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hain & the Gang : Ian Svenonius

Chain & the Gang ... the world's only 'DOWN WITH LIBERTY' group ... the best and most radical rock n roll group ever ... have a BRAND NEW long playing record out on RADICAL ELITE records and its a 'head scratcher' for sure ...

Chain & the Gang - known as the dynamic and irresistible live combo that pens provocative, unforgettable odes to obedi- ence and total destruction (e.g. 'Devitalize', 'Certain Kinds of Trash', 'Detroit Music' ) got sick of the simple fare so prevalent at the rock festivals these days. After nodding off to the washed-out zzzounds of the latest five-star folly critic's catastrophe, 'Chain & the Gang' decided to respond with their patented perversity ; they reached to the farther corner of the lab and came up with an immortal classic in the hard-to-hear genre of 'EXPERIMENTAL MUSIC' (!!!!!!!!)

In fact, this record is so confounding, so new and uncharted, they decided to call it 'EXPERIMENTAL MUSIC.' Not only is it a pounding super-classic, but it's the final word in the experimental music genre, answering the questions initially proposed by John Cage, Yoko Ono, LaMonte Young etc., shutting down the need for further experiments forever. The Lab is Closed!

Besides CHAIN & the GANG's 'Chain' — aka Ian Svenonius -- the 'EXPERIMENTAL MUSIC' LP features an all-star cast of avant-garde geniuses such as DANNY KROHA (the Gories, Demolition Dollrods, Danny and the Darleans), FRED THOMAS (Saturday Looks Good to Me, Lovesick, Tyvek, His Name is Alive), SHELLEY SALANT (Shells, Tyvek, SLGTM, Swimsuit), AMBER FELLOWS (Swimsuit), MADELINE MCCORMICK (Chain & the Gang) and BEN COLLINS (Mini- Horse) and was recorded live to four-tracks at WORLD CLASS TAPES in ANN ARBOR, Michigan.

The title track sets forth the premise and the rest of the tunes expound upon it. Its a foot-tapping, head scratching, torso tornado that will crinkle the connossieur's temple in a tantrum of cerebral delight.
Writers in one hundred years will still be piecing together the puzzle of perversity that's named EXPERIMENTAL MUSIC by CHAIN & the GANG on RADICAL ELITE Records.

'Exit Entrance' is the DFA debut for Kohei Matsunaga aka NHK yx Koyxen.

Kohei has been making / releasing music since 1997 and has recorded for such iconic labels as Mille Plateaux, Important, Pan & Diagonal.

His latest recordings explore intricate drum programming, lush melodies & sparkling arrangements. Touchstones include the legendary 'Clicks & Cuts' compilations from the 1990's as well as Aphex Twin & Autechre. RA called his music bombastic techno funk....unpredictable but rarely disappointing'.

'Exit Entrance' is a collection of new songs that snap and flicker unlike anything Kohei has done in the past. There is a clarity and beauty to these tracks that bursts out of the speakers in a three dimensional way, matching the 3D glasses that the artist wears during all his live performances. The elegant arrangements and crisp drum breaks match the concise song titles - Kohei foregoes the typical impenetrable track names made up of numbers and shorthand, and opts for a more direct emotional sincerity through the sonic themes of the record. Not all the music here falls into the same exact formula.

As the album heads towards a close, after several tracks of harmonious beauty, we get 'Outset (for Mika Vainio)', a sombre hushed techno tune, dedicated to his late friend and musical collaborator, who unexpectedly passed away earlier this year as the record was being completed. What follows after this track is perhaps the real catharsis, as 'Dented' ominously kicks off with acidic stabs and rolls into a tumultuous dirge of gritty techno.

In this regard, 'Exit Entrance' can play out like a life cycle, a mini opera of birth and beauty, of sorrow and mourning.

It is one of the most direct and honest records Kohei has ever made, and DFA is beyond proud to present this work from such an esteemed creative force in the electronic avant-garde world of music.

For fans of Aphex Twin, Actress, Zomby, Kraftwerk, Four Tet.

This is NovaMute's first release since MOTOR (Bryan Black and Oly Grasset) over ten years ago. The Release will be 3 weeks available as VINYL ONLY.

