & Edda Dell'Orso - Kilimangiaro [3:55]
[o] D2. LNDFK - Hana-bi [1:55]
[2:47]

2025 Repress

More than once Jay Richford and Gary Stevan’s Feelings has been described as the greatest library record ever released. Of course Be With can’t be seen to be playing favourites, but we have to admit, it’s pretty good. Insanely rare and immensely sought-after, it’s a tough funk, street jazz masterpiece coveted for many years by collectors of all musical genres.

Since its original release on Italian label Carosello in 1974, Feelings has appeared on several labels with different sleeves and even under a different artist. Indeed cult library label Conroy put it out in one of their iconic red sleeves in 1976 and yes, Feelings has indeed had more than one modern re-issue since these “original” releases. But a record this special deserves to be kept in press and we think it deserves the Be With treatment.

No, Jay Richford and Gary Stevan aren’t two of the most Italian sounding names. As the story goes these were the pseudonyms adopted by Stefano Torossi and Giancarlo Gazzani who wrote the album but couldn’t use their real names on the original release for legal reasons. But Stefano Torossi himself later both clarified and confused the tale further by explaining that Feelings was the work of four people not just Gazzani and himself. Fellow composers and musicians Sandro Brugnolini and Puccio Roelens also worked on the album and as Torossi himself explained “we all worked together”, with all four gents “dividing the royalties in equal parts… that’s the story.” Right, so, with that all sorted out let’s get back to talking about the music. And what music it is.

Long hailed as a holy grail of library music, Feelings is the epitome of the sort of cinematic orchestral jazzy funk that is “that 70s library music sound”. Infectiously funky, deliciously melodic and with impeccible, elegant production, this record is the showcase for a stunning set of compositions and arrangements and with performances that are nothing short of virtuoso.

The record’s first side lifts off with “Flying High”, soaring brilliant and shimmering. Funk licks, menacing strings and swaggering horns combine for an ice-cold intro groove that Isaac Hayes would surely have envied, before the steady-paced drums deliver the slo-mo TKO. The string-drenched cop-funk of “Going Home” raises the tempo. All funky quick-fire bass lines and killer electric guitar soloing. A real thriller.

“Walking In The Dark” positively drips in blaxploitation-funk drama strings and horn struts, all laced with delicate drums, velvet piano and more filthy wah-wah. “Fighting For Life” is another funk-fuelled workout built around an effortlessly relentless drum track that refuses to give up until even the stiffest-necked head is nodding.

The loping, open drum break that guides the much-loved “Feeling Tense” through its early stages would be good enough on its own. The heavy bass gloss, swirling strings and ominous horns that follow take things to the next level.

The second side opens with another favourite “Running Fast”, and the track does precisely that. This is one fine rollicking chase theme underpinned by frenetic (yet funky) Fender Rhodes and skipping bass and drums. Those sweeping strings are a gorgeous extra. It’s a deliciously feel-good groove that sets the heart racing.

“Loving Tenderly” envelops us in warm, velvety night-time vibes with easy listening horns and slinky strings dialing up the seduction. Definitely one for the lithe lovers out there. The pace picks up on the electrifying “Fearing Much” where strings dart around deep bass, buzzing guitars and another funky drum break. The lush, melancholic “Being Friendly” is another easy beauty, all warm Rhodes and strings. Majestic stuff that puts an aural arm around you. The climactic “Having Fun” rides a pulsating, bass-heavy drum break with snatches of a funky guitar refrain, some luxurious keys, sweeping strings and triumphant horns. Sensational.

‘Danse Cette Zik!’ by Parbleu is the debut LP from this enigmatic group of musicians and is a multi-cultural fever dream, wherein energized expanses of dynamic disco, futuristic funk, and cinematic jazz fusion are colored over by warming vibes of Caribbean dub, Latin tropicalia, and sunshine Afrobeat. Evocative instrumentals intertwine with breathtaking vocal performances, which move between sleepy-eyed soul serenades, mystical melodic chants, and expressive diva enchantments while pads swell in support—sometimes sparkling like ocean glass, other times raining down like a Morricone symphony.

Pianos and guitars converse via funk flourishes, reggae riffs, and jazz rock solos as blazing fusion synthesizers set the air aflame. Drums move between kinetic dancefloor urgency and islander rhythm relaxation and hand percussions both organic and electronic evoke rainforest ceremonials while basslines revel in 70s fusion fire and Italo synth-funk squelch. And the entire experience has been expertly captured and magically crafted by the sorcerers of sound at the West Hill Studio, resulting in a thrilling adventure of imagined exotica, one equally adept at scoring coastal paradises, filmic deserts, riviera cruises, or nightclubs sweltering in the light of a mediterranean moon.

(Words by Octagon Eyes)

The timeless brick breaker is back in a completely modernized version! Composed by Xavier Thiry, the game's original soundtrack is adaptive and progressive, and fits perfectly into the game experience offered.

Xavier Thiry is a composer, director and producer working in the worlds of music, TV, advertising and cinema. He has worked on many soundtracks for Pastagames, but also Arte, Darjeeling, DotEmu, Arkedo, and many others. The Arkanoid Eternal Battle soundtrack is his first original creation for Microids.

Bryan Senti’s La Marea, out on 10th October, is a poignant new work for string orchestra that moves like the ocean. Written as a tribute to his father’s journey from Cuba to the United States, the music carries the listener across waters filled with memory, loss, and hope. Performed by the Czech National Symphony, La Marea is both intimate and cinematic, guiding the listener through a story that transports us from the mountain to the sea.

“The image that repeatedly came to mind was that of the proverbial raft, of being alone and adrift at sea. I can imagine the internal struggle: anchoring oneself to memories of the past while hoping, desperately so, to be reborn in a foreign land. That singular combination of grief and faith that brings someone to surrender to inevitable change”

The album brings together collaborators including bassist Spencer Zahn, cellist Noah Hoffeld, and Grammy-winning baritone Edward Parks, whose moving performance of Saloma (Tierra en Movimiento), set to the words of Chilean poet Antonia Torres Aguëro, is paired with a moving short film by Jared Malik Royal.

Co-produced with Grammy winner Justin Moshkevich and mixed by Francesco Donadello (Chernobyl, Tàr, The Joker).

La Marea is both a personal reflection and a universal meditation on migration and transformation.

Cinema Serenade is an album by John Williams and Itzhak Perlman, featuring orchestral performances of famous and notable film themes,
with Perlman's violin at the forefront.. Amongst others, it features work by Michel Legrand, Elmer Bernstein, John Barry, André Previn and John Williams himself.

All the work on this album is conducted by Williams and performed by the Pittsburgh Symphony Orchestra. It also features exclusive liner notes from well-known film critic,
musicologist and professor Royal S. Brown,
Cinema Serenade is available as a limited edition of 500 numbered copies on aquamarine coloured vinyl.

