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What if Japanese city pop met no wave? Neither in your wildest dream such occurrence could be real, but let’s make things clear. Frank Chickens could have been possibly forerunners for several famous alternative bands, Cibo Matto on top of all, but sure had a development on their own. Our history began in London, early eighties, art duo Frank Chickens is the original creation of Japanese performers Kazuko Hohki and Kazumi Taguchi. All of a sudden the band debuts with a pair of singles and a full length on Kaz Records, it’s 1984, but could have been easily 1994. Backed by the likes of Steve Beresford (Alterations, The Slits, General Strike, London Improvisers Orchestra), Annie Whitehead (Penguin Cafe Orchestra, Robert Wyatt), Lol Coxhill, Tony Coe and Clive Bell (the top of the cream of the English avantgarde) the band soon became a case in history. Now we have the pleasure – 37 years after its original release – to reissue their second album: Get Chickenized!

The record came out in 1987 on the british label Flying Lecords and showed a different side of the project, with a major focus on the so-called synth wave counterculture, still maintaining a certain avant feel. With original conspirator Steve Beresford still on board, the band was propelled in the studio by another key figure of the London underground: journalist, composer and producer David Toop. Being John Peel’s favorite for a while, the band built a cult following retaining some absurd live performances, well known for their idiosyncratic choreography. Later revamped in the year 2000 - thanks to cult label Ninja Tune – the band enjoyed a second wave of success, with a remix album featuring the likes of Pizzicato 5, Fink and Neotropic. With a cover embellished by the labor of Pere Ubu David Thomas, this second influential album is finally available for your listening pleasure. Here’s your chance to dive deep into this exotic pop extravaganza.

Rival Schools's Found is a collection of rarities, demos and alternate takes of songs collected in the years following the release of their 2001 debut United By Fate. Initially released over ten years ago, the band has teamed up with Run For Cover Records for a limited reissue to release alongside the reissue of their 2011 album Pedals. Found features eleven songs that show the range of sounds the band tinkered with in the ten years between these albums - it's a must have for any fan of the band, available again on limited colour vinyl.

On How It Ends (?), slinky melodies snake through nocturnal atmospherics, drawing you into a world built on poetic, painterly lyricism. Night Crickets, a long-distance groove affair that materialized during the drawn-out days of lockdown, has emerged once again to soundtrack our waking dreams.

David J (Bauhaus, Love & Rockets), Victor DeLorenzo (Violent Femmes) and multi-instrumentalist Darwin Meiners spearhead a loose collective of like-minded creative souls whom, through sheer tenacity and a burning desire to collaborate and create, transcend the restrictions of space and time. Audio files shared from Los Angeles to Milwaukee, from London to the San Francisco Bay, and the ghosts of Candlestick Park shimmer through the fog, coalescing in a glorious ‘gesamtkunstwerk’ that draws from the past, the present and the imagined future.

Declaring Bauhaus, Love And Rockets, and Violent Femmes iconic, foundational bands in the history of alternative music would receive little pushback from those in the know. San Francisco born artist Darwin Meiners is a fan of all three. A chance meeting with David J grew into a friendship, and Darwin not only became a bandmate, but his manager. After reaching out to Victor DeLorenzo through e-mail, Darwin met the Violent Femmes drummer after their set at Coachella. Soon, after the three collaborated on Darwin’s 2014 release Souvenir.

As the pandemic took hold, Darwin was looking for a new project to occupy the lock down time and approached Victor, who was keen to proceed and suggested that David join as well. The musical trust established between these three was immediate and Night Crickets were born. Within weeks a global process was initiated between them, the recordings eventually forming the album, A Free Society.

Following that release, inspired by how well – and quickly – they all worked together, the trio kept up their collaboration. “We are each free to discover musical connections that could only exist in an ideal creative setting” explains Victor. “We are very lucky to have three musicians who write, sing and play various instruments in one trio… our egos seem to melt into one when we face musical decisions, so our expeditions are always filled with pure discovery, humor and drive!”

How It Ends (?) was crafted with the same collaborative spirit as A Free Society. Each member contributed contributed unique elements to spur their collective creativity—whether a drum pattern, a lyrical concept, or a musical idea—and together, they expanded these initial sparks into the finished work. True to their approach, much of what you hear was captured in the first take, reflecting a genuine, unfiltered moment.

