Cerca:ad man

Cobra & The Brotherhood of the Grape is a celebration of friends making music together for many years. An album conceived in the Clot neighbourhood and recorded in Barcelona, Mallorca and Buenos Aires. An "All Stars" occasion where many of the musicians who have played in STA over 20 years have come together to contribute.

The album features digital dub, dark roots and other sunny and bright tracks. Experimental and electronic, but also analog and dense in textures, and delicate in showing it.

After 20 years of the first CD, STA follows their personal path to make Dub. A special mention deserves the album's art by Tomás Spicolli, an old friend and collaborator of STA. Cobra & The Brotherhood of the Grape is the sixth LP in vinyl format within a production that also has several CDs, 7'' and cassettes.

A completely self-produced album. All original riddims. Dub for adults.

Theresa Stroetges returns to Karaoke Kalk with her second album for the Berlin-based label, her fifth solo full-length with her Golden Diskó Ship project in total. Having released records with the Indian-German band project Hotel Kali as well as Painting, a group dedicated to audio-visual concepts, »Oval Sun Patch« sees her embrace influences from club culture, advanced electronic music, and pop more firmly than ever before. Over the past 15 years, Golden Diskó Ship has served a vessel with which the Berlin-based multi-instrumentalist has traversed a variety of genres and circumnavigated all conventions in the process. With »Oval Sun Patch,« Stroetges again sets sail into unknown waters with what is perhaps her catchiest album so far—beat-driven, playful, atmospheric, and at times thoroughly anthemic. This is the sound of Golden Diskó Ship moving forward.

A life lived in transit, the vastness of bodies of water and the isolation of islands as well as more generally notions of processes and progress have been recurring motives throughout Stroetges’ previous records and also mark »Oval Sun Patch.« In fact, the foundation for the six pieces was laid when she was working abroad and at times close to the sea. The massive three-part album closer »Earth Before The Space Race« was conceived as a multi-channel audio-visual performance piece during a 2021 residency at Zaratan Arte Contemporânea in Lisbon. The others were written in the following year during two other residencies when Stroetges first spent time in Austria at the sound art festival Klangmanifeste in Lindabrunn and then visited Portugal once more for a stay at Goethe-Institut in Lisbon. With the help of Shelley Barradas, who lent her a guitar, and Julia Klein, who helped her setting up a temporary studio in the Goethe-Institut Portugal’s auditorium, she made the preliminary recordings of what would later become this album.

»Oval Sun Patch«, later refined in Berlin and mixed in close collaboration with London-based engineer Hannes Plattmeier, is a direct result of Stroetges having to work with what was available to her at the time of writing and recording. While her distinct guitar playing—evocative yet funky, complex but catchy—once more features heavily and she uses her voice in manifold ways to sometimes harmonise with herself or creating complex canons as counterpoints to her her own lead vocals, the electronic gear she worked with dominates the album both compositionally and sonically. Stroetges’ music has always displayed a passion for club culture and advanced electronic music, but on »Oval Sun Patch« she proves once and for all how well these influences can be integrated into her unconventional approach to songwriting.

However, the punchy beat and Moroder-like bassline that form the backbone of »Dolphins With Soft Helmets,« the throbbing house and techno grooves underneath »Ephemeral Carnivores« and »Well-Oiled Machine« as well as the jittery IDM rhythms of »Google Your New Name« and her nods to trip-hop with »Tiny Island« do not so much follow established formulas as they use them as a starting point for wild experimentation instead. Stroetges juxtaposes complex rhythms with interlocking melodies and rich harmonies in ways that continue to surprise throughout and still leave enough space for the occasional wistful guitar or vocal passage. Nowhere does this approach feel more epic than on the 12 ½ minutes long »Earth Before The Space Race,« which takes its time to unfold, changing its pace and mood throughout.

»Oval Sun Patch« is an album about change. The lyrics describe constant transformations of sceneries, relationships, physical and emotional states as well as the climate throughout its running time. Stroetges in the meanwhile leads the way as a singer, songwriter and producer who lets her music evolve constantly. This is sound, moving forward.

The Juan Maclean returns to DFA with ‘What Do You Feel Free About?,’ an electro-disco club cut paired with a remix by Man Power (ESP Institute, Correspondant).

