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WRWTFWW Records is proud to announce the worldwide reissue of Midori Takada’s solo album from 1999, Tree of Life, available on vinyl for the first time ever in a new audiophile mix by the Japanese percussionist herself, and in full half-speed-mastered glory. The 180g LP comes in a heavy sleeve with a beautiful design by Kohei Sugiura. Tree of Life is also available in CD (digipack) and digital formats.

Originally recorded in September 1998 at legendary Ginza (Tokyo) studio Onkio Haus (founded in 1974 and where Ryuichi Sakamoto’s "Merry Christmas Mr. Lawrence" and many more were recorded) and released on CD only for the Japan market in 1999, Tree of Life is Midori Takada’s best kept secret, a lost gem of minimalism and percussive ambient. The album is separated in two parts, the first one finds Takada exploring her trademark environmental soundscapes with precise mastery of marimba, drums, and bells, notably on the magnificent fan-favorite "Love Song Of Urfa". The second half is a collaboration with Chinese virtuoso Erhu player Jiang Jian Hua, allowing Midori Takada to unveil new layers of her artistic mind with a slightly more theatrical approach and a beautiful crystallization of complex simplicity.

The entire album was given a fresh new audiophile mix by Midori Takada herself and was mastered at Emil Berliner Studios, with half speed cutting for the vinyl version, to ensure an audio presentation aligned with the Japanese pioneer’s vision.

This Tree of Life reissue follows two newly recorded Midori Takada albums, Cutting Branches For A Temporary Shelter and You Who Are Leaving To Nirvana, both available on WRWTFWW Records, along with her 1983 masterpiece, Through The Looking Glass.

Voller Zorn und brennendem Hass, doch gleichzeitig auch erfüllt vom prallen Leben und mit Momenten erstaunlicher Schönheit - IMHA TARIKATs drittes Album "Hearts Unchained - At War with a Passionless World" deutet seine internen Widersprüche und Konflikte bereits im Titel an. Das Album ist um einen Kern aus typisch deutschem Black Metal entstanden, der ebenso präzise wie trocken und humorlos auf jeglichen Bombast und die oft folkloristischen Untertöne seines nordischen Gegenstücks verzichtet. Dabei stößt IMHA TARIKATs lyrischer und musikalischer Vordenker Kerem Yilmaz alias Ruhsuz Cellât erneut mit seinen einzigartigen Kompositionen auch in tiefere Schichten und unerforschte Dimensionen vor. Während er seinem körperlich schwer fordernden Gesangsstil noch mehr brutal die Kehle zerfetzende Ansätze hinzufügt, bilden ein furioses Drumming sowie das unerbittliche Peitschen von frostig klirrenden Gitarrensaiten das mal eiskalte und dann wieder glühend heiße Fundament von IMHA TARIKAT. Doch während sich Yilmaz' Songs durch die schwarze Leere des Alls winden und drehen, tauchen aus dem Nichts überraschend strahlende Momente und Soli auf, die ihre Ursprünge eher im Heavy Metal, hartem und okkultem Rock und sogar einer Messerspitze Punk haben. Textlich funktionieren IMHA TARIKAT weiterhin als eine Art von verschlüsseltem Tagebuch, in dem Yilmaz seine persönlichen Erfahrungen, sein menschliches Wachstum und seine Faszinationen festhält: "Ich habe mich buchstäblich in den Wahnsinn getrieben, um eine absolut authentische Erfahrung zu erschaffen", beschreibt der Sänger und Gitarrist den Aufnahmeprozess von "Hearts Unchained". Von daher liegt es nahe, dass "Hearts Unchained - At War with a Passionless World" von inneren Konflikten, seelischem Leid, eskalierenden Emotionen, aber auch von Katharsis und Erlösung handelt. Der brutale schwarze Sound von IMHA TARIKAT war von Anfang an auch als eine Art von emotionalem Druckventil für den Bandgründer Kerem Yilmaz konzipiert. Seine brennende musikalische Leidenschaft zeigt sich ebenso in der rasanten Entwicklung, die Yilmaz' Songwriting mit jeder neuen Veröffentlichung offenbart und das in mehrere Richtungen gleichzeitig expandiert. Während bereits die erste EP "Kenoboros" 2017 einen hervorragenden Eindruck hinterließ, eroberte die Band auf dem folgenden Demo "Son Mistisizm" (2018) hörbar neues Terrain. Mit dem 2019er Debütalbum "Kara Ihlas" und ihrer folgenden Black Metal Supernova "Sternenberster" (2020) erreichten IMHA TARIKAT dann neue Höhepunkte. Es passt ins Bild, dass es den Deutschen mit "Hearts Unchained - At War with a Passionless World" gelingt, einen weiteren Gipfel zu erklimmen. IMHA TARIKAT sind drauf und dran, die Welt in schwarze Flammen zu setzen und "Hearts Unchained - At War with a Passionless World" ist der Funke, der alles entzündet. Bevor alle Gefühle zu Asche und Schlacke zerfallen, lasst sie lieber brennen!

Voller Zorn und brennendem Hass, doch gleichzeitig auch erfüllt vom prallen Leben und mit Momenten erstaunlicher Schönheit - IMHA TARIKATs drittes Album "Hearts Unchained - At War with a Passionless World" deutet seine internen Widersprüche und Konflikte bereits im Titel an. Das Album ist um einen Kern aus typisch deutschem Black Metal entstanden, der ebenso präzise wie trocken und humorlos auf jeglichen Bombast und die oft folkloristischen Untertöne seines nordischen Gegenstücks verzichtet. Dabei stößt IMHA TARIKATs lyrischer und musikalischer Vordenker Kerem Yilmaz alias Ruhsuz Cellât erneut mit seinen einzigartigen Kompositionen auch in tiefere Schichten und unerforschte Dimensionen vor. Während er seinem körperlich schwer fordernden Gesangsstil noch mehr brutal die Kehle zerfetzende Ansätze hinzufügt, bilden ein furioses Drumming sowie das unerbittliche Peitschen von frostig klirrenden Gitarrensaiten das mal eiskalte und dann wieder glühend heiße Fundament von IMHA TARIKAT. Doch während sich Yilmaz' Songs durch die schwarze Leere des Alls winden und drehen, tauchen aus dem Nichts überraschend strahlende Momente und Soli auf, die ihre Ursprünge eher im Heavy Metal, hartem und okkultem Rock und sogar einer Messerspitze Punk haben. Textlich funktionieren IMHA TARIKAT weiterhin als eine Art von verschlüsseltem Tagebuch, in dem Yilmaz seine persönlichen Erfahrungen, sein menschliches Wachstum und seine Faszinationen festhält: "Ich habe mich buchstäblich in den Wahnsinn getrieben, um eine absolut authentische Erfahrung zu erschaffen", beschreibt der Sänger und Gitarrist den Aufnahmeprozess von "Hearts Unchained". Von daher liegt es nahe, dass "Hearts Unchained - At War with a Passionless World" von inneren Konflikten, seelischem Leid, eskalierenden Emotionen, aber auch von Katharsis und Erlösung handelt. Der brutale schwarze Sound von IMHA TARIKAT war von Anfang an auch als eine Art von emotionalem Druckventil für den Bandgründer Kerem Yilmaz konzipiert. Seine brennende musikalische Leidenschaft zeigt sich ebenso in der rasanten Entwicklung, die Yilmaz' Songwriting mit jeder neuen Veröffentlichung offenbart und das in mehrere Richtungen gleichzeitig expandiert. Während bereits die erste EP "Kenoboros" 2017 einen hervorragenden Eindruck hinterließ, eroberte die Band auf dem folgenden Demo "Son Mistisizm" (2018) hörbar neues Terrain. Mit dem 2019er Debütalbum "Kara Ihlas" und ihrer folgenden Black Metal Supernova "Sternenberster" (2020) erreichten IMHA TARIKAT dann neue Höhepunkte. Es passt ins Bild, dass es den Deutschen mit "Hearts Unchained - At War with a Passionless World" gelingt, einen weiteren Gipfel zu erklimmen. IMHA TARIKAT sind drauf und dran, die Welt in schwarze Flammen zu setzen und "Hearts Unchained - At War with a Passionless World" ist der Funke, der alles entzündet. Bevor alle Gefühle zu Asche und Schlacke zerfallen, lasst sie lieber brennen!

