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Session Victim return to Jimpster's ' Delusions Of Grandeur' imprint with a third studio album. 'Listen To Your Heart' is the result of a year of cross-continental scripting, started in their Hamburg studio and wrapped up stateside in San Francisco's Room G Studios where the duo had worked on their 2014 LP 'See you When You Get There'.
Sampling still remains an ever present backbone throughout the album. Session Victim have dug deep for sounds, resulting in a richly detailed and organic sound collage that goes hand-in-hand with their live instrumentation, this time enhanced through several guest musician appearances, most notably Carsten "Erobique" Meyer (ex-International Pony). Smooth guitar samples are built up on 'Over and Over' while on 'Moons & Flowers' the live instrumentals that Session Victim do so well come to the fore.

The treasure trove of San Francisco's record shops proved to be a hard bait to resist and the pair spent a large part of their Californian time hunting for records to sample. Three new tracks emerged from these digging sessions, with the sweeping disco string arrangements on 'Shadows' standing out as a prime ode to days spent combing through bargain bins.

Listen To Your Heart is equally a product of the road. While heavy touring is often cited as a hindrance to the creativity of artists, Session Victim see their live shows as a catalyst to their creativity. Two US tours in 2016 gave the Hamburg duo the opportunity to take track sketches and fragments on the road to incorporate into their live shows and then digest them back in the studio. The playful funk soaked groove of 'Matching Half' captures the sense of movement present throughout Listen To Your Heart and the LP mix of 'Up To Rise', which caused heavy ripples when it dropped as part of 2016's Matching Half EP is an extension of the upbeat and euphoric groove that permeates the album.

'Light Years', released a few days before Kate's 50th birthday, is Rusby's 7th Christmas record and features vocals by Alison Krauss and Ron Block Her love of Christmas music and upbringing on a rich tradition of 'local carols' is no secret to her many fans.' Light Years', a lyric in one of the albums songs, is full of Rusby-fied versions of carols and well-known songs which depict in her own words, "Joyful memories of music, family, community, warmth and happiness - and a little wine!" The album follows in the footsteps sonically of her last two releases, 'Hand Me Down' 2020 and '30: Happy Returns' 2023. Experimental sounds, moogs, layered banjos, lush electric guitars, low subs, soaring acoustics, wonderful effects and of course, her own spellbinding vocals. There are songs old and new on this record. Many standout tracks include Rusby's self-penned 'Glorious', a song about a lost and broken angel and one which takes the listener on a thrilling journey through snow laden trees and a warm glow of the evening sun illuminating only half of the world. Her own version of 'Rockin Around the Christmas Tree & Sleigh Ride,' combined, make a simply wonderful version that will have you spilling your nutmeg all over the dancefloor! 'The Moon Shines Bright' features the gorgeous harmony vocals of Alison Krauss and Ron Block amongst a gorgeous soundscape of guitars and 'The Most Wonderful Time Of The Year' is a true example of how Rusby can take a classic and stunningly make it her own. No Rusby Christmas album would be complete without a little humour and 'Nothin For Christmas' and Chris Sugden's (aka Sid Kipper) parody 'Arrest These Merry Gentlemen' will not fail to make any 'bah humbugger' chuckle. Another superb release from Kate Rusby & Crew. John Lewis, look no further for your Christmas advert music...

A compilation of Hearn Gadbois' tracks, published here and there along the years (1983- 2020). Most of them are home recordings with very little or no diffusion, so this release tries to shed some light on these amazing compositions. A sound related to Hassell's 4th world, but developed in a very personal way (he even designs & makes some of his instruments) that feels different and goes far beyond. Using mostly acoustic instruments, Hearn combines a love of traditional trance/ecstatic rhythms with the sensibilities of an outsider artist, creating a music that is both archaic and post-modern. A really original and rare work, difficult to classify or explain... In Hearn's own words, included in the liner notes:
"The pieces compiled here tend to fall, with some overlap, into a few broad categories as near as I can tell: Mystery Psychedelic Crime Jazz (Tuba City, Flesh of the Spirit), Ayahuasca Hut Bachelor Pad Music (Night, Take the Waters, Wood), or Party Music that just fell from the sky or bubbled up through a crack in the earth (Flown Home, What the Goatherd Heard)"

As a percussionist, composer for dance and film, instrument designer/ builder, session musician and teacher, Gadbois worked with Meredith Monk, Sussan Deyhim, Gabrielle Roth, Yoko Ono, Patti Smith, Suzanne Vega, The Master Musicians of Jajouka, and Wim Wenders, to name but a few.

Moloko’s third album 'Things to Make and Do' marks a shift in the sound of the duo, with tracks more reliant on live musicians.

The first single “The Time Is Now” became Moloko’s biggest hit, peaking at number two in the UK. Roisin Murphy’s singing style, combining a variety of voices and textures, is as impressive as ever before. Mark Brydon’s musical palette is versatile and powerful, going from rock/dance to electro and hip-hop.

It is a great album from start to finish, including fan favourites “The Time Is Now”, “Pure Pleasure Seeker” and “Sing It Back (Boris Musical Mix)”. As masters of their own domain they created another excellent piece of music. 'Things to Make and Do' held the record as Echo’s (label) fastest-selling UK platinum record for six years.

Available as a limited edition of 3000 numbered copies on pink transparent coloured vinyl. The package includes a 4-page booklet.

In 2022 we journeyed to the center of the earth with Agartha, Lasha Chkhaidze's first album. This time we go the opposite direction, and fly towards the outer edge of the atmosphere.

Atmos, the latest offering of the young and talented Georgian artist, sees him explore the ether. Subtle and intricate layers are weaved together on the course of six tracks. This ambient album offers a completely different artistic direction compared to his previous work. Where melancholia and piano dominated Agartha, we are throughout Atmos taken into an otherworldly environment. The LP’s atmospheric undertone combined with its glitchier elements brings it into a lightly psychedelic dimension. With its really beautiful soundscapes and subdued intricate ideas, Atmos will undoubtedly please listeners of finely written ambient.

Lasha Chkhaidez is a gifted musician capable of crafting evocative music, The Intergalactic Institute for Sound is glad to present his deeply immersive experience to the public.

NOW Music is proud to present the second in our ongoing series of vinyl compilations, NOW That’s What I Call 80s Dancefloor. Each edition features an essential collection of tracks representing key genres from the incredible diversity that were all part of 1980’s Dance music.

This volume, featuring 29 tracks across 2-LPs, pressed on 1 Purple and 1 Pink vinyl, presents the best in DISCO and ELECTRO.

Following the height of its’ popularity in the late 1970s, Disco in the early 1980s retained the irresistible melodies and beat but became primarily synth driven. The era saw some of the genres’ biggest hits including this collections’ opener ‘Flashdance…What A Feeling’ from Irene Cara – this theme from the film ‘Flashdance’ was not only a massive selling single, but the song also won multiple awards including an Academy Award. Lipps Inc. produced a timeless hit with ‘Funkytown’, and Shalamar with ‘A Night To Remember’, Odyssey with ‘Use It Up And Wear It Out’ and Indeep’s ‘Last Night A DJ Saved My Life’ were all huge commercial Disco hits.