Nova Mute, a subsidiary of Mute (Depeche Mode, Goldfrapp, New Order, Liars, Erasure, Moby), began in 1992 as a response to the growing demand for techno releases in the UK. Originally presenting white labels and imports, NovaMute went on to release records by Plastikman, Speedy J, Juan Atkins, Luke Slater and Joey Beltram to name a few, this is Nova Mute's first release since over ten years ago

Nicolas Bougaïeff presents his new EP on seminal British imprint NovaMute. As a producer he harbours a diverse musical background, having studied in a conservatoire setting whilst foraying into anti-authoritarian rave culture. He is also a respected lecturer, regularly teaching masterclasses in composition and speaking at global events such as Mutek and Ableton Loop - the results of which come to life in the inquisitive spirit of his productions. Cognitive Resonance explores elements of psytrance, gabber and techno through a compositional lens, drawing on the artist's love for avant-garde forms and long-standing relationship with the electronic music community. The title track lays out long, expansive phrases and warped crescendos to create a disorienting structure, whilst distant harmonies, distorted kick drums and shattering effects merge into a hypnotic form on 'Truthful Hyperbole'. Lastly, 'Fake News' mangles our sense of rhythmic familiarity, disrupting the 4/4 beat with a complex metre and sinister melody. This is NovaMute's first release since MOTOR (Bryan Black and Oly Grasset) over ten years ago. T as well as forging invaluable links with labels such as Tresor and Probe, which allowed them to license rare tracks for a wider audience. Forthcoming releases on NovaMute will include EP's from Terence Fixmer and Charlotte de Witte.

The Boutique Label presents an expanded vinyl edition of Backdoor Possibilities, the sixth album by cult German prog rockers Birth Control, originally released on the Brain Records imprint in 1976.

Formed in Berlin in 1968, Birth Control were known for a progressive hard rock sound which fused elements of jazz, psychedelia and so-called Krautrock. A surreal concept suite recorded with famed producer Conny Plank, Backdoor Possibilities arguably marked a final creative peak, blending rock, jazz, classical and avant-garde stylings with intricate polyrhythmic textures and lyrical nods to the legends of Faust and Odysseus.

On Backdoor Possibilties core members Bernd Noske (drums, vocals) and Bruno Frenzel (guitar) were joined by keyboard maestro Zeus B. Held, who also features on two long improvised tracks featured on Disc 2, Figure Out the Weather and Shake Those Crazy Nights, both recorded with Conny Plank in 1976. All material on Disc 2 is previously unreleased, with third track Rock It With a Long Bone being another extended piece recorded at Dierks Studio in 1982.

This record is meant to be enjoyed like a seascape. It offers a Mediterranean journey, one that Ulysses, Aeneas, and Jason with his Argonauts charted first and Valencian artist, Pep Llopis, retraced and retread — from the islands of Menorca to Santorini. All of his experiences are aboard this vessel of sound: no format in mind, no course but the chasm within self. While Poiemusia La Nau Dels Argonautes materializes at this moment as an album, another object suits Pep's project: Lewis Carroll's Map of the Ocean' from his The Hunting of the Snark. It's a simple illustration: the thin outline of a blank rectangle that represents the sea with no trace of land. Carroll offers this empty space as an object that all can understand, a container for possibility. Likewise, Poiemusia offers a musical language that any listener can understand. Untethered to the meaning of words, one is set adrift and free in minimalist sound and traditional music. Llopis, who often composed for dance, originally wrote Poiemusia for a performance at the Poiemusia festival (the Greek contraction of poetry and music). Peer composers, Carles Santos and Wim Mertens, also participated in the festival, which took place over several days at the Teatro Princesa in Valencia. Llopis paired his newly formed avant-garde compositions with the poems of fellow Valencian, Salvador Jàfer.

In the studio presentation of Poiemusia, voices softly converse, only to evaporate. The poetry is incanted by the poet himself. Jàfer enunciates at the verge of song, drawing dimension from his Mediterranean travels. He is accompanied by Montse Anfruns' vaporous voice. She extends the roll of her r's and the hiss of each s as if casting a spell of Salacia. Pep bathes their conversational performance in slight delays and reverb, allowing their voices to dissolve into an ocean of sound.