The new single is sparse and anchored by a relentlessly catchy, bouncing bass line. Nancy Whang’s vocals carry a sense of urgency and directness as she advises to “keep your emotions secure / when you don’t, it gets personal.” Rave whistles, cowbell breakdowns and handclaps further ensure the track’s place as a key song for the summertime. The remix from Man Power remix reformats the track for the club with a dubbed out, layered vocal arrangement that adds a touch more drama to the track.

The single was produced by Juan Maclean in Brooklyn, New York in the spring of 2018. The song was co-written by live band member Monika Heidemann, who also contributed backup vocals.

Juan Maclean is a Brooklyn-based DJ and producer who has been a mainstay of the New York club scene, as well as maintaining a rigorous international touring schedule, since the release of his first records on DFA in 2002. He’s released an extensive catalogue of 12” singles and LPs for the label with vocalist Nancy Whang (most recently, 2014’s In A Dream LP, and last year’s 12” single ‘The Brighter The Light’). They are currently at work on their fourth album.

Mint Condition - A record label focused on excavating the outer fringes of classic House and Techno. Unreleased mixes, classics, overlooked gems and never heard before material, mined from the last 30+ years of contemporary dance music are the order of the day. From Chicago, Detroit and New York, London, Leeds, Berlin and beyond. Mint Condition have got their digging hats on to bring you exclusive heat and those rarer than rare jams that have been in your wants list for years. Dig in......

Following on from highly successful releases on seminal labels such as Surreal, Low Pressings and their own Geek imprint, Andy Davies & Dave Clements, aka Spincycle, unleashed 'Making Faces' on Bushwacka's legendary Oblong Imprint. Originally released in 2002, this release perfectly showcases the duo's unique take on the tech-house & garage sounds that fuelled the UK underground. Over the next 2 decades this classic would become an in demand rarity, as the eye watering discogs prices will attest, so a reissue has been long overdue.

'Making Faces' opens with infectious bongo led percussion, building with crisp hats and snares, the heavyweight bass is deep and warm, dreamy chords add to the atmosphere, before a soaring lead line that oozes with techy soul, builds and drops in all the right places. Next up, UKG inspired 'Twister' is more raw and uncompromising in its approach. Energetic swinging rhythms underpin a monstrous sub bass line to die for, as if that wasn't enough, the duo manage to add yet another rolling bass line showcasing production and programming skills of the highest order.

This is indeed a killer 12", packed with energy and heat that sounds as fresh and exciting as ever, and what's more your dancefloors will shudder!! 'Making Faces' has been legitimately re-released with the full involvement of Spincycle, lovingly remastered by London's Curve Pusher from the original DATs especially for Mint Condition. 100% legit, licensed and released. Dug, remastered, repackaged and brought to you by the caring folks at your favourite reissue label - Mint Condition!!

Nat King Cole was born Nathaniel Adams on the 17th March 1917 in Montgomery, Alabama, USA. His family held a key position in the local black community with his father being pastor of the local Baptist church.

His first professional break came touring with the Broadway show “shuffle along” which eventually found its way to Los Angeles. Where Nat ended up playing at the century club on Santa Monica boulevard. This was an in-place for musicians and Nat’s already developed and incredible piano playing became a great attraction eventually forming a trio with Oscar Moore on guitar and Wesley Price on bass. With Nat’s great voice and add libs the trio were a great success in 1939/40.

In 1943 Cole signed to the infant Capitol records and began his enormous string of hits for that label and eventual amazing career partnership with the great arranger and orchestra leader Nelson Riddle. This was at the time of popular music already pioneered by Bing Crosby and latterly Frank Sinatra and something Nat would become a master of, with his by now incredible, highly developed and unique voice which we all instantly recognise.

Right up until his untimely and tragic death on 15th February 1965, Nat made a string of successful records for capitol, a string of film appearances, and the first black presenter of his own tv show, which ran for many years and introduced a whole host of new and old artists to the television screens. As is so often with people so talented, Nat’s life was short but extremely successful. He was a well loved and admired person with his vibrant and kind personality with many great friends and colleagues and made an enormous contribution to the music industry, civil rights and the world in general.

As a singer and pianist, he was exceptionally talented, and his voice will live on in immortality. His ability to express and sing any song was quite extraordinary to say the least and these recordings are a fine example of that ability. A must have for all music lovers!

