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Don Cherry's downtown Paris funk masterwork produced in 1985 by Ramuntcho Matta and originally released by Barclay in France only, finally gets a worldwide release on Wewantsounds. Featuring French post-punk muse Elli Medeiros, avant garde poet Brion Gysin and cult Senegalese drummer Abdoulaye Prosper Niang (Xalam), this is a unique soundbite of Paris in the early 80s at its coolest when funk, jazz and new wave were mingling with sounds from Africa, Jamaica and Latin America. Newly Remastered, the album is augmented by a second LP worth of bonus tracks and a deluxe gatefold sleeve with a new essay by French journalist Jacques Denis (Liberation).

No Other Voice And Artist Influenced And Basically Created The Female Fronted Symphonic Metal Genre As Much As Tarja. A Pioneer In Goth And Symphonic Metal, The Classically Trained Finn Rose To Fame With The Band Nightwish, Whose Face And Voice She Had Been For 9 Years. Tarja, Whose Vocal Range Goes As Far As Three Octaves, Started Her Solo Career After Stepping Out Of Nightwish In 2004.
Releasing Several Very Successful Solo Albums, Awarded Gold And Platinum In Various Countries, Such As Germany, Poland, Czech Republic Or Finland, Tarja Turunen Has Been Touring The World With Her New Band. The Most Successful Finnish Solo Artist Is One Of The Most Versatile And Passionate Musicians Originating From But Not Limited To The Heavy Music Scene: Her Pure Classical Work 'ave Maria - En Plein Air' Charted In The Classical Charts In Germany And Has Led To Sold Out Classical Concerts All Over Europe. Adored By Many Fans As Their 'goddess', The Finnish Soprano Has The Skill To Carry Her Fans Away Just By Her Presence - Probably More Than Any Other Female Artist In This Genre. When Classic Meets Rock And Heavy Metal, It Inevitably Leads To Tarja

Filmed during Tarja's world tour 'The Shadow Shows', during which the influential heavy rock singer circled the world 7 ½ times with over 300.000 km travelled and played over 200 shows in 40 countries in front of 1 million people, 'Act II' consists of the singer's very intimate 75 minute set filmed and recorded live at the Metropolis Studio in London, UK and the breathtaking live performance of one of her shows in Milan, Italy, and previously unreleased interviews and photo galleries. The theatrical rock adventure 'Act II' combines two incredible, yet slightly different live performances on video: The first chapter, 'Metropolis Alive', has been filmed two months prior to the release of Tarja's 2016 success 'The Shadow Self'. 20 winners from all over Europe were lucky to witness Tarja's intimate, yet rocking 75 minute set at renowned Metropolis Studios in London, UK where the singer performed songs from her then unreleased album - for the first time in front of an audience. 'Act II's' second chapter has been recorded on November 29th, 2016 at the magnificent Teatro della Luna Allago in Milan, Italy and includes numerous hits from all four Tarja albums such as 'Innocence', 'Die Alive', 'Until My Last Breath' as well as an incredible cover of Muse's classic 'Supremacy'. That night's set list also enchants the soprano's
long-time fans with a medley consisting of the distinctive Nightwish evergreens 'Ever Dream', 'Slaying The Dreamer' and 'The Riddler'. All topped off with a remarkable acoustic set which presents Tarja classics in a brand new way. Even though the shows deliberately differ in look, sound, approach to the music and adrenalin, both have one thing in common: from the very first to the very last tune, the state of the art production displays Tarja's energetic performance and her graceful, charming presence.
'Act II' is going to be released as 2CD digipak, 3LP Gatefold (180g, black), DVD, Blu-ray, Limited Mediabook 2CD+2BD (incl. two full live shows filmed at Hellfest in France and Woodstock Festival in Poland as bonus) and Digital.
'ACT I', Tarja's first ever live release, charted Top 10 all over Europe as well as almost all over the world, with a sensational #5 in Germany's General Charts. The video version even remained for over two months at the peak of the Finnish music video charts.

2023 Repress

Taking the basics from the past we seed our future. Apparently the songs hosted in this 12" are just techno tracks but the man behind them knows what he is doing.

Expect the unexpected: trap breaks, Chicago swinged rhythms, epic breaks and a lot of cowbell. All out of the ordinary to surprise the crowd, the listener and your neighbor if you play it loud enough during lockdown. All written and produced by one of those underrated genius who has studied and mastered the history and culture of rave music.

Dj Plant Texture is a sublime vinyl DJ, he owns a record store in the south of Italy and his prolific producer catalog along genres speaks for itself. Honored to have him in this second edition of Música Techno para Discoteca Presenting his new alias A.662

Disruptive techno music for believers, disc-jockeys and collectors. Play under your own risk.

Clear Vinyl

Repressed! Get On Down proudly present Mecca And The Soul Brother, the critically acclaimed 1992 full-length debut from Pete Rock & CL Smooth. The album is considered as one of the greatest Hip Hop albums of all time. Boasting tracks such as the first single, “They Reminisce Over You (T.R.O.Y.)”, a dedication to their deceased friend; “Trouble T-Roy”, which went on to become not only their signature hit, but also one of Hip Hop’s all-time great songs. The album is propelled forward by Rock’s quick, soulful interludes; usually bits of old R&B tunes layered with his signature trumpet and sax loops. Smooth’s liquid freestyle delivery pieces together the perfect vocal match that, together, creates a sprawling, nearly 80-minute-long album on which not a single song or interlude is a throwaway or a superfluous piece.
Mecca And The Soul Brother has stood the test of time. The release has been named one of the essential recordings of the 90s by Rolling Stone, appears on Ego Trips listing of the Top 25 Hip Hop albums released from 1980-1998, and appeared on The Source’s 100 Greatest Rap Albums of all time.

AWEH is back to present Shukuma, the highly anticipated collaboration between label head Esa and South African Kwaito legend Kamazu from Soweto. This record, created between 2020 and 2022, is a testament to the power of musical synergy and South African cultural aweh-ness.