Melanchole is a collection of ambitious lo-fi pop songs recorded by Daniel Johann in the winter of 2012 in Wellington, New Zealand, when Johann was only 15 years old. The songs deal with the awkwardness of growing up, the pains of being apart, and the anxieties of being alive and real. Originally self-released on bandcamp, the album became a viral internet sensation, garnering over 100 million streams on Spotify and a large TikTok following. In 2018, Danger Collective remastered Melanchole and reissued it on vinyl with a new track listing; the first pressing sold out within the first 24 hours it was released. This third pressing will be released on doublemint green vinyl with a brand new album cover, packaged with an OBI strip and a 12x12 insert. Johann continues to remain somewhat of an enigma, rarely performing live or giving interviews. After almost a decade since his debut, Johann is currently in the midst of recording a follow-up album. “Really just the first of its kind. A study in experimental music and conceptualizing sounds that not many else would have a vision for.” // “The echoing soundtrack of loneliness in my head.” // “One of my favourite lo-fi records finally gets remastered and released on vinyl. I daresay that the changes to the track listing make this version of the album even better than the original.” // “I didn’t think it was possible for home to feel so melancholy.” // “Amazing amazing AMAZING lo-fi album.” // “This album habis a hazy, dreamily sedating effect on the careful and passionate listener. Simply put this album is entrancing with weeping, wistful melodies synchronized with Picasso’s blue period.” // Track Listing: 1. I Dont Know Anyone, I Am 2. Stones Pull Out Heart 3. I Dont Want To Ask Your Father Or Anything 4. Melanchole / Diary Pt. 1 5. I Was All Over Her 6. Like You Know I Get Old 7. Post-Traumatic All-Night-Long 8. Voice Vi 9. Reprise 10. (Dream) 11. Needs No Progress, I Will Lie 12. Girl 13. Te Ahora

Módulo 1000 were not messing around when they made 'Não Fale Com Paredes’. It holds its own, not just as a raw, heavy, experimental “Brazilian” psychedelic rock album, but as a raw, heavy, experimental psychedelic rock album, full-stop!

Formed in Rio de Janeiro in 1969, Módulo 1000 honed their craft as the house band in clubs and resorts in São Paulo where they predominantly covered American artists such as Jimmy Hendrix as well as British giants, Led Zeppelin. After acquiring a taste for fame following the performance of one of their tracks at the Rio International Song Festival, the band focussed their attention on composing original material. Their manager, Marinaldo Guimarães, encouraged the band to explore their experimental and creative sides. This, in parallel with the explosion of experimental music in Brazil, resulted in the band performing alongside heavyweights such as O Têrço; there was a happening in the air.

Módulo 1000 recorded just one album. Released on Top Tape records in 1972, it featured Eduardo Leal on bass, Candido Faria on drums, Daniel Cardone on guitar, violin and vocals, and Luiz Paulo Simas on organ, piano, and vocals. 'Não Fale Com Paredes' was produced by the popular DJ, Ademir Lemos, and came housed in a fold-out cover featuring tripped-out artwork and design by Wander Borges. However, due the uncompromising nature of its wild, heavy psychedelic rock sound, the album was destined not to be played on the radio in Brazil. Rumours suggest that the label didn't understand the album, and as a result, it wasn't promoted or marketed. Thus, like many other underground cult classics, it was lost in the ether, only later to be rediscovered by a new audience at a different time.

One thing is certain, you definitely know when you've heard Módulo 1000. The sound is raw, heavy and at points quite aggressive, more Black Sabbath than Os Mutantes. It floats between psychedelic rock, prog rock, early metal, and dare we say, displays elements of proto-math-rock.

The band’s discography includes a 7" single, as well as their music being featured on several compilations for Odeon Records, additionally they released a 7" single under their alias 'Love Machine' for Top Tape Records. These compositions are included as bonus tracks on the CD version of our reissue.

MILK GREY VINYL

100% GALCHER was by all accounts a game-changer when it landed in 2013 as an hour of original music from a relatively unknown producer ushered in by the beloved mix series Blowing Up The Workshop. Galcher Lustwerk's signature sound _ a smoky stream-of-consciousness baritone shadow-boxing with beats, informed by funk, rap, rhythm, and blues _ felt like an epiphany, impossibly hypnotic and complete. Resident Advisor writes, "100% GALCHER laid out a louche, lysergic and resolutely black take on deep house." Pitchfork remembers the music's immediate impact: "It's the sort of gem you felt inclined to pass around" _ and by year-end list time, word-of-mouth intensified. It was Resident Advisor and Juno's mix of the year, and earned a top-ten placement in FACT Magazine's albums list, as well as Philip Sherburne's personal rundown for Spin." Since then, select songs from 100% GALCHER have seen small-run pressings, while the album has lived primarily on SoundCloud and YouTube as a low-key cult legend. The gateway into Lustwerk's now well-established catalog, known for its reliability as a late-night listen and its prophetic vision for the near future of underground dance music. RA would later name it a mix of the decade, citing its influence and imagination: "Original in every sense _ unknown, unheard and unbelievably good." In late 2022, marking ten years since he first recorded the material, Lustwerk returns to Ghostly International to release 100% GALCHER as a remastered limited-edition double LP. Lustwerk is a product of the Midwest. Growing up in Cleveland, he'd tape over his parents' cassettes and spend hours at his family computer recording loops and designing artwork for the jewel cases of burned CDs. In high school, he turned to Ableton Live and absorbed every electronic music magazine he could find at the local Borders Books store. As a college student at RISD, he played in noise bands, plugged into Providence's DIY scene via Myspace, and started DJing weeknights at bars downtown. There he connected with Young Male and DJ Richard, who would go on to found White Material Records and offer their third release to Galcher Lustwerk, an alias realized via CAPTCHA test, a perfect artifact of its internet age. By 2012, Lustwerk had drifted to New York City and settled into a graphic design job, quickly growing disenfranchised by office culture. "Some days I felt like a token, other days I felt invisible." At night, he and his friends were carving out their own space, throwing parties in small basements, office buildings, and off-beat karaoke bars in Manhattan, influenced by series such as Mr. Sunday in Gowanus and The Bunker at Public Assembly. The lifestyle started to bleed into Lustwerk's musical vision. He remembers the night it clicked in Providence, partying and listening to tunes with Morgan Louis and Alvin Aronson. He went back to New York and pieced together his bedroom setup: a Dave Smith Tempest drum machine, a Waldorf Blofeld synthesizer, and a TEAC cassette recorder. Early snippets went straight to SoundCloud, where Lustwerk tested the crowd. Comments and messages offered instant feedback. One DM proved to be the greenlight: from Matthew Kent, an invitation to his burgeoning mix series Blowing Up The Workshop. 100% GALCHER traveled fast and far. A phenomenon he could only enjoy for a short period before discovering that nearly all the masters of the tracks got wiped by water damage to his computer. "The only copies were now on the 192kbs mp3 mix I sent Matt." Until now, after Lustwerk revived the lost tracks and handed them to Josh Bonati for remastering. "The original mix was never mastered so I hope older fans can find something new here." Hearing the enhanced set for the first time delineated by tracklist reveals this was a proper album all along. Sly synth interludes (all titled "Stem") clear the air for raspy house anthems like "Fifty" and "Parlay," the set's original breakout. Themes present across Lustwerk's catalog first materialize in this iconic run _ the link between the meditative state of Midwest driving and the solitary comedowns of nightlife. Lust- werk, the narrator, is an elusive character, a secret agent of the club, embodied by the hooks: "One minute I'm on / next minute I'm gone," he reminds us on cult-favor- ite "Put On." These narcotic, one-line refrains stick with you; look no further than the original YouTube upload of "Kaint" to know that fans can't let these phrases go. While recorded alone, 100% GALCHER was a collective moment. A decade later, Lustwerk sees the legacy as shared: "Making music can be an alienating experience, especially for DJs who travel a lot, it's all super isolating. It's easy to express lone- liness in the music itself, but when it comes down to getting things done, putting music out, you def should go on that journey w other people, friends, or maybe just a group of people online, build things with your friends then they can build to help you."

