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On March 16, 1968, the United States Army killed over 500 unarmed
civilians in the hamlet of My Lai, Vietnam
The unimaginable brutality of the event impacted all those who witnessed it
firsthand, including helicopter pilot Hugh Thompson, who, against orders,
intervened to save Vietnamese lives. Thompson's story is the basis of the opera
My Lai, composed by Jonathan Berger (music) and Harriet Scott Chessman
(libretto) for Kronos Quartet, Vietnamese multi-instrumentalist Vân-Ánh Vanessa
Võ, and vocalist Rinde Eckert. This definitive recording of My Lai captures the
visceral, phantasmal depictions of Thompson's grief, horror, and guilt as he is
haunted by persistent memories of that cataclysmic day, half a world and nearly
four decades away. Tense and unforgiving, My Lai is "a gripping affair, beginning
to end" (New York Times). Presented here alongside recollections by Vietnamese
survivor Tran Van Duc, it is a memorial to all the My Lai villagers killed on that
grim day.

Recorded and produced in their top of the range, custom-built analogue
home studio based in their Liverpool flat, forthcoming album HISS was
painstakingly and lovingly crafted by the band, who reveal themselves as
true audiophiles and songwriters of the highest calibre in the process
The record sees the band coming full circle, triumphantly returning to the lofi
roots that began their journey. Traversing the subsequent ups and downs of indiepop stardom since their major label debut in 2017, the band have found
themselves most at home back where it all began "at the quiet, sentimental heart
of their delicately unfurling, midnight- hour- favouring songwriting magic, with
complete creative control."Of the cathartic nature of the undertaking, Halls says:
"HISS is as honest an album as I'll ever be able to make. It was winter 2020; the
whole world had ground to a halt, and the pain of being separated from pretty
much everything I love had begun to turn into music in my head."

Für Fans von Smerz, The Internet, Erika De Casier & Japanese Breakfast Es braucht ein starkes Selbstbewusstsein um seine Komfortzone zu erweitern. Bei der Künstlerin Gaisma scheint diese Ausweitung keine Grenzen zu kennen. Vom professionellen Tanz, über das DJ Leben in den Nacht Clubs, bis hin zu eigenen musikalischen Kompositionen und Produktionen. Die Disziplin mit der Alisa Scetinina aka Gaisma ihren Leidenschaften nachgeht, kommt nicht von ungefähr; aufgewachsen in Lettland wo sie sich in jungen Jahren dem Ballett verschrieb und schließlich in der Choreografischen Schule in Riga aufgenommen wurde. Mit 15 Jahren kam sie alleine nach Deutschland und nachmehreren Engagements u.a. in München und an der Stuttgarter Oper, entschied Alisa aus dem nichts Kunst zu studieren und live zu performen. Damit war der kreative Hunger noch nicht annähernd gestillt, es kam Cinematography hinzu, sowohl vor als auch hinter der Kamera, diverse Choreografie Arbeiten und eben ihre eigens produzierte Musik die Genreübergreifend in alle Richtungen fließen kann. Nach diversen Singles und zwei Alben auf Bandcamp, die ausschweifenden Techno sowie sanfte R'n'B Klänge beinhalteten, entschied die 27jährige die eigenen Produktionen beiseite zu legen und sich mit Paul Schwarz (Levin Goes Lightly, Karies, Human Abfall) zusammen zu tun um eine EP aufzunehmen und zu produzieren. Dabei herausgekommen ist "Mirrors of the Cosmic Cinema", eine musikalische Reise die Hörer*innen in träumerische Momentaufnahmen entführt. Die 5 Song starke EP überzeugt mit cleverem Songwriting rund um zwischenmenschliche Wahrnehmung und kleinen alltäglichen Geschichten. Durch technische Finesse scheint sich die Zeit beim Hören auszudehnen und lässt somit Realitätsflucht und kleine Gedanken Abenteuer zu. Eine Mischung aus Indie Bedroom-Pop, Contemporary R'n'B und einer brise psychedelic Soul wird verfeinert mit treibenden Rap Passagen und jazzigen Drums, das zeigt die Vielfalt und das Talent mit dem Gaisma Genres aufbricht und miteinander vereint.