The music on the How It Ends (?) is a true evolution of the debut album. It is deeper and darker. Having said that, the dark tone is alleviated by a healthy measure of the buoyant, bouncy and melodic. “Much of the new material is very psychedelic and the contrast between this heavy, dark psychedelia and the more uplifting pop elements puts me in mind of The Beatles’ ‘Revolver’ album to some degree,” tells David J. “The recording process for the new album was exactly the same as the first in that we all recorded remotely, taking turns to share files and reacting spontaneously to the previous track, overdubbing then passing on once again until we all felt that the track was done.”

“While we didn’t start with a specific theme, the album emerged as a contemplative exploration of endings” says Darwin. “It touches on the loss of individuals, the shifting of ideas, and the fragility of systems. Beneath this sense of darkness and finality, however, there are threads of beauty and glimpses of hope. We invite you to immerse yourself in the album and experience the journey we’ve embarked upon.”

Brain Thrust Mastery, the second album by Californian art rockers We Are Scientists was originally released on Virgin Records in March 2008, its heady brew of retro futurism, indie and sparkling shiny power pop make it sound thoroughly contemporary - Working in conjunction with the band, this 2LP version of the album adds B-sides and tracks recorded live at London's Union Chapel and is pressed onto high-quality 180g vinyl. Named after founder members Keith Murray and Chris Cain's dress sense led a truck rental supervisor to surmise that they had to be academics, We Are Scientists were formed in Berkeley, California around the turn of the century. Their first 'proper' album, 2005's With Love And Squalor, became an underground hit as the band toured Britain, where they gained a substantial fanbase before the album was released in America the following year. Material for Brain Thrust Mastery was debuted on an early 2007 UK tour, before the band returned to the studio with producer Ariel Rechtshaid (who would go on to win Grammys with Vampire Weekend). We Are Scientists maintain a strong sense of theatre and comedy in their live performance - at this time, the group acted as their own support, offering seminars in self improvement called 'Brain Thrust Mastery'. The album is full of well-written pop songs, rich in hooks and melody. Lead single After Hours reached No 15 in March 2008, and after the release of the album the same month, it was followed by further hit singles Chick Lit and Impatience. A summer of touring, including performances at Glastonbury, T In The Park and Reading and Leeds underlined the group's popularity.

Brain Thrust Mastery, the second album by Californian art rockers We Are Scientists was originally released on Virgin Records in March 2008, its heady brew of retro futurism, indie and sparkling shiny power pop make it sound thoroughly contemporary - Working in conjunction with the band, this 2LP version of the album adds B-sides and tracks recorded live at London's Union Chapel and is pressed onto high-quality 180g vinyl. Named after founder members Keith Murray and Chris Cain's dress sense led a truck rental supervisor to surmise that they had to be academics, We Are Scientists were formed in Berkeley, California around the turn of the century. Their first 'proper' album, 2005's With Love And Squalor, became an underground hit as the band toured Britain, where they gained a substantial fanbase before the album was released in America the following year. Material for Brain Thrust Mastery was debuted on an early 2007 UK tour, before the band returned to the studio with producer Ariel Rechtshaid (who would go on to win Grammys with Vampire Weekend). We Are Scientists maintain a strong sense of theatre and comedy in their live performance - at this time, the group acted as their own support, offering seminars in self improvement called 'Brain Thrust Mastery'. The album is full of well-written pop songs, rich in hooks and melody. Lead single After Hours reached No 15 in March 2008, and after the release of the album the same month, it was followed by further hit singles Chick Lit and Impatience. A summer of touring, including performances at Glastonbury, T In The Park and Reading and Leeds underlined the group's popularity.

Julie Kuhl, geboren 2005 in Châtillon-sur-Seine in Frankreich, ist eine junge Singer-Songwriterin aus Frankfurt a.M, die in den vergangenen zwei Jahren von sich hören gemacht hat. Bereits als kleines Kind fing Julie an, in Chören zu singen, Instrumente zu lernen (Gitarre, Klavier, Bratsche) und erste Songs selbst zu schreiben. Im Alter von 15 Jahren folgt dann ihre erste Single und kurz darauf ihr Debütalbum „flowers & candles“. 2022 – mit 17 Jahren – erschien Julies zweites Album „Born With Nostalgic Bones“ auf dem Frankfurter Jazz-Label „Jazz Montez Records“.