Sunburst vinyl version of “Make Metal Royal Again” (previously released August 15th, 2025 via Reaper Entertainment), HAMMER KING once again raise their banners high: the throne of power metal is theirs to claim. Following the chart-breaking success of their last two records – “Kingdemonium” (#17 DE) and “König und Kaiser” (#16 DE) – the German quartet returns in 2025 with even more grandeur, might, and majestic songwriting. Produced by Charles Greywolf (Powerwolf) and Titan Fox V, and mixed & mastered by Jacob Hansen (Amaranthe, Volbeat), the album delivers ten powerful new tracks and a surprise bonus cover. With “Danger Zone”, the band pays a thunderous, metallic tribute to pop culture for the very first time. From anthemic epics like “For Crown And Kingdom” to the cinematic grandeur of “Hoheitsgebiet” and the touching ballad “Schlaf Kaiser schlaf”, HAMMER KING offer a full royal banquet of sound and spirit. Introducing new drummer Count Shandorian, whose precision and creative drive elevate the band’s sound even further, Make Metal Royal Again marks a new peak in the group’s journey. The magnificent artwork by Péter Sallai (Powerwolf, Sabaton), inspired by The Last Supper, captures the album’s core themes: power, identity, and loyalty. This is not just an album – it’s HAMMER KING’s metal manifesto for a new golden age.

Moving freely through time and space via experimental DIY recordings since 2009, Joasihno return with their fourth album "Spots".

“Find your spot in the shade,” a truly laid-back and incredibly soft-spoken MC once advised, yet in a world that seems to get shadier every day, it’s probably time to finally get out and face the sun. Southern German experimental pop duo Joasihno – initial solo founder Cico Beck (The Notwist, Aloa Input, Spirit Fest) and drummer/composer Nico Sierig (Instrument, Fehler Kuti) – seem to know exactly when it’s time to shine. Idiosyncratic genre tweakers since day one, they have been operating at their own pace, mostly staying in their own shady corner. Yet, almost a decade after their most recent “Meshes” (an album that came with a whole legion of tiny music robots), it’s high time for them to take over more corners, to reclaim even more spots between lo-fi and sci-fi, retro electronica and contemporary classic. Drawing upon influences as varied as Reich, Riley, and Ryuichi, múm, Meek, and Moondog, while also nodding to other experimental twosomes (e.g. The Books), the duo’s fourth full-length “Spots” is set to arrive via Alien Transistor in late 2025.

Leaving soulless automation and all things artificial to others, Joasihno launch the latest record on “2 Squares” that feel like a peaceful, almost bucolic version of retro space age: lights blink ever so softly as easy-going bass tones point at today’s introspective flight arc. Electronic shapes align and things lift off – with a majestic 8-bit sunrise soon appearing right in front of us. Whereas playful title song “Spots” is a miniature Rube Goldberg kind of device, with quirky plucked strings and glitches setting off more and more contraption layers, “Crackleboom” is uncharted energy, an open landscape, an expanding bonfire that leads to a long-forgotten piano, all dust-covered in some kind of saloon. Space might be only noise to others, here, it’s foreboding screeches (“Dizzle Whistle”) that make room for A-side center piece “Forest Lights”: a steady beat that lures us to a clearance in the woods. Things break and shatter in the distance, but this spot right here is for hypnosis, dancing, sylvan spirits. And yeah, it’s surprisingly hot down here in the undergrowth…

Opening side B with a fun banger that takes the unhinged dancing to the playground – “Characa Orb.” feels like French kids on swings going crazy, a tipsy, tongue-in-cheek electro blow-out between Oizo and Orbis Tertius –, things get even more cinematic throughout the second half. Even the cheapest, lo-fiest gear is sufficient to make “The Slow Hour” glow like true, timeless pop royalty. In fact, the very same pop spirits roam and celebrate freely in the chirpy coves of mesmerizing “Detune Lagoon” – more hand-crafted sci-fi/lo-fi loops you’ll only find after facing the ghosts of Lynch or Sakamoto on those night-time trails under the “Deep Moon”. It’s all DIY spots, spots that leave room to dream or dangle, drape yourself over or dive into. Returning to the leafy bower on a melancholy post rock tip, we eventually learn that “Death Is Real” – and so we’re left with a laterna magica that turns and turns and turns. It’s a beautiful spot where light and shadows keep on dancing, just like they’ve always done, ever since the dawn of this madcap universe.

A1 FORWARD
Was inspired by the revolution of the year of 1988 also referred to as the 2nd summer of love. Revolutions great and small are happening all around us all the time, and they take place in the minds of individuals.

A2 CHARANJIT DRIVE
Describes the revolution i 've got in mind, angelic bass-string harmonic notes flying left and right, Indian-vocals, sudden sped-up dancehall baselines and breaks. Imagine a hippie a homeboy and a funky dread, hugging and dancing and telling their mates how much they love each other in a nice green field while this plays.

B1 HONDA WANDERER
A man in a blue honda civic is traveling through a misty world at a high velocity. Seeking that which is just hiding behind the next bend. I made this after a beautiful misty, raining/sunshine rainbow ride on the autobahn. I had just picked up a cheap mutron bi-phase which was sitting beside me in the passenger seat. It was amazing.

B2 MISTY VALLEY
It's time to get a little bit serious, this one feels like the place where i made all of this music, the village of Ruigoord, covered in a thick winter fog. The remnants of a possible previous reincarnation of myself as an 80s new-beat producer are haunting this music.

all music & artwork by Mozes Meijer, mastering: Wouter Brandenburg, cut: Dubplates & Mastering a&r: Arne Cinema Royale Visser.

Stylish, intelligent and cinematic, the second series of the cult UK TV series UTOPIA in 2014 reinforced the impact of Emmy Award winning
Series 1 and gained the show an even larger following. Integral to the action is Chilean composer Cristobal Tapia de Veer's original music
for the programme, recognised by the Royal Television Society who awarded it Best Music (Original Score), Record Collector who gave
it five stars and Mojo who placed it at No. 4 in their Top 10 Soundtracks of the year.
This record was originally released for Record Store Day 2015 and is repressed on a new colour by popular demand. Cristobal Tapia de Veer’s
music has more recently found a new audience with his soundtrack to HBO hit show The White Lotus and the film Babygirl (2024).

"Movements of Air" is the highly anticipated fifth album from Daniel Herskedal's acclaimed trio, featuring Eyolf Dale on piano and Helge Andreas Norbakken on drums and percussion. Marking his tenth remarkable release with Edition Records, this album seamlessly bridges his foundational trio debut, "Slow Eastbound Train," with previous masterpieces like "The Roc" and "Voyage."

Over the past decade, Daniel Herskedal has consistently pushed the boundaries of the tuba, crafting music that is both profoundly introspective and expansively cinematic. At its core, "Movements of Air" delves into themes of hope, the pursuit of a better future, and the very essence of musical creation. With masterful performances from all members and intricate compositions, Herskedal navigates the delicate balance between good and evil, war and peace. Tracks such as "The Olive Branch" and "Peace River Crossing" showcase his ability to create emotionally resonant soundscapes, while pieces like "Elements of Harmony" and "Harmonic Allusions" highlight his innovative approach to harmony and texture.

This album stands as a testament to Herskedal's extraordinary talent, transcending the traditional limits of his instrument to deliver music that is both emotionally compelling and artistically groundbreaking.

Daniel Herskedal's exceptional achievements further underscore his artistic prowess and versatility. His notable arrangement of"San Francisco (Be Sure to Wear Flowers in Your Hair)" for the 2019 film "The Last Black Man in San Francisco," produced by Brad Pitt, was later featured in Coca Cola's global 'Open Like Never Before' advertising campaign. His extensive collaborations include performances with prestigious ensembles such as the BBC Concert Orchestra, the Royal Norwegian Navy Band, and the Russian Patriarchate Choir of Moscow. His collaborative project with Marja Mortensson won the Norwegian Grammy in 2019, and in 2021,he secured The Ambies Award for Best Original Score and Music Supervision for the podcast "9/12." Additionally, his work with artists like Keaton Henson and Emilie Nicolas on their album "Out of the Fog" further highlights his versatility and collaborative spirit.