As part of Shukuma, the title track and the EP also lies the future Kwaito classic, Muntu. This dance floor banger not only showcases the creative prowess of Esa and Kamazu but also features a collaboration with Dirty Bungalow, adding a unique touch to the overall EP. Muntu has already been featured in the esteemed podcast series, The Invisible Hand.

To further enhance the experience, Esa has collaborated with talented artists Floating B_strd and Sanoy to create an exquisite art piece that perfectly captures the essence of Shukuma. The final artwork will be revealed on the official release day, adding an element of surprise and anticipation. This is a Kwaai Collab you don't want to miss.

On the occasion of its exceptional evening at the Cabaret Sauvage, Tricatel is releasing a superb vinyl compilation of thirteen tracks, including several previously unreleased ones. It's a collector's item for long-time fans and for those who want to discover the label.

The Tricatel Machine compilation pays tribute to this unique evening, including each artist present at the party. But not only that! Of the thirteen tracks, many are new or unreleased on vinyl.

"We never even planned to release a full-length album, and here we are with our second! "Deities of Deathlike Sleep" was conceived and recorded with the same mindset and the same team as our previous recordings, keeping it quick, spontaneous and enjoyable. This time it turned out a bit more dynamic, with the pummeling fury interspersed with some doom, gloom and darkness. But still, it's simply ten tracks of Swedish Fucking Death Metal, the way we love it"

The vocalist Mikael Stanne is also active in "Dark Tranquility" and highly popular band "The Halo Effect".

Other members from Dark Tranquility, Novarupta, Pagandoom, Vordor, Novarupta, Ex-Katatonia and more!

The previous album "Into The Maw of Death" was well received and topped the charts in Sweden when released!

It is always our pleasure to have new talents in the house, and we've been following Notzing's development since long ago. His approach to techno is absolutely personal and complex, hard and intrincated, mental and physical.

Protae is the first missile in this box full of weapons, a super busy techno exercise with compacted drums, drilling synth lines and random metallic hits breaking the monotony. The effect on the floor is devastating and has been tested extensively in dancefloors worldwide by label owner Oscar Mulero in the past months. 7 minutes of pure dancefloor mayhem.

Fagus continues with the sickness, with hysterical synth washe repeating an hypnotic chant, adding layers of sound as the groove goes by. Repetition is here the key to proper trance, not exactly with pleasant tones but by aggression.

Ekaterin is gummy and elastic with formant synth sounds chewing frequencies and changing constantly in shape. Another mental mantra with a physical drive.

Molniya slows down the pace and dives into profound sound scapes full of unnatural underwater sounds and washes providing a feeling of scuba diving.

To end this sonic odyssey, Emision goes completely beatless, growing from the profound sub bass frequencies to crispy and crunchy surface noises, creating the soundtrack of floating in outer space with no gravity. Please beware of the super intense bass tones when playing on a big sound system.
The perfect combination of experimentation and punchiness, keep an eye on this guy, is gonna make some proper noise in the coming years.

Perth-based artist hub 823, led by the extraordinary producer / creator Ta-ku joins forces with Berlin's Jakarta Records for the release of Godblesscomputers's fourth full-length LP, "Faded Views." The LP melds bright electronic flourishes with laidback synth-driven backdrops, weaving tapestries of mellow folktronica and groovy jazz harmony with continuous sonic intrigue that will keep you grooving into a tropical disposition. Paying homage to his musical moniker, the Bologna-based producer makes timely metallic interjections amidst lush, effortlessly groovy soundscapes. Explore a world of found, recycled, and synthesized sound on "Faded Views" out everywhere September 8.

Bologna-based producer, DJ, and sound collector Godblesscomputers (122k Spotify listeners) has returned with the release of his fourth full-length record, "Faded Views." Godblesscomputers's latest LP "The Island" (2020, La Tempesta Dischi) earned him placement on Spotify playlists like "Brain Flood" and "Coffee Club." Since then, his appearance on Willie Peyote's track "La colpa al vento" landed GBC on "Best of Indie Italia 2022." On "Faded Views," it was Godblesscomputers's creative project to explore the sonic potentials of his direct environment, picking up recordings and threads of inspiration from the most commonplace occurrences. A sonic scavenger, Godblesscomputers explored the expanses of his-both digital and physical-soundscapes. "Faded Views" does the work of crafting a unified, yet complex compilation of the noises that mark the experience of being digital natives in ever-expanding dimensions.

Godblesscomputers's use of musique concrète and found-sound composition melds curiously with his undeniable electronic and techno acumen. Superimposing metallic electronica onto esoteric sound bytes creates the occasion for complex sound collage. "Faded Views" marks a decade since the genesis of the Godblesscomputers project; the entire LP testifies to how time warps perception and sound. Godblesscomputers's music seems to decorate time, both commemorating the moments passed with mind-melting sonic collages and looking forward to the infinitudes of the future with frenetic electronic experimentation.

Themes of impermanence and transience-hence "Faded Views"-pervade the record. Godblesscomputers blurs time as each track seeps into the next in what feels like a seamless transition. He makes these swift passages in genre as well-the record opens on "Colors" with a rich horn section which frictionlessly becomes a lo-fi dance groove. It is this melding of the analog and the electronic that makes sense of his found approach to beat-making: Godblesscomputers marries the found and the synthesized; the creator and the created; the past and the future. The process of sonic dissection and recomposition that drives much of Godblesscomputers's creative process yields not only assertive breakdowns and animated dance tracks, but also complex tapestries of sound that keep the listener ever-intrigued-piano, saxophone, and modular synthesis all find a natural home on tracks like "Hello." In an apt description, the producer's work has been described as "sounding like wood, metal, and microchip."

Godblesscomputers's artistic objective lies in blurring definitive lines, constantly shifting perspectives, genres, and origins of inspiration. On "Faded Views," this design cultivates a folktronica record that truly evades definition.