Over the last two years, the Innate and We’re Going Deep labels – run by friends Owain K and Placid respectively – have become must-check imprints for those seeking brand-new, timeless-sounding electro, deep house, acid and techno. Now the pair are joining forces on a new collaborative venture that looks to the past for inspiration: InnDeep.

Focused on unearthing and showcasing slept-on gems from across the deep spectrum, the reissue-focused label will have an emphasis on UK producers and imprints whose work in the ‘90s and 2000s has arguably been criminally overlooked.

To kick things off, they’re taking a deep dive into the back catalogue of Headspace Recordings and Emoticon co-founder Tom Churchill, a Welsh producer whose trademark take on deep house achieved cult status in the late 1990s and early 2000s.

The Personal Interpretation EP was first released on Headspace way back in 1997, and dates back to a time when Tom was the very definition of a bedroom producer. He created the EP’s three tracks while still a teenager and mixed them down using the same pair of headphones he used for DJing.

Now painstakingly remastered, the EP sounds every bit as immersive and intergalactic as it did at the tail end of the last millennium. On the EP-opening title track, Churchill builds a sturdy, chunky groove out of clicking, hissing and metallic percussive elements and a wonderfully deep, tactile bassline, over which gorgeous chords, melodic motifs and eyes-closed vocal snippets stretch out as if reclining in the afternoon sun.

Churchill opts for a deeper, Detroit-influenced sound on ‘First Principles’, with undulating electronics and a raw analogue bassline working in unison with ghostly chords and deep space melodies, while ‘Crossed Wires’ is a tispy, off-kilter epic – all breathless drum machine rhythms, pots-and-pans percussion, woozy chords and weighty sub-bass. It provides a fittingly energetic, out-there end to a long-overlooked EP that remains as fresh now as it did back in 1997.

Quoth is the brainchild of Alex Egan (Utter) and Mike Smaczylo (Half Edge). Singular in focus, this newly minted (sub)label harnesses the pair’s diverse and expansive tastes in weird and hallucinatory sonics, aimed squarely at the dancefloor. We're very proud to present ‘Barney’s Maze’, a four-track EP of twisted techno, drawing influence from IDM, bass, and older strains of textural music.

‘Barney’s Maze’ is the work of Nottingham producer Coralie (aka Steven Randall). It fell on our ears strangely dislocated from time and place. Its sound world is utterly modern, technical and weird; mangled sonics slip deftly out of reach of easy categorisation. But the spirits evoked feel ancient, spectral resonances of a psychedelic continuum older than memory.

Haunting voices predominate: human, not too human, but captured and distorted by technology, cut from any source of context and voided of meaning. The sonic spaces conjured here are cavernous; great cathedral-like structures resonating with the collapsed centuries of digital time. Broken techno rhythms roll echoing in an artificial void with synthetic voices, raised to synthetic heavens. Strains of the sacred glimmer within a form that’s entirely profane, the most human of constructs.

It’s a stunning EP - moody, atmospheric and gorgeous, each track a world unto itself, but fully primed for the dance. We recommend it wholeheartedly.

Coralie tells us it’s dedicated to his dog.

Available on hand stamped vinyl, limited to 200 copies (including insert), and digital formats. Mastered by Beau Thomas at Ten Eight Seven.

