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“V I N C E N T” is FKJ’s second album and signals a new dawn, not just as a go-to producer and remixer for artists like PinkPantheress and Moses Sumney but as an artist in his own right, continuously selling out headline tours across the globe with his acclaimed ‘one-man-band’ live shows, and having a billion plus streams across all platforms for his music.

The concept for “V I N C E N T” came about during a solo trip to Los Angeles before 2020. “I just stayed in this house totally on my own, turned my phone off and had some time away from everything to figure out what I wanted to do.” He realised he wanted to tap into the freedom of being a teenager: “back then, I was making music strictly for playfulness, without overthinking it,” he says. “V I N C E N T’s” opening and closing songs underline the sentiment of the new album: the future-jazz of ‘Way Out’ (a playful mini soundtrack in one; a dainty piano motif underscored by a skittering trap beat and serene strings) and the lullaby-styled “Stay A Child”. “I wanted to get back some of that lost innocence of making music purely for pleasure,” he says.

Back in his home studio in the Philippines, with no wifi and an impending global lockdown, FKJ was quite literally cut off from the world, able to explore music’s endless possibilities. “Sometimes I would get into it for the whole night and go to bed when the sun came up.” Out of this freedom comes an expressionistic, touching album that’s impossible to pin down. There’s no more hiding behind a branch of leaves, as he did on the cover of his 2017 debut: “V I N C E N T” marks FKJ out as a crucial new voice. He’s redefining chillout music with his bursts of late-night jazz sax and piano, coupled with his wood-cabin whispery vocals, recalling Bon Iver’s early work, and those Santana-styled guitar flourishes.

Much of “V I N C E N T” is wilfully romantic, sometimes super sexy, and often with its head in the clouds, as on tracks like “Us”, a dreamy ode to his wife June, or “IHM”, which has a 90s hip-hop flavour slowed right down to lights-out tempo. Not entirely a solo record, ((( O )))) appears on ‘Brass Necklace’ – which has the soft power of The Internet and Stevie Wonder’s keys. It’s no wonder that lead single ‘A Moment of Mystery’, featuring Toro Y Moi, has a spacey vibe: while recording in San Francisco together, FKJ, Toro and his keyboard player Tony took some of what Tony called “holy water” – “we shared this bottle and took a bit of a trip,” laughs FKJ. The result is a gentle electronic ode to long-term love that could rival Tame Impala for melodic progginess.

Little Dragon’s Yukimi Nagano vocal, meanwhile, laces its way through the stunning “Can’t Stop”, and there is a call back to FKJ’s dancier beginnings with “Let’s Live”, a galvanising techno-pop number that blends piano, handclaps and soulful vocals to dazzling effect. Each of FKJ’s songs glistens, lambently, with a myriad of ideas but it never sounds overblown or too dizzying.

“V I N C E N T” is a marvel – and testament to the magic that can happen when you dig deep. “This was a challenging record,” he says. “I’m a perfectionist and it’s hard to shake that off. But once I did, and I let the music take over, I felt totally free.”

Petter Eldh's explosive ensemble Koma Saxo continues their adventures with a new album "Koma West", out on We Jazz Records, 18 March 2022. The album sees Koma Saxo expand on their previous sound with the addition of vocalist Sofia Jernberg and a strong cast of featured artists, including cellist Lucy Railton, violinist Maria Reich, pianist Kit Downes and accordionist Kiki Eldh (Petter's mom!). The hard-hitting key quintet remains, including Eldh on bass and assorted instruments, Christian Lillinger on drums, plus saxophonists Otis Sandsjö (of Y-OTIS), Jonas Kullhammar and Mikko Innanen bringing the SAXO to the KOMA operation.

At 14 tracks, "Koma West" is a full menu of monumental compositional ideas that could spawn entire albums. True to his chop & go production style, Eldh relies on continuous movement while presenting another all killer no filler program taking Koma Saxo on a sonic outing not quite like anything that had previously appeared under the band's name. That being said, there's very much the Petter Eldh touch here, one which might be hard to pinpoint and verbalise, but nevertheless a recognisable style of composing, producing and arranging.