Feelgood lead single "Mirrors" is out June 30th and features a rich meld of warbling layers, mixing upbeat dance music with complex instrumentation. Stream second single, "Above the Lake," for a mellow summer cut on July 21. Finally, the effortlessly groovy third single "You Feel Me" captures a genre-warping foray into folktronica. Listen to "You Feel Me" on August 11.

All LP artwork and stunning single visualizers were single-handedly put together by multi-disciplinary designer Michael Norman. "Faded Views" will be available everywhere physically and digitally on September 8, 2023. Be sure to listen for focus track "Hello" that captures the vast scope of Godblesscomputers's musical prowess. Find the LP, CD, and digital release on 823's and Jakarta Records's Bandcamp and local record stores.

Building off of the themes of identity, storytelling and experimentation on her critically acclaimed debut album, Khonnar (2018), Deena Abdelwahed’s upcoming album Jbal Rrsas is the next chapter of a reimagining of what club music could be. The album spans seven tracks of bass, techno, and experimental music, with Abdelwahed consulting with masterminds like Tunisian composer and multi-instrumentalist Khalil Hentati, aka Khalil Epi, and Iraqi-British multi-instrumentalist, composer, and researcher Khyam Allami, as well as Egyptian mastering engineer Heba Kadry, to help realise her vision.

Jbal Rrsas starts with the seductively apocalyptic opener, The Key to the Exit, a deconstructed sha’bi production. With tracks like Six as Oil and the delightfully intense Violence for Free, Abdelwahed leads users to a desert rave, where industrial rhythms are left unbridled. Abdelwahed’s vocals on Complain and Pre-Island are powerful and exposed, confidently placed on dizzying avant-garde productions. The Wire previously said “Khonnar is an assured debut that sits on the edge of a whole swathe of possibilities, not only sonic but also geographical, social and political.” With Jbal Rrsas finds Abdelwahed deftly navigating through those possibilities, frequently pushing against genres, labels, and social identifiers, while elevating club music to otherworldly heights.

The Shaman is back with 2 EP... Maybe it could have been a Double Pack :)

But is good have the choice of making it happen as so on your side, rather than beeing forced ? Even if it's a total hasard in a way...
This Ep is a weird melange of emotion and Banging dancefloor...

Enjoy and LISTEN

For their fourth album, »Bear In Town«, indie avant-pop supergroup Spirit Fest made a virtue of distance, with group members split across Europe, and recording sessions taking place after a brief 2021 tour of Europe. It’s an object lesson in perseverance and commitment, as the music here is some of Spirit Fest’s most moving yet. The six songs on this album illuminate different aspects of the transnational quintet’s character – lovely, heart-rending pop songs; melancholy chants; the joys of simple repetition – with the group’s guitar pop tended by gentle flourishes of piano and electronics.

Some of those flourishes were spirited onto »Bear In Town« across the waves, with Mat Fowler (Bons, Jam Money) contributing from Britain, while the body of the music was recorded in a small apartment studio in Munich by the other members of Spirit Fest: Saya and Ueno (Tenniscoats), Markus Acher (The Notwist) and Cico Beck (Joasinho, Aloa Input). »Bear In Town« is concise and powerful, the infectious joy of the spirit communicated, beautifully, by melodies that balance the heartfelt with the melancholy. Reflecting on those sessions, Acher says, »I think the album captures how well we played together at that time.« It’s all the more impressive given this material was put down live in the studio, with a few vocal overdubs. The depth of feeling at the core of Spirit Fest’s music is evident from the opening notes of »Bear In Town«.

»Kou-Kou Land«, the first song on the album, recalls several earlier Tenniscoats songs, like »Baibaba Bimba«, in the way the musicians weave gentle complexity around a simple, repeated chant; the stop-start structure of »Kou-Kou Land« builds anticipation, while Saya’s simple melody is lovely, delivered in an absent-minded hum that’s deeply affecting. »Lost & Found« revolves around a delightful descending chord change that breaks up the swaying, folksy verses, gorgeous electronic whirrs and purring winds floating through the song. The following »In Our House« possesses such sweet sadness, it’s one of Spirit Fest’s most moving songs yet.

»Like A Plane« repurposes a song that Markus Acher originally wrote and recorded for his solo EP of the same title, released on a 2022 10-inch single on Morr Music. The original was a gentle, introverted lament, but the version on »Bear In Town« has a widescreen tenderness, its melancholy framed by raindrop piano. The album concludes with two moments of playful splendour, the bossa-inflected »Hill Blo«, and the driving title track, both led by Saya, who is in stunning voice on this album; on »Bear In Town«, her awestruck wonder perfectly captures the sense of possibility in the song’s capacious chords. Like the rest of the album, it’s full of kindness, rich with psych-pop splendour… a balm for troubled times.

High Roller Records, reissue 2023, bone vinyl, ltd 250, 425gsm heavy cardboard cover, insert, printed inner sleeve, 2 posters, A5 photo, mastered for vinyl by Patrick W. Engel at Temple of Disharmony, original 1984 sound

High Roller Records, reissue 2023, bone vinyl, ltd 250, 425gsm heavy cardboard cover, insert, printed inner sleeve, 2 posters, A5 photo, mastered for vinyl by Patrick W. Engel at Temple of Disharmony, original 1984 sound

The "Produkt" compilation takes us back to the time between 1979 and 1984, when post-punk was the main expression of the underground movement. Bands in the wake of PIL and Joy Division came out like mushrooms after the punk crush. In this compilation you will find mostly unknown yet interesting productions. This is a 10 track album, all originally released on 7" from all over the world: from Poland to Sweden, from Yugoslavia to Denmark. A perfect item for both enthusiasts and completists but also for those curious, passionate of those extraordinary years and lovers of a genre that still continues to evolve and that indeed continues to storm clubs around the world

Composer Ori Barel rolls up the playful aestheticism of ‘90s electronica, taught pointillism of Rock in Opposition, dada collage of Krautrock, and the heavy lushness of Jack Nitzsche arrangements into a seamless sci-‑ fantasia.