The elusive SW. returns to Avenue 66 with okALGORYTHM. His third LP for the label is a semi-opaque wandering through the shadowy byways of memory, driven by tough-yet-supple production and his unmistakable, unerringly original voice. Inspired by all night electronic radio shows of the '90s, okALGORYTHM pulses with rich imagination and a sense of purposeful meandering. Speaking in cryptic fragments, the artist hints at elusive reminiscences "back then on the autobahn, to Berlin, with friends" while also noting that some recollections are "of things that didn't happen that way."

To this end, the album drifts from the knotty synth spirals of opener "WHAtADAY" through the tense, technoid tropics of "stepCLASSixMOtor," the brightly melancholic Larry Heard-isms of "TROPyCALLhytsrIA" to the stately skronk of closer "What endingENDs." The rhythmic undergirding never lets up, suggesting a limitless night drive tinted in deep greens and refracted reds. Each of the album's ten tracks comes alive with warm, analog finesse and a palpable atmosphere, though they play out by turns urgent or unhurried, coaxing or inscrutable. Yet throughout, there's a consistently hypnotic quality which draws the listener deeper into the album's unique balancing act.

If listeners are trained to expect throwback anthems every time the '90s are referenced, here they might find a more apt touchstone in the wilder, left-of-center corners of Chicago's foundational epoch. Throughout the album, the spirit of jacking house is absorbed, metabolized and transmuted. Drawing on lineages of taut, nervy synth-and-drum machine workouts, SW. manipulates his hardware with the delicate, considered touch of a painter. Perhaps the memory that lingers longest from that bygone era is the sense of profound possibility that dawns before forms become rigidly calificed and commodified. Either way, adventurous listeners will find that okALGORYTHM blooms with a uniquely affecting grace and SW.'s inimitably obscure loveliness, infused with a somber glow and marked by shimmering, untraceable contours.

SoiSong is the stunning but short-lived partnership of Coil co-founder Peter "Sleazy" Christopherson and veteran Russian electronic experimentalist Ivan Pavlov. Though friends since 1997, the project birthed roughly a decade later in Bangkok, where Christopherson relocated following the death of his Coil collaborator John Balance in 2004. Named after the Thai word for `two' along with a notorious red-light district street nearby, the duo dialed into a cryptic language of lurching synthetics, Eastern minimalism, and interdimensional glitch, oscillating between elegance and mayhem. qXn948s collects some of their earliest recordings, and remains as transgressive and transcendent a listen now as it was upon its release a decade and a half ago. Pavlov characterizes SoiSong as less a musical group than a "utopian, semi-alien platform for collaboration, devoid of pronounced personality or centralized authority_ more like a message from elsewhere that anyone is welcome to participate in and spread." Every facet of the project was disruptive and oblique: self-released CDs packaged in elaborate origami that had to be destroyed to be accessed; a website with password protected sections, where different passwords were provided for different events, objects or releases; performance merchandise of headphones and a Walkman melted shut so the music can only be heard as long as the set of batteries last. Theirs was a muse as unprecedented as it was uncompromising, equal parts pranks and profundity. qXn948s began with samples and software composed intuitively in tandem before a large monitor, then progressively processed and scrambled into bewildering arrangements of digital frequencies, alternately spartan and claustrophobic, uneasy and uncanny. Vignettes of small melody emerge and are obliterated; gamelan-esque tones spiral above cybernetic pulse programming and funereal didgeridoo; skeletal piano meanders in the distance while flickering circuitry pummels patterns of white noise. Pavlov describes his and Christopherson's chemistry as "unspoken and sincere, and very efficient." That music this aggressively disorienting and complex congealed in a smoothly organic fashion is testament to the rare vision of its creators.

Clear Vinyl

SoiSong is the stunning but short-lived partnership of Coil co-founder Peter "Sleazy" Christopherson and veteran Russian electronic experimentalist Ivan Pavlov. Though friends since 1997, the project birthed roughly a decade later in Bangkok, where Christopherson relocated following the death of his Coil collaborator John Balance in 2004. Named after the Thai word for `two' along with a notorious red-light district street nearby, the duo dialed into a cryptic language of lurching synthetics, Eastern minimalism, and interdimensional glitch, oscillating between elegance and mayhem. qXn948s collects some of their earliest recordings, and remains as transgressive and transcendent a listen now as it was upon its release a decade and a half ago. Pavlov characterizes SoiSong as less a musical group than a "utopian, semi-alien platform for collaboration, devoid of pronounced personality or centralized authority_ more like a message from elsewhere that anyone is welcome to participate in and spread." Every facet of the project was disruptive and oblique: self-released CDs packaged in elaborate origami that had to be destroyed to be accessed; a website with password protected sections, where different passwords were provided for different events, objects or releases; performance merchandise of headphones and a Walkman melted shut so the music can only be heard as long as the set of batteries last. Theirs was a muse as unprecedented as it was uncompromising, equal parts pranks and profundity. qXn948s began with samples and software composed intuitively in tandem before a large monitor, then progressively processed and scrambled into bewildering arrangements of digital frequencies, alternately spartan and claustrophobic, uneasy and uncanny. Vignettes of small melody emerge and are obliterated; gamelan-esque tones spiral above cybernetic pulse programming and funereal didgeridoo; skeletal piano meanders in the distance while flickering circuitry pummels patterns of white noise. Pavlov describes his and Christopherson's chemistry as "unspoken and sincere, and very efficient." That music this aggressively disorienting and complex congealed in a smoothly organic fashion is testament to the rare vision of its creators.

100% GALCHER was by all accounts a game-changer when it landed in 2013 as an hour of original music from a relatively unknown producer ushered in by the beloved mix series Blowing Up The Workshop. Galcher Lustwerk's signature sound — a smoky stream-of-consciousness baritone shadow-boxing with beats, informed by funk, rap, rhythm, and blues — felt like an epiphany, impossibly hypnotic and complete. Resident Advisor writes, "100% GALCHER laid out a louche, lysergic and resolutely black take on deep house." Pitchfork remembers the music's immediate impact: "It's the sort of gem you felt inclined to pass around” — and by year-end list time, word-of-mouth intensified. It was Resident Advisor and Juno's mix of the year, and earned a top-ten placement in FACT Magazine's albums list, as well as Philip Sherburne's personal rundown for Spin." Since then, select songs from 100% GALCHER have seen small-run pressings, while the album has lived primarily on SoundCloud and YouTube as a low-key cult legend. The gateway into Lustwerk's now well-established catalog, known for its reliability as a late-night listen and its prophetic vision for the near future of underground dance music. RA would later name it a mix of the decade, citing its influence and imagination: “Original in every sense — unknown, unheard and unbelievably good.” In late 2022, marking ten years since he first recorded the material, Lustwerk returns to Ghostly International to release 100% GALCHER as a remastered limited-edition double LP.