Chris Douridas, Musikdirektor des kalifornischen Radiosenders KCRW zählt bereits zu ihren Fans. Nach unzähligen Auftritten in Frankfurt, teils auf großen Bühnen (wie auf der EM Eröffnungszeremonie in Frankfurt oder dem Holidays Festival), teils klein folgt nun eine Zusammenarbeit mit dem Kölner Musiker Gianni Brezzo (Marvin Horsch), der mit ihr gemeinsam 5 Songs im Stile von Genevieve Stokes, Arlo Parks & Clairo produziert hat.
Die IndiePop-Hymne DAMAGE drückt den Schmerz der Jugend und ihre düsteren Herausforderungen mit ihrer eigenen Perspektive aus & die kraftvolle Piano-Produktion lässt Julies klassisch ausgebildeten Gesang einfließen.
Julie: "Es geht um Jemanden, mit dem man Abschließen will und um dem Konflikt mit sich selbst, da man immer noch ganz viel Liebe für die Person hat, aber zeitgleich weiß, dass sie einem nicht gut tut. Ein präsentes Thema ist auch die Verzweiflung darüber, dass die Person keine Einsicht zeigt und sich ihrer Taten gar nicht bewusst ist.“

Die EP CLOUDS OF GRIEF erscheint 01.11.2024 auf dem „Jakarta Records“ Sublabel „ASMARA RECORDS“ (Woman & XulZolar). In Japan erscheint die EP auf P-Vine Records. Brain Marrow übernimmt die PR (inkl. Radio) in UK & Achim Launert bemustert die Radiosender im deutschsprachigen Raum. Begleitet wird das Release von einer Digitalen Marketingkampagne (Konversion) auf Instagram.

Written and recorded in London at Abbey Road Studios, "Les Chansons de l'Innocence retrouvé", Etienne Daho's 11th studio album, is now reissued on LIMITED EDITION double LP. Two vinyl with 23 additional tracks on the double LP (live versions, alternatives...). " Les Chansons de l'Innocence retrouvé " is a free and out-of-fashion album written and produced with Jean-Louis Pierot. Cinematographic and epic, with a permanent tension oscillating between lightness, flamboyance and gravity. We meet the ghosts of Francis Bacon, the slums of Soho, William Blake and John Barry for the haughty beauty of the strings or David Lynch for a dizzying “L’homme qui marche”,Debbie Harry, Nile Rodgers, Dominique A, Jenny Beth, Yan Wagner, François Marry and Au Revoir Simone come to accompany Daho on this dense and Dionysian journey. A masterstroke.

Military Genius (aka songwriter/producer Bryce Cloghesy) today announced his new album Scarred for Life will be released November 1st, 2024 via Unheard of Hope. The follow-up to his atmospheric 2020 debut Deep Web, Scarred for Life is a genre-flexing mix of bass-heavy R&B, spaced dub, and jazz that is newly grounded within a more traditional rock framework and centered on lyricism. Lead single “Darkest Hour”–out now alongside a self-directed video filmed near his new desert home in Joshua Tree, California–reflects a head first journey into the unknown. "’Darkest Hour’ encapsulates the feeling of being swept away by time, into an endless night,” says Cloghesy. “There is a certain melancholy in leaving the past behind, dwelling on simpler, antiquated ways of life as we are pushed forward. This message is poignant on a personal level–becoming a father has led me to contemplate my own childhood, witnessing a purity of emotion prior to self-awareness. This applies to a broader collective consciousness too, as the march of progress fundamentally alters our shared experience. It's all about embracing the journey, stepping beyond the point of no return, and facing the future."