The most famous songs of one of the greatest names in the history of Musical in Broadway and who has his star on the Walk of Fame in Hollywood. Including "Cheek To Cheek", "Steppin" out with My Baby"...

For over two decades Jonathan Katsav has used his Crave project to fray rap at its fringes, using Memphis and Houston's low-and-slow legacy to inform sounds that have as much in common with Merzbow as they do Tommy Wright III. Working under a variety of different monikers such as Lieu Noir, Sniper Bait and Soul Collector, the French producer is most prolific as Crave, and "Inner War Delirium" is a substantial and broadly cinematic addition to his canon. Katsav approaches each track as if it's a scene from a movie, using real life experiences to explore separate characters and contrasting emotions. Using different narrators and disparate vocal styles, he navigates grim, blown-out landscapes, driving neon drenched trap synths and horror choirs against overdriven kicks and waterlogged industrial atmospheres. Mangled field recordings, squealing static and gurgling synthesized bass opens 'PHYLLIS', goading the cautious with serrated, carnival synths and cacophonous vocals that sway lugubriously between rap and grindcore. The relationship between dark and light, death and rebirth, is at the heart of "Inner War Delirium", rippling through every track's oozing amalgamation of inebriated hip-hop and buzzsaw noise. Katsav's sounds are an attempt to subject us to the physicality of his own life's puzzle, and he cuts them into vignettes like a director. On the album's final track, listeners are swiped from in front of the speakers and bundled into the trunk of a car, rain rattling on the metal and the album playing on in the distance. It's a way for the producer to turn the camera back on the audience and ask them to consider their own complicated reality - it's Crave's story, but everyone's a part of it.

Japanese jazz is sadly one of best-kept secret. But, it would be stupid to not discover "Green Caterpillar" by Masaru Imada trio + 2. Led by Masaru Imada and his Fender Rhodes, the record opens with " A Green Caterpillar", a 11 minutes piece whose the groove is somewhat reminiscent of Marc Moulin and his Placebo band. "A Straight Flash" continues along this line, while on "Blue Impulse" and "Spanish Flower" Masaru Imada uses the piano in a much more modal style.

A long-in-the-works project of ours, here comes A Tribe Called Kotori's first foray into full-length territories, as the immensely talented Rampue takes us on a melancholy-riddled ride across his phantasmatic mindscapes. A true sound explorer, deftly steering his ship down the junction of electronica, abstract and balearic-infused prog house, the Berlin-based vibist has us transfixed and elevated throughout the twelve cuts that form the backbone to this lushly textured promenade in sound - at times understatedly euphoric, at others rivetingly exotic.

Of the creative process that lead to 'Bubblebath Trance', Rampue explains "It all started and ended in the same moment: my cherished feline companion, my laptop awash with an unintended bath, and alas, a dearth of backups. The resultant calamity, an echo of chaotic tranquility." Under the generous layer of irony lies some unaltered truth about Rampue's debut long-player for A Tribe Called Kotori: this sense of serenity that goes with stepping into this warm and bubbling primitive chaos of sorts infuses the listening experience far and wide. Distantly emulating the "euphonious strains" of iconic PS1 video games soundtracks from his youth days, the album has us surfing a constant paradox of emotions, wistful but not abandoning itself to sorrow, dynamic yet suspended in some sort of mind-expanding stasis. As if you were looking at the world beneath you in exploded view, conscious of all thing, slowly moving up the many layers of our atmosphere towards uncharted skies.

A paragon of Rampue's most poignant take on classic electronica tropes, 'Harmonie' blazes with a poetic fire that engulfs about everything in its wake. Just figure yourself riding a chocobo across the sand-covered expanse of North Corel (toasting to the FFVII nerds here) as this blasts out in the distance. From this trancey bubblebath emerge lots of musical shades and nuances, from the nicely dubbed-out, brass-heavy coastal jazz of 'Schattenschranz' to the choppy, trip-hop-adjacent future electronics of 'Inside', via the exuberantly joyous mess of faux-organic number 'Tripomatic' and cinematic charisma of 'Ich hasse Sonne' high-flying orchestrations.

Connecting the dots between that trance-indebted ebullience and further downtempo-friendly attraction, 'Verfahren' perhaps encompasses best what 'Bubblebath Trance' is about: gracefully walking the tightrope in-limbo nostalgia-soaked inner movements and a powerful outward thrust, burning to let the feelings ooze out from the shell that holds them.Clad in purely 90s-compatible breaksy motion, 'Salz' is another attempt to reconcile emotional and physical dissonance, like kneading all states - solid, liquid and vaporous - into an impossible mega-vibe of its own; malleable, strong and enveloping in equal measure. Borrowing from two-step and UK garage, 'Take Away' is a definite high in Rampue's master unfolding of musical twists and turns, summoning a Boarder Community-esque atmosphere and clashing it alongside floor-ready footwork motifs to fascinating effect.

An ode to his studio companion, 'Buchla Trip' finds Rampue's exploring his machinic friend's quirky yet soulful array of electronic potentialities - making it sound like a conversation you'd have with R2-D2 in the heart of a Sandcrawler, whereas 'Kajal' beams us up to a fragmented headspace, halfway altered PC-Pop and arps-loaded electronica on amphetamines. Effusive and transporting, the title-track 'Bubblebath Trance' could well figure as the album's no.1 medley in essence: a bountiful lucid dream of dancing forms, colours and sentiments to wrap your head around, confidently drifting from a liminal state of consciousness down the rapids of one's troubled inner workings.

Rounding off the package, the languid ambient finale of 'Die Leiden des hungrigen Fruehstuecks' rubber-stamps the feeling that 'Bubblebath Trance' belongs to that rare category of albums. The ones that mint their own alphabet aside from typical norms and expectations, teaching you the ropes of their new language as it unreels between your ears - real and unreal, elusive to any other meaning than the one your guts and brains will be inclined to give it to, in real time. A crystal-pure object if you will, that shall not reveal its secrets, even after a thousand listens and just as many wowing moments.