Lustwerk is a product of the Midwest. Growing up in Cleveland, he'd tape over his parents’ cassettes and spend hours at his family computer recording loops and designing artwork for the jewel cases of burned CDs. In high school, he turned to Ableton Live and absorbed every electronic music magazine he could find at the local Borders Books store. In excerpts from the 100% GALCHER liner notes, Lustwerk looks back: "My dad drove me to this shop on the westside Bent Crayon, where I would get anything the blogs told you to get + whatever the clerk recommended. CDs stayed in their packaging, there was always an overflow of vinyl stacked on the floor. I was too shy to listen to anything before buying."

As a college student at RISD, he played in noise bands, plugged into Providence's DIY scene via Myspace, and started DJing weeknights at bars downtown. There he connected with Young Male and DJ Richard, who would go on to found White Material Records and offer their third release to Galcher Lustwerk, an alias realized via CAPTCHA test, a perfect artifact of its internet age. By 2012, Lustwerk had drifted to New York City and settled into a graphic design job, quickly growing disenfranchised by office culture. "Some days I felt like a token, other days I felt invisible." At night, he and his friends were carving out their own space

Hiding in Place, the new EP from Philadelphia’s Queen of Jeans, opens with the springy pluck of a single note on electric guitar, like a ping from a satellite waiting for a response in a long, quiet expanse. Then, Miri Devora’s voice atop guitar and drums: “Hiding in place, conjure your face/Don’t wanna lose my mind.”

This is the title track’s invitation to a four-song study of loneliness, alienation, and the unraveling that comes with those states, but it’s also bookended with moments of levity: joy and romance burst through on second track “Why Hide,” a response of sorts to the title track’s cloistered anxiety. Devora wrote the songs at the start of the pandemic in March 2020 when she had just been laid off from her job of almost 10 years. Her partner, guitarist Mattie Glass, worked 11 hour shifts at a grocery store, so Devora was alone in their apartment for months on end. When they were written, these weren’t intended to be pandemic-specific.

On in february, Isik Kural works like a photographer of sound, documenting the passing and returning of time as if material snapshots of life's temporality. Across the album's twelve songs, each composed from chance loops and cocooned within the soft container of Isik's memorable voice and melody play, time is held on to hopefully, impossibly, eternally.
Born in Istanbul, Isik studied music engineering at the University of Miami, alighted in New York City, and eventually settled in Glasgow, immersing in a sound design masters and audiovisual practice. While these paths guided him between different projects and cities, a voice was simultaneously growing inside the artist, informed by a vision of the world in its everyday luminosity. This voice was expressed in the lyrical and instrumental waves of 2019's As Flurries, a cassette collection for Italian label Almost Halloween Records.
Isik Kural's in february will be released on October 15, 2021 on vinyl, cassette, compact disc, and digital formats. On behalf of Isik, a portion of the proceeds from this release will benefit Turkiye Egitim Gonulluleri Vakfi, an organization that creates and conducts workshops, educational training programs and after school programs for children across Turkey.

Alga Marghen presents the last chapter from the Feedback Works documentation series, a brand-new LP including "In Memoriam-Ostinato" and "Danse des Dakinis", two previous unreleased tracks by Eliane Radigue. Among the works of fixed duration from the feedback period, "In Memoriam-Ostinato" is the link between "Jouet Electronique" (ALGA 029LP) and "Opus 17" (ALGA 045LP), and allows you to understand the evolution of her approach. "In Memoriam-Ostinato" is a game of mirroring symbols which glide into a non-measured, bent and elastic, temporality. Eliane Radigue's working method and her aesthetic direction are evident in this work from 1969: her very own unique temporal space of sonic experiences. Even though it bears the same name as the third part of "Adnos III", "Danse des Dakinis" is a peculiar work in Eliane's oeuvre. Conceived in a short time, with all kind of tapes from the composer's past work, it fluently shows a kaleidoscopic vision of Radigue's sensibility for sound. In 1998 she put together a curious self-portrait in sound. There is a feedback ostinato conceived around 1969 and which refers to "In Memoriam-Ostinato" and "Opus 17". All through "Danse des Dakinis" you plunge into the sound of a creek recorded at Mills College campus that brings you back to the field-recordings from the beginning of the 1960s, made on the coasts of the Mediterranean Sea. Such elements construct "Elemental1" (ALGA 029LP) as well. There are also some discreet interventions on the ARP 2500 synthesizer. It is indeed a peculiar work, which doesn't have the same features of her other compositions, especially at that time of her compositional path. There is an explanation for the composer producing this kind of sound material in 1998, and not limited to the sound waves of the ARP synthesizer. Invited to a workshop at Mills College in 1998, Eliane Radigue could not load herself down with her bulky instrument on such a trip. So, she left with just a few tapes taken from her own collection, drawn from different periods, and composed "Danse des Dakinis" with those old elements. There is tension in this composition, a certain wildness, an unpredictability of elements, those which are recognized as fundamental elements, which give structure to the universe. "Dance des Dakinis" is an intimate and wild symphony, alive and unpredictable, which is to be the next-to-last gesture of the composer before completely stopping her work with electronics.

Great songs are not set in stone - since he burst from the blues clubs of Louisiana onto the global music scene with 1995's breakthrough first album, Ledbetter Heights, followed by his career defining second album, Trouble Is..

in 1997, Kenny Wayne Shepherd has twisted those classic cuts into bold new
shapes each night on the stage. Led by the pulse of the crowd, every last note
alive in his hands, the Trouble Is... tracks have always been on the move, never
settling into museum pieces.
But to give a quarter-century-old album a second birth is another matter. And in
more recent times, as the five- time- Grammy- nominated, multi- platinum- selling
artist looked up the road and saw the 25th anniversary of Trouble Is... on the
horizon, he hatched an audacious plan."One of the coolest things about rerecording Trouble Is... has been finding out or verifying how timeless this album
really is," says Shepherd, who also is leading a triumphant anniversary tour across
the United States in 2022 and 2023, performing the album in full. "I'm so proud of
what we accomplished, and also the fact I was just 18 years old when I did it. I
mean, I had an experience with this album that most musicians can only dream
about. Trouble Is... sold millions of copies. There's validation in all of that for me."
The Artbook package contains: 2LP on Gold Vinyl, CD, DVD and Blu- ray of the
Trouble Is... 25th Anniversary Show in the Strand Theatre in Shreveport, Louisiana
and a documentary about the making of the album, plus a Dolby Atmos audio Bluray that is exclusive to this release.

Shelter Press extend a quietly cine-poetic invitation to visit the Outer Hebrides via immersive sounds - field recordings of psalm singing and local dialect - collected and arranged by interdisciplinary artist Joshua Bonnetta, going hand-in-hand with Shelter Press’ core interests in the fading light of its 10th year in operation. A beautiful artefact - complete with 60 page photobook.

Accompanied by an evocative photo study and access to an accompanying film and essay, Bonetta’s second release for Shelter Press following 2016’s ‘Lago’ imparts a real feel for the archipelago, off the north west coast of Scotland, where he was stationed during an artist’s residency during 2017-2019. Stitched together from observant field recordings and interviews with residents on the islands of Barra, Berneray, Harris, Lewis & North Uist, the work elicits a sense of timelessness in its slow drift between shores, hills, standing stones and the intimacy of its voices, including Gaelic spoken word, folk song and whistling. Save for the appearance of a plane overhead, the sounds of car and boat motors, plus a little bit of electronic disturbance that pull you into the modern era; the results practically imagine what it would have been like to visit the islands with a recording device at any point since the last ice age. 

For Bonetta, who hails from rural Canada, the similarities between his formative landscapes and those of Scotland must have appeared familiar, perhaps a subconscious recall/reminder that the two places shared a landmass, albeit 425 million years ago. His sound sensitive subtlety and cinematic ear in arranging his collected sounds serves to highlight the way the modern world only just infringes on Innse Gall’s ancient landscapes and only relatively modern tongues (if we’re thinking in geologic terms of scale). We hear the sounds of its avian population seamlessly eliding its humans in the whistling of Alick Macauley, and the natural cadence of of its mild oceanic climate mirrored in lilting Gaelic folksong, here performed by Calum McDonald, Joey Morrison, and Maggie Smith, and more generally practiced by only a tiny percentage of Scotland’s population (some 1%) but still surely alive in its meridian isles where time moves much more slowly.