Berlin-based producer Rampue has not released an album in 14 (in words: fourteen) years. Between 2008 and 2020 he toured the world and worked mainly on his live sets in the meantime. So now only a worldwide pandemic had the power to prevent the traveling musician from continuing this hustle and bustle and eventually share a new record with the public. Corona was what brought this standstill and the otherwise well- traveled individual experiences cabin-fever during lockdown. Hence, the new Rampue album "Tragweite" came into existence in February 2021, which portrays the artist's desire for experimentation.
Inspired by a modular synthesizer (Buchla), Rampue has seemingly put himself into a kind of trance, in which he lets the machines work and combines randomly created sounds with airy structures such as low drums or simple grooves. Rampue accomplished to break free by using random sounds as a new impulse and a way out of a creative crisis, which stemmed both from the enforced home isolation and from the self-perceived paralysis. The result is literally unique, as many of the sound products cannot be reconstructed and are preserved in album form for the general public.
Listening to "Tragweite" one gets the impression that the dialectical relationship between chaos and order, further supported by its production, is the defining theme of the album. After an initially perceived chaos, a delicate order, which is determined by structuring drum patterns and basslines, takes over throughout the course of the album.
Later, it frays and loses itself again in sounds and tones created mechanically However, it never seems arbitrary, but willful and skillfully staged. For instance, "Furo?" begins with apparent arrhythmia. The combination of bass and subtle percussion, however, gives this arrhythmia a shape, guiding the track which gradually becomes more and more driving without losing its original playfulness.
Although one might be inclined to think of genres such as Downtempo or Ambient at the beginning in the further course of the album results in such a diverse sound and rhythmic landscape that one willingly questions one's own perception of music while listening and finally throws every type of categorization overboard joyfully. The listening experience is too intoxicating and enlightening to stick to simple genre boundaries. The musical spectrum ranges from straight arrangements that live entirely without a drum foundation ("Fu?r Dich") to almost meditative sound collages ("Regengesicht") to the four-to-the-floor banger "Kembang" which adds a grimmer note with a certain industrial appeal to the overall rather melancholic-progressive curation. "Direct Faden" on the other hand, surprises with its simple guitar-based foundation on which the omnipresent synth snippets and pads are allowed to let off steam towards the end of the record. The track that most closely combines the progressive production style with a danceable club atmosphere is probably "Phobia". Wafting, partly breaking away synthesizer sounds rise higher and higher, while the driving mixture of bass and drums consistently march forward.
Rampue breaks with his old, musical habits as "Tragweite" creates the impression of improvisation and jam character without getting lost. Rampue takes his listeners on a journey that is stirring and moving, sometimes demanding or even a bit disturbing, yet always one thing: incredibly exciting.

Brian Fennell is a student of simplicity

As SYML (pronounced simmel), which translates to simple in Welsh, Fennell writes emotive ambient pop songs that capture the ethos of his musical persona.

With delicate piano, swells of strings and Fennells sterling vocals, the songs that comprise In My Body, embody the relinquishing of all emotions, a cathartic release laid bare.

Headcat is an American rockabilly supergroup formed by vocalist/bassist Lemmy (of Motörhead), drummer Slim Jim Phantom (of The Stray Cats) and guitarist Danny B. Harvey (of Lonesome Spurs and The Rockats).

The band was formed after recording the Elvis Presley tribute album by Swing Cats A Special Tribute to Elvis in July 1999 to which the future bandmates all contributed. After recordings were finished they stayed at the studio and Lemmy picked up an acoustic guitar and started playing some of his old favorite songs by Johnny Cash, Buddy Holly, and Eddie Cochran. The rest of the guys knew them all and joined in. The name of the band was created by combining the names Motörhead, The Stray Cats, and 13 Cats, which resulted in Headcat. In 2006, the band released their first studio album on June 27, Fool's Paradise. It included cover songs from artists such as Buddy Holly, Carl Perkins, Jimmy Reed, T-Bone Walker, Lloyd Price, Elvis Presley, and Johnny Cash. On the recordings, Lemmy played acoustic guitar. In later years, Lemmy began to use his signature Rickenbacker bass in live performances.

The band's second studio album, Walk the Walk...Talk the Talk, was released in 2011. This was the first new material by the band in eleven years, following up from the Lemmy, Slim Jim & Danny B album in 1999. It has two original songs ‘American Beat’ and ‘Eagles Fly on Friday’. While the first album was all acoustic, the second studio was all electric with Lemmy playing bass like he did in Motörhead.

Dreamcatcher is a previously unreleased live concert which was recorded at the Dreamcatcher theatre at the Viejas Casino in Alpine CA on 1st Feb 2008. It was produced by the band and mastered by guitarist Danny B Harvey.

Die allererste Live-Show von THY CATAFALQUE wurde im August 2021 während des Fekete Zaj Festivals in Ungarn aufgenommen. 26 Musiker spielten 15 Songs aus der Diskografie von Thy Catafalque, die nun auf dieser einzigartigen Blu-ray 'Mezolit - Live at Fekete Zaj' festgehalten sind!

Die allererste Live-Show von THY CATAFALQUE wurde im August 2021 während des Fekete Zaj Festivals in Ungarn aufgenommen. 26 Musiker spielten 15 Songs aus der Diskografie von Thy Catafalque, die nun auf dieser einzigartigen Blu-ray 'Mezolit - Live at Fekete Zaj' festgehalten sind!