Llopis was influenced by minimal American composers like Steve Reich and La Monte Young. He embraces the melodic sides of these masters in the winds of El Vell Rei De La Serp' and the tender piano on Nits de cristall.' You will find yourself submerged in tonality on tracks like Jardins Aquàtics' and La Nau Dels Argonautes' which have a kinship to Philip Glass or Daniel Lentz. Each piece extends from 5 to almost 14 minutes. The music gently laps against listening skin— sometimes placid, sometimes shimmering. Ripples of sound swell and quicken. Flutes like schools of fish. The spray of chimes. Taught strings break like the shore. Tingling, undulating synths. The record cover acts as a map, tracing the forms of the original art and providing the poems in Catalana and Spanish. Once bathed in these sounds one will emerge like Carroll's map: a perfect and absolute blank.' Poiemusia La Nau Dels Argonaute emerges in vinyl and digital formats on May 19, 2017 through Freedom To Spend.

With the Asexual EP by YobKiss, Electronic Emergencies is back with a true electronic delight. YobKiss consists of Dutch instrumentalist and producer Paul Borchers, currently based in San Fransisco, and Tokyo resident Yuko Araki on vocals. Their music balances on the edge of avant-garde electronics and flirts with acid pop in dreamy soundscapes, with an analogue synth sound and beautiful vocals in Japanese and English. Or, in their own words, a pitch-dark, filth-ridden tour de force into the worlds of acid house and electro.

Underground Jazz, Street Funk & The Roots Of Rap 1968-79. Soul Jazz Records' new release 'Soul of a Nation: Afro-Centric Visions in the Age of Black Power' is released in conjunction with a major worldwide art exhibition, Soul of A Nation: Art in the The Age of Black Power which takes place at the Tate Modern, London, UK (July-Oct 2017) and The Brooklyn Museum, New York, USA.

The album shows how the ideals of the civil rights movement, black power and black nationalism influenced the evolvement of radical African-American music in the United States of America in the intensely political and revolutionary period at the end of the 1960s following the assassinations of Malcolm X, Martin Luther King and the rise of the Black Panther party.

Featuring groundbreaking artists such as Gil Scott-Heron, Roy Ayers, Don Cherry, Oneness of Juju, Sarah Webster Fabio, Horace Tapscott, Phil Ranelin and many others, Soul of A Nation shows how political themes led to the rise of 'conscious' black music as new afro-centric styles combined the musical radicalism and spirituality of John Coltrane and radical avant-garde jazz music alongside the intense funk and soul of James Brown and Aretha Franklin and the urban poetry and proto-rap of the streets.

The Soul of a Nation exhibition draws on the links between Black art forms - art, music, poetry - and how they came together during the civil rights and black power era as part of the wider black arts movement across the United States.

Iconic African-Amercian revolutionary figures such as Martin Luther King, Malcolm X and Angela Davis, John Coltrane, Muhammad Ali all appear in the radical artworks of Barkley L. Hendricks, Romare Bearden, Norman Lewis, Lorraine O'Grady and Betye Saar.
A selection of original radical jazz record sleeves artworks which appear in Soul Jazz Records' earlier groundbreaking Freedom, Rhythm and Sound - Revolutionary Jazz Original Cover Art book will also be on show at the Tate, London throughout the exhibition. The Freedom, Rhythm and Sound book is also newly back-in-print in conjunction with this major exhibition and the release of the Soul of a Nation album.

Stuart Baker (founder of Soul Jazz Records) will appear on the panel of Jazz for Soul of a Nation: Art in the Age of Black Power discussion at the gallery as part of the show. Soul of a Nation comes with extensive sleeve-notes and exclusive photography in a large 36-page outsize booklet and slipcase. Double gatefold vinyl album edition comes with full colour inners + bonus download code and includes full sleeve-notes/photography.