Denovali presents the new album of the prestigious Swedish pianist and composer Matti Bye. Matti is well-known for his regular performances at various silent film festivals and screenings worldwide, where you can see him perform solo and with artists such as Lau Nau. Bye has been involved in several collaborations, including Hydras Dream, where he recorded and released an album with Anna von Hausswolff. Additionally, Matti is recognized for his scores in projects like ”Young Royals," ”Tove," „The Hundred-Year-Old Man Who Climbed Out of the Window and Disappeared,“ and "A Traves de tu Mirada” among many others.

Matti Bye's third album, "Capri Clouds", moves through the element of the air and further into space. A lone piano sounds, echoes - sometimes like a waltz. We have the sound of the wind with us and the sound of the sea below us as we fly, and above we hear the stars and planets spinning. A piano from the past, as if Satie met space - as if Spiritualized and Satie talked to each other across timeand space.These songs go straight to the heart and to the senses, and create images in your head. Stories from your own memory bank, as well as new visions – music to lean into, meditatively and hopefully longing. But there is also an undertone of something dark and desolate. Musically, Matti Bye moves within the realm of neo-classicism, but he is also approaching romanticism. References to composers suchas Schubert and Beethoven are to be found here, as well as to post-romantic bands such as Kraftwerk and The Cure. In this third album of a trilogy – the first was "Bethanien", the second "The Forgotten Land" – Bye continues his musical journey. Here we encounter a brighter and lighter production. Anders af Klintberg has brought "Capri Clouds" up from the underworld and the dreamscape, towards clouds and skies.

Olatuja is a band, a project, an album full of the uplifting, joyful music of the African diaspora, and a beacon of healing in a divided world. With an A-list supporting cast including drummers Obed Calvaire and Joshua Keitt, guitarists Femi Temowo and David Rosenthal, percussionist Magatte Sow and star pianist Christian Sands, Michael and Alicia set about creating Olatuja - an album that is at once cinematic in scope and intimate and personal in its message of trust, joy and the power of honest communication. "Olatuja" draws on the rich heritage of Michael"s Yoruba culture, the evolving popular music of West Africa, the gospel and jazz traditions that inform Alicia"s musicality, and the strong links that tie all these threads together.

Since surfacing into the Scandinavian synth-pop scene 16 years ago, Nicklas Stenemo and Christian Hutchinson Berg aka KITE have steadily grown from local icons to a global phenomenon, yet until now they've never released a full-length studio album. VII breaks the ice, collecting 14 of the duo's deepest and most dynamic anthems into a stormy saga of immersive, apocalyptic emotion. Sourced from a series of six 7-inch singles released over the past half-decade, the collection persuasively showcases KITE's distinctly cinematic strain of Swedish darkwave in all its glory and desolation. Stenemo and Berg had both logged time in other bands before joining forces in the mid-aughts, although their unique chemistry became apparent immediately. After forming in Malmö, Sweden, they soon relocated to Stockholm, further refining their fusion of brooding synths, booming rhythm, and vocal theatrics over a string of celebrated, numbered EPs (named I through VI). Despite their rising profile, KITE then and now have largely refrained from publicity, allowing their music to speak for itself - which it clearly has, as KITE's live performances have become the stuff of legend, prompting frequent festival invitations, international tours, and limited engagements on prestigious stages (recently at the Royal Swedish Opera, and Dalhalla, the former limestone quarry turned open air amphitheater, to name a few). VII offers a compendium of KITE's potent recent discography, including collaborations with Blanck Mass, Anna von Hausswolff, and Henric de la Cour. From yearning dystopian pop ("Hand Out The Drugs," "Bowie `95"), to widescreen existential balladry ("Tranas Stenslanda," "Glassy Eyes"), and sleek New Romantica ("Remember Me," "Teenage Bliss"), KITE's wavelength is one of soaring heights and abysmal depths, anguish and ecstasy, pouring one's burning, battered heart into the here and now. Their years of visceral commitment and artistic integrity have been hard fought and hard won; it bleeds between the words and melodies in one holy moment after another: "I switch my ways / To seize the day / To face my life / Not fade to gray."

Since surfacing into the Scandinavian synth-pop scene 16 years ago, Nicklas Stenemo and Christian Hutchinson Berg aka KITE have steadily grown from local icons to a global phenomenon, yet until now they've never released a full-length studio album. VII breaks the ice, collecting 14 of the duo's deepest and most dynamic anthems into a stormy saga of immersive, apocalyptic emotion. Sourced from a series of six 7-inch singles released over the past half-decade, the collection persuasively showcases KITE's distinctly cinematic strain of Swedish darkwave in all its glory and desolation. Stenemo and Berg had both logged time in other bands before joining forces in the mid-aughts, although their unique chemistry became apparent immediately. After forming in Malmö, Sweden, they soon relocated to Stockholm, further refining their fusion of brooding synths, booming rhythm, and vocal theatrics over a string of celebrated, numbered EPs (named I through VI). Despite their rising profile, KITE then and now have largely refrained from publicity, allowing their music to speak for itself - which it clearly has, as KITE's live performances have become the stuff of legend, prompting frequent festival invitations, international tours, and limited engagements on prestigious stages (recently at the Royal Swedish Opera, and Dalhalla, the former limestone quarry turned open air amphitheater, to name a few). VII offers a compendium of KITE's potent recent discography, including collaborations with Blanck Mass, Anna von Hausswolff, and Henric de la Cour. From yearning dystopian pop ("Hand Out The Drugs," "Bowie `95"), to widescreen existential balladry ("Tranas Stenslanda," "Glassy Eyes"), and sleek New Romantica ("Remember Me," "Teenage Bliss"), KITE's wavelength is one of soaring heights and abysmal depths, anguish and ecstasy, pouring one's burning, battered heart into the here and now. Their years of visceral commitment and artistic integrity have been hard fought and hard won; it bleeds between the words and melodies in one holy moment after another: "I switch my ways / To seize the day / To face my life / Not fade to gray."

PHANTOM OF THE AFTERS is the 3rd album from Irish rapper Kojaque, out on his very own Soft Boy Records. With landmark projects Deli Daydreams and Town’s Dead, that saw him 2x nominated for Choice Music Prize, receive support from Radio 1, 1xtra, 6Music, support Loyle Carner & Lana Del Rey and headline festivals across Ireland, Kojaque changed the rap landscape (and Irish culture) for good. Collaborations on his latest project include Biig Piig, Wiki, Charlotte Dos Santos and Gotts Street Park. The album traces blurred outlines of childhood trauma, depression, grief and love, interweaving the physical and emotional journey of central character Jackie Dandelion with bigger questions about immigrant identity, homesickness, cultural stereotypes and ultimately the reconciliation of self. Kojaque has created a cinematic-universe that is bigger in scope but also more tender and intimate in approach than ever before. It’s this willingness to be vulnerable - grotesque, even - that’s captured in the album’s iconic artwork, which subverts the bigoted depictions of Irish caricatures in 19th and 20th century Punch Magazine cartoons and sees this particular Phantom of the Opera remove not just those distorted masks, but also his own.