"A new force, LEAGUE OF DISTORTION, unite to defeat the shadows cast upon the music scene with their fresh sound and style! Back in 2017, Anna Brunner celebrated remarkable international success with her symphonic metal band Exit Eden, and now, teams up with notorious guitarist Jim Müller - known from his famous heavy metal band Kissin’ Dynamite. Together, they’ve formed one of the hottest modern metal upstart bands of the year, combining their signature sounds to create a powerful soundscape. Now, having recently signed with Napalm Records, they are ready to fight the darkness yet again with their 2022 full-length, self-titled debut album, League of Distortion. Lifting the dark veil of stagnation caused by the pandemic, LEAGUE OF DISTORTION introduce a new sound that resonates with the uncertainty of this period. “Wolf or Lamb” - the addictive first stand-alone single that introduced the band as a force to be reckoned with - ushered in a completely new era by serving modern, melodic rhythms and technical prowess, igniting the fire of the full album, League Of Distortion. “Rebel By Choice” and “The Bitter End” show the band’s burning passion and dedication to the genre, while “My Revenge” convinces with a catchy hook and bashing guitar riffs. The elemental force of Anna “Ace” Brunner’s distorted, powerful voice merged with chunky riffs played by Jim “Arro” Müller, steady and strong beats delivered by Tino “Aeon” Calmbach and edgy bass by Felix “Ax” Rehmann unifies them, forming a strong blast of an album that cannot be missed! LEAGUE OF DISTORTION showcase the individual musical expertise of its members without ever becoming stagnant or pretentious - unabashedly distorting the order and launching a new age of metal. Songs like “I’m A Bitch” and “It Hurts So Good” abandon all rules, while catchy hooks like in “L.O.D.” mark anthems to claim their new reign. With songs like “Solitary Confinement” and “Sin”, the band shows their lyrical depth by turning their sadness into a powerful war cry, providing expressive pieces and hymns for the lost. LEAGUE OF DISTORTION convince with classic pieces featuring strong instrumentals, on-the-nose lyrics and energetic vocals, proving their penchant to stand out from the pack. They’ve transformed their frustration into a musical statement beyond compare. With “Do You Really Think I Fucking Care”, the band lands the final punch of the album to make the message clear: LEAGUE OF DISTORTION are here to set the scene ablaze! "

A relatively new name in the world of hard edged techno, Irish DJ & producer sjush made his presence felt with a string of selfreleased EPs and an appearance on SPEED'S free download series in 2021. The young up and comers' taste for raw, bewitching techno combined with a penchant for rave has left listeners in hypnotic euphoria, making him one to watch and gaining support from Manni Dee, Yasmin Gardezi, Pelin Vedis, Riot Code & more. Now on his first vinyl release, sjush produces four relentless and brooding cuts of late-night techno on TITDM.

'Aura' sets pace with an array of pounding kick drums and its commanding sensibility; inducing primal states through carefully selected grooves and propelling synths. 'Burner' then enters the fray with bone crushing percussion, also underlining sjush's solid grasp of mixing both aggressive techno with a 90s sheen. 'Cataclysm' feels more detached and spacey, still engrossed in powerful low end and foreboding pads, before the EP comes to a cinematic close with 'Grain Feeder'. Marching kick drums meet with equally relentless leads, while percussion that could easily replicate the noises from predator form to create a mindexpanding, sensory experience best heard under the cover of darkness.

Songs that inspired Flicker by Yoko Ono, Pentangle, The Kinks and Arthur Russell. “The idea was that I would be covering songs which helped in some way to colour in the edges of the picture of the influences that make up Flicker,” explains Andy. "The song ‘Jenny Holzer B. Goode’ on the album refers to a few of the female artists from the music and art worlds who I find inspiring, including Yoko Ono, so it felt right to include a cover of ‘Listen, The Snow Is Falling’, my favourite Yoko Ono song. “Pentangle’s ‘Light Flight’ came out in 1970, the year I was born, and I’ve loved it ever since I heard it on the 1997 folk compilation Transatlantic Ticket. “Nat Cramp, the head honcho of Sonic Cathedral, requested that I cover ‘The Way Love Used To Be’. I’d never heard this song despite being a big fan of The Kinks, but it’s lovely and it felt very natural to do a version of. All hail Ray Davies! “Arthur Russell has been a big reference point for all my music away from ‘band world’. There is something impressionistic and open-ended about his records. I guess you could describe the production style I’m trying for on ‘Our Last Night Together’ as ‘World Of Echo meets This Mortal Coil doing Skip Spence’.” A1 Listen, The Snow Is Falling A2 Light Flight B1 The Way Love Used To Be B2 Our Last Night Together