Disco royalty Nile Rodgers and Bernard Edwards of Chic feature here in their roles as producers and writers with Diana Ross’s massive hit ‘Upside Down’, ‘Why’ from Carly Simon, and the peerless ‘Spacer’ from Sheila & B. Devotion and in 1984 remixed Sister Sledge’s ‘Lost In Music’ which became a massive hit again and is included here in its full 12” version.



Amii Stewart’s classic version of ‘Knock On Wood’ was remixed and a hit again, Donna Summer enjoyed huge success with ‘She Works Hard For The Money’, and other established Disco superstars celebrated returns to the charts with an 80’s Disco sound including, and featured on this collection, KC & The Sunshine Band, Patrick Cowley feat. Sylvester and Evelyn “Champagne” King.



The prevalence of the synth in the 1980s gave rise to new and exciting sounds and to tracks that were created with fusions of genres. On this collection we are celebrating ‘ELECTRO’ – a sub-genre of Electronic Dance music that combined elements of Disco, Funk and Hip-Hop and featuring a heavy synth backing, and the commercial Electro-Pop hits it produced. In 1984, Chaka Khan who had achieved huge success with the Disco classic ‘I’m Every Woman’, had a worldwide smash with a cover of Prince’s ‘I Feel For You’ which combined Disco, Funk, R&B, Synth-Pop and Hip-Hop – to stunning effect. Also a hit in 1984, Jimmy Jam and Terry Lewis produced a classic fusion of Disco, R&B, Funk and Synth-Pop for the S.O.S Band with ‘Just Be Good To Me’ and also included here are hugely influential Electro-Pop gems from Freeez, Rockers Revenge feat. Donnie Calvin, Malcolm McLaren, Break Machine, and Rock Steady Crew.



In the latter half of the 80s, Disco and Electro-Pop continued to evolve and fill dance-floors. Taking influences from both genres, Expose and Company B enjoyed ‘freestyle’ hits and DJ, remixer and producer Jellybean had a string of hits including ‘Just A Mirage’, and Whitney Houston became a global superstar. One of her signature tracks ‘I Wanna Dance With Somebody (Who Loves Me)’ serves as a stellar example of how Dance music had evolved through the decade and remained as vital and uplifting as ever.

Gebrüder Teichmann & Wura Samba combine the energy of Wura Sambas yoruba drumming and chants with jacking raw analogue live electronic, live sampling and processing by Gebrüder Teichmann. Together they create an energetic trip full of playfullness, improvisation and direct comunication in order to dance.
The Nigerian percussionist and singer Wura Samba and Berlins electronic multitalents Gebrüder Teichmann met in Lagos, Nigeria through the TEN CITIES Project, where they were producing music together with Pinch, Rob Smith and Perera Elsewhere. After their debut on Soundway Records (V.A. - Ten Cities) and the "2 Cities / Berlin - Lagos" EP on NOLAND they have started performing as a trio right before the pandemic. Their new EP GUDUGUDU features two keytracks of their live sets: Iba Eledua by Wura Samba and an interpetation of Eniyan Bi Aparo by Tunji Oyelano.

Some Songs Of A Dumb World

'The light at sunset is mysteriously pinkish.'

After Trip Trap, TRIP's sub-label GALAXIID releases the debut album by the Species Of Fishes duo. The record, originally released by the Dutch experimental label Korm Plastics in 1994, has influenced two generations of post-Soviet musicians. 'Some Songs of a Dumb World' is like a quest that you can either take up or appreciate as a mosaic of different music styles.

Igor Kolyadny and Vitaly Stern initially worked separately but later shared ideas during home sessions to build their own psychedelic world. They used a large number of cassette samples, including the voices of physicists, paranormal researchers, astronomers, and wildlife TV show hosts, combining them with pulsating rhythms inspired by various electronic music genres. The result, as the duo
described it in an Inverted Audio interview), is 'a sort of alienated, extraterrestrial, studying view on the sound component of human activity.'

For the very first time, the tracks from the debut album by Species Of Fishes are now available on vinyl. The double LP reissue with the refreshed version of the original artwork includes the original tracks, mixed between 1993 and 1994, but re-edited and remastered by Igor Kolyadny in 2021. Two tracks were released on the lesser-known follow-up 'Songs of a Dumb World Part 2', while "Salmon Hunting/Kaluga-Mars" is being released for the first time.

Pejzaz (aka Bartosz Kruczyski) returns with two captivating new collage albums. Divided into two records LIST I (which was released end of September this year) & LIST II - which premieres end of movember - delves into the realm of 90s/Y2K Eastern European CD releases. Employing hundreds of samples, Pejzaz sculpts a mesmerizing and distinctive body of work.

LIST II guides the listener into the night, combining trip hop and dub influences, dusty samples, wailing blues guitars, and cold-wave synthesizers. Its haunting soundscapes provide an apt soundtrack for winter in Eastern Europe.

Notably, this marks Pejzaz first foray into a fully instrumental album. Although devoid of lyrics, the bittersweet blend of samples infuses the music with a profoundly Polish essence, further enhancing its distinctive allure.

In a recent interview, the California artist Jim Haynes was asked to name his top five noise albums. In quick fashion, he listed off Kill The King, Send, Desnos, Persona, and Carcinosi. Since then, he's equivocated on which albums to choose, but the artists behind such works remain as the adjacent signposts and landmarks to his own constructions of industrial noise. How those records connect to the output from Haynes is found in their unique combination of smoldering dynamism and psychological inquest. For over twenty five years, Haynes has been an autodidactic clinician into the processes of corrosion, decay, and rust, turning his attention away from visual practices and more to the metaphoric crucible of noise and sound. By now, it seems like a cliche that the pandemic changed everything; but since that viral encroachment, there is a noticeable shift in Haynes' work post 2020. It's more aggressive and yet more controlled: a rarification and telescoping of the research into decay for more potent noise and more potent metaphor.

The tools for Haynes' work remain limited: motors, electronics, shortwave radio, found objects, all applied with considerable pressure. Compositionally, Inauspicious is a very rough moire pattern from overlapping elliptical structures that can negate and obfuscate just as easily as they can compound and aggregate. The album surges and collapses upon the two twenty minute chunks of controlled noise that follow an internal logic that snakes from brooding power drones, spectral radio transmission, and an aktionist demolition cast upon metal, glass, and unfortunate wooden objects. Rupture and release. Purge and pulse.

The final instalment of the trilogy of albums by the Julian Nicholas Band is entitled 'Love' and is live recording from 1995 in Brighton which took inspiration from West African percussion, early Weather report and Miles Davis. This vinyl only release is limited to 100 copies only and comes with front cover artwork from UK artist Kavel Rafferty. All three sleeves combine together to make one unique piece of art.