Alternative Jazz. This is a 5 track EP of brand new, previously unreleased material from The Near Jazz Experience (Terry Edwards, Mark Bedford and Simon Charterton). Whilst recording the new album Terry asked pianist Mike Garson (best known for his work with David Bowie, Nine Inch Nails, Smashing Pumpkins) - whom Terry has toured with if he'd like to play on a track. Mike said yes, recorded a stupendous solo for Character Actor at his home studio and sent it over. All in the space of 24 hours! On hearing the piano part NJE bassist Mark Bedford came up with the idea of having the piano mixed with the original track (as intended) but also using it as the basis for a completely new recording with the piano leading rather than complementing the band. Side 1 of the EP has these two very different versions from the same seed. Unidentical twins indeed. Side 2 of the EP contains 4 outliers from the album sessions. These aren't out-takes or unfinished pieces. They simply couldn't find a place for themselves within the album - along the lines of the tunes Tom Waits put together for his Orphans compilation of 2006. They are standalone tunes which have found a home together on this EP because in some way they all have filmic qualities. Side 1 contains 2 takes on Character Actor (the title being a nod to Cracked Actor, a tune on Aladdin Sane, the album that introduced Bowie fans to Mike Garson), and Side 2 has The Loping Four; Projector; MacGuffin and Lockstep, all titles which contain strong cinematic elements, MacGuffin in particular. It was Alfred Hitchcock's favourite word for a red herring in the plot. The musical cast on this release has a remarkable pedigree. The NJE consists of Terry Edwards (solo artist and session player with PJ Harvey, Franz Ferdinand, Siouxsie, Jimi Tenor, Piroshka, Tindersticks etc); Mark Bedford (Madness, Robert Wyatt, Robyn Hitchcock, Nightingales etc); Simon Charterton (The Higsons, Alex Harvey, Zook, Serious Drinking etc). Alongside featured guest Mike Garson there is an appearance by Oliver Cherer (Aircooled, Miki Berenyi Band) on keys and synth. This is an RSD exclusive, 500 copies on black vinyl in full colour sleeve which reflects the filmic quality of the recorded material. No download. The title track will appear on the next Near Jazz Experience studio album. The 4 additional tracks, however, will remain exclusive to Record Store Day.

Military Genius (aka songwriter/producer Bryce Cloghesy) today announced his new album Scarred for Life will be released November 1st, 2024 via Unheard of Hope. The follow-up to his atmospheric 2020 debut Deep Web, Scarred for Life is a genre-flexing mix of bass-heavy R&B, spaced dub, and jazz that is newly grounded within a more traditional rock framework and centered on lyricism. Lead single “Darkest Hour”–out now alongside a self-directed video filmed near his new desert home in Joshua Tree, California–reflects a head first journey into the unknown. "’Darkest Hour’ encapsulates the feeling of being swept away by time, into an endless night,” says Cloghesy. “There is a certain melancholy in leaving the past behind, dwelling on simpler, antiquated ways of life as we are pushed forward. This message is poignant on a personal level–becoming a father has led me to contemplate my own childhood, witnessing a purity of emotion prior to self-awareness. This applies to a broader collective consciousness too, as the march of progress fundamentally alters our shared experience. It's all about embracing the journey, stepping beyond the point of no return, and facing the future."

Repress with alternate label-art (again!!). UK based Emile Facey joins the frustrada familia bringing a heavy, ice cold and highly emotive 3 track EP. Much in the vein of E.R.P. and the likes, but with a sharper sounding more abstract approach. Highly recommended!

Repress on transparent magenta / black vinyl:

Nearly a decade after the release of his breakthrough debut album 'Sunday', Swedish producer HNNY (aka Johan Cederberg) returns with the album Light Shines Through, released independently via HNNY's own imprint.

For his first album in almost a decade, HNNY has returned to the electronic soundscapes that inspired his earliest releases. It's made for the quiet, brain-tingling moments of solitude at home and contains a consistent thread throughout, not just in the ambient sounds used, but also more conceptually with what the songs evoke and what they are about: the album lands at a particularly pivotal moment of HNNY's life after the birth of his two daughters which have given him a new perspective on life.

HNNY's melodies are a gentle alternative to the more complicated corners of dance music. Debuting on Studio Barnhus in 2011, HNNY aka Johan Cederberg quickly became one of house music's most talked about artists with a signature sample driven style. He has won a Swedish Grammy in the electronic music category, toured the world globally and created a following both in and outside of the dance music community for his bittersweet strain of dance music.
Shortly after the release of his critically acclaimed debut album Sunday, the producer stopped touring solely focusing on production. Since then, HNNY has racked up hundreds of millions of streams, released a number of singles and EPs on the likes of Let's Play House, Puss and Omena and he is now finally ready to return to the LP format for the first time in nearly a decade with the album Light Shines Through.