With the nuance and poetry expected of a Shelter Press title, ‘Innes Gall’ reflects on the area’s anglicised name, meaning “islands of the strangers”, with calming, soberly documentarian results as heartwarming and fascinating as a visit to the area, just without the effort of travel, and from the comfort of your own living space. Bonnetta is incapable of ignoring the cinematic frame, and intersperses each shot with enough poetry to keep you entranced.

Keith Tucker and Gerald Donald of Dopplereffekt did it......They finally got together two of the originators from the monumental Detroit electronic groups Aux88 and Drexciya. The combination of these two musicians has created a retro bombardment of funk as only Keith Tucker and Gerald Donald can bring.
That unearthly eerie funk and strings from other worlds. This release gives a sense of a melding of Cybotron and Kraftwerk....That snappy intelligent funk that Detroit so heavily influenced and unleashed to the universe

1) "Star Gazing"- Is reminiscent of Cybotrons eclectic funk style with Tucker unmistakable electronic vocals and electronic beats slapping you in the face.

2) "Telescope Array"- Is an extension of Gerald Donald legendary aliases that give listeners that cold minimal drum and beautiful arps that hypnotize. Thumping bass line and .....bonus vocal interlude at the end of this interstellar track

Electronic pop music superstars Röyksopp present their extraordinary ‘Profound Mysteries’ project, released through Dog Triumph. Röyksopp worked with a cast of global visual and musical collaborators to create an incredible 30 tracks, 30 artefacts, 30 visualisers and 30 films that have been revealed throughout the year.

‘Profound Mysteries’ brings together some of the most talented music artists in the world, including Alison Goldfrapp, Pixx, Susanne Sundfør, Astrid S, and Karen Harding.

Electronic pop music superstars Röyksopp present their extraordinary ‘Profound Mysteries’ project, released through Dog Triumph. Röyksopp worked with a cast of global visual and musical collaborators to create an incredible 30 tracks, 30 artefacts, 30 visualisers and 30 films that have been revealed throughout the year.

‘Profound Mysteries’ brings together some of the most talented music artists in the world, including Alison Goldfrapp, Pixx, Susanne Sundfør, Astrid S, and Karen Harding.

Electronic pop music superstars Röyksopp present their extraordinary ‘Profound Mysteries’ project, released through Dog Triumph. Röyksopp worked with a cast of global visual and musical collaborators to create an incredible 30 tracks, 30 artefacts, 30 visualisers and 30 films that have been revealed throughout the year.

‘Profound Mysteries’ brings together some of the most talented music artists in the world, including Alison Goldfrapp, Pixx, Susanne Sundfør, Astrid S, and Karen Harding.

Electronic pop music superstars Röyksopp present their extraordinary ‘Profound Mysteries’ project, released through Dog Triumph. Röyksopp worked with a cast of global visual and musical collaborators to create an incredible 30 tracks, 30 artefacts, 30 visualisers and 30 films that have been revealed throughout the year.

‘Profound Mysteries’ brings together some of the most talented music artists in the world, including Alison Goldfrapp, Pixx, Susanne Sundfør, Astrid S, and Karen Harding.

Eliades Ochoa has been renowned for over 40 years as a Cuban singer, guitarist and performer, including as a key contributing artist to the multi-million selling 1997 ‘Buena Vista Social Club’ album. World Circuit now releases a Special Edition of Ochoa’s latest album ‘Vamos A Bailar Un Son’. Originally released in 2020, the album features Eliades’ interpretations of songs by important Latin American composers like Ñico Saquito and Agustín Lara, as well as compositions by Eliades himself. The new Special Edition is available on CD, LP and digital formats and features 3 previously unheard bonus tracks. Ochoa continues to explore new collaborations, having recently teamed up with Spanish rapper C. Tangana on his track ‘Muriendo De Envidia’. Eliades comments: “This album has made me feel more alive. I am thrilled that more and more young people are connecting with my music.”

The meeting of Alieu and Randomized Coffee gives light to this new project, in which the Roman duo tackles a production that skillfully links Mediterranean influence to ancestral Africa in a patchwork woven of typical African ethnic elements to those of house and electronica in a "groovy" body that enhances the classical side of the African country in a modern musical mood and rhythm.

The story tells about the day before an arranged marriage ceremony.

Masanneh is a handsome and well-known man in his village of the Mandinka Tribe, born and raised in the village of Kudang, near the river that flows through the entire country; the Gambia. Many in the village believe him to be charismatic and generous, others believe him to be a venal materialist devoted to money. Masanneh decides to consult Cherno Jallow, a wise Marabout, to figure out how to deal with his future. He therefore moves westward to the village of Bondali, in Foni, where before practicing his work as a skilled trader he talks to Landing Sawo, the district chief, from there he hears the sound of a Kora played by Jali, while across the road he sees a beautiful woman Mariama Gomez passing by.

Joining techno mainstays Spencer Parker, Leo Pol and label boss Mella Dee among others, BLACK GIRL / WHITE GIRL are the latest artists to come to Warehouse Music serving up an EP of mind-expanding techno rollers.

The Holland-based duo have made a name for themselves producing weighty, no-nonsense techno cuts to reputable labels Super Rhythm Trax, Balkan Vinyl, and more recently, their independent Bandcamp series Dancefloor Destroyers which remade old school classics in the image of jack: acidifying everything from Robyn to Donna Summer, these tools show off the pair’s ability to make a club (re)werk.

Now with their ‘Multiverse EP’, BLACK GIRL / WHITE GIRL take their sound to another plane where kick drums slide over spectral voices, bleeps smudge into cosmic fractals, and minimal hi-hats make way for a slinkier, deeper energy than on previous releases—all without spilling a drop of their signature raw power.

BYG album, facsimile-edition. Newly mastered to vinyl from original BYG tapes. Lacquers cut by Alchemy Mastering at AIR STUDIOS. Exclusive liner notes by author, journalist and BYG-authority Kevin Le Gendre. Also available as expanded CD edition in deluxe gatefold sleeve with 6 original single-version tracks. Cd: expanded cd edition in deluxe gatefold sleeve & printed inner wallet Original 1970 BYG album. Expanded with 6 original single-version tracks. Digitally mastered from original BYG tapes by Nick Robbins. 16-pages booklet with exclusive liner notes by author, journalist and BYG-authority Kevin Le Gendre. *** Formed in the late 1960s Alice was arguably the most interesting of the crop of French bands that put their own spin on the blues rock scene born in Britain and America. Playing a gaggle of instruments, including woodwinds and vibes, the combo had a sound that often departed from guitar-led grooves to incorporate European classical music and South American folk. “This re-mastered version of Alice’s auspicious BYG debut provides an opportunity to reassess a band that deserves wider recognition ...” Kevin Le Gendre, 2022