Laolu makes his Crosstown Rebels debut with ‘Now I See’, combining with Off The Meds frontman Kamohelo Khoaripe across the two-track release. Having emerged via his versatile and dynamic DJ sets for the likes of Circoloco, with releases via labels such as Keinemusik, Innervisions and Anjunadeep, Swiss DJ/producer Laolu has stamped his mark while racking up support from Dixon and Black Coffee. Arriving in fine form, he closes out November with a classy label debut on Damian Lazarus’ renowned Crosstown Rebels as he serves up his latest two-track release ‘Now I See’ - a vibrant and personal release shaped and finalised after a decade following the birth of his daughter.

Spirited and resonant, combining soulful female vocals with organic percussion and sweeping melodies throughout, ‘Now I See’ is a warm and sonorous production set for heartfelt dancefloor moments, while ‘Monday To Sunday’ featuring the impactful vocals of Kamohelo takes a darker path as swirling bass patterns, menacing synths and warped tones merge around the commanding flute for a powerful late night cut.

ONE LEVEL is delighted to announce its latest release, the captivating 'Big Tal's Elements' EP by French DJ/Producer, ALEQS NOTAL.

Following the resounding success of One Level's debut release, the awe-inspiring Afro-futurism of Hagan's 'Forward Focus' EP - a production that ignited a dynamic and fruitful chapter for the London-based artist - the label has been meticulously crafting its return. One Level prides itself on championing quality over quantity, and this ethos is beautifully demonstrated in its second release...

Aleqs Notal, the former scratch champion and consistently evolving producer, joins the label family with a collection of four remarkable tracks. Despite his years of experience, Aleqs admits that he's still in the process of refining his own sound and with 'Big Tal's Elements’, a nickname affectionately bestowed by longtime friend and fellow artist Manaré, his four carefully curated house joints encapsulate a wealth of influences, all beautifully combining to create a modern and innovative soundtrack.

Following his early years of turntable virtuosity, and having embarked on a new creative chapter in the studio, it was 2014 and as a founding member of the innovative ClekClekBoom collective - a group of young French talents who spearheaded a groundbreaking movement that reshaped the Parisian electronic landscape - that saw Notal continue to cultivate his own sound, one rooted in the sounds of Detroit and Chicago. He became a respected DJ on the cities’ club circuit, and has gone on to to feature his music on esteemed labels including Phonogramme, Salon Recordings, Release Sustain and Patrice Scott's Sistrum Recordings.

The EP opens with 'Untwisted Delight', a homage to the timeless sound of the Motor City. A bass-driven DJ tool, pulsating with the resonance of the 808, evoking echoes of Pittman, and igniting a powerful dancefloor energy.

‘Save Ya’ is an ode to determination and self-preservation. A track with its roots deeply embedded in the dancefloor and featuring an archive sound-bank vocal alongside glorious hi-hats, it is a firm favourite of Notals. “I think its from my scratch background. I always work with the hi-hats. For me, when I hear the hats its as though I hear somebody singing." Fully road-tested at Fabric London, Save Ya is now set to rescue many a night.

'Come Get It' channels the spirit of early Chicago house. A fusion of spirited 606 and 808 drum patterns, coupled with the enchanting allure of resounding hi-hats, it offers a heartfelt homage to the revolutionary sounds that defined an era and continue to influence so much of today’s music.

Concluding the EP is 'Hymn Of Passion', a track inspired by Ron Trent's Future Vision imprint. Drawing on a diverse palette of Nigerian percussive elements and samples garnered from past projects, Aleqs weaves a sonic mosaic. Crafted in a single jam session, the track elegantly melds a rhythmic finesse with resonant congas, intertwining with the emotive Rhodes piano, to craft an unforgettable finale.

With a diverse array of influences seamlessly interwoven, Aleqs Notal’s ‘Big Tal's Elements’ EP is a journey through sound that fully captivates the listener.

This Rough Guide features both the guardians of this musical tradition as well as some of today's key innovators who continue to push the boundaries of the genre. * An album which unlocks the mysterious and intriguing rhythms behind Capoeira * Following on from the success of other Brazilian-themed albums in the Rough Guide LP range * Capoeira combines dance and combat to the distinctive sound of the berimbau and other traditional instruments * Includes tracks by the legendary Grupo Muzenza & Capoeira Nago * A remarkable living-tradition originally developed by enslaved Africans inBrazil at the beginning of the 16th century * A seamless collection of tracks which provides a unique insight into today's vibrant scene * Featuring trailblazing artists who have taken the musical genre into a whole new electronic dimension * The music of Capoeira continues to serve as a major inspiration for Brazilian artists to this day * Music is the driving force behind capoeira which makes it so distinctive and captivating * Half-dance, half-combat, capoeira has become synonymous with the beaches of Brazil.

Lab Music 4th record is a solo Ep by Slak with a massive Answer Code Request remix, exploring the world of ambient rooted break-techno with a drum and bass excursion in the remix.

On the A side we find the first two tracks, Reflexion a club oriented break-techno track, combining dark ethereal textures with driving beats and sharp synths. Before Midnight, an elegant yet powerful gem with tribal reminiscences, Roland drums and light pads.

On the B side we have New Horizon, delivering melodic ambient rooted pads and the usual 909 broken beats. Furthermore we have a special drum and bass rooted remix of the same track from Answer Code Request, exploring Idm and d’n’b, combing dreamy moments with strong breakdowns.

Copenhagen punk rock/power pop band BIG MESS is a pile of hooks and energy. Taking their cues from the timeless masters of melody, loud guitars and high BPMs, their music packs an infectious punch. CLEANING UP WITH is the band's fourth full length and its first collaboration with UK-based label Specialist Subject. The album shows Big Mess at their most accomplished yet, and shows total dedication to reaching the ultimate in hit making. Imagine a singles compilation by your favourite band and you get the idea. Songwriting is key for Big Mess - as much Brill Building sparkle as hardcore punk economy, with no room for duds. Lyrically, the songs are heartfelt and occasionally stupid, with the dangers and difficulties of existence and the joys of rocking holding equal importance. Having been a band for nearly a decade, Big Mess’ playing is instinctive, effortless and relentless topped with vocals that combine a hooky sense of melody and rhythm with the right amount of desperation. This time the band adds a refreshingly shameless amount of backing vocals and harmonies that only add to the effective singalong quality Pink vinyl limited to 500 copies “BIG MESS is actually one big, relentless, overwhelming wall of hooks…non-stop, uptempo power pop/pop-punk with contagious riffs and choruses with their own choruses. This group is due a place on the shelf next to pop-punk’s catchiest tunesmiths, like JAY REATARD, the SPITS, MARKED MEN, SCREECHING WEASEL, etc. etc. Great!” - Maximum Rocknroll

Gatefold sleeve / Black vinyl / Limited to 500 copies - Brand new solo release from YES guitar maestro, Steve Howe – Steve explains the concept of the Motif series of releases - The MOTIF idea pulls together my solo guitar writing and performances combining new tunes and refreshed and revisited studio performances of other tunes. My solo guitar tunes combine country picking with classical guitar pieces that have broader influences, jazz, rock, flamenco and folk, they've all been absorbed in my approach to writing and playing. It's 15 years since Volume 1 was released so it's delightful to announce the release of MOTIF Volume Two. Again I present some new tunes and further explore pulling the selection together to present a clear focus on all things 'solo guitar'. I record these myself onto a hard drive and then work on selecting takes and giving the sound some due consideration. Assembling the running order and then the final mastering means it's on to the sleeve information and design. Soon it's a 'wrap' and you're holding it in your hand!