Thematically, the album is rooted in the West Coast of Sweden, where Eldh grew up – he's from a tiny town called Lysekil. There's a thread of Swedish folk song tradition that has been part of the Koma Saxo DNA from the get-go and you can hear that here as well, especially on cuts such as "Närhet", beautifully sung by Sofia Jernberg.

Petter Eldh says:

"In a way, it's a concept album and a celebration of the Swedish West Coast. The first single is called 'Koma Kaprifol', and kaprifol is the landscape flower of Bohuslän on the West coast, where I grew up. I'm not too wild about attaching strong narratives to my music but there's no way around it this time. The oysters, a common snack around the coast, are a strong conceptual presence here. Anyway, they seem to pop up here and there quite often already thus far in the Koma Saxo narrative, even though it's not always so obvious. Koma Vocals! Koma Strings! I love the presence of Sofia Jernberg here and I love writing string arrangements, too, although I never thought I would do it for Koma, but of course, Koma should have some strings, why not?. Koma Saxo should and can become anything."

It started with a night out at New York’s Sound Factory - and turned into an obsession, Inner City main man Kevin “Reese” Saunderson and his then manager, Neil Rushton, were at the NY uber house club when The Pressure by The Sounds Of Blackness got its’ debut World play, with the ecstatic response from the crowd meaning it was spun three times in a row.

Nobody was more knocked out than Kevin who vowed there and then to come up with a Detroit answer, much to the delight of Soul mad Rushton, co-owner of the Network label.

The idea of The Reese Project was quickly turned into House Heaven reality as Kevin recruited Detroit vocalist diva Rachel Kapp to record the anthemic Direct Me & The Colour Of Love as the first two singles.

Network made the group a main priority, coming with a whole slew of remixes to complement the original USA mixes on the subsequent album. Three of the most loved Network remixes are on this wonderful timeless 12.

The Dave Lee Joey Negro mix from 1991 is rated by many as one of Network’s finest moments, and maybe Lee’s finest ever “remixed with extra production” epics.
Rushton remembers meeting Lee to collect the remix, and instantly phoning Saunderson proclaiming “you won’t believe this”.

Underground Resistance’s Mike Banks added his magic to the 1991 original mixes of “The Colour Of Love” and the results were so overwhelming great that the idea of subsequent remixes was daunting.but the classic 1994 Network remix by The Playboys flew the flag for U.K. House.

C.J, Mackintosh set the production standards for U.K. Soul filled House and his 1993 remix of “So Deep” - sung by La’Trece - is a gem to be cherished forever and a day.

Network’s passionate crusade to crossover The Reese Project from House Music superstars to Pop success came tantalising close but never quite happened. But the Network remixes are a glorious legacy of House Music’s golden age and three of the very finest are remastered here and presented on one glorious 12.

Reese Project - Songs Not Slogans.

When words trail off at the beginning of claire rousay’s »everything perfect is already here«, ornate instrumentation is waiting to fill a void left by the breakdown of language. Yet it becomes clear as we trace rousay’s collaged sonic pathway that breakdown, of meaning and also of melody, is also a place to rest. everything perfect… is made up of two extended compositions that cycle between familiarity and unknowing. There are seemingly infinite ways to feel in response to these pieces of music, which shift tone across their languid duration, earnest like a familiar song but unbound from the emotional didacticisms of lyrical voice and pop form.

rousay builds a fluid landscape around the acoustic contributions of Alex Cunningham (violin), Mari Maurice (electronics and violin), Marilu Donovan (harp), and Theodore Cale Schafer (piano), whose respective melodies weave gently in and out, sometimes steady, sometimes aching, sometimes receding altogether in deference to less overtly musical sounds. That is, percussive texture in the form of unvarnished samples and field recordings: the rattle and rustle and the stops and starts of life unfurling, voices sharing memories nearly out of reach, doors closing, wind against a microphone. Everything comes from somewhere in particular, possessing the veneer of the diaristic, but sound’s provenance is secondary here and so these details become tangled and fused. On this release I hear such details not as individual ornaments or stories but the collective architecture of the greater composition. It’s an architecture that is not quite formed and thus full of openings out to the world unfolding.