CALL ME IF YOU GET LOST: The Estate Sale is a limited edition 3 LP vinyl set that features Tyler The Creator’s original critically acclaimed CALL ME IF YOU GET LOST album plus 8 additional songs, pressed on Geneva Blue colored vinyl. The discs are housed in a triple gatefold jacket with embossed cover, foil detail and includes a 28-page booklet.

Though 潘PAN is an entirely new artist - new outlook, new message, new material and name - you may have met the woman herself before. Back in the mid-‘10s, the Taipei-born rapper went by the moniker Aristophanes. After performing a career-changing feature on ‘SCREAM’, taken from Grimes’ celebrated NME Album of 2015 ‘Art Angels’, Aristophanes went on to build a cult fanbase, releasing her debut mixtape ‘Humans Become Machines’ two years later and then her distributor went bust during covid. Signed to Transgressive she re-released her mixtape followed by Reborn and Ghosts EPs earlier this year.

Across a constantly morphing sound palette that moves from metallic, apocalyptic beats to delicate nods to the traditional music of her Asian heritage, via heavy, industrial moments, spacious soundscapes and much more, the thread is Pan’s utterly mesmeric vocal. Performing in a mix of Mandarin and English, she explains that having the two languages to play with is “like featuring another artist who has a different way of describing things”.

Across the releases, confident sexual expression mixes with tenderness, empathy and a particularly feminine sort of strength to create a world that Pan hopes will transcend language and connect her audience via something more innate. “The music is a place to feel safe,” she says. “The message that I want to carry through these two EPs and the album is to demonstrate the strength of accepting your own situations. When you can’t make things right but you’ve done your best, sometimes it’s really hard to admit that to yourself. It takes strength to do that. I use lots of sexual metaphors, but I feel like it’s more about the female need to be seen and heard. I want to build something more delicate and layered and connected to our life experience - to the trauma and the pleasure and the growth.”

In the time since she last stepped into the spotlight, the musician has experienced her fair share of all these things. Now, it’s as an entirely evolved artist that she returns with a new collection of music that revels in it all: the trauma, the pleasure, the growth and the long-awaited rebirth of 潘PAN

On the Mixbone EP, two tracks from Eric Copeland’s 2017 record Goofballs get reworked by five of leftfield electronic music’s heaviest hitters. The Goofballs LP finds the Black Dice founding member conducting hectic, dancefloor-oriented experiments; The Vinyl Factory called it a “mangled, spangled journey into the fringes of industrial disco and hallucinatory club tackle.” Mixbone capitalizes on this direction with remixes that recontextualize and reshape the propulsive energy of the original songs into wholly different forms.

New York techno powerhouse and Allergy Season boss Physical Therapy contributes two aptly named takes on “Mixer Shredder” – the “Tegel Mix” churns with industrial EBM low-end, and the breakbeat and wubby bassline make the “Gatwick Mix” unmistakably English. NHK yx Koyxen remixes Eric for the second time, with a jittery and woozy electro interpretation of “Neckbone.” Cooper Saver, best known for his Far Away parties in Los Angeles, turns in one of the most unexpected remixes, keeping it 4/4 and creating what sounds like Shep Pettibone making acid house.

Coming off of her 2017 EP on Technicolour/Ninja Tune, Machine Woman decided to remix both tracks. With “Neckbone,” she adds a barely-discernible robotic narrative vocal, allegedly about Ryan Gosling. “Mixer Shredder,” on the other hand, travels from hissy lo-fi techno into something quite tranquil and beautiful. And with previous releases on 1080p, Freakout Cult, and Wania, Vancouver’s LNS channels the melodic electro tones of classic Bleep-era Warp, like a lost track from LFO or Drexciya.

“Danceable” might not be the first word one thinks of when describing Eric Copeland’s solo releases. But in a manner not dissimilar to the way Black Dice shaped the parameters of experimental music, the remixes here expand the limits of what the club can and should look like.

The highly acclaimed U.K. post-punk band Joy Division was originally called Warsaw. Formed in Manchester, England in the late 1970s, the group consisted of Ian Curtis on vocals, Bernard Albrecht (aka Sumner, aka Dicken) on guitar, Peter Hook on bass and Stephen Morris on drums. Hook, Albrecht and Curtis hooked up at a local concert and later formed the group Warsaw. The band’s name was taken from a David Bowie-Brian Eno composition, “Warszawa”. The 5 bonus tracks on this album are demos cut by the group at Pennine Studios in Manchester on July 18, 1977 with Steve Brotherdale on drums. The first eleven tracks presented here were the result of a recording session for that album that took place in early May of1978. Rehearsals leading up to the session resulted in two new songs being added to the group’s existing repertoire: “Interzone” and “Transmission.” “Interzone” was based on the backing track of the song “Keep On Keepin’ On,” to which the band added their own lyrics. The result was a song distinctively their own. “Transmission” was written by the band during the final week of rehearsals. The first verse contains a quotation from Alistair Crowley’s The Book Of Thoth. The two recordings are interesting renditions of songs which would later became famous.