With songs that are cocksure and contemplative, brutally honest but also refreshingly myth-making, PHANTOM OF THE AFTERS marks a new era from Kojaque: one of his generation’s most unique talents. In suitably audio-visual style, the album traces blurred outlines of childhood trauma, depression, grief and love. It interweaves the journey of central character Jackie Dandelion from Dublin to London with bigger questions about immigrant identity, homesickness, cultural stereotypes and ultimately the reconciliation of self. It’s this willingness to be vulnerable - grotesque, even - that’s captured in the iconic artwork, which subverts the bigoted depictions of Irish caricatures in 19th and 20th century Punch Magazine cartoons and sees this particular Phantom of the Opera remove not just those distorted masks, but also his own.

The record drops alongside one of its more brooding moments, ‘WHAT IF?’: a soulful ode to anxiety, and the crippling impact of fear in moving forward in life or your relationships. “I’ve been obsessed with Charlotte Dos Santos ever since I heard her project Cleo,” Kojaque comments. “She’s just got such a distinct voice and sound. I sent the track over hoping she’d be into it and she sent me back a near perfect hook.” A fully independent artist, Kojaque has brought a stellar lineup of guests together on his latest work: from Biig Piig, Charlotte Dos Santos and NY rapper Wiki (who featured on ‘JOHNNY MCENROE’) to Gotts Street Park (‘BAMBI’) plus production credits such as Calvin Valentine (Ryan Beaty), Tony Seltzer (Eartheater, Freddie Gibbs) and Karma Kid (Hak Baker, Shygirl).

PHANTOM OF THE AFTERS will see Kojaque continue to blaze a trail around the world. He first came to prominence with the genre-bending concept record Deli Daydreams: it became the first mixtape to ever be nominated for the Choice Music Prize, and demonstrated his prowess not only as a polymathic artist, but DIY label-head (co-founding Soft Boy Records, which was subject to a Boiler Room documentary) and visual artist (Kojaque has received a prestigious Royal Hibernian Academy Award for his film-making). Even as the rest of the world sat up and paid Irish Art some long-overdue attention, Kojaque’s creative output has remained thrillingly uncompromising. Tour-de-force debut album Town’s Dead examined everything from gentrification, masculinity and mental health to a gnarly love-triangle unfolding on New Year’s Eve, held together by a multi-hyphenate attitude. Once again nominated for the Choice Prize, Kojaque played a sold-out UK & European headline tour around the restrictive local lockdowns, with the album landing additional support across the likes of Radio 1, 1xtra, 6Music, plus shows with Lana Del Rey and Loyle Carner (who also sampled Kojaque on hugo). With his landmark projects to date, Kojaque changed the rap landscape (and Irish culture) for good. On PHANTOM OF THE AFTERS, you sense he’s just getting started.

Kapitän Platte will release the debut album from Belgium based band CHATTE ROYAL in March 2024. The four-piece group has already released two EPs in 2020 and 2022 and will present eight new songs on the first full-length, Diego Di Vito who is responsible for most of the songwriting on the album is also well known as the guitar player in cinematic-post-rock band We Stood Like Kings. CHATTE ROYAL is like the music of a film whose image we would have removed. Obsessions that result in powerful riffs accompanied by an impactful rhythm. This quartet travels through music oscillating between atmospheric and aggressive math-rock and melodic post-rock with a punk attitude. In a completely uninhibited style and imbued with virtuosity and energy on stage.

Two sublime unreleased scores from Basil Kirchin. Need we say more.
So here we are. The next Trunk / Kirchin assignment. Basically some more unreleased music from the unpredictable and slightly chaotic Kirchin Tape Archive.
Very Limited Black Vinyl.

These tapes were labelled up as follows:
Assignment K (with lots of pencil scribbles everywhere). The Strange Affair (with lots of pen scribbles everywhere).
As usual with Basil tapes / things there is little else to go on, no tracklist, no list of musicians, no singer names, no dates or anything. I have actually tried to establish the name of the singer on the song from Side One (we have called it “Love Is To Walk Away “ as it is unnamed) but having played it to a handful of knowledgeable collectors and enthusiasts who I would count as experts in this field, no one has a clue who it might be. If you think you know please get in touch. We know who it isn’t.

We can tell you that Assignment K dates from 1968, was a film about a toy maker who has a double life as an international spy. It was directed by Val Guest, who’d just finished trying to rescue the cinematic hotchpotch that was Casino Royale - he had been brought in by the Bond producers after Peter Sellers had walked off the movie. We imagine Assignment K may have been a slightly less stressful few months of shooting. As for the Kirchin score that we have here, we can tell you very little indeed, apart from the fact that the bass player was Ron Prentice (an ex blacksmith turned musician and craftsman) who worked on several Bond scores, but we know little else. And we only know this because it says so in the academic tome “Jazz On The Screen” by David Meeker.

The Strange Affair is also from 1968, and was not only controversial but also a reasonably unsuccessful movie. Directed by David Greene who also directed, amongst other films, I Start Counting and the quite brilliant Sebastian. In this rather grubby flick a policeman called Peter Strange (played by Michael York) falls for an underage girl (played by Susan George), finds himself compromised by a pair of pornographers and gets lured into an errand for a smack gang. We can tell you little else because I have no more information about it all.
But we do know that this music has all the classic Kirchin mid-period sonic hallmarks that have always set him apart.

PETE MOLINARI is a singer-songwriter from the Medway Delta. He was born into a large Maltese/ Italian/ Egyptian family in Chatham, Kent, where he was discovered by Billy Childish.
He’s got five critically-acclaimed albums’ worth of timeless folk, blues, rock and alt- country songs to his credit, plus a bunch more EPs.
He’s often described as a songwriter’s songwriter. Bruce Springsteen once publicly proffered: “Pete Molinari – if you don’t know anything about him, he’s great!”
Rome has a secret heartbeat, an underground and urgent pulsation whose memory is preserved within the walls of old recording studios, in the tales of veterans, and most of all in the grooves of the soundtracks of Cinecittà. Music that has always flirted with poetry.
Pete Molinari is a poet, and that's why his words perfectly blend with this pulsation.
That's why producer Luca Sapio chose to record "Wondrous Afternoon" among his Blind Faith Recordings and Maestro Piero Umiliani's Sound Workshop. The result is an album with a strong cinematic impact. The lesson of Motown applied to the sound of Rome.
Backed by Luca’s crack band better known as the Italian Royal Family, Pete Molinari sings with great expressiveness and soul, embedding his words like precious stones, exposing them in all their fragility and strength to the listener.

Over the course of eight thrilling tracks, ‘Royal’ leads listeners on a topsy-turvy journey from Middle Eastern exotica to Spaghetti Western style scores, via scorching Mediterranean beaches.
Highlights of the album include the surf-meets-Western delights of “Silver Lining”, where irresistible guitar lines are piled high and topped with euphoric synths and rock drums, resulting in a timeless soundtrack for both headless nights in dive bars and heedless days at the funfair.
“Juda” follows, a deadly combination of Zepellin and Middle Eastern rock with subtle hints of synth funk. The track is named after living legend and Middle Eastern guitar hero, Yehuda Keisar, who also joins the band for this song, contributing a scorching solo. The thunderous guitar riffs are matched pound-for-pound by the irresistible percussive groove.
Boom Pam, widely renowned for their spellbinding Middle Eastern guitar music, have unveiled their highly anticipated fifth album, 'Royal'. Celebrating their twentieth anniversary, the Tel Aviv based band combine cinematic atmospherics and high-powered surf rock on
their first album for international ambassadors of Middle Eastern grooves, Batov Records.