Since first bonding over Slowdive at a Texas karaoke bar six years ago, musicians Uriel Avila and Jonathan Perez have grown trauma ray into Fort Worth's foremost flag bearer of crushing shoegaze. A five-piece rounded out by bassist Darren Baun, drummer Nicholas Bobotas, and guitarist Coleman Pruitt, the band's debut album, Chameleon, captures their evolving sound at an apex of majestic devastation. A fusion of downer hooks, gauzy melancholia, and bulldozer riffs, the album heaves and crashes across 50 minutes of stacked amplifier alchemy. Lyrically the songs trace similarly lofty and brooding terrain; Avila says "The theme is death. And a chameleon, like death, can shape-shift in and out our lives in different forms." Chameleon opens with "Ember," dreamy and distant, alternately anthemic and apocalyptic, defeated and deafening. Lead single "Bishop" perfectly encapsulates trauma ray's depth and dimension, ripping out of the gate with "the biggest, baddest, saddest wall of sound." Lyrics about being burnt at the stake and "tossed in the flame" float above a stop-start assault of precision distortion, eventually expanding into a lush, heavy, sorrowful end coda. "Spectre" is a mysterious, introspective dirge, envisioned as a "mellow, slowcore, Duster-thing," all feeling and heavy fuzz chords (with no lead guitar). Avila wrote it, "to be a hymnal" from the perspective of someone who won't let go - a ghost, an ex, a shadow self. Although the album is rich with subtleties, graceful lulls, and "breaths of air," the band's three guitar attack is its defining force, a power flexed to its peak on "Bardo." Perez's intentions were blunt: "I wanted to write a riff that was hard as fuck." The result is alternately mean and eerie, veering between noisy one string bends and surging headbang, mapping a middle ground between Unwound and early-Deftones. One of trauma ray's greatest gifts is their ability to make doomy, sledgehammer heaviness sound like an earworm, without production tricks or gimmicks: "Riff, verse, chorus, three guitar parts - that's all you need." This quality is particularly apparent on the title track, a churning slab of amplifier worship, swirling chords, and heavenly, defeated vocals about not belonging, shape-shifting, and death ("A twisted face / Void of attention / An empty space / In your reflection"). "U.S.D.D.O.S" closes the album, swaying across seven minutes of grey skied guitar and haunted voice, subtly thickening as it deepens. Feedback and shrapnel gradually begin raining down, like a satellite disintegrating in the atmosphere. Titled as an acronym after a poem by Chilean writer Roberto Bolaño that loosely translates to "a dream within a dream," the melody softens, smears, and then disappears, slowly swallowed by the gravity of eternal descent. Chameleon is a masterpiece of craft, balance, melody, lyricism, and gravity, flexing a fresh vision of loud-quiet-loud architectures and the vertigo depths of blasted harmonics. From Slowdive to Nothing, to Hum and beyond, the band absorb and expand on their influences into a rare and dedicated alchemy. trauma ray's cinematic tempest is a gathering storm only just taking flight.