Exclusive to INDIE STORES: Hiss and Shake Records to release ‘Logically Yours’ – a limited edition, 5 x LP boxset of 50 essential recordings from seminal post-punk icon Lora Logic including 2 classic Essential Logic albums, early single releases, EPs, B-sides, rarities, vinyl exclusives + first new Essential Logic studio album in 43 years! Includes the classic Rough Trade Records releases ‘Beat Rhythm News (Waddle Ya Play?) + ‘Pedigree Charm’ + 2 retrospective compilations of early single releases, EPs, B-sides, rarities + vinyl exclusives ‘Aerosol Burns & Other Misdemeanours’ + ‘No More Fiction’ + new studio album ‘Land of Kali’ (first in 43 years) + 20 page booklet with introduction from Celeste Bell + Lora Logic Q+A. Susan Whitby, aka Lora Logic was one of the most distinctive talents from the post-punk era known for her intoxicating, rough-around-the-edges, yet exhilarating sax playing and haywire vocal style. Her offbeat, occasionally arresting lyrics tackled alienation, sexism, poverty and urban isolation, and with a complete disregard for convention, she carved her own path not only in her short-lived music career but also personal life. She was still in her teens when she answered an ad in Melody Maker “Looking for young punks,” and in 1976, with her friend Marion Elliot (aka Poly Styrene), she formed the punk band X-Ray Spex and acquired the pseudonym, Lora Logic. The duo soon achieved notoriety with the irresistible feminist protest single, ‘Oh Bondage Up Yours’ (1977) – Logic arguably stealing the show with her thrilling punk sax. “X-Ray Spex was my first band, I happened to be accepted, It happened to work, I happened to get famous overnight. I’d been playing sax in a cupboard in my room; I thought I better do something.” However, just prior to recording 'Germ Free Adolescents' (1978), X-Ray Spex's debut album, she found herself unexpectedly ousted from the band. With abundant enthusiasm and encouragement from Geoff Travis, founding director of Rough Trade Records, she went on to form Essential Logic, creating some of the most liberating and exciting music of the early post-punk era, not only as Essential Logic, but also as a solo artist. Hiss and Shake Records are pleased to present a limited edition boxset of 50 essential recordings from the irresistibly engaging Lora Logic archive, allowing for a new generation to become aware of her incredible creative output. Across 5 LPs, ‘Logically Yours’ includes in their entirety, the classic Rough Trade Records releases ‘Beat Rhythm News (Waddle Ya Play?) (1979) – Essential Logic’s sole studio album, and Lora’s solo album, ‘Pedigree Charm’ (1982) – her last studio album before turning her back on the music business, sad and disillusioned and fighting drug addiction, which saw her turn to a Hare Krishna lifestyle, alongside Poly Styrene, embracing a fresh new chapter. This totally absorbing and definitive collection also includes two retrospective compilations; ‘Essential Logic – ‘Aerosol Burns & Other Misdemeanours’, which comprises early single releases, B-sides and oddities including the gloriously chaotic ‘Aerosol Burns’, the essential punk/disco ‘Music Is A Better Noise’, and ‘Fanfare In the Garden’, showcasing Lora at her most pop. In addition, ‘Essential Logic – ‘No More Fiction’; contains 10 vinyl exclusives, including ‘Do You Believe in Christmas?’, recorded with the Krishna Kids Choir in 1985, alongside tracks recorded circa 1997, with Martin Muscatt, Dave Farren (Bad Manners) and Gary Valentine (Blondie), forming the basis of what would have been Essential Logic’s third studio album, ‘No More Fiction’. Having recently returned to the studio refreshed and rejuvenated, ‘Logically Yours’ also includes ‘The Land of Kali’ (co-produced by Youth), the first new Essential Logic studio album in 43 years, and features the forthcoming new single ‘Prayer for Peace’, a re-imagining of the X-Ray Spex track from the tragically overlooked album, ‘Conscious Consumer’ (1995) on which Lora also played sax. “Poly Styrene and I were living in a Krishna community in Worcestershire in the early 80s. We came together for the first time musically after X-Ray Spex to record the original version of this song. In 2019, I decided to record my own take as a tribute to the special times we shared. I hope Poly likes this new version too.” Further tracks penned for release from the album include the dystopian, lockdown-inspired ‘Alien Boys’ and ‘Sky Rocket’, written with daughter Malini, about the fairground of life. Despite her short-lived career in the music business, Lora still managed to perform and appear on releases with many artists including US experimental rock band Red Crayola between 1978 and 1981, and also appeared on recordings by The Stranglers, The Raincoats, Kollaa Kestää, Dennis Bovell, Swell Maps and later, Boy George. Undoubtedly an iconic figure of the UK post-punk scene, Lora Logic’s boldness, adventurousness and sense of fun can be seen as an influence on numerous female artists today including Karen O from Yeah Yeah Yeahs, Peaches and St. Vincent among others. Tracklisting: Essential Logic ‘Beat Rhythm News (Waddle Ya Play?)’ (1979). A1 ‘Quality Crayon Wax OK’ A2 ‘The Order Form’ A3 ‘Shabby Abbott’ A4 ‘World Friction’ B1 ‘Wake Up’ B2 ‘Albert’ B3 ‘Alkaline Loaf in the Area’ B4 ‘Collecting Dust’ B5 ‘Pop Corn Boy (Waddle Ya Do?)’…… Lora Logic – ‘Pedigree Charm’ (1982). A1 ‘Brute Fury’ A2 ‘Horrible Party’ A3 ‘Stop Halt’ A4 ‘Wonderful Offer’ A5 ‘Martian Man’ B1 ‘Hiss and Shake’ B2 ‘Pedigree Charm’B3 ‘Rat Allé’ B4 ‘Crystal Gazing’…..Essential Logic – ‘Aerosol Burns & Other Misdemeanours’. A1 ‘Aerosol Burns’ (1978) – Debut single A2 ‘World Friction’ (1978) – ‘Aerosol Burns’ B-side A3 ‘Eugene’ (1981) – Single A4 ‘Tame the Neighbours’ (1981) – ‘Eugene’ B-side A5 ‘Music Is A Better Noise’ (1981) – Single A6 ‘Moontown’ (1981) – ‘Music Is A Better Noise’ B-side B1 ‘Fanfare In the Garden’ (1981) – Single B2 ‘Stereo’ (1982) – ‘Wonderful Offer’ single B-side B3 ‘Rather Than Repeat’ (1981) – ‘Wonderful Offer’ single B-side B4 ‘The Captain’ (1979) – ‘Fanfare In The Garden’ B-side B5 ‘Soul’ (1983) – Previously unreleased on vinyl B6 ‘Stay High’ – Previously unreleased on vinyl….. Essential Logic – ‘No More Fiction’. A1 ‘Essential Logic’ (1991) – Vinyl exclusive A2 ‘On The Internet’ (1998) – Vinyl exclusive A3 ‘Under The Great City’ (1997) – Vinyl exclusive A4 ‘No More Fiction’ (1998) – Vinyl exclusive A5 ‘Love Eternal’ (1997) – Vinyl exclusive B1 ‘Barbie Be Happy’ (1998) – Vinyl exclusive B2 ‘Not Me’ (1998) – Vinyl exclusive B3 ‘The Beautiful and the Damned’ (1997) – Vinyl exclusive B4 ‘Marika’ (1997) – Vinyl exclusive B5 ‘Do You Believe in Christmas?’ (1985) with the Krishna Kids Choir – Vinyl exclusive……Essential Logic – ‘Land of Kali’ (2022). A1 ‘Prayer For Peace’ A2 ‘Alien Boys’ A3 ‘Mother Earth’ A4 ‘Never Know’ A5 ‘Charming Every Cupid’ B1 ‘Sky Rocket’ B2 ‘Serious’ B3 ‘Fallible Soldiers’ B4 ‘Land of Kali’ B5 ‘Beyond’