Casino Shanghai was a 'techno-pop' band started in the mid-80s in Mexico City. They released their debut and only album 'Film' in December of 1985. An album considered today as cult status.
Casino Shanghai were part of a great cultural change in Mexico and its music scene. The band made various controversial appearances on TV when a band without a drummer or guitarist was unheard of. All members had been in different notorious bands in the local scene. Ulalume was the lead singer of The Casuals (Punk-New Wave) and DenseUndergrowth (Avant-garde). Carlos Robledo and Walter Schmidt were part of Size (Post-punk) and have been playing together for many years in Decibel (Experimental). Humberto Alvarez played with MCC (Prog Rock) and is currently a well-known musician and multi-instrumentist.Before the band split-up they recorded two last songs in 1986, 'Le Tombeau d' Edgar Poe' and 'L'Action Minimal', as part of an unreleased solo EP for Ulalume. These tracks were edited in 2014 on 12 by Mannequin Records together with a remix by In Aeternam Vale.The music of Casino Shanghai was also used for the soundtrack of some Mexican films. 'Crónicas de Familia' directed by Diego López and nominated for the Ariel Award for best original soundtrack in 1986, and 'Juana La Cantinera' directed by José Loza.'Film' has been restored and remastered for this new edition including all original tracks plus two bonus: 'Le Tombeau d' Edgar Poe (Haunted Version)' and 'Cuerpos Huecos' (Spanish version of 'Hollow Bodies' available only on a promotional 7). Limited to 350 copies on white vinyl with a new artwork and printed inner sleeve with photos and song lyrics.

Avant garde techno by Bleak!

Inner8 is Daniele Antezza, a multi-faceted thinker and electronic music producer, member of Dadub duo, co-founder of Artefacts Mastering Studio, Dadub Studio owner and Holotone label manager, whose regular invocation of the term praxis begins to hint at his creative aims: a primary synthesis of contemplation and action that, in turn, encourages a secondary and entirely unpredictable set of syntheses dependent upon the listener's unique interpretation. Though the Inner8 moniker has been in existence for several years as a private nickname for, as Antezza puts it, his 'experimental anarchist sounds,' his recent releases are just now surfacing which will reveal just how much this project has to communicate.

Like many transplants to Berlin's pulsating sonic underground (Antezza moved there from Italy in 2009), his past work seems to communicate traces of the ecstatic with the argot of technical precision and / or scientific rigour. However, Antezza is not what one would call a 'Berlin artist' despite sharing these traits in common with the city's most visionary producers: his work gives off an impression of restless nomadism that has little to do with representing a localized scene. Rather than carrying on the territorial / parochial projects of reinforcing an arts scene's geographic boundaries (or even redefining the boundaries of a musical genre), Inner8 is more concerned with a holistic 'deconstructive approach' through which 'it's possible to reveal the paradoxes of the dominant thought, the paradoxes behind the status quo.' His fascination with concepts as diverse as asymptotes and particle physics, though often trendy among those looking for a seat at the table of the avant-garde, is a heartfelt fascination - moreover, these interests merge perfectly with his relentless theoretical questing.

Antezza's relationship with that city's Stroboscopic Artefacts techno label has been a particularly fruitful one, to the point where his sound work prior to Inner8 is almost synonymous with SA's own development. As one half of the psychonaut duo Dadub along with Marco Donnarumma, Antezza has sculpted deep and immense tracks that mesmerize with their harmonious interplay of force and ambiguity. After having co-founded and managed for years Artefacts Mastering Studio, he recently launched his brand new audio postproduction Studio (Dadub Studio), where Antezza lends his sonic signature to an eclectic variety of electronic recordings. That signature can be identified by its hyperreal sense of presence and immediacy, qualities that have become crucial to the presentation of a music that generally relies on only a few sonic elements per track to communicate its message.

Antezza also takes pride in the ritualistic quality of Inner8's live sets; a mobile laboratory of dynamic tension in which his theories manifest as massive physical vibrations (here we can also see / hear / feel just how well Daniele has absorbed the lessons of the dub 'sound system' aesthetic).