On his third album as Etelin, Alex Cobb explores the intricacies of separation and belonging using field recordings and electronics, reconfiguring the dividing line between what is artificial and natural in the process. Maintaining a sense of playful reverence and lurking melancholy in its glitchy pastoralism, Patio User Manual hums with a meticulous and singular energy. From the loops and static pulses of "The Chemistry of Cobalt" to the tension and release of "Electrical Sailing," the listener is pulled into a sound world at once ambivalent and radiant, reaching its denouement in the lovely melody that closes the final track, "Picnic at Gas Station Park". Although the album might bring to mind the nuanced and imaginative ambient music published by labels such as Mille Plateaux, Sonig, and Silent Records in the 1990s, it is, in the end, a world of its own and very much of today. The patio as a stage for alienated life, pyrrhic in its isolation, deceptive in its promise of distinction. Orientation as disorientation, often unseen inside the frame but felt in the bones. What is out there, anyway, other than the thing we fear the most?



"Another day of weird weather and screens. What type of perfume did Philip Johnson wear when he designed Glass House? Is it actually possible to flee to the country when you’ve internalized a lifetime of intellectualized urban living? When you buy a DIY patio kit, you get instructions for how best to embed concrete or brick or flagstone into the natural world. The patio will make you enjoy your environment more. It will become yours. You can stand on it and think “this is Mine.” The structuralists talked about the importance of fixed camera position, but didn’t properly interrogate it because to do so would be impossible. It’s hard to believe that it really wasn’t long ago that computer music seemed exciting, novel, even radical. We’re now thoroughly estranged from eating what’s in season. Walking around the woods in southern Ohio in spring, I thought about the curious imperative of the patio, how my kids get excited about picking oyster mushrooms, the dynamics of switched capacitor filters, and how adequacy is tethered to doubt." - AC, May 2024

Russian titan Monokle is back to once again traverse many different sound worlds with his new album Ultraflowers. It is one of a number of superb albums landing on Constellation Tatsu this summer and one defined again by its warmth. The title track is a lo-fi, scruffy and deep opener with persuasive breakbeats, while 'Glassy Eyed' is an ambient jungle trip that drips with watery melody. 'Night Objects' offers some introspection and 'Moths' is a glitchy future techno cut with smeared synth soul. '1000Work' layer sup more breaks with elegant ambient melodies and 'Predteche' casts you admit in the deepest corners of space.

While 1995's Washing Machine LP moniker was a thinly-veiled jab at the corporate aesthetic ("no, you cannot turn Sonic Youth into a household appliance brand", the band even considered changing its name to Washing Machine but settled on the album title instead), their major label relationship was indeed a curious buzzpoint of talk on the street after their intake to DGC in 1990. It wouldn't be fair to say that this state of existence propelled the band to reinforce its independent mindset by releasing a series of opaque-looking, French-language-dipping, highbrow-looking releases on their own that focused on the more abstract improv/compositional side of the band; in all truths they had been heavily steeped in self-releasing spillover material prior to that. But after a pressure pot of the early 90's indoctrination into a new operational mode for the band and its visibility, and the forces around it attempting to shape their direction, it seemed like a good time to create a strong show of radical concept.

The Anagrama EP became the first in a series of the SYR label's Perspective Musicales releases seemingly cementing Sonic Youth's connectivity to an increasing public awareness in experimental composers of the 20th century (French or otherwise). The irony was that many of those original avant composers being rediscovered by the indie audience (Partch, Neuhaus, Reich, Messaien) often found themselves on major labels anyway! So, perhaps this reverse approach was a necessary concept/comment given the music biz climate of the 90's. Regardless of how apples and oranges fell in Xenakian probability/theory, it was clear that both Sonic Youth's stature in progressive music, aided by now unlimited taperoll time thanks to a home base studio downtown established after their Lollapalooza stint, gave the band plenty of trailblazing time for their self examination of untraveled avenues.