Standard LP is on classic black vinyl. The Land of Kali’ (co-produced by Youth), is the first new Essential Logic studio album in 43 years, and features the forthcoming new single ‘Prayer for Peace’, a re-imagining of the X-Ray Spex track from the tragically overlooked album, ‘Conscious Consumer’ (1995) on which Lora also played sax. “Poly Styrene and I were living in a Krishna community in Worcestershire in the early 80s. We came together for the first time musically after X-Ray Spex to record the original version of this song. In 2019, I decided to record my own take as a tribute to the special times we shared. I hope Poly likes this new version too.” The 7” release of ‘Prayer for Peace’ is exclusive to the 5 LP box set “Logically Yours” via The bands DTC site and features a picture of Lora and Poly together during their time living at the temple. Further tracks penned for release from the album include the dystopian, lockdown-inspired ‘Alien Boys’ and ‘Sky Rocket’, written with daughter Malini, about the fairground of life. Tracks: A1 ‘Prayer For Peace’ A2 ‘Alien Boys’ A3 ‘Mother Earth’ A4 ‘Never Know’ A5 ‘Charming Every Cupid’ B1 ‘Sky Rocket’ B2 ‘Serious’ B3 ‘Fallible Soldiers’ B4 ‘Land of Kali’ B5 ‘Beyond’… Bonus Track: Land of Kali – (Adamski's Kali-Kiss Remix) – CD only

Standard LP is on classic black vinyl. The Land of Kali’ (co-produced by Youth), is the first new Essential Logic studio album in 43 years, and features the forthcoming new single ‘Prayer for Peace’, a re-imagining of the X-Ray Spex track from the tragically overlooked album, ‘Conscious Consumer’ (1995) on which Lora also played sax. “Poly Styrene and I were living in a Krishna community in Worcestershire in the early 80s. We came together for the first time musically after X-Ray Spex to record the original version of this song. In 2019, I decided to record my own take as a tribute to the special times we shared. I hope Poly likes this new version too.” The 7” release of ‘Prayer for Peace’ is exclusive to the 5 LP box set “Logically Yours” via The bands DTC site and features a picture of Lora and Poly together during their time living at the temple. Further tracks penned for release from the album include the dystopian, lockdown-inspired ‘Alien Boys’ and ‘Sky Rocket’, written with daughter Malini, about the fairground of life. Tracks: A1 ‘Prayer For Peace’ A2 ‘Alien Boys’ A3 ‘Mother Earth’ A4 ‘Never Know’ A5 ‘Charming Every Cupid’ B1 ‘Sky Rocket’ B2 ‘Serious’ B3 ‘Fallible Soldiers’ B4 ‘Land of Kali’ B5 ‘Beyond’… Bonus Track: Land of Kali – (Adamski's Kali-Kiss Remix) – CD only

First trained in his church choir, Print played in R&B bands in high school and later developed a reputation as a standout rapper. On Adventures in Counter-Culture, he experiments with the synths, keyboards, and drum machines that connected the musical dots of those early days.

Print began pursuing his career as a musician in 2001, working on several hip hop projects including his collaborative project Soul Position with DJ/Producer RJD2. Releasing The Unlimited EP & 8,000,000 Stories on Rhymesayers Entertainment with RJ, Blueprint began work in 2004 on what would become his first solo album, 1988. The success of that album allowed him to tour extensively
throughout North America and Europe, before returning home to focus on writing and recording his next album. When he sat down to work on this sophomore effort, Print began with the dark, soulful and sample heavy hip hop of the early 90's, but soon found himself

hitting a creative wall. What shook him loose was a new mission: to create an album that encompassed every facet of music he knew, blurring genre lines and bringing it back home as one cohesive listening experience. The more he worked to pair new found interest in rock & electronic music with his love of hip hop, the more he was able to break down that creative barrier.

Thus began his Adventures in Counter-Culture, a monumental undertaking that would involve reinventing himself as a musician and person. His growing cynicism with the world, his disdain for pop culture, the state of politics, and an apathetic, uninspired society, all worked as fuel to inspire this sophomore album. Moved by the impact that sampling lawsuits were having on the music community, Blueprint also decided to return to his roots and began writing and producing his own original content.

Los Angeles Free Music Society (LAFMS) formed in the mid-1970s as a loose-knit experimental music collective and multimedia publishing vehicle. Founded by teenage Le Forte Four members Chip Chapman, Joe Potts and Rick Potts and soon joined by Tom Recchion of Doo-Dooettes, LAFMS incorporated free improvisation, modular synthesizers, tape music, sampling, musique concrète, homemade instruments, noise, mail art and avant-rock in permissive and anarchic sessions at the Raymond Building and Poo-Bah Record Shop in old Pasadena. Inspired by The Residents, LAFMS self-released records and periodicals, organized performances and connected with fellow outsiders via post in the years before punk. Their uninhibited, egalitarian ideal of music-making and DIY distribution would influence generations of underground musicians.

Poo-Bah Records, with its import bins and backroom jam space, attracted the pseudonymous artists forming the initial incarnation of long-running collective Smegma. Early members Ju Suk Reet Meate, Dennis Duck, Cheez-it Ritz, Big Dirty, Amazon Bambiand Dr. Id contributed to various LAFMS compilations and combinations before several core members relocated to Portland, Oregon in 1975, where they recorded their debut album Glamour Girl 1941. Originally released on the LAFMS label in 1979, the LP combines rock instrumentation with tape, synthesizer, horns and voice in a tempestuous cauldron of anti-academy improv and alien noise. Beyond its roots in LAFMS, Smegma would help shape the early Portland punk scene in the late '70s alongside Wipers and Neo Boys. In more recent years, they have collaborated with Merzbow and Wolf Eyes.

This first-time vinyl reissue is limited to 500 numbered copies. Comes with insert.

Lee Aaron ist im Aufwind. Die preisgekrönte Songwriterin, Produzentin und kanadische Sängerin kehrte 2016 (nach einer zehnjährigen Pause, um ihre Familie großzuziehen) mit einer Fülle von Originalmaterial und mehr Feuerwerksenergie als Künstler, die halb so alt sind, in die Rockszene zurück. Seitdem hat sie 6 neue Veröffentlichungen herausgebracht, darunter eine "Live"-CD/DVD, wobei ELEVATE die neueste und vielleicht coolste Ergänzung zu diesem neuen Kapitel ihrer illustren Karriere ist.

ELEVATE wurde während des Covid-Lockdowns geschrieben, aber anstatt zuzulassen, dass diese Isolation die Band in eine negative Richtung drängt, buchte Lee einen Studio-Lockout für den Herbst 2021. Das Ergebnis ist ELEVATE, das zehn Songs enthält, die von dem durchdrungen sind, was zu Aarons unverkennbarem Sound geworden ist: große Gitarren-Hooks, kraftvoller, bluesiger Gesang, reiche Melodien und Harmonien und gerade genug freche Attitüde.

Lee Aaron ist im Aufwind. Die preisgekrönte Songwriterin, Produzentin und kanadische Sängerin kehrte 2016 (nach einer zehnjährigen Pause, um ihre Familie großzuziehen) mit einer Fülle von Originalmaterial und mehr Feuerwerksenergie als Künstler, die halb so alt sind, in die Rockszene zurück. Seitdem hat sie 6 neue Veröffentlichungen herausgebracht, darunter eine "Live"-CD/DVD, wobei ELEVATE die neueste und vielleicht coolste Ergänzung zu diesem neuen Kapitel ihrer illustren Karriere ist.

ELEVATE wurde während des Covid-Lockdowns geschrieben, aber anstatt zuzulassen, dass diese Isolation die Band in eine negative Richtung drängt, buchte Lee einen Studio-Lockout für den Herbst 2021. Das Ergebnis ist ELEVATE, das zehn Songs enthält, die von dem durchdrungen sind, was zu Aarons unverkennbarem Sound geworden ist: große Gitarren-Hooks, kraftvoller, bluesiger Gesang, reiche Melodien und Harmonien und gerade genug freche Attitüde.

Federico Madeddu Giuntoli is an italian multidisciplinary artist. Mostly autodidact, his art is based on groundedness and simplicity, and focused on the complexity of human journey in a non aggressive, warm and unfiltered way.

His works, ranging from contemporary art, music, writing and photography, are usually delicate and subtle, yet unequivocally tuned into a certain kind of pop communication, however essential and experimental it may be.