Eight years following their debut LP “Charnel Passages” (one of the most anticipated death metal debuts of current death metal cannon), US-via-UK abyssic death metal contingent CRUCIAMENTUM have finally emerged with their sophomore masterwork “Obsidian Refractions” set for release on Nov 24.

Now more commanding than ever with a formidable new lineup, “Obsidian Refractions” sees CRUCIAMENTUM deliver their most advanced and overpowering work yet. Taking everything in the band’s death metal paradigm to the next sonic measure beyond anything they have previously released, “Obsidian Refractions” combines the very essence and aesthetic of ancient cult death metal while encapsulating the dynamic, complex, next-level affectations relevant in today’s death metal landscape. The result being “Obsidian Refractions” as a towering death metal monument unparalleled.

This release is also a reflection of my musical past combined with lots of field recordings made in the last two years. But for this release I wanted to have a combination of deeper, more abstract dancefloor minded compositions and experimental rhythmic noise. A journey for that open minded people. Trying to blend a mixture of tribe, goa, techno but also rhythmic noise, ambient and drone.

The title name is based on this cycle of reincarnation, but getting back to earth again and starting a new life. So there is not a new entry into the next realm or dimension, hence the name "Kept in Reality". Also your soul wants to go at some point, somewhere it seems your are not ready or not allowed

TERMS is responsible for signing Just Waxx's first release, 3 tracks ranging from electro techno, acid house and deep techno accompanied by a remix of the Berlin-based duo Omega Men.

On side A we find ‘Collateral Damage’, a direct cut with sweeping bass and 909 rhythms: pure energy for demanding clubs. ‘Always with Cream’ is slower and calmer, transporting us to a warm passage with chords and melodies typical of the Balearic sound.

Opening side B, Omega Men remixes 'Always With cream’ giving it a more gelid touch. In it, toms and snares merge with acid sequences, creating a sense of speed and claustrophobia. On ‘Cosmic Energy’, the track that closes the album we find basses and syntheses combined with vocals and a main pad, bringing colours and textures close to the classic Detroit sound.

Oceanvs Orientalis teams up with Italian artist Tooker and joins the Crosstown Rebels roster with ‘II Lupo’, including a remix from Acid Pauli.

Hailing from Istanbul, Safak Oz Kutle, also known as Oceanvs Orientalis, is a true maestro at crafting hypnotic, evolving sounds while blending a diverse mix of Turkish, Kurdish, Arabic and Armenian influences. Unfolding after a busy year of performances at venues across the globe, including a notable appearance at Crosstown Rebels’ Rebel Rave at Club Space Miami, he now combines his signature downtempo sound with the talents of Italian native Tooker, a partnership two years in the making. With their joint creation teased across their sets, both artists now unveil their first collaboration on the label with the soul-stirring, ‘II Lupo’ including a remix from Damian Lazarus’ longstanding friend Acid Pauli.

‘II Lupo’ weaves a haunting atmosphere through ethereal synth-lines, echoing wolf howls and low rumbling drum hits, transporting you to a realm of intrigue and allure. Infusing his unique touch, Acid Pauli adds an extra layer of sonic flare to the release by layering cosmic stabs and shimmering chimes, enriching the melodic experience.

Following on from recent works for 12k, The Trilogy Tapes, and Important, Far More Decentralized is a new collection of subtle, enchanting pieces from Tokyo-based sound and visual artist Akhira Sano. Working with electronic, instrumental, and concrete sounds, he crafts immersive assemblages of long overlapping tones and blurred resonance, cut through with textural crunch and hiss. The resonant bell-like tones of opener ‘Kouai’ invite the listener in, calling up the warm sound palette of ambient classics like Hiroshi Yoshimura’s Music for Nine Postcards, but leaving any sense of compositional anchor behind for a free-floating harmonic drift. Woven through this seductive tonal cloud is a wavering stream of white noise and tactile pops, its textural grit threatening to derail the calmly reflective pool of pitched sounds, but never quite doing so. Each of these seven pieces occupies a similarly ruminative harmonic space while possessing its own identity. On ‘Neow’, lush tonal swells form around fragmented samples, touching on the techniques of early 2000s glitch artists like Ekkehard Ehlers. ‘Orbv’ is particularly subtle in its combination of rippling back-masked tonal wash, almost subliminal suggestions of field recordings, and distant traces of raw electronic interference, as if a Toshimaru Nakamura recording is playing through an open window across the road. ‘Margin’ weaves together a skein of wistful slow-motion melodies while untraceable, resonant clinks and ambiguous static washes rise gradually to the surface. In comparison to his recent Phase Contrast for Recollection on 12k, recognisable instrumental sounds are a rarity here, yet a hand-played feeling is present throughout. On ‘Teens’, filtered electric guitar tones reminiscent of the melancholic miniatures of Andrew Chalk float over aqueous burbles, bringing the album to a magisterial close. In the crowded field of contemporary electronic music tending toward ambience, Sano is a distinctive voice. Like his elegant abstract paintings, here seemingly static surfaces of unhurried calm reveal rich interior worlds of subtle activity and gentle chaos. Where much contemporary ambient music aims for an almost stifling cleanliness of tone, Sano breathes life into Far More Decentralized through the acceptance of imperfection, accident, and rough edges. As the artist himself says, ‘In a world where everything can be made perfectly, I think it’s a beautiful and primal act to touch the fragile and imperfect’

The Roger Webb Sound's Moonshade is one of the coolest records ever. Originally appearing via the legendary De Wolfe library in 1971, it's a sumptuous jazz-soul-funk instrumental set. Full of melodic, melancholic yet sun-drenched songs, rich with colour and contrast, it was composed by self-taught jazz pianist Roger Webb and features vocal performances by Barbara Moore. That's right; *the* powerhouse library music duo! It makes Moonshade the perfect precursor and accompaniment to Barbara Moore's eternal classic Vocal Shades And Tones. It will come as no surprise that original copies, if you can ever find them, will set you back north of 200 notes.

Moonshade is a phenomenal showcase of Brit maestro Webb's own roots in jazz. Those roots are served up here with a plethora of fast-stepping rhythms that truly give flight to the vocals of Barbara Moore, as they soar in wonderful ways. Moore sings wordlessly throughout, allowing her voice to act like another instrument in concert with the horns and keyboards elevating the fine arrangements. This is a deeply beautiful record.