"Anagrama" unfolds into nine minutes of delicate textures, starting with thick drone segueing into moments reminiscent of the post-crescendo flutter/comedown of "Marquee Moon's" trail-out; Thurston, Lee and Kim's guitars all circling round each other taking delicate pokes and stabs before drifting into some post-rock rhythmic moves tapered with delicate percussive guidance from Steve Shelley. "Improvisation Ajoutée" reaches further out into dissolve with whirring oscillations, guitars hissing and clanking radiator-style in a short blast format that continues into "Tremens" and a spooked-out landscape of gelatinous notes snaking up slowly. The sparseness of attack is colorful, textures emit and linger, silent spots shine, all flanked by tasteful drumming that provides the thread to all the abstraction. Shelley's approach here is interestingly sideways to any kind of usual rock action, it's tempered, mutant and metronomic simultaneously. The finale track "Mieux: De Corrosion" is a real pedal-palatte showcase. Here, Plutonian guitar wash flanges upwards to buoy a myriad of colorful eruptions of amp-spuzz, chopped up tone blasts and general confusion. Out of the blue, some metallic one-note choogle kicks in and threatens to explode into some Judas Priestly motion, before it all sputters into aural glass showers, clang, and finally a ferocious wave of more flange hiss that crashes down on a dime.

This initial foray into SY's Perspectives Musicales series continued onward with releases featuring other co-conspirators, peaking with the ambitious 2CD Goodbye 20th Century that finally connects the band into full-on interpretations of other composers' pieces (as well as displaying their own new ones). The whole series is not so much an outlet for another "side" of the band, but a run that went hand in hand building new approaches of songcraft onto their own, more overground direction which included Jim O'Rourke (who hopped on during SYR3), adding additional density to A Thousand Leaves and other LPs of his era. Fans of the '86 Spinhead Sessions as well as the recently-exhumed later jams of In/Out/In will take in the sounds of SYR1 with glee.

Sometimes a record drops and you just know it's going to be hot. This is one of those records, an essential 7" from Bloom and Japanese talent DJ Koco aka Shimokita, who has been spinning 45s since 2011 and can juggle beats like Messi can juggle a ball. He is a favourite with the likes of Gilles Peterson and is likely to win many new fans with this one. 'World Famous (feat 45Trio)' is a gloriously jazzy, soulful sound with funk drum breaks and warm, organic percussive tumbling next to natty chords and a killer bassline. Add in the equally irresistible 'Re Create #01' on the flip and you have a sure-fire future classic, so do not sleep.

The Soultrend Orchestra is a side project of the producer and musician Nerio ‘Papik’ Poggi.
Owner of the main project, Papik, Nerio Poggi has been one of the most internationally renowned Italian producers for the Nu Jazz
Lounge sound for over ten years, with around forty albums under his own name and those produced by him with solo artists or
with monothematic collections such as the ‘Cocktail’ series.
With the project The Soultrend Orchestra, Nerio Poggi has dedicated himself in particular to the Soul Jazz and Disco sound, with
a particular eye on the 70s/80s sound that starts from artists such as Roy Ayers, George Benson and Donald Byrd to arrive at the
Acid Jazz sound of Incognito and The Brand New Heavies.
The first album '84 King Street', released in 2017, was the one most dedicated to the Disco sound, also for the title that reports the
address of the legendary New York club Paradise Garage from where Disco music in the late 70s was definitively launched all over
the world by the deejays David Mancuso and Larry Levan in primis.
With the second album of 2022 'Live For Funk' the sound ranges more towards Soul and Jazz thanks to some songs that have driven it such as About Love openly inspired by the sound of Roy Ayers.
This third album, produced like the second Live For Funk together with Peter De Girolamo (aka P.A. Jeron) is due out at the beginning of 2025 and is titled Non Imagine where he continues in the search for these same sounds.
With some of his closest collaborators such as Alfredo Bochicchio, Massimo Guerra, Simone ‘Federicuccio’ Talone and vocalists
Laura Lanzillo, Erika Scherlin and Anna Fondi, the album as always also has other illustrious guests such as Wendy D. Lewis, Ely
Bruna, Nadyne Rush, Filippo Perbellini, Stevie Biondi and Nicole Magolie on lead vocals.
In the tracking list we also find some covers in this album: Lost In Music, a symbolic song of Disco by Neil Rodgers and Bernad
Edwards (Chic) made famous in the 70s by Sister Sledge, and Summer Madness, a very particular song by Kool And The Gang,
famous for its magical atmosphere here perfectly rendered by Peter De Girolamo's keyboards and Anna Fondi's voice.