"The text and the form" is his first solo album, featuring german e-poetess AGF and japanese artist Moskitoo (12K).

The album is a collection of 11 minimal and intimate short songs, in which piano fragments, lonely guitar solos, spoken words and evocative vocals resonate with processed microsounds and lo-fi field recordings, creating a concise and very deep journey into romance and sense of mystery.

In the artist's words, "the album shaped itself according to a loose process of refinement and layering. A long, undisturbed assembling across more then a decade, often against my own will to reach a definitive form. If any relevance in this work can be found, I would say it resides in its capability to deliver a rare sense of vulnerability, longing and aliveness together, an aroma of improvisation and instability mixed with a unexplicable impression of perfection".

Second Editions presents a new collaborative work by Marja Ahti and Judith Hamann.

After their distinguished duet ‘Portals’ for Cafe Oto's Takuroku label, ‘A coincidence is perfect, intimate attunement’ is a wonderful sophomore collaborative work pieced together over two years of changing seasons, ideas, moods, and feelings. The release is formed from a shifting field of sound correspondence that pivots on moments of coincidence, of a tuning in.

What are we opening ourselves to when we tune in to sound? How can one be truly open to a sound? How can the activity of recording move beyond notions of capture and release into more generative frames? Rather than a tool purposed for preservation or ‘conservation’ of memory, of time and place, can recording sound instead form new vibrant or vibratory spaces of attunement?

‘A coincidence..’ is an LP length composition of multiple interlocking parts, created through exchange, alignment, unpredictability: the title borrowed from poet Fanny Howe falling right into place, a flock of birds in flight, pitches matched and moved across different geographies and temporal frames. Marja & Judith have created an intuitive, lyrical longform piece that considers the idea of attunement itself as, in some sense, the smallest form of measure or denominator connecting their respective practices: across field recording, just intonation, electronic sonorities and instrumental bodies. ‘A coincidence..’ reflects a sense of a willingness to tune in to impulses given, or gifted to the other, a position that embraces an intimate synchronicity.

Recordings & correspondances between 2020-2022. Mixed by Marja Ahti & Judith Hamann. Mastered and cut by Anne Taegert at Dubplates & Mastering in Berlin, 2022. Title quotation from Night Philosophy by Fanny Howe, Divided Publishing, 2020. Photogrpahy by Joshua Bonnetta. Thanks to Nino Bulling, Niko-Matti Ahti and leo. The work was supported by Kone Foundation, Akademie Schloss Solitude and NEUSTART KULTUR.

Marja Ahti (b. 1981) is a Swedish-Finnish composer and sound artist based in Turku, Finland. Ahti works with field recordings and other acoustic sound material combined with synthesizers and electronic feedback in order to find the space where these sounds start to communicate. She makes music that rides on waves of slowly warping harmonies and mutating textures – rough edged, yet precise compositions, rich in detail. Ahti has presented her music in many different contexts around Europe, in Japan and the United States. She is currently active in the duo Ahti & Ahti with her partner Niko-Matti Ahti and in the artist/organizer collective Himera.

Judith Hamann is a cellist and performer/composer from Narrm/Melbourne in so-called Australia, currently based in Berlin. Their work encompasses performance, improvisation, electro-acoustic composition, field recording, electronics, site specific generative work, and micro-tonal systems in a deeply considered process based approach to creative practice. Currently Judith’s work is focused on an examination of expressions and manifestations of 'shaking’ in solo performance practice, a collection of works for cello and humming, as well as ongoing research surrounding ‘collapse’ as a generative imaginary surface, and the ‘de-mastering’ of bodies (human and non-human) in European settler-colonial heritage instrumental practice and pedagogy. Judith likes working with and thinking-with other artists which sometimes includes people like Joshua Bonnetta, Dennis Cooper, Charles Curtis, Golden Fur (with James Rushford and Sam Dunscombe), Lori Goldston, the Harmonic Space Orchestra, Sarah Hennies, Yvette Janine Jackson, and Anike Joyce Sadiq.

Das neue Album ‚Untamed‘ der französischen Sleaze Rock-Formation BlackRain ist ein ebensolcher Fall. Obwohl mit ihren sechs bisherigen Ver-
öffentlichungen bereits etabliert und auch auf Tourneen (unter anderem mit Europe, Alice Cooper, Scorpions oder Steel Panther) sehr erfolgreich,
legt das Quartett um Sänger Swan jetzt ein Werk vor, das in jeder Hinsicht neue Qualitätsstandards setzt. „Wir lieben den kraftvollen Sound, die
knalligen Drums, diese tolle Mischung aus catchy Melodien und Aggressivität, die ‚Untamed‘ von Beginn an durchzieht“, freut sich Bassist Matthieu de la Roche und benennt auch gleich den Produzenten der neuen Wertarbeit: Hannes Braun, Frontmann der deutschen Hardrocker Kissin`
Dynamite und auch als Tonmeister eine feste Größe. De la Roche: „Hannes sagte zu uns: ´Ich liebe eure Songs, mich begeistert eure Show, ich
weiß genau, wie eure nächste Scheibe klingen sollte!` Dank seiner Hilfe haben wir exakt den Sound gefunden, den wir seit zehn Jahre suchen.“
Veröffentlicht wird ‚Untamed‘ am 25. November 2022 über Steamhammer/SPV. Man sollte sich den Termin im Kalender rot anstreichen!

Running Back regular Feater aka Daniel Meuzard puts his newly-transplanted studio through its paces for the first time since relocating from Vienna, swapping out the bustle of the city for the fresh mountain breeze of the West Alps. The Positive People EP proves that a change is as good as a rest, as the wide open nature not only had some rejuvenating effects on the creative process - it also gave Feater some room in his head to ponder questions about nature, nurture, and whether our inner morality is externally programmed.

The taut jazz funk of opening track Coding springs into action like the montage music of a lost ‘70s TV show, while the title track Positive People plays on the ambiguity of its title, with cascading synth notes, tastefully dubby 303 stabs, and an afro-cuban drum figure that forms the foundation for a spaced-out dancefloor workout. It's a combo of tracks that should appeal to chat room moderators and serotonin programmers alike.

Expensive Zeit kicks off sounding like grime maverick XTC had been brought up on Murder Capital electro rather than East London garage - before it morphs into a bumpin electrofunk and percussion session, with its sights set firmly on an aquatic worm hole. The EP rounds out with Decline All Cookies, which breaks out of a flanged-out half-time drum 'n' effects intro to reveal a lush chord progression, flipping a soul jazz piano mood into a trippy slice of modern instrumental funk.


Can man be the master of his own destiny? It seems with this change of location and musical direction, Feater might just have figured out the answer.

2022 Repress
Many Reggae aficionados see the concentrated phase of Rock Steady between 1967 - 1969 as the Carribean's most productive era of all time. Never before had such sweet melodies, inspiring rhythms and beautiful love lyrics come together. Numerous Soul hits by the likes of Curtis Mayfield, The Impressions, The Supremes all got the bass-driven, Jamaican style treatment. "The Bunny Lee Rock Steady Years" collects some of the most essential and rarest songs of that era - in a better sound quality than ever before! It showcases a wealth of soulful singers, ranging from top acts like Slim Smith (also lead-singer in the Techniques and Uniques) or Alton Ellis to the rather unknown Cnythia Richards or Webber Sisters. All songs were produced by Bunny Lee, one of the greatest Jamaican producers, who had one Rock Steady hit after another - finally earning him the nickname "Striker".
This compilation is a valuable slice of history for Reggae and Soul fans alike, for lovers of great voices, for those who do not confuse "cool" with cold and appreciate a good love song when it comes from the heart.

The Singles soundtrack was released in early 1992, a full three months before the film opened, and it was an instant hit, eventually selling over two million copies. It's the perfect snapshot of Grunge, Seattle at a certain place and time.