2022 Repress

The Artist Concurrently Known As Jackmate has been already been indoctrinated into our cult since he signed onto he Pampa bookings roster awhile back. As SoulPhiction he is also co-founder of Philpot, the Stuttgart-based label, home to the majority of his releases over the past 10+ years. Anyway, we get the privilege of stamping the Turkey logo on SoulPhiction's first proper release of 2013, following his remixes for Murat Tepeli and Detroit Swindle. 'When Radio Was Boss' is a tribute to those magical electromagnetic waves that ruled yesteryear. With that prototypical Pampa percussion-rattling and clanking its way into the room-and a warm, round bassline bounce combined with some symphonic froth in the atmosphere, this track definitely demands airplay. On the dancefloor, at least! (And right in the middle of the track, catch the pleasantly jarring shout-out from WBAU, the call sign of the defunct New York radio station that counted members of Public Enemy and hosts of Yo! MTV Raps amongst its staff.) On the flip, the bpm gets cranked down just a bit for 'Maybachswagger"-If the A-side is a tribute to radio, the B has roller-skating on its mind. Starting out spooky with a sampled voice cooing over a slightly detuned bassline, the surprise comes in the final third, when a kawaii disco vibe drops in, seducing you onto the rink for a few laid-back laps.

Sound: An Exhibition of Sound Sculpture, Instrument Building and Acoustically Tuned Spaces opened at the Los Angeles Institute of Contemporary Art in the summer of 1979 (and was also on view later that year at PS1 in New York). Curated by Bob Wilhiteand Robert Smith, the exhibition surveyed the field of sound art. The forty-four participants were painters pivoted toward performance, conceptual artists attracted to time-based mediums, self-styled creators of environments, and musicians (formally trained and otherwise) fashioning new instruments from household items and consumer electronics. They were more or less object-oriented and, at the same time, more or less music-oriented. What brought them all together, as the exhibition catalog gamely asserted, was sculpting in three-dimensional space.

The Sound exhibit included installations, recordings played in the exhibition space and a series of live performances, demonstrating instruments that otherwise rested inert in the gallery. For a broader sense of the show than a single visit provided, the curators also produced a compilation album featuring short pieces, or excerpts from longer works, by many of the participants. (Artists in the exhibition, but not on the LP include Alvin Lucier and Mike Kelley.) Selections from bright lights of the 20th century avant-garde – such as composers Bill Fontana, Yoshi Wada and Paul DeMarinis; conceptual artists and performance artists Terry Fox, Tom Marioni and Jim Pomeroy; experimental vocalist Joan La Barbara; and Los Angeles Free Music Society members Tom Recchion and John Duncan – feature alongside the sounds of Jim Hobart's tuned jars, Ivor Darreg's fretless banjo, Doug Hollis' aeolian harp and Richard Dunlap's rubber bands.

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

Press play on Beverley Skeete’s ’Warm' and a wave of evocative, vivid images of sultry, sun-kissed summer days will wash over you.

'Warm' is UK street-soul / electronic boogie at its finest. An infectious groove that features an amazing vocal performance invites you to fall in love. Beverley Skeete is an under-the-radar talent and you only need to dip into the sheer number of productions she has been involved with to see the pedigree of her artistry. It includes working with superstars such as Tina Turner, Chaka Khan, Bronski Beat, Elton John, Boy George, and Maxi Priest, to name just a few. She was also the vocalist for the 90s global house hit 'Passion' by Gat Decor. Beverley continues to work in music to this day and, in 2021, released her most recent album, 'Liberty’.