The album opens with the ornate Baroque pop splendour of the sun-dappled melancholia of "Sunshine". Strings, piano and wordless female vocals combine to create this brief beauty of unimaginable grace. The cool "Gentle Eyes" features haunting and beautiful vocals, smooth jazz piano and horns and a general easy vibe without being easy listening, if you know what we mean. You do. Just listen. The pounding "Heavy Lace" is one for the beat-heads, funky open drums (!) with muted organ, bassy piano chords and ace horns. Sampled by Quakers for their great debut album on Stones Throw. The nostalgic "Yesterday" is wistful and beautifully melodic instrumental soul music with gorgeous acoustic guitar and flutes. It's followed by the light, lilting "Petal Soft" which features more Baroque styles, overflowing with flutes and harps. The bright, bouncing "Coaster" is an easy-going piano-led, guitar-driven swinger whilst "Grey Sigh" is another classic. A real highlight, with more fantastic propulsive drums and percussion and plaintive wordless vocals courtesy of Barbara. Speaking of which, the soft, sweet Rhodes jazz of the lilting "Sweet Thing" is another staggering showcase of the brilliance of Barbara. Just astounding.

Head straight past the honky-tonk-by-numbers piano jaunt "Cough Drop" and luxuriate in the soft, delicate beauty of the album's melodic, cyclical title track, "Moon Shade". Fragile flutes and acoustic guitar float across judicious bass notes before giving way to slightly ominous piano and, again, those beguiling wordless vocals. And then round again to the flute refrain of the intro. This time with the vocals to see us out. Majestic drama jazz at its finest. The cello-and-flute adorned "Sapphire" is a fluid orchestral beauty whilst "Interweave" rides with more urgency in its string and bass stabs. When the warm keys enter, it's a bonafide mellifluous wonder. The softer "Musette" begins in beautifully gentle fashion before pivoting for a driving yet elegant piano middle section. It reverts back to the mellow intro, for its outro. Understood? The melodic organ and prominent rhythm section running through "Reminiscence" makes for a delightfully understated folk-funk instrumental whilst the cool, rolling piano feels of "7.30 For 8.00" seem to perfectly suit the phrase "dinner jazz". It's no bad thing, c'mon. This classy, memorable set is rounded out by the half-minute mince of the Barbara-blessed "Sparky". It's just over too soon!

The audio for Moonshade has been brilliantly remastered by Be With regular Simon Francis, ensuring this release sounds better than ever. Cicely Balston's expert skills have made sure nothing is lost in the cut whilst the records have been pressed to the highest possible standard at Record Industry in Holland. The original, iconic sleeve has been restored here at Be With HQ as the finishing touch to this long overdue re-issue.

Dear gourmets of audio-aesthetic rapture, dear sound poets, please welcome - Pop Ambient 2024. Twenty-four. Twenty-four can be divided by two, four, six, eight, twelve and itself. If something can be divided by itself, it is not really divisible. Truthfulness knows no formulas. Beauty knows no formulas. Beauty saves the world for no reason whatsoever. “Beauty is a promise that beyond mediocrity there is something where calmness reigns. Beauty calms the nerves. Beauty is not a good intention but a fact. Beauty is provocation, rigor, responsibility. And beauty has its price”.

In addition to the official version of Pop Ambient 2024, there will be an art/music edition limited to 10 pieces, consisting of an exclusive mini bonus album (vinyl dubplate) from Blank Gloss, in combination with 10 individual fine art print artworks by Veronika Unland. The edition will be available via kompakt.fm/art exclusively on November 24th, 2023.

Ladies and Gentlemen please welcome, Pop Ambient 2024
Liebe Gourmets audio-ästhetischer Verzückung, liebe Klang-Poeten, please welcome - Pop Ambient 2024. Vierundzwanzig. Vierundzwanzig lässt sich durch zwei, vier, sechs, acht, zwölf und sich selbst teilen. Wenn sich etwas durch sich selbst teilen lässt, ist es nicht wirklich teilbar. Wahrhaftigkeit kennt keine Formeln. Schönheit kennt keine Formeln. Schönheit rettet die Welt ohne jeden Grund. „Schönheit ist ein Versprechen, dass es jenseits der Mittelmäßigkeit etwas gibt, wo Ruhe herrscht. Schönheit besänftigt die Nerven. Schönheit ist keine gute Absicht, aber eine Tatsache. Schönheit ist Provokation, Strenge, Verantwortung. Und Schönheit hat ihren Preis“.

Neben der offiziellen Ausgabe von Pop Ambient 2024, wird es eine auf 10 Stück limitierte Kunst/Musik Edition geben, bestehend aus einem exklusiven Bonus Mini-Album (Vinyl Dubplate) von Blank Gloss, in Kombination mit 10 individuellen Fine-Art-Print Artworks von Veronika Unland. Die Edition wird am 24.11.2023 exklusiv über kompakt.fm/art erhältlich sein.

Ladies and Gentlemen please welcome, Pop Ambient 2024

Step into the captivating world of Melody Fields as they release their transformative albums, "1901" and "1991." With a marbled musical background, these albums are crafted with the precision of a brushstroke by the likes of Pablo Picasso or Gustav Klimt. Each track is carefully composed, drawing inspiration from manic behavior, fixated obsessions, and the pursuit of something greater. Melody Fields explores themes of spirituality, faith, trust, and conviction in various forms, often leading to addiction or madness. During the pandemic, Melody Fields accumulated hours of material, embracing the freedom to experiment with drum machines and synthesizers in one session, and exploring oriental instruments in another. The result is a sonic tapestry that defies conventions and pushes boundaries. The primary album, "1901," can be described as a rock album with psychedelic influences. It features repetitive guitar riffs, distorted soundscapes, and mesmerizing three-part harmony vocals. As they traverse these musical landscapes, Melody Fields is joined by guest musicians from esteemed bands such as Goat and Holy Wave, adding an extra layer of sonic brilliance. The album culminates with the captivating track "Mayday," a haunting composition written by the legendary Klaus Dinger from Neu! In contrast, "1991" is a concept album that evolved from late-night jam sessions, experimental sounds, and danceable music. It presents four remixes, including contributions from Goat and Al Lover, breathing new life into the original composition “Jesus” from “1901”. Notably, "1991" includes the thought-provoking composition "Diary of a Young Man," written by Daniel Treacy from Television Personalities, which invites introspection and reflection. Melody Fields' "1901-1991" presents a sonic journey through time, combining elements of rock, psychedelia, and experimentalism. These albums showcase the band's dedication to musical craftsmanship and their willingness to embrace diverse influences. Prepare to be immersed in their sonic universe, where boundaries are shattered, and creativity knows no limits.