Boom Pam “Rock the Casbah” on title track “Royal”, revealing another card up their sleeve, as they transform a famous 80's Israeli radio theme into a discoinspired super jam with a punk edge.

The band maintain their reputation for first-rate and distinctive surf rock on the fast paced “Daber Yafé” and “Monsour”.
The sonic imprint is both warmed and widened by the rare addition of a tuba supplying the lower frequencies.
Meanwhile, opener “Lava Tongue”, and “Golden” emphasize the melodic side to the band, conjuring dreamy sunset mirages to hypnotize the listener.

Boom Pam have established themselves as pioneers of modern Middle Eastern surf rock, combining sophisticated yet catchy guitar riffs, with roaring tuba basslines and fiery drums. In the past decade the band have frequently collaborated with and backed legendary Turkish folk singer-songwriter, Selda Bagcan, on stage and record, and performed at some of the world's most renowned festivals, including Primavera Sound, Lollapalooza, Fuji Rock, the Montreal Jazz Festival and many more.
An engaging listen from beginning to end, ‘Royal’ is the perfect representation of Boom Pam’s incredible 20-year journey, showcasing their superior skills in pushing the boundaries of their genre.

* 2022 Repress ** Profondo Nero compiled by Cinema Royale

Profondo Nero narrates a storyline that goes beyond the borders of Italy’s musical legacy. Cutting across the face of Italo disco’s leftfield musicians between the early and late ‘80s, Profondo Nero champions a multi-faceted sound that nods to the blueprint of Italo disco but tries to dig deeper. The music is unmistakably Italo disco but moves away from the familiar classic sound. Amsterdam based collector Cinema Royale stitches together eleven tracks from 1983 – 1989, celebrating a sound he fittingly describes as ‘leftfield Italo’.

The compilation connects the dots between soulful disco (Louise Freeman – Mirage), synth-pop (Mark – Dreamland), electro-rap (Loukas Thanos – Jazzburger), breaks (Santoro – Lover Message), 80s dub disco (Jet Set – Love Break), Balearic (Isamar & Compañia ‎- No Estas), boogie (Tom Hooker – Talk With Your Body) and proto-house (International Music System - An English ’93).

Profondo Nero’s title salutes the legendary oeuvre of Italian horror director Dario Argento. His Profondo Rosso (1975) is a classic example of exquisite cinematic storytelling, boasting courageous colors, expressionist camera angles and an unforgettable Goblin score forming the ingredients for an intriguing piece of art. Profondo Rosso’s music, created the spark for a new Dekmantel Records endeavor led by Amsterdam based experimental film score connoisseur, record collector and DJ Cinema Royale.

For those in the know of underground Amsterdam music culture, Arne Visser aka Cinema Royale is among the city’s longest standing record collectors. Born to an Italian mother and Dutch father, Arne was brought up on a diet of Italo disco in the 80s. Cinema Royale explains: ‘For Profondo Nero I took a plunge into the lesser known fringes of Italo disco. From there I tried to connect, among others, San Francisco boogie, Balearic, Japanese late era Italo-electro and synth-pop funk. I hope you can hear what I had in mind: an infectious showcase of my take on traditional Italo disco that will hopefully get a lot of listeners itching for a spin. It’s fair to say that lately this particular sound has seen a reappraisal and renewed interest.

As a party-starting collection for entry-level connoisseurs or suave but lazy types, I hope Profondo Nero can be an education. I’m not claiming I’m the first DJ or collector to do so, but I did try do present something special by digging deep.’ It wasn’t my goal to unearth the most obscure tracks, instead I wanted to compose a compilation that takes you on a journey.
‘In my opinion the best DJs create something extraordinary out of illogical selections by combining music against all odds and showing different kind of moods along the way. There’s a certain amount of arrogance involved: you take the music out of its original context. But by doing so in a very conscious way, you might be able to enhance the power of the individual records. Hopefully each song on Profondo Nero provides an intimate and memorable experience.’

-The second LP of Jazz Playaz, a followup album to International Jazz Playaz. -Blue w/ White Splatter 12" edition limited to 250 copies. The Jazz Playaz return to provide nostalgic rhythms to comfort you in the time of need. 16 tracks that are to soothe your mind and ease all anxiety from troubles. The Jazz Playaz ask you to join their ride for a Nostalgic Vacation. Starring DJ Domsta & Professor Creepshow.

TRACKLIST: 1. Entry Fee 2. Saturday Morning Energy 3. Feels So Nice 4. Dialing Progress 5. Aquatic Feedback 6. Arcade Tokens 7. Purple Lights 8. After Hour Cinema 9. Dial Up 10. One Way 11. All Inclusive Stay 12. No Service 13. Layers Of Funk 14. Royalty Reception 15. Won't Say No 16. The Way We Feel

-The second LP of Jazz Playaz, a followup album to International Jazz Playaz. -Blue w/ White Splatter 12" edition limited to 250 copies. The Jazz Playaz return to provide nostalgic rhythms to comfort you in the time of need. 16 tracks that are to soothe your mind and ease all anxiety from troubles. The Jazz Playaz ask you to join their ride for a Nostalgic Vacation. Starring DJ Domsta & Professor Creepshow.

TRACKLIST: 1. Entry Fee 2. Saturday Morning Energy 3. Feels So Nice 4. Dialing Progress 5. Aquatic Feedback 6. Arcade Tokens 7. Purple Lights 8. After Hour Cinema 9. Dial Up 10. One Way 11. All Inclusive Stay 12. No Service 13. Layers Of Funk 14. Royalty Reception 15. Won't Say No 16. The Way We Feel

"The anger and depression got to me, and I couldn't hold it in anymore
So, I got into a room with my demons and we just hit record," shares indie singersongwriter Leslie Mendelson. The resulting album, playfully titled, ' If You Can't
Say Anything Nice' ,' is viscerally themed, imaginatively arranged, cinematically
dynamic and textured, oozing raw elegance. " I deal with depression and anxiety,
and I've never really sang about it before. It also felt like what was going on with
society was also affecting me, in terms of gun violence, the opioid crisis, and the
all hatred in the news and media. It felt like it was time to speak out," Leslie
explains. Leslie has released two prior albums, including her Grammy Awardnominated debut, 'Swan Feathers,' one EP, and three singles. Her first album
exhibited a production sheen she opted to strip away on her sophomore album, '
Love & Murder.' Her latest, ' If You Can't Say Anything Nice ' ,' is a gutsy album that
splits the difference between her previous albums in terms of production, but
also features some garage- rock bluster. " The best time to make a rock n' roll
record is when you're broke and pissed off, " she says, with a good-natured laugh.
For the album, Leslie worked with longtime co-writer and guitarist Steve McEwan
who co-produced the album alongside bassist and engineer Lorenzo Wolff.

A luminary of anthemic and melodic-driven techno, Enrico Sangiuliano’s path to the upper echelon of dance music has been a rapid, yet authentic one. Taking us on his newest exploration into the world of sound design and story-telling, the Emilia-native unveils the first chapter in a series of opuses under his time-limited NINETOZERO record label. The highly-anticipated countdown of releases begins today with number 9; the 4-track “Silence” EP - out now across all streaming platforms.