“The world unfolding,” that’s a kind way of saying change, movement, loss, transformation. Things rousay here indexes, not without shards of desire or pain, still somehow what I hear is coarse peace in the in-between. These two pieces sweep you away and then bring you to earth, but which is which, anyway? Where am I now? What is different outside of me? What is different inside of me? Um. I think. everything is perfect is already here, like the answers to these questions, is loose and beautiful in surprising ways.

The music guides a certain experience of the world around. In claire’s music there is this marriage—not just a pairing or juxtaposition but an interrelationship, an eventual confusion—of song/texture, narrative/abstraction, figure/ground. Everything comes from somewhere in particular but not just the voices, the field recordings, the what is being said or meant, what matters is the where you are now. There are so many ways of anchoring oneself in the present, some have to do with fantasy or storytelling and some with accepting what is.

These two compositions find peace between these modes. They sweep you away and then bring you to earth, but which is which, anyway? Their mode of feeling is inquisitive. Where am I now? What has changed outside of me? What has changed inside of me? The music, like the answers to these questions, is loose and beautiful in surprising ways.

Minru is the project of Caroline Blomqvist, a Swedish musician based in Berlin. Woven from light and shadow, the interplay of her folk and indie-rock blend appears from a personal space of finding life after death. On her debut LP »Liminality« she paints melody in soft tones, whispering secrets to navigate feelings of loss.

Built around winding layers of acoustic guitar, piano, and strings, Minru is a surprisingly uplifting and stirring testament to Blomqvist’s own suffering from the passing of someone close to her. Returning to Berlin from Sweden feelings of grief, confusion, and pain travelled with her, and these emotions prompted the journey both of and within the album, heard as a dreamlike actualisation of wandering lost between them. "I read that Carl Jung used the word "»Liminality«” to describe the psychological process of transitioning. I instantly felt seen; it reflected my own experience and the feelings I carried whilst making the album – a sense of the old certainties being gone, but the new not being quite there yet,” she says.

Defined as "the threshold separating one space from another" »Liminality« moves between feeling the ground beneath your feet fall away, fighting through the darkness and the doubt, and the emerging shades of hope and light as you painstakingly make peace with mortality and find yourself as a person again. "I am happy to have encapsulated this moment of time in sound," Blomqvist says, "it will always be there as a memory."

Flourishing from a preferred position of solitude, »Liminality« sees Blomqvist’s vision radiate with intensity from her home-based studio in Neukölln - a small, 2-room apartment with squeaky old wooden floors. Capturing the intimacy of the space, she recorded vocals and synth on gear partly borrowed from friends (to swiftly reunite it with its owners), and the songs flow with a stream of consciousness as feelings become entwined with melody. Time-restraint drew the process to a natural close, preventing Blomqvist from losing herself to experimentation. “Maybe I would have been stuck in »Liminality«, trying out sounds forever,” she suggests of the way ‘Into the well’s instrumental swims into a warm stream of synth pads. "It’s the cosiest moment on the album,” she says, “Cosy is a feeling I always strive for in life."

Finished and self-produced at a Berlin-Lichtenberg recording studio alongside musical friends (Povel Widestrand, Tobias Blessing, Sunniva Lilian Shaw Of-Tordarroch, Marlene Becher and Liv Solveig Wagner), the result is beautifully detailed and rich like the folk of her Swedish roots. First picking up a guitar as a kid and becoming obsessed with it, she would skip school to spend extra hours mastering the instrument, grappling to perfect the ‘Stairway to Heaven’ intro. “As a child I was fascinated by my dad’s acoustic guitars around the house and would hit the strings to make them sound,” she recalls. After attending music high school in Gothenburg and playing in bands during her teens, Blomqvist later moved to Germany. As well as enjoying walks at Tempelhofer Feld and coffee at Leuchtstoff café, she performed with Tuvaband, Adna, and Tara Nome Doyle and played in Berlin venues Loophole and Schokoladen, where music became her world. With the passing of time she felt a growing urge to find an outlet for her own songs; Minru was the answer along with her first »Yearnings« EP.