Step into the captivating world of Melody Fields as they release their transformative albums, "1901" and "1991." With a marbled musical background, these albums are crafted with the precision of a brushstroke by the likes of Pablo Picasso or Gustav Klimt. Each track is carefully composed, drawing inspiration from manic behavior, fixated obsessions, and the pursuit of something greater. Melody Fields explores themes of spirituality, faith, trust, and conviction in various forms, often leading to addiction or madness. During the pandemic, Melody Fields accumulated hours of material, embracing the freedom to experiment with drum machines and synthesizers in one session, and exploring oriental instruments in another. The result is a sonic tapestry that defies conventions and pushes boundaries. The primary album, "1901," can be described as a rock album with psychedelic influences. It features repetitive guitar riffs, distorted soundscapes, and mesmerizing three-part harmony vocals. As they traverse these musical landscapes, Melody Fields is joined by guest musicians from esteemed bands such as Goat and Holy Wave, adding an extra layer of sonic brilliance. The album culminates with the captivating track "Mayday," a haunting composition written by the legendary Klaus Dinger from Neu! In contrast, "1991" is a concept album that evolved from late-night jam sessions, experimental sounds, and danceable music. It presents four remixes, including contributions from Goat and Al Lover, breathing new life into the original composition “Jesus” from “1901”. Notably, "1991" includes the thought-provoking composition "Diary of a Young Man," written by Daniel Treacy from Television Personalities, which invites introspection and reflection. Melody Fields' "1901-1991" presents a sonic journey through time, combining elements of rock, psychedelia, and experimentalism. These albums showcase the band's dedication to musical craftsmanship and their willingness to embrace diverse influences. Prepare to be immersed in their sonic universe, where boundaries are shattered, and creativity knows no limits.

In the year 2000, I had gone to the Toad in the Hole basement pub to ask the some members of a local band called the Pets if they could help me record some of my music, in the same way they had recorded their album “Love and War”. In regards to my passion for recording, Love and War remains one of my biggest inspirations of all time. There’s hardly a style of music they don’t try to explore. To my surprise, they had recently lost a member and planned to ask me to start a new band, which we named the Waking Eyes. We spent the next 14 months or so building a sonic landscape in Matt’s parent’s basement in Steinbach, Manitoba. In proper daydream and full-fantasy mode, we prepared for a future vinyl pressing by making the album have seamless song transitions, except for between songs 6 and 7 (or side A and side B). I really never thought this day would come, but I can honestly say it’s a bit of youthful dream come true, and is incredibly rewarding. While I’ve had lots of music pressed to vinyl, never has such a formative part of my songwriting life been etched into that big beautiful disc. - Rusty Robot, The Waking Eyes

»Arches« is the first collaborative album by brothers Simon and Tobias Lanz. It was written for and performed on self-built prototypes of wind instruments that were inspired by the classic pipe organ, but allowed the two composer-performers to go beyond its limitations in several ways. The music on this 40-minute long album for the Swiss Hallow Ground label was conceived and recorded by the two co-founders of the CRTTR collective and label during an artist residency in May 2022 in their home town of Bern. More than a mere document of a performance however, »Arches« combines the artists’ interest in exploring uncharted new creative and tonal ground inside of and beyond the realm of drone music with their background in visual art and design as a conceptually concise whole.

Simon and Tobias have a combined background in electronic music as well as a shared penchant for drone music. They hence designed these novel instruments in a way that allows for microtonal tuning to be able to overcome the restrictions inherent to the dominance of a twelve tone-based scale in Western music and work with a sonic palette that is much wider and nuanced than that of the conventional pipe organ. Furthermore, the physical design of these instruments widely differs from that of those which inspired them. This allows—or more precisely, forces—the musicians to freely invent and explore entirely novel playing techniques.

These factors, of course, also have an impact on the compositional process, which by design needs to be unconventional. The Lanz brothers worked with a graphic score for the four movements of the piece that forms »Arches« so as to adequately visualise the manifold tonal nuances of their instruments. This graphic score in turn was reinterpreted for the album release by Ramon Keiming, adding another dimension to it. Read from left to right, this remix of the score allows the listeners to follow an interpretation of the evolution of these dronescapes while the record plays, urging them to add their own interpretation.

This retroactive visualisation and thus spatialisation of the music is perfectly in line with its performance, which at all times factored in the acoustic affordances of the Prozess Bar in Bern. In many different ways, the Lanz brothers now invite their audience to join them there and explore the near-infinite possibilities of their curious instruments together with them. Much like Hallow Ground label mates such as Kali Malone or FUJI||||||||||TA, they are dedicated to enriching and expanding upon the musical and sonic qualities of pipe organs, but with widely different aesthetical results. To call »Arches« a unique record with an unheard-of sound is not hyperbole, but only factually correct.

For this special release he provides 8 cuts of advanced techno, from mental and hypnotic to broken and industrial or simply arpeggiated and beatless.

WHEN THE UNCANNY ARISES starts with No Gender Role an elastic mental exercise with metallic and processed components flying over a solid kick and white noise percussive elements add some hypnotic pads and you have a powerful mind and body tool.

Blue follows in a similar approach, clean drum programming, bleepy synth lines and a progressive arrangement constantly evolving and changing Flipping the vinyl, it’s time for the broken rhythms of Feel and understand combining distorted kicks with gummy sequences again administered in a quite wise structure.

Klonger closes the B side with obsessive metallic hits repeating until madness, a powerful industrial beat for the experienced dj’s out there.

The second vinyl slice begins with Negative One, returning to the martial beat combining a precise drum workout with floaty and liquid components, followed by Anonimo coercitivo exploring the deepest side of techno using textures and drones to spice the relentless beat.

Zero opens the C side, providing a solid distorted groove with metallic details and sci fi interstellar bell like sequences, proper futuristic vibes here.

Saying goodbye, the beatless Nothing To fear, an arpeggiated synth solo reminiscent of the old Berlin School of electronics from the seventies.

A touchable proof of his craftsmanship in the studio by one of the key figures in the European techno scene.

Behind the alias GO.SOUL.MAP. hides Salvo 'Dub', one of the most authentic and purest talents with a marked sensitivity,
not only artistic, of the current music scene in Catania, of which, under other guises and names, he has been an indispensable pillar for over a decade.

The debut album of this project is anticipated by two preview tracks that will be released not only digitally, but also in physical format on 7" / 45 rpm.

The launch single is 'Pushing', an explosive track in a Nu-disco key, modern but firmly rooted in the past, with a production that enhances the sound of the keyboards; full of 70s/80s Funk and Soul, it also has a Disco-Pop vein that makes it perfect for radio. The track is excellently performed by Derane Obika of Living Sounds. A Londoner of Nigerian origin, as well as an exceptional singer, Derane is also the author of the song's melodic lines and lyrics, which can be interpreted as a dialogue between an imaginary interlocutor and his spiritual guide journeying through the maze of life.

The 'Pushing' 45 will feature as a B-side an exclusive instrumental version (the one sung by Reiwa Pia will be included on the full-length) of 'Back In The Underwater', a track that combines a Hip-Pop groove with cinematic atmospheres.

GO.SOUL.MAP.'s debut album is titled 'Peaceful Sound for Broken Minds' and is scheduled for release February 28th 2024, a little gem in which pop and soul intersect and the clichés between mainstream and underground leap. A SpaceNu-Disco, Soul and R&B journey in which Derane Obika's fundamental contribution to the lyrics and melodies of no less than nine tracks out of twelve stands out! - This is a greatly anticipated album made for the ears of music lovers performed and produced by musicians with same love for the art of music.
Dont miss it!!!!!!