Since first bonding over Slowdive at a Texas karaoke bar six years ago, musicians Uriel Avila and Jonathan Perez have grown trauma ray into Fort Worth's foremost flag bearer of crushing shoegaze. A five-piece rounded out by bassist Darren Baun, drummer Nicholas Bobotas, and guitarist Coleman Pruitt, the band's debut album, Chameleon, captures their evolving sound at an apex of majestic devastation. A fusion of downer hooks, gauzy melancholia, and bulldozer riffs, the album heaves and crashes across 50 minutes of stacked amplifier alchemy. Lyrically the songs trace similarly lofty and brooding terrain; Avila says "The theme is death. And a chameleon, like death, can shape-shift in and out our lives in different forms." Chameleon opens with "Ember," dreamy and distant, alternately anthemic and apocalyptic, defeated and deafening. Lead single "Bishop" perfectly encapsulates trauma ray's depth and dimension, ripping out of the gate with "the biggest, baddest, saddest wall of sound." Lyrics about being burnt at the stake and "tossed in the flame" float above a stop-start assault of precision distortion, eventually expanding into a lush, heavy, sorrowful end coda. "Spectre" is a mysterious, introspective dirge, envisioned as a "mellow, slowcore, Duster-thing," all feeling and heavy fuzz chords (with no lead guitar). Avila wrote it, "to be a hymnal" from the perspective of someone who won't let go - a ghost, an ex, a shadow self. Although the album is rich with subtleties, graceful lulls, and "breaths of air," the band's three guitar attack is its defining force, a power flexed to its peak on "Bardo." Perez's intentions were blunt: "I wanted to write a riff that was hard as fuck." The result is alternately mean and eerie, veering between noisy one string bends and surging headbang, mapping a middle ground between Unwound and early-Deftones. One of trauma ray's greatest gifts is their ability to make doomy, sledgehammer heaviness sound like an earworm, without production tricks or gimmicks: "Riff, verse, chorus, three guitar parts - that's all you need." This quality is particularly apparent on the title track, a churning slab of amplifier worship, swirling chords, and heavenly, defeated vocals about not belonging, shape-shifting, and death ("A twisted face / Void of attention / An empty space / In your reflection"). "U.S.D.D.O.S" closes the album, swaying across seven minutes of grey skied guitar and haunted voice, subtly thickening as it deepens. Feedback and shrapnel gradually begin raining down, like a satellite disintegrating in the atmosphere. Titled as an acronym after a poem by Chilean writer Roberto Bolaño that loosely translates to "a dream within a dream," the melody softens, smears, and then disappears, slowly swallowed by the gravity of eternal descent. Chameleon is a masterpiece of craft, balance, melody, lyricism, and gravity, flexing a fresh vision of loud-quiet-loud architectures and the vertigo depths of blasted harmonics. From Slowdive to Nothing, to Hum and beyond, the band absorb and expand on their influences into a rare and dedicated alchemy. trauma ray's cinematic tempest is a gathering storm only just taking flight.

There’s a lot of buzz going on around The Strumbellas. Performances on Jimmy Kimmel, The Late Show
with Stephen Colbert and Late Night with Seth Myers. Won the 2017 Best New Rock/Alternative Rock
Artist Award at the iHeartRadio Music Awards and also got nominated for Best New Artist and
Alternative Rock Artist of the Year! Orange and Yellow Splatter vinyl.

2025 feiern Frankreichs Loudblast ihren 40. Geburtstag, mit vielen besonderen Events und Überraschungen, bis dahin haben sich die Franzosen dazu entschieden, im Jetzt zu leben und in der Zwischenzeit das vielleicht überraschendste und gewagteste Album ihrer langen Karriere zu veröffentlichen. Auch wenn er das Material freiwillig als „ziemlich old-school“ beschreibt, spricht Sänger & Gitarrist Stéphane Buriez über "Altering Fates And Destinies" als ein sehr persönliches Album.

She's In Parties ist ein englisches Quartett aus Colchester (benannt nach dem kultigen Bauhaus-Track), dessen eigenwillige Mischung aus Shoegaze und Dream-Pop ihr relativ junges Alter verrät. Die neue EP "Puppet Show" ist ihr bisher politischstes und lyrisch reifstes Statement. Es behandelt die Sorgen nach dem Erwachsenwerden und die existentielle Erkenntnis über die Probleme dieser Welt, von den sozialen Medien bis zu Kriegen und der persönlichen Angst, all dem hilflos ausgeliefert zu sein.

- "Colchester’s new answer to hazy shoegaze heroes Cocteau Twins." – NME

- "Melding shoegaze-y pop and dazzling indie licks, their wall of sound is simply irresistible." - DORK

- "All dreamy, reverbed atmospherics and interlocking textures... A real find." - Sunday Times Culture

Belgian saxophonist, composer, and producer Mattias De Craene (Nordmann, MDCIII) announces a new solo album, ‘A House Where I Dream,’ on VIERNULVIER Records. On his second album, he delivers a highly personal and healing journey, presented as an alternative soundtrack to the 1973 cult film ‘The Holy Mountain.’

The record will be released on October 11 on vinyl LP and through all digital platforms.