ENG 180 grm classic black vinyl, 2023 repress. At the risk of further labouring a rather obvious point, with Thank God for Mental Illness, their third collection of absolutely stunning music in 1996, the Brian Jonestown Massacre parallels the prolific and effortless brilliance of the Rolling Stones at their fevered late-1960s peak; the sheer scope of their achievements is stunning - rarely are bands quite so productive, or quite so consistently amazing. Thank God is the BJM's down-and-dirty country-blues outing, all 12-odd tracks supposedly recorded on a single July day at a cost of just $17.36 The Brian Jonestown Massacre is a psychedelic rock band originally from San Francisco, California, led by guitarist/singer Anton Newcombe. Since 1995 The Brian Jonestown Massacre has released numerous albums, first for Bomp! Records, the label which gave them their start, and later for TVT and Tee Pee. BJM has been essential in the development of the modern U.S. garage scene, and many LA and SF musicians got their start playing with Newcombe, including Peter Hayes of The Black Rebel Motorcycle Club. Originally Newcombe was heavily influenced by The Rolling Stones' psychedelic phase - the name comes from Stones guitarist Brian Jones combined with a reference to cult leader Jim Jones, but his work in the 2000s has expanded into aesthetic dimensions approximating the UK Shoegazing genre of the 1990s and incorporating influences from world music, especially Middle Eastern and Brazilian music.

Reissue of Veik's `From Madness To Nomadness' EP out now. Limited to 300 copies on 10" black in clear vinyl. Originally released on cassette in 2016, `From Madness to Nomadness' is the debut EP from Caen, France-based group Veik and is now being reissued on vinyl for the first time, with a limited 10" release courtesy of Fuzz Club Records. Introducing listeners to the trio's motorik, synthesised post-punk, the EP is a compilation of four tracks taken from a two-day recording session in the summer of 2016, recorded and mixed by Hugo Lamy of fellow Caen experimental duo Glass. The cover and the title of the EP are openly inspired by the `Telepathic Music' works by the French conceptual artist Robert Filiou, outlining the band's multi-disciplinary approach to music from the off. At the time drummer/vocalist Boris Collet told a local media outlet that "we wish to assume links with other artistic disciplines like photography". Concerning the reference to Robert Filiou, he added: "It is not so much the visual aspect that is important as the philosophy and the vision of the economy that he develops. The result should not be pompous or falsely intellectualizing. It is just that it seems relevant to build bridges between different fields (artistic or not). Bringing a bit of philosophy, architecture, images, sociology or geography into music can't hurt. It's not pretending to be anything else than what it is, it's still music, but I think there is a gesture and an intention to assume, no matter how you qualify it (creative, political, reflective). You have to allow yourself to do it."

Gold nugget vinyl (2023 repress)! A masterclass in cinematic psychedelia, `God Intentions' is the third studio album from Glasgow outfit Helicon and is due out April 28 on Fuzz Club. Their most ambitious and collaborative album to date, it was recorded at Dystopia, Glasgow with producers Luigi Pasquini and Jason Shaw, mastered by RIDE's Mark Gardener and includes contributions from the Rhona MacFarlane String Quartet, Lavinia Blackwall (Trembling Bells), Mark O'Donnell (Tomorrow Syndicate), Sotho Houle (French avant-garde violinist) and Anna McCracken. Talking about the new record, guitarist/vocalist John-Paul Hughes says: "`God Intentions' is inspired by my brother Gary's story and a few other influences. It's a journey through regret, redemption and resurrection. Our familiar darkness is there, but the record carries a fresh and uplifting positivity. I had a clear idea of how I wanted it to sound and feel long before it began. We're so pleased we achieved it. We managed to hold true to the idea whilst allowing the string quartet, Sotho, Lavinia, Anna, Mark, Jason, Luigi and other collaborators the space to put their mark on it. The album art, by San Francisco-based collage artist Nina Theda Black, captures the depth and breadth of themes and sounds we brought together to create a kind of motion in your mind."

From the towering influence of Charley Patton and Son House to lesser- known artists shrouded in mystery, these seminal recordings helped lay the foundations or the electric blues and rock explosion to come.

Tangerine Dream laid the foundations for the birth of multiple electronic music genres that include ambient & electronica & exploring artists that are as varied as The Future Sound of London to Porcupine Tree.

Tangerine Dream have been embedded in popular culture & were featured in the widely popular smash hit TV show "Stranger Things" as well as aiding to write the soundtrack of the household video game name "Grand Theft Auto V".

The group's accolades extend to receiving seven Grammy nominations & have written over 100 studio albums alongside being led by Froese who was a pioneer in electronica. The collective developed an instantly recognisable synth- based style of music that draws on a meditative musical experience that came to prominence in the 1970's & 1980's.

Fast forward to the modern day where synthesisers & sequencers are seeing a huge resurgence & still Tangerine Dream are at the forefront of an ever-evolving electronic music scene.

With 'Recurring Dreams', the new incarnation of Tangerine Dream pay homage to select classics, such as "Phaedra", "Stratosfear", "Tangram" & "Yellowstone Park".

Not only are these recordings re- recorded covers but heartfelt & individual interpretations, featuring new arrangements, new generations of synths & sequencers. 'Recurring Dreams' also includes the new version of 'Claymore Mine Stalking' that was used in the 2018, popular Black Metal movie "Lords of Chaos".

The band are currently set to tour the US in September until October & then take their "From Virgin to Quantum Years 2023" tour to Germany & the UK.

Working with Bat For Lashes producer David Kosten (aka Faultline), the recording of Man Alive was completed mainly in a chapel in North Wales. The album sounded unique. Nothing dates like the future, yet Man Alive sounds dateless, placeless, and as a result, stands up perfectly many years later.