It is already possible to find works signed by Post Scriptum in discographies of well respected labels for quite a sometime. This undoubtedly confirms it's value. "Year Zero" is a first release on Post Scriptum's own label and in a sense it is a manifesto defining it's musical identity. No space here for a sound targeting the current techno mainstream. There is dirt, and the pinch of imperfections, very characteristic of avant-garde electronics and industrial well known for the quite nearby past.
On the A side, there are compositions appearing like shutters from experiments conducted in the secret laboratory.
The rhythm is giving the appropriate weight, while the rest is a musical conglomerate of sounds and synthesis building up a feeling of anxiety.A swarming energy, a modulation, an uncertainty and lurking somewhere danger are surrounding us.
On the flip side are remixes constituting the lighter counterpunch. Motor eurhythmics bringing to life the old good Detroit techno definitely of a dance-floor character, making this material ideal for an interesting set.

Fabio Borgazzi - aka Fabio Fabor - played literally every known style of music, from baroque to 'satanic' electronic, in his library music albums released during his career which lasted almost seven decades. Born in Milan in 1920, Fabor was one of the great artisans of post-war Italian popular music. Author, arranger and conductor with a classical background, he started writing songs (in the 1950's and 1960's) for popstars such as Nilla Pizzi, Johnny Dorelli and Milva; he then turned to music for theatre, cinema and tv, to which he dedicated the rest of his career. In 1981, when he released 'Galassia M81, Fabor was a veteran in the scene of library music, both as an author and an editor. It was the so-called golden age for the genre, just a moment before the advent of MIDI - which made everything easier, but flatter too, putting an end to the 'Italian Touch". The tracks featured here (credited to the fictional combo The Astral Dimension: Fabor together with his friend Antonio Arena) still have a definite Seventies taste, reminding the wave of German kosmische musik (especially the Darmstad school), but they also reflect the Moog-mania raging in pop music after the big success of Walter/Wendy Carlos with the 'Switched On' series. Avant-garde and kitsch hand in hand, ambient for documentaries and background music for horoscopes... all in sequence, with the only purpose of being used and generating royalties.

Repress

After last years slick selection for the series from MCDE, Young Marco steps up with a great set of obscurities. Top Tip!
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Born Marco Sterk, he certainly doesn't come from a standard DJ background. A former skate rat who grew up loving American post-hardcore and '90s hip-hop as much as early Warp Records, he's been affiliated over the years with Amsterdam institutions such as Rush Hour, Red Light Records (where you'll find him most weekdays!) and, of course, Dekmantel itself. Still, there's no question that he's always followed his own path, even during the years that playing his favorite records meant that he was occasionally clearing dancefloors.

Things are different these days, of course, as Sterk now regularly plays around the globe and has been widely hailed not just for his DJ talents, but also for his digging prowess and uncanny ability to pluck jams out of genres, eras and geographies that even veteran DJs will often ignore.

Still, Marco's entry in the Selectors series isn't some soulless collection of 'Holy Grail' rarities. 'Where's the fun in that' he explains. 'Anybody with an internet connection can check what flavor-of-the-month records are in demand.'

Just like the first Selectors compilation, this is not a mix CD, but a collection of hand-picked, unmixed tracks that Sterk has personally chosen from his own vinyl archives. Moreover, Marco has put together a collection of tracks that represent not only how he plays music, but also how he makes music himself. The songs here are melodic, electronic and bound together by a refreshing sense of naiveté. Nothing sounds overly calculated; the tunes here span several decades and include dollar-bin records, avant-garde records, club records and yes, a few things that collector types have likely been looking to get their hands on. It's not meant to be a grand statement, as Marco would rather provide an honest snapshot of his musical tastes and share a few of his favorite tracks and artists in the proc

Fans donated €25,000 to Emika for the project
Fans paid for the album before hearing any music
Electronic & Neo Classical. Fits 2 genres / Cross over
The composition is inspired by electronic music
Emika hired double the amount of bass players in a normal orchestra
Emika created a new seating plan for the orchestra, to sound more like a wide stereo pop album
Echo concepts (electronic music)
Romantic piece, lyrical piece, universal themes of love and sadness, huge beautiful melodies
50 piece symphony orchestra
Silver-toned soprano Michaela Srumova
Composed in Berlin
Recorded in Prague at Czech Radio Studios.

* The crossover between electronic music and classical composition has never been in more vibrant and dynamic health. Multifarious musician Emika explores this fertile ground on her ambitious new opus 'Melanfonie': her first orchestral composition, some four years in the making.