The extended-player opens with the reserved ‘inner mix’ of “Silence”; a cinematic masterpiece that challenges the format and flow of techno cuts and instead, radiates a measured and reflective spirit. Bright, twinkling synthwork ebbs and flows between its crisp percussion and distorted bassline, creating a push and pull effect that allows each element its moment in the spotlight. The second offering, “Future Dust”, is teased with the sound of a ticking clock that morphs effortlessly into a strong percussive line, commanded by the raw hollow sensibilities of its kick. The distinct ticking returns to welcome in the break, bringing with it a hypercharged melodic sequence and pitch-bending rave stabs. The components soon flurry together in preparation for the monumental drop, which is succeeded by an unrelenting peak-time worthy drive to the finish.

“New Expression Of Love” is the next to play; a quirky cut with plenty of intrigue and unpredictable twists and turns. Laced with offbeat synth hits that ooze a nostalgic timbre, the tune’s intro airs a subtle swing groove. As it reaches its all-important core, we’re cloaked in an intoxicating melody that serves as pure rapture for the ears, and will no doubt satiate the modern audience’s craving for euphoric sequences. Entering the break, Enrico flares his experimental capabilities, providing us with a moment of break-beat bliss that’s fuelled by acid goodness. A ‘vocal mix’ of “Silence” rounds out the EP with the distinct mantra, ‘we live in silence’, whilst its modular ‘beeps’ signal a countdown clock in reference to the project’s embedded concept of time.

Championing music on a deeper conceptual level, Enrico’s NINETOZERO output is a reflection of his tenacious appetite for evolution and refinement. Producing with a level of finesse well beyond his years, his artistic vibrancy has ensured quick elevation to the top, all the while maintaining a sound that is discernibly his own. Now standing as one of the circuit’s most cherished visionaries, and with an unrivalled back catalogue of Beatport No.1’s to his name, the contemporary sound designer’s first and forthcoming bodies of work under the NINETOZERO umbrella are further proof of his impending rise to dance music royalty.

Federico Albanese is a composer born in Milan, Italy in 1982, and currently based in Berlin. His musical versatility is a natural gift that pushes him to explore music in all its facets. Albanese's compositions are airy and cinematic, blending classical music, electronics and psychedelia. Federico started studying piano and clarinet as a child before becoming fascinated by rock music. As a teenager he studied bass and became a self-taught guitarist and soon became one of the leading figures of Milan's underground scene, performing in several bands. Influenced by black music, folk, electronic, modern and contemporary classical music his skills as a composer soon emerged, He worked for 5 years as prop man in several film sets. This experience made him understand the power of the connection between music and images and helped him to develop his personal musical path. In 2007 Albanese met singer and songwriter Jessica Einaudi and together they founded the avant-garde duo ""La Blanche Alchimie"". Composing songs with Jessica he rediscovered his love for the piano, which from that moment on, became his main instrument. Since then Federico has scored several films, short films and documentaries, including a documentary on a project commissioned by Ermenegildo Zegna in the National Museum of XXI Century Arts in Rome. In February 2014, Federico Albanese will release his debut album entitled ""The Houseboat and the Moon"". He found a place, an imaginary place, where, whenever he wanted to, he could jump on and just float away. On this moving shelter, traveling across memories and imagination, lulled by water and led by the moon, Federico wrote the 13 compositions of his debut. He recorded all of the piano parts with a 1969 German tape recorder, the Uher Royal Deluxe, which allowed him to catch all of the tiny hidden shades, the imperfections, the noises of the piano and its surrounding space. Federico melts this rarefied sound with electronics, live recordings, strings, and homemade instruments. The result is a combination of contrasts and colors with a variety of atmospheres that wonderfully represents Federico's musical universe. Vinyl: thick gatefold covers, 180g vinyl,free download.

Finders Keepers present this uber-rare soundtrack to a
film that never existed, performed by an imaginary pop
group. Incredible Polanski-inspired German hip-hop
psychsploitation beats from 1969.

This is the movie soundtrack to a film that never existed.
This is the movie soundtrack by the band that was never
requested. These were the sound library musicians who
had to invent their own clients and imaginary cast, crew
and plot to get their music heard, by a niche audience,
before floating deep into the depths of the rare record
reservoir gasping for breath.

To take a cinematic cue the record in question is the
Eurotrash pop equivalent of Jean Renoir’s
tragic/triumphant Boudu character who as a homeless,
confused and desolate down-and-out plunged to the
depths to be unwillingly rescued, resuscitated then after
gradually winning the hearts of an entire family becomes
respected and revered as royalty. Over twenty years after
the mad scientists, Dr. Horst and Ackermann, first
breathed life into this short-lived beast, brave and intrepid
vinyl explorers have sporadically returned to the doors of
Dracula’s Music Cabinet to resurrect the sonic spooks and
mutated melodies to share with nerds, mods, rockers, hiphoppers, psych nuts and Krautsiders alike. The lifeless
corpses of The Vampires Of Dartmoore that lay six feet
beneath the belly of the Eins Deutschmark bins has since
crept through the record collections of the aforementioned
social circles devouring continental currencies and
demanding random ransoms of €250 plus, not to mention
sweat, tears (of laughter) and a lot of blood.

Revamped, remastered, and re-presented! Available once
again since the initial Finders Keepers’ limited edition 2009
pressing.

Strut presents the first compilation of legendary Afghan Ghazal singer Dr. Mohammad Sadiq Fitrat a.k.a. Nashenas, recorded at the Radio Afghanistan Studios and later released on singles by the Royal label in Iran. Nashenas first made his move towards music aged 16 in 1951 when he approached Afghanistan’s national radio station, Radio Kabul, with an idea for a broadcast and, impressed with his language skills, they offered him a permanent job. “I was in close contact with some of the big names in Afghan music like Jalil Zaland,” Nashenas explains. “My father had a gramophone and we listened to other singers like Ustad Qasim Khan and Kundan Lal Saigal.” After unsuccessful initial forays into singing sessions for the station, he honed his skills as a writer, singer and musician, playing the harmonium. Inspired by a movie he had seen at the cinema, Nashenas wrote a new poem and sang on air again after the evening news, using the name ‘Nashenas’ (meaning ‘unknown’) for the first time. Following a wave of positive feedback from the public, he was given a new weekend slot and built his reputation through film song interpretations, famous poems set to music and his own compositions sung in Dari and Pashto. Nashenas would witness turbulent times as Afghanistan found itself caught up in the Cold War and the early ‘90s civil war until it became too dangerous to stay in the country. Through a friend in the U.N., he was able to seek asylum for himself and his family and take up residence in London, continuing to work as a musician and giving concerts globally. Most of Nashenas’ recordings during this period were only made for broadcast, later surfacing on singles through the Royal label in Iran. Life Is A Heavy Burden is compiled from these singles by Chris Menist and Mads Jensen. All tracks are remastered by The Carvery and both formats feature new liner notes including an interview with Nashenas. The album is part of the new United Sounds of Asia series curated by Chris Menist and Maft Sai of Paradise Bangkok.

Parcels have always been a band of extreme light and shade: they’re from surf hotspot Byron Bay in Australia but they’ve been holed up in grimy nightlife utopia Berlin for years; their sweet-as-honey vocal harmonies rival the Beach Boys but they can also turn their live shows into slamming techno rave-ups. The twentysomethings stand out amid the current musical landscape: a soulful rock band that looks like it’s stepped out of a postcard from 1970s California, all flares, moustaches and shaggy hair. They’re a classic band for atypical times.