Man Alive was only the beginning of the group's adventures in – to use their words – 'Mismatched styles of music mashed together.' The result is often exhilarating; there are Brazilian drums and a prog guitar breakdown in Schoolin', classical influences, as well. Its subject matter is often way outside the realms of conventional songwriting; MY KZ, UR BF explored the different Americas: the cosy self-centred domesticity of programmes such as Friends versus a foreign policy
based on killing; Qwerty Finger examines imperialism. Anglo Saxon guilt is also present.

The album's artwork was striking – a photograph of a fox by Swiss photographer, Laurent Geslin, reflecting the track Tin (The Manhole) which deals with the theme of depression, through, as the band said in 2010, "the story of an urban fox that ingests all our pollution and grows massively in a sort of dream sequence. We chose photos of an urban fox for this reason, but we partly attacked the code of the digital image to create a glitch distortion . . . a reference to digital manipulation and chaos as well as our modern lives online".

Released in August 2010, Man Alive made the UK Top 20 and was well reviewed.

For example, BBC Music commented that the group "know more than most how to craft a song, how to make an album. They know how to give it depth, light and dark, and they - crucially - know when to stop." Man Alive was shortlisted for the 20th Mercury Music Prize in 2011.

The original LP edition of the album is super- scarce, released before the 'vinyl revival' kicked in, hence the original pressing now selling in the high three figures.

This re-issue is presented with scrupulous attention to the detail of the original UK first pressing, complete with gatefold sleeve, poster and 8 page booklet. It is pressed on 140gm vinyl.

Described as a musician's musician, Allen's sound is built on a foundation of pop, rock, Americana, Roots and Blues influences. Jon Allen has a soulful, whiskeysoaked voice and a striking gift for melody. He has never been content to be pigeonholed, as demonstrated by the eclecticism of his albums to date.Of the album Jon writes ''The last few years have felt like a pressure cooker slowly increasing to boiling point. There is sense of threat and a feeling of impending doom. Living in a large urban centre during a global pandemic brought out a sense of paranoia. We became more aware of our need for space, our need for silence and to be close to nature to get above the noise of a city. I'm absorbing all the time and everything from the famous Will Smith slap to missing people inspired the songs. How close are we all to the tipping point? What are we likely to do in heat of the moment? What will stress do to us when pushed? But light
follows dark, and there are the moments of simplicity and you can count your blessings for the simple things life has to offer".

Expanding on the shoegaze-shaded emo that made Parannoul's To See the Next Part of the Dream so beloved by lo-fi and indie rock fans alike, After the Magic sees the anonymous auteur striving to write a follow-up as worthy of acclaim as the last.

Across the album's ten songs, Parannoul plunges yet deeper into his diverse pool of influences, coming back to the surface with a record that captures and extends the magic of its predecessor. Unexpected flashes of orchestral ambient and glitched-out electronica meld seamlessly with Parannoul's signature passages of noisy, distortion-laden shoegaze, offering a real time glimpse into the maturation
of one of indie rock's most exciting artists.

In the artist's own words, "This album is not what you expected, but what I always wanted."

An aura of mystery hangs over Jacky Giordano, a studio musician who has mostly worked for library music.He is the one behind the amazing label Freesound (Schifter, Philopsis, Challenger), but as well on Montparnasse 2000 with Pop in Devil's Train (reissued on Le Tres Groove Club), on Timing (Timing N?1 and Timing N?5, under the nickname Jacky Nodaro), on Musax with Boucles Rythmiques (under the nickname Joachim Sherylee, reissued as well on Le Tres Groove Club) or Black Devil Disco Club whose paternity for this record is still disputed between him and Bernard Fevre. Jacky Giordano wasn't an altar boy, far from it, and will have sadly been more known for his troubles with justice than for his music.This is his work for the label l'Illustration Musicale (IM) which can now be rediscovered thanks to this new reissue on Le Tres Groove Club.Organ Plus (IM26) is the sequel to Organ (IM 24), also reissued by Le Tres Groove Club. The title is misleading here, an organ not being preponderant part of the record which honours the Fender Rhodes, string machine, bass synth and clavinet. 'Be Careful', 'Riffologic', 'Twillight' : Jacky Giordano offers slow tempo jazz-funk, without losing his melancholy and low-fi groove that make his tracks immediately recognisable regardless the record label or nickname.

At the end of the 60s and early 70s Brazil was a dream. It was fashionable everywhere in Europe and therefore in France too. One thinks of 'Samba Saravah' from the Un homme et une femme OST, Françoise Hardy and her record produced by Tuca, Isabelle Aubret and her 'Casa Forte' or France Gall with 'Zozoi'. Three Brazilian musicians exiled in France, Edson Lobo (bass), Fernando Martins (piano) and Nelson Serra (drums) form the Trio Camara. They met a group of friends who loved Brazilian music, all professional musicians, but who wanted to remain anonymous, hence the name of the band : Les Masques (The Masks)…

Claude Germain (Les double six), José Bartel, Marie Vassiliu, Pierre Vassiliu … Indeed the singers forming Les Masques are from being unknown. In 1969 they entered Studio Davout with le Trio Camara to record "Brasilian Sound". Composed of 11 tracks, it is a superb album, masterfully produced and recorded, a gripping record to listen in one go and transports us in atmospheres both dreamy and naïve which belong to that period. Produced in 500 copies on CBS, 'Brazilian Sound' was not, unfortunately, a success and it is today impossible to find the original French pressing (which sounds much better than the Canadian pressing released at the same time). This reissue on Le Très Groove Club is welcome, so that 50 years after its release, a larger audience can discover this beautiful record, echo of a once and for all past era.

ltd 700 copies on black vinyl housed in reverseboard printed sleave with printed inner sleave. Comes with lyric booklet, poster and postcard inserts ** Formed in 1968, The Plastic People Of The Universe – named after a Mothers of Invention song and heavily influenced by Frank Zappa and The Velvet Underground – were iconic figureheads of the Prague Underground, a loose collective of Czech poets, philosophers and artists considered a threat by the Communist government. Banned and jailed under Czech communism The Plastic People Of The Universe are a true story of artistic perseverance, Authorities claimed their music would have a "negative social impact", and they were banned from playing for the public, having to play secret shows in remote locations. The raw DIY sound of their recordings escaped to Europe on tape and was released without the band's knowledge, their first album being a document of artistic defiance against the control of a stringent political environment they lived under.