* Funded by a hugely successful Kickstarter campaign that exceeded its target by an impressive €25,000.
* While many rebel from their classical training never to return to it explicitly, Emika has always been attracted to the potential and freedoms offered by the symphony form.

* As well as taking inspiration from her electronic music background in composing the music itself, Emika also applied some of production and playback principles from that realm to create a piece whose every element has been carefully considered.

* Emika is on a quest to try and change what we mean when we talk about 'classical music'. For her, the magic of the 'genre' is about the instruments themselves and more importantly the people who play them; not the restricting traditions and conventions of the classical world itself.

* I want to change the face of classical music and give it a more honest and real image. It is time we had something other than pomp and circumstance and avant-garde squeaks and pops..

Supported by
Chilly Gonzales, Zola Jezus, Ellen Alien, Nina Kraviz, Mala, Christian Kellersmann, The Barbican, Francesco Tristano.

By his debut album "Alcatraz" in January 2015, ARAS label head André Galluzzi thrilled with a concept album inspired by occult sounds and psychedelic vocals. "Alcatraz" as a whole is a captivating piece of art, its the essence of a club night. Now after received a wave of icredible feedback from "Alcatraz", the bird returns to ARAS with a bunch of remixes of the hypnotic track "Mathilda". Time to welcome Mike Shannon and Jacek Sienkiewicz to the ARAS family. This remixes will be a blast at the club by its very deep and reduced, futuristic interpretations. Mike, as head A&R of Cynosure and formerly Revolver Canada Recordings over 10 years, has shown an uncanny ability to select and produce tracks which have become go-to fixtures in the sets of the industry's best DJs. Far from pursuing the next one hit wonder or sound of the season, his steadfast curatorial vision and passion for the music have earned him the trust of discerning music connoisseurs the world over. Alongside DeWalta, Mike impressed lately with his album "Residual" on Cynosure/ meander back in March 2016. Jacek Sienkiewicz lives in Warsaw and he is a key figure in Polish electronic music scene. He holds Recognition since 1999, one famous label based in Berlin. With one foot deep in classic Detroit and Chicago dance scene, and the other in modern jazz and classical music, Jacek's tracks for the past ten years always try to find a right balance between the avant-garde and dancefloor, between primal emotions and highly sophisticated sonic wizardry. His latest album "Hideland" has been released in August 2016 on Recognition.

Following the recent reissue of Vox Populi!s Aither album, Emotional Rescue further explores the more discerning, esoteric sounds of the French 80s avant-garde scene in coute Visual artist, sound designer, musician, label founder and emotional tree consultant Ramuntcho Matta is a man of shifting, relentless talents. Diagnosed with autism at a young age. Therapy based on yoga and music set him on a path, leading to learn from the likes of composter Cuarteto Cedrn. Discovering avant-music at an early age, he moved to New York to study in the "Third Street School of Music", meeting John Cage and going on to work on projects with Laurie Anderson, Brion Gysin and Don Cherry. His architectural concepts applied to composition were explored on his 3 solo LPs from the 1980s. The middle of these, coute, is possibly his most cohesive, exploring the use of extra-European musicians, especially African and Brazilian percussion, jazz horn playing, as well as Uruguayan singer Elie Meideros. Mexicos Cacau de Queirozs performance on saxophone and flute is stunning, former Gipsy Kings member, Jorge Negrito Trasante attributes much of the LPs Brazilian percussive flavour, while Magmas bassist Jannick Top brings gravitas, including performing a water claps duet alongside Matta on the exquisite O Clapo. As one piece, coute endlessly avoids standard musical formulas, seeking textures of far-flung elements; alchemy against a background of freedom to experiment that would be the theme throughout Mattas career, whether setting up SSR records under the alias Michael Pope or in his more recent output, teaching methodology of doubt

New fully remastered re-release of Soul Jazz Records’ ‘The World of Arthur Russell’, the seminal collection of Arthur Russell’s essential music is being released on limited-edition heavy deluxe triple vinyl and deluxe CD edition.