Favorite Recordings comes back with the 2nd edition of its compilation series: Fusion Global Sounds. 8 rare and hidden tracks produced between 1976 and 1984 in various parts of the world. As a fine collector of Jazz-Funk and Fusion for many years, Charles Maurice cooked another fine selection of forgotten Fusion Jazz productions, this time driven by a common Brazilian influence.

On this 2nd edition, recordings come from Brazil, Philippines, Netherlands, Poland, and US, all again from underrated artists mostly unknown from the masses. You'll find here the best elements of the Fusion genre: fine vocal arrangements, catchy Fender Rhodes and synthesizers, irresistible basslines, and classy horns section, altogether bringing a unique groove infused with Brazilian flavors.

The compilation starts with Lerma dela Cruz, a quite occult songstress from Philippines. “Free” was part of a very rare compilation titled “Tropical Jazz Fusion”, released in 1983 on A&W Horizon label (also home of Boy Katindig). With its blowing Samba / Jazz-Funk vibes, it was an obvious match to open this collection. The following song could only enhance this ambience, since that of Brazilian saxophonist, Nivaldo Ornelas, present on this opus with 2 titles taken from his album A Tarde (1983). On “Cactus”, Nivaldo is supported on keyboards by his friend Marcos Resende, both also known for their album on the MPBC series released by Phonogram-Polygram between 1978 and 1981, which has clearly been an inspiration for Charles Maurice in building this second edition.

We could continue telling stories and details about the others great tracks included in Fusion Global Sounds Vol.2, but we believe that the best way is to listen to it and pursue your trip through Fusion Jazz combined with Brazilian styles, including surprising stopover in Poland, or Netherlands.

We are delighted to announce the release of TRIGGER ZONE, Ohio's cult power thrash band! Many will certainly be familiar with the band ("Heavy Artillery" cassette compilation, anyone?), others maybe not so much ..

Anyway, one thing we can guarantee: fans of bands like MELIAH RAGE, HERETIC and LAAZ ROCKIT will love this release that we have prepared. Power thrash cannot be delivered in a better way! Fast and masterful riffs, combined with overpowering choruses...

The urge to bang your head and raise your fist will be inevitable! It is with great honor that we bring this limited edition on CD. Includes 9 songs remastered from the original reel tapes, together with a 16- page booklet with band biography and rare band photos.

Saxophonist Alex Hitchcock continues his mission to seek out new sounds and textures at the forefront of contemporary jazz, and to act as a catalyst to bring together some of the finest musical talents drawn to the fervid internationalism of the contemporary London scene His response to the current challenging climate for artistic endeavour is to go big and go bold: Dream Band: Live in London is a truly groundbreaking project presenting three different 'dream bands' of his favourite musicians, captured live over three nights at London's legendary Vortex club performing music specially composed for each ensemble. The extraordinary line- ups he assembled are testament to the respect he has earned among his peers as a composer, player and bandleader with a uniquely inspiring vision. The band for the first night features the frontline of Mark Kavuma's trumpet and Liselotte Ostblom's vocals blending together over the trio of Rob Luft, Rio Kai, and Jamie Murray: the second features James Copus on trumpet with longtime musical partners Kit Downes on piano and Lewis Wright on vibes, and Conor Chaplin and Marc Michel supplying bass and drums, and the third sets Downes' piano alongside the guitar of Ant Law and Alexandra Ridout's trumpet, with the international all-star rhythm section team of Orlando le Fleming and James Maddren. Part of the album's delight lies in the unexpected combinations of these acclaimed players, and the new levels of creativity that they bring forth; the constant presence of Hitchcock's unmistakeable voice on tenor sax and the strength and consistency of his writing gives the project a compelling unity. Each of the three bands brings their own unique blend of voices to Hitchcock's compositions, taking them in directions unforeseen even by their composer.

In this climate of social change, one of the greatest Canadian purveyors of offence, the Dayglo Abortions, release their new album, "Hate Speech" Even after more than 40 years, Murray "The Cretin" Acton and company don't seem to have lost a step; they're still angry AND funny, a rare and wonderful combination. While Dayglo Abortions are definitely punk in attitude and delivery, Hate Speech has enough killer riffs to appease the most militant metalhead. Here you will find some of DGA's best work, well after most of their peers have called it a day. This is what punk is supposed to sound like! It's been said that the best punk bands comfort the afflicted, and afflict the comfortable. Dayglo Abortions Hate Speech certainly fits that bill.

‘A Concrete Pasture’ by Coen Oscar Polack is the follow-up to ‘Haarlemmerhout’ (2020), an album named after a park close to his home in Haarlem in the Netherlands. ‘A Concrete Pasture’ brings Polack’s interest in exploring the larger world around him back into his music. Polack is a magician in combining field recordings from all over the world, be it a temple in Bangkok, the Dutch Wadden Islands or a the percussive Gamelan instruments, and electronic processing of these recordings. With all these ingredients he creates a vivid, nostalgic, futuristic but familiar world of sounds and emotions.

At first, the colors of the recordings seem scattered, the sounds unrelated, but there is a deeper train of thought running through the music. It is the persistent impression of a travelogue; of places, family and friends, helping Polack in co-creating his music. In ‘Cuore Nero’, nostalgic powerchords are composed into tapestries of ambient-noise, ‘Unseen Shores’ uses a recomposed recording of Polack’s children on the Dutch island of Schiermonnikoog and develops into visceral, almost spiritual music, and a field recording of Wat Po in Bangkok in ‘Phra Buddhasaiyas’ becomes a luminous homage that the incorporated guitar sound burns into your skull.

While listening, it becomes evident that Polack is being reflective in auditive images and memory, giving a meaning to a music that is liberated of its formalities and charged with a poignant imagery by transformation, one that is bright and lucid and respects the process from recording until ornamentation.

The longest piece of the album ‘Kraaiennest’, starts with the recording of a Hong Kong traffic light, later to be cut up and transformed into a technoid Musique Concrète piece, with a slow progression into a warm crescendo-decrescendo themed electroacoustic piece, which takes on a life on its own. The finale is Polack on this tenor saxophone putting a stamp on the completion of his work, a performance reminiscing of the raw expressiveness of Albert Ayler.

‘A Concrete Pasture’ points to a landscape, or to a person’s current situation in life. Coen Oscar Polack did himself justice by writing an elegant, vibrant album, a tribute to his reflection of reality, his aesthetics, and with raw authenticity and skill, leaving a great space for the audience’s imagination.

Experience the captivating soundscape from one of 2023’s biggest blockbusters on the Spider-Man: Across the Spider-Verse (Original Score) vinyl. The sequel to 2019’s Oscar-award winning Spider-Man: Into the Spider-Verse broke the global box-office on release, and the critically acclaimed, viral hit-making score is now available on vinyl and CD for the first time.



Academy Award, Golden Globe and BAFTA-nominated composer Daniel Pemberton returns to expand upon the Spider-Verse’s iconic, multi-versal soundscape with a genre-defying score that seamlessly combines a 100-piece orchestra with DJ scratching, operatic vocals, techno beats, punk rock, acid-house-inspired Indian percussion, soaring synth solos, and even…a prominently sampled goose. From the Gwen Stacy’s fan favorite motif to Spider-Man 2099’s internet-breaking theme music, the film and its intricately-woven score is sure to transport you into some wildly unexpected parallel dimensions.