Now writing whenever she returns to Sweden, within the calm and stillness of her family’s mountainside cabin, her skilfully constructed arrangements summon the comforting atmosphere of home. “I hope listeners will feel inspired to slow down a bit, create, draw, cook something. Just be in the moment that is now.” »Liminality« is the kind of record that rewards attention. Give this album your time, it will give you its soul.

1975 wurde das zweite Album der Berliner Elektronikgruppe MYTHOS veröffentlicht. Das jetzt vorliegende Album ist eine brandneue Produktion und die Neuveröffentlichung auf dem Label Kosmische Kuriere seit über 40 Jahren. Mastermind Stephan Kaske und seine Band präsentieren die typischen Klangkaskaden und Sequenzen der Berliner Schule.

White Vinyl

Remastered reissue of Het Zweet's 1987 self-titled LP + a bonus LP, consisting of previously unreleased material.

Marien Van Oers work under the name Het Zweet (“The Sweat” in English) originally came out in the 1980s (specifically 1983-1988), but listening to the new reissue of this self-titled album from 1987 can feel like one is listening to something that’s both much more current and also much, much older than that. Van Oers, who passed away in 2013, made music that tended to get classed as “industrial”, and tracks here like the steady, clanging churn of “From the Lowland” or “On Earth” show why, but he was as or more inspired by tribal music intended to produce trance-like effects via rhythm and (percussive and vocal) repetition. Using instruments made by himself out of anything from shopping carts to cardboard tubes, the music of Het Zweet locks into grooves that somehow feel more elemental and physical than many of his contemporaries. It never quite feels like Van Oers is emulating or echoing the music of any particular region or tradition so much as trying to synthesize all the ones he’s heard into some sort of ur-pulse, an overtone so powerful as to compel the “Massive Trance” the title of the last song on the record evokes.

While the 1987 Het Zweet has four track titles per side, and on listening you can discern some segues and places where it feels like new movements do shift into place, it’s fitting to have this record on vinyl where the listener is encouraged to experience each side as one uninterrupted piece. The bonus material included on this reissue expands Het Zweet from one LP to two, the second LP consisting entirely of previously unreleased material. This bonus LP is sequenced similarly, with three untitled tracks and two live excerpts presented as side-long experiences that belie their disparate origins with a unity of sound and purpose. Van Oers’ percussive nous and distantly yelled chants certainly sound capable of working up a sweat in both the performer and any movement- minded listeners, but maybe the most striking thing about Het Zweet is how vital it still sounds, despite its age and relative obscurity.

Like the MIMIKOTO project’s previous albums, also “Blackbird’s Philosophy” can be described as a symbiosis of jazz with electronic music and other styles of groovy stuff.

On this album the electronic elements melt into the acoustic sounds and rhythms on a quite subtle way, while the acoustic patterns partially adopt styles of electronic music reminding of deep house, ambient and Detroit house.

Jazzy Rhodes, bass, drums and sax solos performed by jazz-rooted musicians like Darius Blair, Uli Schiffelholz, Johannes Schwarting and Justin Zitt, play a more important role than on former releases and bring nuances of funk, modal jazz, free jazz and bebop to this album.

With Fabio Kumori’s string orchestral sound created with upright bass, effects and looper in the track “Notes from Kirishima”, even elements reminding of classical music and atmospheres from soundtracks become a part of this album. These elements merge with rhythmic sound arpeggios of analog synths and vibraphone, which create a maybe unknown style of new music.

On the last track of the album, namely on the track “Blackbird’s Philosophy (Part II)”, you hear the soulful and expressive voice of Noomi Mae Coleman, who joined the MIMIKOTO crew in 2020.