This album brings together some of Russell’s best-loved and most accessible works including his wide-ranging music both solo and in groups including Dinosaur L (the essential ‘Go Bang’), Loose Joints (the equally classic ‘Is It All Over My Face’) as well as rarities such as the 7” only ‘Pop Your Funk’, Indian Ocean’s ‘Schoolbell/Treehouse’, Lola’s ‘Wax The Van’ and more.

Arthur Russell’s music effortlessly crossed musical boundaries making it timeless. His dance music credentials are faultless and this collection features mixes from Larry Levan, Françcois Kervorkian and Walter Gibbons. Similarly, his song-writing, musicality and performance skills are equally cherished as composer Philip Glass wrote, ‘this was a guy who could sit down with a cello and sing with it in a way that no one on earth has ever done before or will do again.’

When Soul Jazz Records’ The World of Arthur Russell first came out in 2003, Russell’s music had slipped into near obscurity. Nearly 15 years later there are over a dozen releases of his music, reissues of his original albums and more. ‘The World of Arthur Russell’ is the classic first collection of his work available once more.

“Arthur Russell fused the avant-garde with disco and sounds like nothing else on earth.” The GUARDIAN

“Russell is the great enigma of the New York music scene” THE WIRE

“Simply one of the best compilations of this or any year.” RECORD COLLECTOR

Amongst the first bunch of this new label releases, we couldn't miss a tribute to one of the greatest masters of libraries recordings, Alessandro Alessandroni, born in 1925. In his long career Alessandroni has published lots of soundtracks - and we mean lots of - and for this he's considered a real star of Italian music. As a friend, and close collaborator of Ennio Morricone, he's remembered as "the whistle man" for his fundamental contribution to the immortal scores of Sergio Leone's movies. His class allowed him to range between genres and atmospheres, from beat to avant-garde, from funky to abstract compositions, always reaching and keeping the highest quality. This is immediately clear in "Il Tempo Dello Spirito", originally published in 1971 for the meritorious Flirt label. It's an album full of sacred music, gospel and spiritual, yet capable of personal flashes that make it interesting, particular and unique. Simple church songs In some cases it may seems so - titles as Ave Maria, Gloria In Excelsis Deo, Pellegrinaggio or Messa Solenne do not leave much room for doubt and interpretations - but Alessandroni is able to astonish even in extreme cases like this.

Diseño Corbusier is the avant-garde electronics duo of Javier G. Marín and Ani Zinc, formed in Granada, Spain 1981. Like Sheffield's relation to London during the punk explosion in the UK, Granada developed an experimental music scene 400 kilometers south of Madrid. As a child, there were no records in Ani's house, so she grew up listening to the radio and was hypnotized after hearing 'Remember Love', by Yoko Ono. While attending university in Granada she responded to an ad in a music magazine by Javier, If you're into bands like Cabaret Voltaire or Flying Lizards, call me'.

The duo recorded their debut album Stadia' in 1982 and self-released as a limited edition cassette on their label Auxilio de Cientos. They drew influences from contemporaries like SPK, Throbbing Gristle, Esplendor Geométrico and DAF. They employed the 'cut-up' technique William Burroughs used to write his books to splicing their magnetic tape loops. Instruments used included a Korg Lambda, Boss DR-55 drum machine, Roland SH 101, and MFB 501 drum machine. The lack of money to buy more expensive instruments forced the duo to be more creative. Everything was recorded directly to a cassette player that was plugged into a Revox B77 reel to reel tape machine to add echo. Ani manipulated and treated her naive, menacing vocals to match Javier's processed rhythms. These early sketches contain atonal, arhythmic, thick shifting curtains of synth, loops and radio samples. For this reissue we've added 7 bonus tracks taken from various cassette compilations, as well as three previously unreleased songs. Elements of industrial music, primitivistic techno and vocal manipulation are fused with a Dadaist approach utilizing modern technology.

All songs were remastered for vinyl by George Horn at Fantasy Studios in Berkeley. The front cover is an exact replica of the band's original design, restored by Eloise Leigh. Each copy includes a 4 page xeroxed booklet with photos, press clippings and liner notes from Javier. Powerful and evocative, soundtrack music for a rising storm or revolt.' Sound of Pig magazine 1985