This double vinyl release comes pressed on two white and dark purple marbled LPs, featuring highlights from the score hand-selected by Daniel Pemberton. The package includes a stunning soft-touch gatefold jacket with spot gloss, a double-sided collectable poster and two printed sleeves with custom art – plus, an 8-page art booklet featuring liner notes from Daniel Pemberton and art from the film.

Music compilation and art book. We open the GLITZERBOX again and look into a glittering kaleidoscope of music and illustration. Crossing genres, in handmade editions and with great attention to detail, Jimmy Draht fuses artistic ideas into a new whole.

The vinyl contains beautiful folk songs, experimental collages, field recordings and lo-fi pop. All tracks are exclusive or have never been released on vinyl before.

Featuring music by: Maxine Funke, Tenniscoats, Mouth Harp Ensemble, How to count planets, A Happy Return, Benoit Pioulard, New North Wales, Dump, My Two Toms, Oro Swimming Hour, Matthew de Gennaro, The Gentlist, Andersens, Jam Money, Michael Tanner.

The artists, whether they paint, draw, scribble or cut, whether analogue or digital, whether they are graphic artists, illustrators or visual artists: they combine image and sound, discover connections and show that music can create images and vice versa.

Art by Petra Péterffy, Laurent Impeduglia, Nadine Spengler, Michael Dumontier, Tomoko Mori and Nicholas Stevenson.

A limited and numbered edition of 300, with hand-printed 3 color silkscreen book. Compiled by Markus Acher (The Notwist) and Jimmy Draht.

Since the late 90s JIMMY DRAHT publishes elaborately designed music-graphic-comic-text hybrids, most of them handmade and screenprinted. Initiated by Marion Epp, often in cooperation with a music label, artists from various genres are invited to participate. Each release is accompanied by exhibitions and music events.

Bands such as Calexico, The Notwist, Lali Puna, Neoangin, Pram, Otomo Yoshihide, A Million Mercies, Ted Milton, MS John Soda, Schwermut Forrest, Tied & Tickled Trio have participated (to name a few).
In terms of design we were lucky to showcase the works of ATAK, Anna Sommer, Knust, CX Huth, Katz & Goldt, Judith Zaugg, Thomas Ott, Jochen Gerner, Martin tom Dieck, Jim Avignon, Le Denier Cri, Elvisstudio and many more.

ALIEN TRANSISTOR was founded in 2003 by Markus & Micha Acher of The Notwist. The concept of the label is to produce music that has a musical or personal reference to the Notwist microcosm: From electronic soundscapes to abstract hip-hop to laptop-treated contemporary, from processed oriental music to Nick Drake-inspired songwriting. Alien Transistor respects no musical boundaries.

Taipan Tiger Girls’ third and final LP is a hypnotic, cosmic freakout that combines analogue electronics, drums, guitar and the mammoth drones of the Melbourne Town Hall Grand Organ. Recorded live at Melbourne Music Week in 2017 in front of an ecstatic sold out hometown crowd, this record marks the zenith of the short but incendiary career of an extraordinary band. An instrumental outfit with a relentless drive to experiment, Taipan Tiger Girls are composer, producer and all-round electric statesman Ollie Olsen (WhirlyWirld / Max Q / NO / Third-Eye / Psy-Harmonics), experimental drummer and synth obsessive Mat Watson (Boredoms BoaDrum / E.S.G / ULMD / Other Places), and feedback guitar droner and organist Lisa MacKinney (Mystic Eyes / Hospital Pass / Super-Luminum). On Live At the Melbourne Town Hall they are joined by very special guest guitarist Bonnie Mercer (Grey Daturas/Hospital Pass/Breathing Shrine) with MacKinney commanding the historic Melbourne Town Hall pipe organ. Live at the Melbourne Town Hall is a monument to the combined talents of a group of phenomenal musicians whose fusion created a magic elixir made all the more precious by its temporary nature. Showcasing the improvisatory prowess of the band at the peak of their powers and bolting off into the stratosphere in a thrilling surge of psychedelic expansion. GENRE: EXPERIMENTAL, DRONE, ELECTRONIC, ANALOGUE SYNTH, LIVE, PSYCHEDELIC, IMPROVISED Released in conjunction with Heavy Machinery Records

A Flor de Piel, the new album from singer-songwriter and composer Maria Monica Gutierrez (aka Montañera), is a meditative journey of self-discovery across oceans, time, and the traditional confines of genre. Originally from Bogota, Colombia, Gutierrez began the album as a way to explore her identity after a difficult move to London left her feeling untethered in a strange new place. The result is an examination of the immigrant's experience through a rich sonic lens of ambient pop textures, inspired by sources as disparate as Colombian traditional music, traditional Senegalese music, and whalesong from the depths of the Atlantic. The album begins with the title track "A Flor de Piel," Gutierrez's indelible vocals floating above a vast expanse before being joined by deep, silky bass and the plucks of a koto-like stringed instrument. "The song was inspired by traditional Japanese music," Gutierrez explains, "It's about making my heart a little lighter; I know that inside of me I can be as light as mist in heat, I can be fragile as the song of a sparrow." That sentiment perfectly encapsulates much of what makes A Flor de Piel so special. The album comes with a message of healing for all people, without forgetting the centuries of struggle and hurt that form the bedrock of modern society. The track "Santa Mar," for instance, is inspired by the musical traditions of afro-pacific women in Colombia, and the crucial role that they play as peacebuilders in the region. Backed by a hypnotic beat, the song features contributions from marimba player Cankita, alongside Las Cantadoras de Yerba Buena, an all-female vocal group that utilizes traditional Afro-Colombian music to preserve their history and promote peace. Standout track "Como Una Rama" is a futuristic take on bullerengue, a traditional style of music and dance originally developed by Maroon communities on Colombia's Caribbean coast. Deeply affecting, the song combines Gutierrez's indomitable voice with electronics that recall Steve Reich's rhythmic minimalism. "Cruzar," the final track on the album, feels almost like a lullaby, with a meditative harmonic style and trance-like vocal melody. "The lyrics," Gutierrez explains, "are a personal reminder of what is important to me: healing, letting go, breathing, evaporating, forgetting, changing, crystallizing." Across the 40-odd minutes of A Flor de Piel, Gutierrez triumphs at recontextualizing traditional sounds and sentiments into a modern form using synth-based and electronic textures. It's a fitting representation for the personal struggles that the artist endured during her move to London. Rather than dwelling solely on the past Guitierrez uses A Flor de Piel to summon the strength of past generations, and forge a new path forward. As she describes it, "The album has accompanied me through inner journeys of finding myself in a new territory _ of redefining myself, of remembering who I am _ in a strange place." As we drift towards an increasingly frightening and uncertain future, perhaps Montañera's A Flor de Piel is exactly what we need: something to give us strength, to bring us peace, and to accompany our journey into a strange new place.