The MIMIKOTO project was founded in 2019 as a collective of musicians related to jazz, funk, soul and electronic music, after a certain period of composing and playing as duo, trio and quartet

One of Swedish Death Metal most sought after albums, and rightfully so! Therion’s relatively unknown beginnings as a “standard” Death Metal band seem to be misunderstood by many Metal listeners. Although the general consensus seems to be that “Beyond Sanctorum” is just “straight up Death Metal” while their later releases are neoclassical style, upon closer inspection, the opposite seems to be true. Although “Beyond Sanctorum” uses mainly instruments and performance aspects of standard Death Metal, the songs are alreafy composed in a style more similar to actual classical music. “Future Consciousness” starts the album off with a churning Morbid Angel style intro alternating with dark tremolo melodies and some heavy groove. Other bright spots include “Cthulhu”, featuring deep, cavernous doom sections evoking the famous sunken city, alternating with frantic fast passages. “Enter the Depths of Eternal Darkness” goes from a sludgy opening section to fiery death metal, with some eerie lead guitar moments and is also quite satisfying. “Symphony of rhe Dead” has an early The Gathering feel, that bursts into Death Metal later on. The highlight of this album is definitely “The Way”. This is where the bands developing symphonic style is most obvious, so “Theli” fans should definitely hear this song first. We cannot recommend it enough - “The Way” is not only the best song on the album, but one of the best examples of adventurous, progressive (yet uncompromising) Death Metal one is ever likely to hear. This album released around the time when Death Metal was abandoning its primitive roots and going off into more complex territory. For anyone willing to take the time to really listen to music beneath surface level aesthetics, this is actually a surprisingly complex and rewarding listen. This album is light years ahead of their debut.

Japanese experimental group Les Rallizes Denudes are the ultimate rock ‘n’ roll enigma. Sometimes referred to as Hadaka no Rallizes or even as Hadaka no Rarizu, each appellation a variant of the name “Fucked Up and Naked” which equates to being high on hard drugs, they are seen as noise-rock pioneers, yet sifting fact from fiction isn’t easy with their oddball tale. Emerging from the radical hippie communes of Kyoto during the late 1960s, the band was formed in November 1967 by university student Takashi Mizutani, taking the overamplified, distorted guitar of the Velvet Underground as a starting point. Early demo recordings apparently suffered from poor sound quality, leading the perfectionist Mizutani to retreat from the studio environment, meaning that most of the group’s output has appeared as live bootlegs, with the occasional studio demo surfacing as well. Performances were initially staged as part of avant-garde theatre, though the band’s propensity for super-loud noise soon put paid to such collaboration; the ever-changing membership saw Mizutani the only permanent force, despite his embroilment in the 1970 Red Army hijacking of a civilian Japan Airlines flight, enacted partly through bass player, Moriaki Wakabayashi, who defected to North Korea in its aftermath. Though perhaps not quite as notorious, fellow improvisational group, Taj Mahal Travellers, has a backstory of random international travels that is almost as intriguing as that of Les Rallizes; formed in 1969 by six experimental musicians and an electronic engineer, they embarked on a series of improvisational gigs across Japan, notably including an all-day marathon held at a Kanagawa beach, and made their way to Europe in 1971, where they crossed paths with Don Cherry and other likeminded practitioners. They later drove from Holland to the Pakistan border, acquiring santoors in Iran on the way to help broaden their already unpredictable repertoire. The Oz Days Live release is culled from the Oz Last Days festival held in the autumn of 1973, to benefit Tokyo’s Oz Rock Café, which had been closed following repeated drug busts. Here the Taj Mahal Travellers are suitably cosmic, their echoing jams featuring looped vocal chants, disjointed string instruments and sparse, off-kilter percussion; in contrast, the contributions from Les Rallizes are more standard examples of instrumental psychedelic rock, which veers more towards the acid rock end of the spectrum as the performance progresses.