Egon Bondy's Happy Hearts Club Banned, PPU's debut LP, was recorded in 1973-74, but not released until 1978 (and even then, only in France). A beguiling album of lo-fi experimental rock that falls somewhere between Can, The Fall and Canterbury psych-folk with Ayler-esque sax solos. First-time vinyl reissue and it is limited. Essential.

One of the best band you never heard of

This song, co- written and produced by Jamie Safir (Kylie, Birdy, Will Young) is from the brand-new collection 'Greek Street Friday' released later this year on all formats. With an ace band, which includes drummer Ian Thomas (George Michael, Van Morrison, Celine Dion) and guitarist David Preston (Melody Gardot, Curtis Stigers), this collection will also feature, on a beautiful new take of Rickie Lee Jones' 'Blinded By The Hunt', the world-renowned saxophonist Iain Ballamy (Everything But The Girl, Hermeto Pascoal, Loose Tubes). 'To Be Held' is a lullaby for our times. The title, inspired by a Truman Capote interview, with Dick Cavett, expands into a beautiful tribute to lost friends, the power of connections, imperfections and navigates the strangeness and beauty of being alive 'on this beaten-up planet of ours'.

Ian Shaw is back with force and with 'the quirks and character tics of every day living, . . . brought into euphoric focus Shaw tours his smart and soulful show' (The Guardian)

These are the kinds of things I learned from my teacher and mentor, the incredible Ukrainian pianist Mikhail (Misha) Alperin. Misha turned my world upside down from the moment we met. I was 19 then, and he continued to have a huge influence on me ever since. We didn't see each other very often in later years, but every time we did, I was filled with energy and inspiration. And in every meeting, he said at least one little thing that I would think about for months afterwards, whether it was during a brief conversation in the academy hallway, or a two-hour monologue in his office. He was intense. He celebrated life and love.

He was singing, dancing and certainly living through his music. His death has left a void in our world that can never be filled, and he is sorely missed. Helge Lien, December 2022

Formed in Berlin, via an instagram notice board "We Formed A Band" set up by the band Gurr, LOBSTERBOMB had no idea at the time it would lead to them signing to the label that discovered Gurr, Duchess Box Records.

The Trio Nico Rosch, Vik Chi and Crayon Jones all immigrated to Berlin looking for the same escape and lust from the places they had left behind. After connecting with eachother during the pandemic of 2020 they started writing songs drawing on their environment, fears and frustrations of the time but had an desire for seizing the moment and making the world their own, a feeling they still have today..

"I have a bit of an obsession with a band from Germany called LOBSTERBOMB, I think they are magnificent" says legendary Duran Duran frontman Simon Le Bon on his American radio show on Sirius XM.

ltd 700 copies on black vinyl housed in reverseboard printed sleave with printed inner sleave. Comes with lyric booklet, poster and postcard inserts ** Formed in 1968, The Plastic People Of The Universe – named after a Mothers of Invention song and heavily influenced by Frank Zappa and The Velvet Underground – were iconic figureheads of the Prague Underground, a loose collective of Czech poets, philosophers and artists considered a threat by the Communist government. Banned and jailed under Czech communism The Plastic People Of The Universe are a true story of artistic perseverance, Authorities claimed their music would have a "negative social impact", and they were banned from playing for the public, having to play secret shows in remote locations. The raw DIY sound of their recordings escaped to Europe on tape and was released without the band's knowledge, their first album being a document of artistic defiance against the control of a stringent political environment they lived under.

Egon Bondy's Happy Hearts Club Banned, PPU's debut LP, was recorded in 1973-74, but not released until 1978 (and even then, only in France). A beguiling album of lo-fi experimental rock that falls somewhere between Can, The Fall and Canterbury psych-folk with Ayler-esque sax solos. First-time vinyl reissue and it is limited. Essential.

One of the best band you never heard of

Their 2018 debut Pink Noise (released on Sonic Cathedral) gained them a spot on Rough Trade's best album of the year list and praise from Drowned in Sound, CLASH Magazine, BBC Radio 6 and more.

This music has been in development for quite a while, and you still find clear inspiration from some of the shoegaze greats such as Jesus and the Mary Chain, A Place To Bury Strangers, Slowdive, and many more. This album is built on the same foundation that Echo Ladies curated during their past releases, but with a more unyielding presence.

Echo Ladies have always tried to balance two emotions at the same time throughout their songs. While their past songs tried to convey the feeling of nostalgia and hope for the future, mixed with worries and anxieties about defining who you are and what you will become, this album instead tries to balance the emotions of sorrow and loneliness, with anger, frustration, and the determination to make a change for the better.

Minor Science—aka UK-born, Berlin-based musician Angus Finlayson—makes his Balmat debut with Absent Friends Vol. III, the third installment in a shape-shifting series across a variety of formats and platforms. And with it, he pushes forward his vision of ambient music as neither static vista or merely mood-setting atmosphere, but rather a dynamic matrix of textures, sensations, and even rhythms.

The first two Absent Friends—a 2014 set for Blowing Up the Workshop, and a 2017 cassette and web player for Whities (now AD93)—were hybrid affairs, part DJ mix and part collage, mostly featuring music made by other people. Then, in 2020-21, Finlayson developed the project into a live show of his own material. Armed with hundreds of bespoke stems created in his studio—idiosyncratic FX chains, feedback loops through cheap rack gear, heavily post-processed field recordings, found voices, etc.—he would improvise on four CDJs, mixer, FX, and live synths, extending techniques he learned as a club DJ into a live context, accompanied by visuals by Stockholm-based artist Paul Witherden.