'Warm' was Beverly's third solo single for the fabled UK record label Elite. Released in 1985, it was produced by the stellar underground production team of A Sojka / de Jongh Production. This duo is better known as Andy Sojka (Atmosfear, 3rd Army, et al) and Richard de Jongh. Elite was set up by Sojka in 1979 and was a hotbed for underground UK talent that often became staples of the most discerning US dancefloors too. 'Warm' and the equally remarkable soulful-dancer 'If The Feeling Is Right' are lesser-known jams from the label’s catalogue, but they have rightfully been championed by the diggers and collectors, and what beauties they are!

Official Mr Bongo replica reissue of the original Elite release.

Im September und Oktober 2021 begaben sich Steve Hackett und seine Band auf ihre erste Tour seit fast zwei Jahren. Dieses Mal brachten sie das legendäre Genesis-Live-Album 'Seconds Out' in vollem Umfang zum Leben, neben einer Reihe von Solo-Favoriten und Titeln aus Steve Hacketts jüngstem Studioalbum 'Surrender of Silence'. Aufgenommen und gefilmt in Manchester am 24. September 2021, zeigte sich die Band in unglaublicher Form, als sie Tracks wie 'Squonk', 'Supper's Ready' & 'The Lamb Lies Down on Broadway', sowie Solostücke wie 'Every Day' & 'The Devil's Cathedral' zum Besten gaben. 'Genesis Revisited Live: Seconds Out & More' ist ein brillantes Dokument der triumphalen Rückkehr der Band auf die Bühne. Erhältlich als Ltd. 2CD + Blu-ray sowie als Ltd. 2CD + 2DVD im Digipak, jeweils mit Bonusmaterial und 5.1 Surround Sound. Auch erhältlich als Ltd. Gatefold black 180g 4LP+2CD & LP-Booklet.

The story about the lost recordings of Ghia continues: Following the recently released "At The Hilton" single, our label is extremely proud to present "Curaçao Blue", the band's first full-length album. And it is simply mind-blowing, to say the least! The LP features 10 unreleased tracks in a similar Balearic vein as featured on the single.

Incredibly, it was only just a few months ago that these tracks were rediscovered on some old tapes by band members Lutz Boberg and Frank Simon. Could anyone imagine that two physics students from a small German town could create such beautiful, thrilling music in their home studio? Although the technical aspects in the creation of the band's earliest tracks may have been straightforward, the outcome is high-quality, creative, modern jazz-funk, with one step in the electro-funk genre due to the use of a drum machine and synthesizer basslines. The album features mostly 4-track recordings, based mainly on the musicians' weapons of choice: a DX21 keyboard (later updated to the legendary DX7) and a guitar. Many things had to be done live in just one take, though the artists were unafraid of using overdubbing techniques to weave their instrumental journeys. The DIY aesthetics just add more beauty and uniqueness to the songs and compositions, and the result is an extremely harmonic work of undeniable musicality. Ghia delivers Balearic jazz-funk at its finest.

Though the music was recorded in Germany, Ghia had a true relationship with the Balearic region and effortlessly applied the vibes to their compositions. As a side note, one track on their earliest demo tapes was called "3 AM at Moëf Gaga" and we did not know what it meant. The band explained that Moëf Gaga is a nightclub on the Spanish coast that is actually still active today. Boberg and Simon, the two original band members of Ghia, visited the club in the early 80s and spent their holiday close to the sea. With their music, they intended to create a summery vibe, capturing a relaxed and soulful view of the seashore, likely with a drink in hand... Perhaps a Blue Curaçao?

The album starts with a revised version of the title track. The drums in this take are much punchier, and we thought that it would fit just perfectly as an introduction. We continue with the already classic "Down At The Hilton" that was featured on the single, but like us, we are sure you could happily listen to this track on repeat. Next up, "Jump In The Water" opens with a catchy delayed melody, which develops into another perfect jazz-funk piece with an extended guitar solo. Another remarkable song might be "In The Fast Lane". As the name suggests, an uptempo number, now with an electro-funk beat combined with speedy keyboard solos that almost sounds like a marimba. On side B, the album keeps the relaxed seaside vibes flowing. To round out the album, we are treated to two pieces that originated after the return home, with memories of the Spanish coast fading but still lingering, likely recorded between 1986 and 1988. Both are instrumental versions of songs to be used later for studio sessions with their new band member, singer Lisa Ohm (who you will hear on Ghia's next album!). On "Crystal Silence In Dub" we get a perfect downtempo groove, positively reminding us of the sound of the 1980s UK funk scene. The album ends with "Keep Your House In Disorder", here as an earlier, rougher, and funkier take than on the final vocal version, which could be found on the B-side of the "What's Your Voodoo" single.