The dawn of Symphonic Therion glooming at the horizon, yet still drenched in Dark Metal execution! Though it was their fourth full-length, and we had been given a sampling of their symphonic/gothic direction with “Symphony Masses: Ho Drakon Ho Megas”, “Lepaca Kliffoth” might remain the most memorable masterpiece of the band’s career along the follow-up “Theli”. A transitional phase between the band’s Death Metal roots and the hybrid of symphonic, gothic metal which they would carry forward for the rest of their career. This is an extremely dark album. The band retains their fascination with obscure occult magick and prophecies within the lyrics, and the music revolves around killer mid-paced Metal riffs drenched in the vocal libations of Christofer Johnsson. The album starts off strongly with “The Wings of the Hydra”, and from there on the serpent has snaked about your spine. An addictive piece with an obvious Celtic Frost influence, chanting vocals, simple synth tones and arabesque guitar melodies which evoke the mythical age of the song’s namesake. The album’s ‘hit single’, “The Beauty in Black” is glorious and gothic, it uses a pair of operatic vocalists (male and female), a sort of predecessor to the revolving door of guest musicians the band would use on their later albums. Other excellent tracks include the charging “Riders of Theli”, the crushing doom of “Black” which would have fit almost perfectly on “Into the Pandemonium”. The rest of the album is equally dark and enchanting, with other standouts being the title track and “Evocation of Vovin”. Synthesizers, flutes multiple vocalists, and the core of the band are all clear and precise throughout, yet it still carries a very raw and dark, ominous tone to it which trumps the later studio efforts. This may not be quite as symphonic as many Therion fans demand of their material in recent years, but it clearly marks the point where this band transformed from a innovative Death Metal band into the Gods of Gothic Metal. There are very few parallels to something like this, and it belongs in the collection of any fan of quality Occult Metal.

The Psychedelic Side Of Kosmische Musik

"Points of Light” is the debut album from Sơn FM, consisting of Nic Ford and Attiss Ngo. After being part of the Vinyan cassette, the Vietnam-based duo returns to Siamese Twins Records with the label's first album in 2xLP format.

The album is an ode to the patterns of nature, which are repetitive but never quite identical. Playing with the endless possibilities of phase-shifting is at the core of Sơn FM's heavy ambient sound, shaped by their signature live performances across art galleries or surrounded by nature. Weaving dreamy kinetic sound tapestries into morphing texture movements. Analog synthesizers loops slowly decay and unfurl, ranging from melodic elements to droning sequences in a fourth world atmosphere.

This is music for inward journeys and exploring the interstices between cosmic patterns. Commanding harmonies evolve in soft-focus, phase-shifting soundscapes reminiscent of how sound is perceived underwater, at mountain summits, in the womb, or in altered states. Resembling liminal spaces between places, like dreams that haven't been dreamt yet or forgotten visions at the edge of consciousness, gently corralling its audience towards transcendental points of light.

For the last decade German jazz saxophonist and composer Uli
Kempendorff has been an invaluable fixture on the Berlin jazz scene,
quietly but steadily honing his own sound in countless contexts
In 2012 the band Field evolved from his first group, the Uli Kempendorff Quartet,
becoming the first vehicle to truly reflect his erudition and curiosity. The band's
first two albums are superb, but they didn't quite attain the approach
Kempendorff had been searching for, so at the end of 2017, he remade the lineup,
replacing original guitarist Ronny Grauper and drummer Oli Steidle with
vibraphonist Christopher Dell and drummer Peter Bruun.
What makes 'Someone Talked' such a visceral, thrilling listening experience is
that all four members push each other, collegially, to infuse a delicious tension
into performances distinguished by constant give- and- take and quicksilver
alterations.

It's dark in the forest. Especially in the »northwest«. You have to adjust all your senses. But once you have, the forest will take you in his arms. The forest will protect you. Just like Daniel Herrmann's first album for Live At Robert Johnson will protect you.