Absent Friends Vol. III is an album of studio versions of the music developed for the live show. But in Minor Science’s world, even a category as simple as “studio versions” is slightly opaque. “Most of these tracks weren’t ‘composed’ in the studio,” Finlayson explains: “The sounds started out as stems and source material for the live show, and might not have been intended to go together—but then through performance, they settled into shapes that worked. I then recreated those performances in the studio.” That organic process of ideation and realization might help explain the unusual coherence of the album, in which sounds and textures flow seamlessly from one to the next, sometimes seeming to stand still, and sometimes looping back. There are virtually no melodies, few recognizable motifs or riffs, yet the eight-track album nevertheless moves with a distinctive logic and a determined sense of purpose, from the frozen-in-time shimmer of the opening “Introduction” through the early cuts’ studies of space and light; from the seemingly autobiographical “Summer Diary” through the rushing trance (yes, trance) arpeggios of “Contingency” and on to the dulcet denouement of the closing “Gather Your Party (Dispersed Mix).”

Nous'klaer Audio presents Martinou - Chiral, the follow full-length up to his 2021 album Rift. This time nine tracks across two vinyls. An album flowing 'in a way' like Rift, but it's different: More outspoken, heavier sound design and it peaks on a blissful note. ''Open up the blinds and take me there. We'll break the surface tension. We'll dive in. I'm locked in your devotion. You give an inclination to our demise. It will be our exit. To bliss, we'll be its guardian. Once there was love. Clear as glassy water. No ripples, no waves. I followed while you led. Our arrival was warm. Hot, even. Stunning to a startling degree. Hands intwined, frolicking towards the blue. Hours passed, and white heat cede to an orange hue. We cooled down. Red. We rallied. Black. It began. Into the deep darkness we ran. White sand, it has a tendency to get everywhere. Salt water will only dehydrate you more. Shriveled and dry. Scratchy and coarse. More. And then we were lost. Fingers once locked grew distant. Morning, dear. Where have you gone? We looked. A glimpse from afar. Red. We rallied. Shall we share a bottle of wine? Black, lost again. Afternoon, friend. Where were you? Red. Alone. Black. We rallied. Shall we try somewhere new? Sand and salt. Evening, sir. Reservation for one? Reservations a plenty, I say. Evening, miss. Dining alone? Aren't we all? Dining, miss, not dying. Oh, yes, alone. Black. Sand and salt. I found you. No. No. Wait, do I know you? You feel like a dream. Don't touch me. Move along, sir. Who are you? Leave. Who are you? Where did you go? Keep moving. I am, I will. Time to move on. I'm moving! Leave. Don't touch me. Leave. Why are you? Exit. Purple. Orange. Yellow. White. Blue. Morning, dear. Shall we have breakfast? I think I'll sleep some more. But it's our last day. I know. See you downstairs when you're ready. OK. I open up the blinds. A bird breaks the surface tension. Locked in. To Devotion? No. Demise. An inclination. Reverie. Take me there. Where? Exit (To Bliss) '' Text by Gregory Markus

For her second release on Northern Electronics, Vallmo (appellation of Melina ?kerman Kvie) strengthens her proficiency towards an electronic elevation with each and every track being a crevice offering kaleidoscopic gleams into a poetic narrative extracted from the slightly autotuned yet softly metallic voice.

What Virgil is to Dante, the piano is to the listener: a fragmented leitmotif and a guiding cicerone into the nimbus that is "Othem". Dual in nature, the album comprises seamless transitions between divergent idioms, figuratively as well as literally.

A false dichotomy conveying the opposing pairs tender and bold, distinct but evading and with a direction every so often forward as inward. "Othem" is an opus in equal parts melancholy, magic and mimesis.

NEW 45 BY DEEP-FUNK PIONEER LUCKY BROWN RECORDED DURING THE NOW LEGENDARY SPACE DREAM SESSIONS!

In around 2001, Joel Ricci, the trumpet player/composer behind his former stage alias, Lucky Brown, went traveling on a worldwide "quest for funk". During that pilgrimage, he went to London England in time to attend Keb Darge's 'Legendary Deep Funk' 6-year anniversary at Madame Jojo's. While in the middle of the dancefloor, he was moved so significantly by this obscure brand of 'deep funk' Mr. Darge was unveiling, he became overcome by a mystical sense of 'coming home'. Additionally, he spent a week at Camden's Jazz Cafe to meet The Poets of Rhythm, The Breakestra, The Sugarman Three, DJ Snowboy, DJ James Trouble, and others. When Joel mentioned the nature of his quest to Neal Sugarman, he warmly invited him to come visit Brooklyn and kick it with members of Antibalas, Binky Griptite & The Mellomatics, and the Dap Kings. But before the trip back to the states, Joel spent some time in Paris playing his trumpet at a club called 'Cithea' where they would host weekly 'rare groove' jam sessions. During the jams, Parisian students of Tony Allen would overtake the stage with their instruments and their full African clothing, chant the word, 'Fela', and begin to play this intense free improvised funk and afrobeat. While traveling by train from Paris to the south of France to visit family, Joel began hearing this inspiring polyrhythm swirling in his inner ear and mixing with the "clack-clacka" of the train moving down the track. As soon as he arrived at his destination, he sat down at a piano and jotted down the polyrhythm, bass line and fundamental horn cluster on a piece of sheet music paper. The simple tune was finally rendered to tape ten years later with Lucky Brown's Crawdad Farmers aka The Funk Revolution on the Magik Carpet at drummer Olli Klomp's Lakeside log cabin in Stanwood, Washington. The tune became the title track to Lucky's first full-length on Tramp Records (Lucky Brown's Space Dream, TRLP-9011).

Space Dream is so titled in part to commemorate a soulfunk masquerade party Joel threw at a temporary all-ages Bellingham Washington music venue called 'The Pickford Dream Space'. This is Joel's stripped-down tape-only remix and re-edit which has never before appeared on 45RPM and commemorates the re-release, remaster and repackaging of upcoming Tramp LPs, "Space Dream" and "Don't Go Away", the fully realised 'director's cut' featuring Ricci's early group funk experiment: "The Funk Revolution."