Since Crommelin, keyboardist Louie Swain, keyboardist/guitarist Patrick Hetherington, bassist Noah Hill and drummer Anatole ‘Toto’ Serret formed in 2014, fresh out of school, they’ve struck upon a singular sound, weaving together gossamer disco and exotica, soft rock and Sixties pop with a focus on uplifting grooves. Their seductive style has translated into 100,000 album sales worldwide, over 200 million streams, cross-continental tours, shows with French royalty Phoenix and Air, a US TV debut on Conan O’Brien, a Coachella slot and a debut single that was produced by none other than Daft Punk, who saw them live in Paris and ushered them into their studio.

After two EPs, 2015’s Clockscared and 2017’s Hideout (the band’s penchant for smooshing words together is a result of a broken keyboard when they submitted their first demo), Parcels’ acclaimed self-titled debut album came in 2018 and was called “timeless and devilishly fun'' in a five-star NME review. They followed it in 2020 with an impressive live album, Live Vol.1, recorded at Hansa Studios, the legendary studio where Iggy Pop and David Berlin hung out during their Berlin years.

The band returns for summer 2021 with an ambitious third studio album,
Day/Night, a double record that spans impossibly catchy disco-soul, prog, pastoral folk, Laurel Canyon-era classic songwriting and cinematic strings. Made over the course of 2020, when the world was at a standstill, it’s the sound of a band growing up; five guys who’ve known each other since childhood and are finding their way together, in spite of all the major obstacles the last 18 months have thrown at them, when they were unable to return home to Australia and see their loved ones. Day/Night is huge in scope and sound, and its hopeful messages of perseverance through difficult times are a balm for these uncertain times.

2 LP Boxset. 2 vinyls packaged together in a clear PVC wallet (in order to display each vinyl cover). 2 x : 140 G black vinyl ( 33 rpm)+ 3mm spine printed sleeve + printed inner sleeve + cmyk vinyl label.
Cello. Marketing Front sticker 5 cm x 7 cm , back cover sticker (upc + tracklisting) 5 cm x 7 cm

Composer duo Kaae & Batz release hazy electronica single and announces new album L.U.S.H on vinyl. Kaae & Batz, the duo behind the Netflix series Bordertown’s score, is ready with a new album. The first single “Into the Void” is released 15th September, while the album L.U.S.H lands 29th October both digitally and on vinyl on Copenhagen- based record label StereoRoyal.

The album is a collection of reflective and melancholic cinematic tracks with clear references to jazz and neo-classicism where organic elements merge with electronic textures and emotional vocal samples. The album is teased with the first single “Into the Void (Part 1)” – a dark and hazy dystopia accompanied by beautiful piano chords. The album came to life on a 14-day trip to Istanbul and the majority of the tracks, including the first single “Into the Void”, are created entirely from samples and programming.

Kaae & Batz has previously released two albums, Basement Tales (2015) and Mosaic (2019), as well as composed scores for several international film productions which have garnered attention and critical acclaim in the industry. The story about childhood friends Kaspar Kaae (CODY) and Brian Batz (Sleep Party People) dates back to their teenage years in Bornholm where they were both born and raised. They went to high school together, cultivated their shared interest in music, and played together in bands. These years became the cornerstone of their friendship and musical collaboration.

With L.U.S.H, Kaae & Batz shines a light on Danish electronica. The album is released 29th October on a limited-edition LP (180g) and on all streaming platforms.

"Released in October 1971, Frank Zappa’s “200 Motels” was a miraculous feat, a cinematic collision of the venerated musician and composer’s kaleidoscopic musical and visual worlds that brought together Zappa and his band, The Mothers, Ringo Starr as Zappa – as “a large dwarf” – Keith Moon as a perverted nun, Pamela Des Barres in her acting debut, noted thespian Theodore Bikel, the Royal Philharmonic Orchestra, and an incredible assortment of characters (both on screen and off) for a “surrealistic documentary” about the bizarre life of a touring musician. The 2LP set : We are pleased to present the original soundtrack, a double-album set featuring all original packaging including the booklet & poster and a brand new remaster by legend Bernie Grundman at Bernie Grundman Mastering. Pressed on 180g black vinyl by Optimal Media in Germany.
In celebration of “200 Motels” golden anniversary, Zappa Records, UMC and MGM have assembled a definitive Super Deluxe six-disc box set of the beloved, yet hard to find, soundtrack. Fully authorized by the Zappa Trust and produced by Ahmet Zappa and Zappa Vaultmeister Joe Travers, the monstrous 200 Motels 50th Anniversary Edition brings together the original soundtrack, newly remastered by Bernie Grundman at Bernie Grundman Mastering, along with a staggering amount of unreleased and rare material unearthed from FZ’s Vault, including original demos, studio outtakes, work mixes, interviews and movie ads, along with newly discovered dialog reels, revealing an early audio edit of the film. Also included is a wealth of never-before-heard audio documentary material surrounding the project.
The six-disc set will be housed in a 64-page hardcover book in a handsome 12” x 12” slipcase. The packaging replicates the original booklet updated with revealing new liner notes from Pamela Des Barres, Ruth Underwood and Joe Travers, as well as Patrick Pending’s essay from the 1997 reissue, and is chock full of motion picture artwork, stills and images, from the film and its making, many which have never been seen before. This must-have collector’s release will also include a custom “200 Motels” keychain and Do-No-Disturb motel door hanger and a full-size replica of the original movie poster. Years in the making, all the audio was meticulously identified and transferred over several years as Travers dug through the Vault to create a new high resolution 96K/24B digital patchwork stereo master from the original analog tapes. The Vault material was mastered by John Polito in 2021. We are pleased to present the original soundtrack on 2 compact discs featuring all original packaging including the booklet & poster and a brand-new remaster by legend Bernie Grundman at Bernie Grundman Mastering. *Existing orders still stand."

Frank Zappa’s “200 Motels” was a miraculous feat, a cinematic collision of the venerated musician and composer’s kaleidoscopic musical and visual worlds that brought together Zappa and his band, The Mothers, Ringo Starr as Zappa – as “a large dwarf” – Keith Moon as a perverted nun, Pamela Des Barres in her acting debut, noted thespian Theodore Bikel, the Royal Philharmonic Orchestra, and an incredible assortment of characters (both on screen and off) for a “surrealistic documentary” about the bizarre life of a touring musician. In celebration of “200 Motels” golden anniversary, Zappa Records, UMC and MGM have assembled a definitive Super Deluxe six-disc box set of the beloved, yet hard to find, soundtrack for release on November 19. Fully authorized by the Zappa Trust and produced by Ahmet Zappa and Zappa Vaultmeister Joe Travers, the monstrous 200 Motels 50th Anniversary Edition brings together the original soundtrack, newly remastered by Bernie Grundman at Bernie Grundman Mastering, along with a staggering amount of unreleased and rare material unearthed from FZ’s Vault, including original demos, studio outtakes, work mixes, interviews and movie ads, along with newly discovered dialog reels, revealing an early audio edit of the film. Also included is a wealth of never-before-heard audio documentary material surrounding the project. The six-disc set will be housed in a 64-page hardcover book in a handsome 12” x 12” slipcase. The packaging replicates the original booklet updated with revealing new liner notes from Pamela Des Barres, Ruth Underwood and Joe Travers, as well as Patrick Pending’s essay from the 1997 reissue, and is chock full of motion picture artwork, stills and images, from the film and its making, many which have never been seen before. This must-have collector’s release will also include a custom “200 Motels” keychain and Do-No-Disturb motel door hanger and a full-size replica of the original movie poster. Years in the making, all the audio was meticulously identified and transferred over several years as Travers dug through the Vault to create a new high resolution 96K/24B digital patchwork stereo master from the original analog tapes. The Vault material was mastered by John Polito in 2021. The remastered 200 Motels soundtrack will also be reissued on vinyl as a 2LP pressed on 180-gram black vinyl and on a 2CD format - both will include a smaller version of the movie poster.