Herrmann is far from being unknown in the world of music - let alone in the art or photography world. In the music field, he is probably much more known under his Flug 8 moniker where he released five albums on Disko B, Doxa Records, Ransom Note, and Acid Pauli's Smaul Recordings. Under his given name, Daniel Herrmann's relationship with LARJ's label boss Ata Macias goes way back. As an artist and photographer Herrmann was the only one allowed to take pictures inside Ata's ROBERT JOHNSON club, thus creating an iconic series of pictures of clubbers and club life in general. Herrmann’s pictures of the partying punters themselves were presented as wallpaper all over Robert Johnson back in 2002.

With »Enroute« Herrmann enters new territory: It is his most ambient work up to today. And yes, it is a piece of work created during the lockdown. Herrmann's studio is situated in the outskirts of Frankfurt, near the forest - a quite remote place already in-between the Taunus mountain range. Imagine life during the lockdown in such a place … This is where Herrmann set up his former basement studio in the large living room with a variety of instruments besides a cozy fireplace spending warm light and warmth. A warmth that despite its seemingly rather "cold" atmosphere can be heard all over »Enroute«. Once you soak in the sounds (or get soaked into the sounds) of the first tracks like album opener »northwest«, »Fly By Wire« or the 11min »Dark Trace« you might feel this warmth too. A cold warmth you could say, yet a warmth that only modular systems and synthesizers can create.

There is a change of mood with »Intercontinental« - literally as it seems that Herrmann indeed is on an intercontinental journey here despite the strolls and long walks in silence through the Taunus forest. This is also the place where Herrmann took many photographs of the forest and its trees (to be seen on his Instagram account) - and the picture on the cover: This spooky yet fragile high seat in the mist in front of those trees. Yet darkness alone is not dominating this album. Even during these dark days, there was a bit of light at the end of the tunnel. And it shows in the beauty of »Bouncing Rays«.

»Enroute« is done all alone and in total isolation. And one can hear it. But it also invites the listener to be a part of this lonely world. And we all know that being lonely is made easier with someone on your side - »Enroute« to a better place. A place that isn't lonely at all.

PS: For all digital music lovers we have included two bonus tracks: The GLOK remix of »Bouncing Rays« and Herrmann's clattering and creaking tune »Economy« - enjoy!

Recorded November 15, 1960 at the Nola Penthouse Sound Studios in New York, Lightnin' In New York captures the legendary bluesman in classic form, including some rare solos on the piano. Produced by Candid Records label co- founder, famed music critic and social activist, Nat Hentoff, and recorded at a time when Hopkins was being "rediscovered" by white audiences, the bluesman was reluctant in accepting his new role as an "artist" before predominantly white audiences.

Friendsome Records and Belaria are delighted to present her debut EP Boost & Doubt. After only two singles and a remix to date she already managed to leave quite an impression, launching a very promising career. The young ‘home grown’ prodigy has produced this beautiful four tracker to take you on a retro-minimal journey of heavy beats and melodic synth.

Oscillating between Dark-Disco, Italo and Synth-Wave, starting and ending with two dancefloor oriented tracks Boost and Esteem (A1 & B2). Neither will allow you to sit still, in the middle of this you’ll find Rest In B (A2), a more poppy but still minimalist track that will remind you of throw backs of Chloé or Peaches. All sat alongside Burning Inside (B1) a downer tempo intimate song that would suite a room three or a long summer road trip. Enjoy the ride!

Camisole is proud to unveil another part of the french cold wave history with the reissue of "Paroles Absurdes" LP by White Pain.

Hailing from Lyon the band began as a duo with Patrick Saveau and Patrick Gravier in 1984.Active figures in the underground scene of their city, they played some gigs and even had their own show on the local radio station.They developed a small following around them and recruited other members to record this album in 1986.

"Paroles Absurdes" is driven by the feeling that you can't escape your fate. Saying Words that you sometimes regret but you feel to be true.This testimony infuses this whole album.However, positive assumptions flow from time to time and left their more pop appeal roll into some songs.

This reissue also includes the first two tracks of the group only released on tape in 1985.As a duo, White Pain was a synth and drum machine band inspired by early 80's german pioneers like DAF or Din a Testbild.They used to have a raw, powerful, and dark sound quite unique in France at this time."Vienna" is probably the best way to resume their first intention.