"The Holy Mountain" is a surreal Mexican film from 1973 directed, written, and produced by Alejandro Jodorowsky, who also stars in the film. The film holds a prominent place in avant-garde cinema and explores themes such as spirituality, mysticism, and the quest for enlightenment. It is in this vein that ‘A House Where I Dream’ is crafted.

“My mind and soul - and thus my music - come home to this motion picture” - Mattias De Craene

The album will be presented live with the film on October 16 at Videodroom during Film Fest Gent.

ABOUT THE ALBUM
With hypnotic tape loops, grainy textures, and mesmerizing saxophone, Mattias De Craene creates possible worlds that herald a spiritual transformation. From the Scottish Highlands and desolate mountains to the deepest recesses of the soul, this music has the power to create cinematic landscapes that transcend time and space. The sound of these 8 tracks is closely related to the minimalist compositions of Terry Riley, but the work of contemporary artists like KMRU or William Basinski is also drawn from the same material.

Above all, this album is a deeply personal journey and unintentionally serves as a metaphor for De Craene's ascent of his own mountain. For the Videodroom festival by Arts Center VIERNULVIER, the saxophonist began working on a new soundtrack for the film ‘The Holy Mountain’ in 2023, but his body and mind abruptly called him to a halt, forcing him to take a professional break. However, this project never left him, leading to an honest and raw quest to find himself as both a person and an artist, with Jodorowsky as a companion de route and music as an anchor. It initiated a long process of dismantling, searching, healing and back again. The album not only provides a sanctuary for dreaming to all who listen, but for its creator it also serves as both an outcry of despair and a source of comfort during challenging times.

All the tracks on 'A House Where I Dream' share an unfiltered grain of life, as one can almost feel the damp breath of the saxophone blowing.

The album opens with the three-part strong 'Transcention,' where the hypnotic interplay between soprano sax and lo-fi tape loops leads to higher realms of the mind and soul.
Alternating between deep frequencies and farout folk modalities, this mantra-like triptych acquires an alchemical character and ultimately transcends time and space.

In the ethereal 'Away,' one can peer into an abyss of resonance while a saturated tenor sax lends guidance in the spirit of Terry Riley's productions. 'You and Me' also bathes in a similar atmosphere, albeit in the vein of healing 90s ambient as granular sax tones converge with celestial chants. 'Gazing Upwards Towards The Sky,' offers different shades of blue as a slumbering tenor sax is juxtaposed to swift sax patterns. On 'A Stranger That Moved Me,' beauty lands in a soft and subtle manner, while the closing track 'Shepherd's Glow' drifts like a mountain wind flaring up at the darkest hour of the night.

The artwork is created by Gent-based artist Sam Timmerman, who portrays the world of 'A House Where I Dream' with playful repetition and mystique.

Occasionally an album comes along that seems to capture the mood of the time. "The K&D Sessions" was one. In the late 1990s no afterparty, smoking session or languid Sunday afternoon was complete without Kruder & Dorfmeister blasting from the Bang & Olufsen. Now approaching it"s 25th anniversary the lore around this iconic release, steeped in a silvery cloud of smoke, retains a star quality which only shines brighter as time hurtles on. With the original having sold well over a million copies by this point in time, it"s hard to imagine a mix or remix compilation being able to inform a movement like "The K&D Sessions" has. To celebrate this monumental milestone, we"ve created a limited boxset in 6LP and 3CD of "The K&D Sessions", mastered and cut by LA luminary Bernie Grundman for a luxurious listening experience, with newly designed inner sleeves using unseen photos from the original photo shoot. Inserted in the box is a forty-page booklet containing multitudes more never before seen photos from the same shoot and notes which recount humorous tales surrounding the duo and the people who spent time with them in this epoch. Included on the 6th LP is their legendary 11 minute shimmering remix of Madonna"s "Nothing Really Matters". The 6th LP also contains Peter Kruder"s Powercut Mix of Roni Size"s "Heroes" and K&D"s remix of U.F.O, "L.O.V.E.". In addition there are two cerebral alternate remixes of Lewis Taylor, one being completely dubbed and the other the using the vocal line for this beautiful gem, "Lucky" and a special remix of "Speechless" by Count Basic. These have been staples in K&D"s sets and now take their rightful place collected in the canon of "The Sessions".