Rockin’ Berries – In Town plus bonus tracks
Birmingham’s Rockin’ Berries’ first album from 1965, originally released on the PYE label
A UK Top 20 album, it featured their Number 3 hit ‘He’s In Town’
BGO have added four bonus tracks: ‘What In The World’s Come Over You’, ‘Poor Man’s Son’, ‘You’re My Girl’ and ‘The Water Is Over My Head’, all Top 50 hits
Amazingly, the Berries are still Rockin’ with original singer Geoff Turton (aka Jefferson) still with the band
Digitally remastered and issued on 180 gram vinyl/300 gsm board
Also available on BGO Records:
BGOCD1440 In Town / Life Is Just A Bowl Of Berries plus EP tracks and A & B sides

Mike Dunn is a pivotal house artist who brought his own famously raw and stripped-back style combined with infectious hip hop elements. He is behind plenty of well-known anthems, most famously 'Dance You Mutha' and 'God Made Me Phunky', and founded Dance Mutha in 1988. It released music by MD Connection, Gershon Jackson and I-ROC-T, while Dunn also co-founded seminal acid labels Warehouse Records and Muzique Records which played a key role in the development of Chicago and acid house. Dunn has continued to produce over the ensuing four decades and has landed on the likes of Defected, Nu-Groove, Classic, Trax and many more. The relaunch of the Dance Mutha label has been inspired in part by Dunn's discovery of a raft of 'lost' unreleased masters from the late '80s and early '90s. It's these tracks that provide the jumping-off point with this new release. '43:31' is the first out of the blocks and brings prickly acid texture to raw analogue drums. Slapping hits add extra bite to this most stripped-back and effective slice of pure warehouse music. Then come the snappy snares and deep bass of 'Acid Feet (Phaze 1)'. This spare, impactful cut is riddled with shapeshifting acid and caustic synth textures that bring the rugged drums to life. Last of all, the excellent Time Machine' will indeed take you all the way back to the dark, delirious and delicious days of the earliest acid house with its wonky 303s burrowing deep into the night next to coarse claps and ice-cold hits.

While music traditions are often defined by established and protected sets of characteristics, popular music in South Africa betrays a willingness to adapt homegrown styles and an enthusiasm to adopt new influences. Musical currents like marabi, goema and mbaqanga help define what makes indigenous jazz unique, but it’s the eclecticism and hybridisation found in South African crates that keeps vinyl archaeologists like Fred “Voom Voom” Spider digging deeper. If we consider jazz to be a global musical dish, it follows that South Africa brings a distinct sonic salsa to the table. Spider calls it “Chakalaka Jazz” after the local tomato, onion and chilli relish that frequently accompanies South African meals. It’s the essential ingredient that unites and spices this diverse selection of tracks spanning the years 1969 through 2003. Featuring locals, exiles and expats with a reverent nod to the golden years of the 1970’s, these rare musical treasures are held together by that magical South African flavour.

Compiled by Fred Spider, Notes by Calum MacNaughton, Executive Producer: Franck Descollonges for Heavenly Sweetness