We hope you love this album as much as we do! Nothing like this has yet been released out of Germany. We hardly can recall any privately produced, home recorded jazz-funk/fusion from the 1980s as free, creative, and uninhibited as Ghia's Curaçao Blue. The playful and creative approach, coupled with those nostalgic tones should make this LP an essential pick for any record collection, whether you are a DJ, a home listener, a music lover, or a modern jazz-funk/synth-funk aficionado.

The album is out now on The Outer Edge, the new label by record collector DJ Scientist, aka John Raincoatman. We also want to thank Frederic Stader for his awesome work mastering and sound restoration of the material on this LP.

Leipzig-based musician, engineer, and producer Friedrich Brückner has, despite his youthfulness, been a decisive figure in the Leipzig music scene for literal decades, being involved, in one way or another, in many, if not most notable releases coming out of the city. Having received a classical musical education, Brückner most recently figured as part of the German-American band White Wine, playing the bassoon and bass, but has also, as either musician, producer or sound designer, toured internationally with the likes of Yoko Ono, Get Well Soon, Modeselektor, or Dear Reader.

For a few years now, Brückner has been working on his solo debut, which now comes in the form of his remarkable »Polyism«, out on Altin Village & Mine. On it, Brückner puts his considerable musical chops to use, in the service of a rollercoaster of an album that truly eschews categorization, being, as its title suggests, a work of being multiform. While the sound takes wide ranging cues from jazz, new age, dub, electronics to post punk, Brückner’s compositions never feel accidental in the slightest. Instead they share a distinctive sense of dramaturgy, a pronounced attention to sonic texture, and a sense of purpose both within the individual pieces as well as in the context of the album as a whole. The result is an LP that is astonishingly coherent, considering the multitude of means it employs.

On »Polyism«, Brückner also enlists a veritable all-star cast of guest performances, ranging from his parents Isabell and Bernd Brückner, both professional musicians, on saxophone, clarinet, and flute, Martin Wenk (Calexico) on trumpet, to Hendrik Otremba (Messer) and Brückner’s four-year-old daughter Rosa both on vocals, to name but a few. Each lend their own notes to »Polyism«, a work of what it means to live, that is, to be many. Truly exceptional stuff!

Blue Vinyl

Leipzig-based musician, engineer, and producer Friedrich Brückner has, despite his youthfulness, been a decisive figure in the Leipzig music scene for literal decades, being involved, in one way or another, in many, if not most notable releases coming out of the city. Having received a classical musical education, Brückner most recently figured as part of the German-American band White Wine, playing the bassoon and bass, but has also, as either musician, producer or sound designer, toured internationally with the likes of Yoko Ono, Get Well Soon, Modeselektor, or Dear Reader.

For a few years now, Brückner has been working on his solo debut, which now comes in the form of his remarkable »Polyism«, out on Altin Village & Mine. On it, Brückner puts his considerable musical chops to use, in the service of a rollercoaster of an album that truly eschews categorization, being, as its title suggests, a work of being multiform. While the sound takes wide ranging cues from jazz, new age, dub, electronics to post punk, Brückner’s compositions never feel accidental in the slightest. Instead they share a distinctive sense of dramaturgy, a pronounced attention to sonic texture, and a sense of purpose both within the individual pieces as well as in the context of the album as a whole. The result is an LP that is astonishingly coherent, considering the multitude of means it employs.

On »Polyism«, Brückner also enlists a veritable all-star cast of guest performances, ranging from his parents Isabell and Bernd Brückner, both professional musicians, on saxophone, clarinet, and flute, Martin Wenk (Calexico) on trumpet, to Hendrik Otremba (Messer) and Brückner’s four-year-old daughter Rosa both on vocals, to name but a few. Each lend their own notes to »Polyism«, a work of what it means to live, that is, to be many. Truly exceptional stuff!