Cult jazz soundtrack to supernatural Soho
strangler epic ‘Der Wurger Vom Tower’ by Swiss
electronic pioneer Bruno Spoerri that has been
locked away since 1966.
 Translated as ‘The Strangler In The Tower’, this
lesser-known thriller possibly stretched the
imaginations of cinematic crime buffs beyond the
genre’s parameters before disappearing into
obscurity.
 Liberated from Bruno Spoerri’s meticulous master
tape vault this, his first-ever feature-length
soundtrack commission, can finally take its place
alongside other recently resuscitated oblique jazz
scores by the likes of Basil Kirchin, Krzysztof
Komeda (Cul-De-Sac), Roger Webb and Jonny
Scott.
 The real sacred jewel in Bruno Spoerri’s crown as
the leader and pioneer of Switzerland’s electronic
underground (not to mention sample source
amongst rap royalty) and a mysterious monarchial
figure in European jazz and music technology

Bristol experimental jazz collective Ishmael Ensemble reveal their expansive new album Visions of Light. The follow-up to their critically acclaimed 2019 debut A State of Flow, praised by the likes of The Guardian, Mojo, The Wire and tastemakers across BBC 6Music, this sophomore record sees the group reimagine what an ‘ensemble’ can do; expanding into a shifting collective, where human relationships between artists underpin far-ranging, stunningly ambitious and emotionally heavyweight compositions.

Helmed by producer and saxophonist Pete Cunningham, Ishmael Ensemble’s richly inventive 2019 debut A State Of Flow marked them out as an explosive new force in UK jazz, imbuing lush cinematic compositions with left-field dub and electronic sensibilities

redolent of Bristol’s vital musical landscape. NamedThe Guardian’s ‘Contemporary Album Of The Month’ and Mojo’s ‘Jazz Album of The Month’, it saw the group perform Maida Valesessions for both Gilles Peterson and Tom Ravenscroft, as well as feature on compilations for Brownswood Recordings and Soul Jazz Records. Cunningham’s rise as an in-demand producer led to remixes for the likes of techno royalty Carl Craig,as well as legendary jazz label Blue Note Records alongside a plethora of the UK’s finest musical talent on Blue Note Re:Imagined.

Ishmael Ensemble has since become a platform for Cunningham to subvert the conventional notions of producer/artist relationships, unsettling genre tags, and transcending the familiar landscape of UK jazz itself. Across the album’s 10 tracks, Cunningham practices a holistic approach with a long list of collaborators. Together, they explore vast new sonic terrain with an honesty, intimacy and emotional heft impossible for a conventional band.

Visions Of Light tells the story of Ishmael Ensemble’s development across its two sides. The first draws from the energy Cunningham and his bandmates discovered whilst extensively touring A State Of Flow.

'The Works and Days: The Black Sections' is a sound collage album that emerged out of the production material of the film, The Works and Days (of Tayoko Shiojiri in the Shiotani Basin). The film — winner of the Encounters Golden Bear for Best Film at the 2020 Berlinale — is the second feature of C.W. Winter & Anders Edström. It is an eight-hour fiction shot for a total of twenty-seven weeks, over a period of fourteen months, in a village population forty-seven in the mountains of Kyoto Prefecture, Japan. It is a geographic description of the work and non-work of a farmer. A portrait, over five seasons, of a family, of a terrain, of a sound space, and of a duration. The film was named one of the Ten Best Films of the Year by critics at: Artforum, Cargo, Cinema Scope, Desistfilm, Filo, La Internacional Cinéfila, Mubi, Nobody, Senses of Cinema, and Sight & Sound.

The film is accompanied by this LP, TheWorks and Days: The Black Sections, by C.W. Winter, and the photo book, Shiotani, by Anders Edström. The album features musical excerpts from Tim Berne & Bill Frisell, Tony Conrad, Graham Lambkin, Mary Jane Leach, Alvin Lucier, Phill Niblock, Folke Rabe, Éliane Radigue, and Akio Suzuki. Producing, editing, and recordings by C.W. Winter. Mastered by Stephan Mathieu.

Winter & Edström’s first feature, The Anchorage, won a Golden Leopard at Locarno Film Festival and won the Douglas E. Edwards Independent/Experimental Film/Video Award from the Los Angeles Film Critics Association. It was named one of the Ten Best Films of the Year by critics at Cinema Scope, Film Comment, Senses of Cinema, Variety, and Indie Wire and was named Best First Film of the Year by The New York Times. Their first film, a documentary short called One Plus One 2 was made in collaboration with the late British guitarist, Derek Bailey. Their film/video work has shown at such venues as the Institute of Contemporary Art (Boston), Centre national de la photographie (Paris), Kunstmuseum Wolfsburg, Fotomuseum Winterthur, NRW-Forum (Düsseldorf), the Harvard Film Archive, Anthology Film Archives, the Wexner Center for the Arts (Columbus), Centre de cultura contemporània de Barcelona, the Tokyo Metropolitan Museum of Photography, and the National Museum of Modern Art (Kyoto).

C.W. Winter was born in California. In 2020, he completed his DPhil in Art Practice & Theory at The Ruskin School of Art at the University of Oxford. He received his MFA from California Institute of the Arts where he studied closely under Thom Andersen, James Benning, and Allan Sekula. His writing has appeared in Cinema Scope, Moving Image Source, Purple, and Too Much. He lives in the United Kingdom where he is currently a Visiting Professor at the Royal College of Art and a Lecturer at the University of Oxford.

Side A excerpts:
“Thursday, May 5, 1977 & Friday, May 6, 1977: Part 4” Performed by Tony Conrad. Used by arrangement with The Tony Conrad Estate
“Sethwork” Performed by Phill Niblock. Used by arrangement with Phill Niblock
“What?? (Second Version)” Performed by Folke Rabe. Used by arrangement with the Folke Rabe Estate
“Pipe Dreams” Performed by Mary Jane Leach. Used by arrangement with Mary Jane Leach
“What?? (Second Version)” Performed by Folke Rabe. Used by arrangement with the Folke Rabe Estate
“2011” Performed by Tim Berne & Bill Frisell. Written by Tim Berne. Published by Party Time Music BMI. Recording courtesy of Minor Music Records/Screwgun Records

Side B excerpts:
“Ceremoniolose” Recorded by Graham Lambkin. Used by arrangement with Graham Lambkin
“Kugiuchi” Performed by Akio Suzuki. Recorded live for TheWorks and Days Used by arrangement with Akio Suzuki
“Music on a Long Thin Wire (Side A)” Performed by Alvin Lucier. Used by arrangement with Alvin Lucier
“A Third Trombone” Performed by Phill Niblock. Used by arrangement with Phill Niblock
“Triptych: Part 1” Performed by Éliane Radigue. Used by arrangement with Éliane Radigue