Belt of Orion by Stockholm-based Isak Edberg is the composer's second solo release on XKatedral, and his first to focus solely on instrumental music in the form of two pieces of extended duration for solo piano. Isak Edberg is a composer of electronic and acoustic music as exemplified by Ondulations from 2017 and Lamé written in 2010 and released in 2022, both on XKatedral. Edberg was also a member of Golden Offense Orchestra, active from 2012 to 2014. Edberg writes that his music is informed by an enchantment of being and a search for holiness, rapture and transcendence through stillness, contemplation, dreaming and an attempt to uphold the present. Edberg regards his music to be an adornment of time. The two works presented here were composed in the south of France and in Stockholm during a period spanning the years 2016-2018. The music was inspired by the cold winds, starry nights and desolate, palely bright landscape of the provençal autumn, as well as reflections during a time of escapism and isolation in the life of the composer. More concretely, this music grew out of hours of improvised playing on an old piano while living alone on the countryside, during which harmonic structures and gestures were slowly worked out by means of performing and listening, assessing and balancing sounds and silences. Stylistically, the music draws on a range of sources, such as Feldman's use of space and resonance as projected through both harmonic and temporal distance, the ritualistic gestural repetitions of Satie, as well as Messiaen's resonant harmony, together with some of the harmonic lushness of Scriabin's late work. Belt of Orion is a piece that explores the contrast of two musical textures, the one being fluid, airy and progressive, the other being static, steady and repetitive. The music sequences through a series of harmonic tensions in search of a place of peace, exposing a rift in the weave of time where everything momentarily stands still. In Vestiges repetitive and rhythmic materials form a major part of the musical structure, while sections of sparse, floating harmonies temporarily interrupt with reflective pauses of stillness. The music thus employs two different and contrasting kinds of musical hypnosis, with the aim of cradling the listener into a dark and perhaps unsettling sleep. The music on this recording was performed by the renowned Swedish pianist Mats Persson, who has for many decades been a legend in the art music scene of Stockholm. Through his languid yet distinct interpretations the delicacy and intimacy of these works are elegantly brought to the fore. The recordings heard here were made over the course of two evenings at Fylkingen in Stockholm. Isak Edberg's music moves slowly through the seemingly endless world that is harmonic sound. In his practice he uses heavily reduced and carefully controlled materials to create states of maximum clarity.

Glory Fades is a song book written using a common collaborative musical language developed by Yair Elazar Glotman and Mats Erlandsson, building intimate musical spaces, primarily focused on acoustic instrumentation with electronic counterparts contributing light and shade. Throughout the eight songs on the record, each piece unfolds according to its own logic while simultaneously reflecting the overarching tonality of the song book as a whole. The music focuses on the topography outlined by a melodic and harmonic modal framework and the exploration of the negative space found in the decay and in between the notes. There is a tension in this music caused by a reduced and stark emotional expression on the surface and the complex structures hidden underneath, where the harmonic material shimmers and shifts, and tempo and time signature modulates imperceptibly. The instrumentation forms a non-traditional chamber ensemble consisting of plucked and bowed acoustic guitars, zithers, bells, double bass, violin and percussion with additional treatments through manipulated tape and reamplification techniques. Mats Erlandsson is part of the vibrantly re-emerging field of drone music in Stockholm, Sweden, and is associated with practices characterized by the extensive use of sustained sound. Utilizing synthesized and recorded analog and digital sound, contaminated field-recordings and extensive tape processing his music slowly unfolds sets of precisely tuned harmonic material while textural properties of the imaginary rooms where the music takes form shifts, shimmers and moves from sparse and open to dense and claustrophobic. In addition to his own artistic practice, Erlandsson holds a position as studio technician at the world-renowned Elektronmusikstudion (EMS) in Stockholm and has frequently presented electroacoustic music and new music from Sweden in concert. Yair Elazar Glotman is a composer and a musician based in Berlin. Glotman trained in classical music as an orchestral contrabass player and in electroacoustic composition. His work for film as well as his independent musical releases are informed by both classical and electroacoustic traditions, and employs a range of improvisation, extended contrabass techniques, and a special interest in textural and spatial compositions and in combining analog and digital processing. His compositions for film began through his close work with the influential, late composer Jóhann Jóhannsson, writing additional music for Mandy (2018) and co-composing Last and First Men (2020). He also collaborated on two oscar-winning soundtracks (Joker and All Quiet on the Western Front). Glotman also regularly releases and performs his own music, which has been released on notable labels including Deutsche Grammophon, Bedroom Community and Subtext Recordings. As a duo Glotman and Erlandsson have been collaborating since 2015 and have previously released music on the labels Miasmah Recordings and 130701. This record is the third installment in a series of collaborative records and live presentations by Yair Elazar Glotman and Mats Erlandsson and will be their first published by XKatedral.

Gerson King Combo's 1977 album is a masterpiece of Brazilian soul, emerged within the Black Rio movement, which was recorded with União Black as the backing band. It features the kind of full-on funky sound you'd only expect to hear from a rare few American groups of the time. Its ten songs mix political statements, which primarily address issues of racial pride, and dancefloor-oriented music. The album has achieved cult status over the years, becoming one of the most sought-after Brazilian funk records of all times. Remastered from the original tapes and pressed on 180g vinyl in a gatefold sleeve. This release is part of a new reissue series that will include many other outstanding Brazilian classics