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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.

Assiko Golden Band de Grand Yoff is the sprawling drum collective tearing up Dakar's nightlife scene. Senegalese poet Djiby Ly (Wau Wau Collectif) is backed by fourteen different percussive instruments plus horns, winds, balafon, and the occasional accordion, combining Count Ossie's spiritually elevated polyrhythms with Fela Kuti's orchestra and Tony Allen's groove. Based in the impoverished neighborhood of Grand Yoff and operating as a mutual aid group for the larger community, the band builds its songs on ancient rhythms passed on from Senegal, Cameroon and the infamous Gorée Island. In both Wolof and French, Djiby preaches a message of uplift and cooperation rooted in the Sufi teachings of the Mouride Brotherhood, as well as Christianity and animist religions. "Senegal, my life my joy" is the call and response chanted over cascading, infinitely layered drum patterns on opener "La Musique Du Coeur." "We build our own country" the band proclaims in Wolof on "Xarritt." For twenty years and across three generations of band members, Assiko have played raucous all-night jams at weddings, secret parties, and political rallies. Grainy cellphone footage of their live shows have spread online. But this is their first album, the result of a collaboration with Swedish musician and archivist Karl-Jonas Winqvist (Sing A Song Fighter), who met the band in Dakar in 2018 and facilitated recording sessions and overdubs via Whatsapp (no small feat with so many musicians). This is vital, exciting and innovative music, alive with energy and purpose, a band rooted in a very specific community but speaking to the world.

SPEICHER is going back to its classic double header split EP format. HUNTER/GAME are no strangers to KOMPAKT, having released a number of singles and the “Adaptation” album back in 2016. “Reload” was written in cooperation with Buenos Aires based U S H N U and it’s a total corker of a proto trance inspired track – the kind of trance that would have graced Dorian Gray’s Sunday morning dancefloor.

We’re extremely happy to finally welcome the ever excellent BAWRUT to our family. Hailing from Madrid, he has been one of the most creative forces in recent years, carving his own niche of percussion-heavy, psychedelic techno. “CLAP” is an unpredictable monster, taking so many twists and turns, causing such confusion that your synapses will give up making sense out of the chaos and book a flight to the Bahamas.
SPEICHER kehrt mal wieder zum klassischen Doppel-A-Seiten-Split-EP-Format zurück. HUNTER/GAME sind bei KOMPAKT keine Unbekannten, denn sie haben seit 2016 eine Reihe von Singles und das Album “Adaptation” veröffentlicht. “RELOAD” entstand in Zusammenarbeit mit U S H N U aus Buenos Aires und ist ein großartiger Proto Trance Smasher – jene Art von Trance, die Sonntag morgens den Dancefloor im Frankfurter Dorian Gray geziert hätte.

Wir schätzen uns sehr glücklich, endlich den unglaublichen BAWRUT in unserer Familie begrüßen zu dürfen. Der Madrilene ist eine der kreativsten Kräfte der letzten Jahre und hat sich unlängst seine eigene Nische des percussionslastigen, psychedelischen Techno geschaffen. “CLAP” ist ein unberechenbares Monster, das so viele Wendungen nimmt und so viel Verwirrung stiftet, dass deine Synapsen irgendwann aufgeben dem Chaos irgendeinen Sinn zuzuordnen und einen Flug auf die Bahamas buchen.

Obliques and Atmospheric are very happy to present their new album “Golden Apples of the Sun”. It is the result of a close cooperation between Suzanne Ciani and Jonathan Fitoussi. The American electronic music pioneer (5 time Grammy award-nominated) has joined the French composer to sign a four-hand album around mythical synthesizers like Buchla, Moog and Ems...

Mainly recorded in California, facing the Pacific Ocean, the white sound of synthesizers mixes constantly with the sound of the waves and wind.The music generated is directly blended with the surrounding elements of nature.It is both organic and live, hypnotic and rhythmical, powerful and dreamlike.

Suzanne is a five-time Grammy award-nominated composer, electronic music pioneer, and neo-classical recording artist who has released over 20 solo albums. Her work has been featured in films, games, and countless commercials as well. She was inducted into the first class of Keyboard Magazine's Hall of Fame alongside other synthluminaries. Most recently, she is the recipient of the Independent Icon Award from A2IM. Suzanne has provided the voice and sounds for Bally's groundbreaking "Xenon" pinball machine, created Coca-Cola’s pop-and-pour sound, designed logos for Fortune 500 companies, and carved out a niche as one of the most creatively successful female composers in the world.

DELUXE 8LP BOXSET FROM THEIR ‘CAPITOL YEARS’, WITH STUDIO ALBUM HALF-SPEED MASTERING, LP OF BONUS TRACKS, 60 PAGE BOOK, POSTERS & NUMBERED CERTIFICATE

Currently on the 40 Years Live World Tour and sounding better than ever, W.A.S.P. is one of the most consistent and reliable forces in rock music - unstoppable and unassailable, like a heavy metal juggernaut sent back in time from a long, distant galaxy. Frontman Blackie Lawless is undoubtedly one of rock’s everlasting figures – someone’s whose attitude and vision changed the musical landscape around him, in the process bearing fruit to some of the biggest anthems of their time.

Their first five studio albums (W.A.S.P., The Last Command, Inside the Electric Circus, The Headless Children & The Crimson Idol) contributed enough on their own for W.A.S.P. to be considered one of the greatest rock bands of all-time. Those LPs are all presented in this set, mastered half-speed at Air Studios, London, for a superior, sharper, more direct and engaging sound.

Packaged within a deluxe red leatherette effect double slipcase, The 7 Savage: 1984-1992 is completed on vinyl with two more LPs: 1987’s Live… in the Raw and new compilation Bonus Tracks & B-Sides featuring the controversial breakthrough anthem ‘Animal (F**k Like a Beast)’.

Compiled with the full cooperation of Blackie Lawless, the box set also includes a 60-page book with exclusive and rare pictures from legendary metal photographers (including Ross Halfin, Tony Mottram, David Plastik and Paul Natkin), along with extensive liner notes from Amit Sharma (Kerrang!, Planet Rock). Also included is an exclusive Blackie Lawless poster, plus an individually numbered circular saw shaped certificate.

The 7 Savage: 1984-1992 will be released Friday 27th October 2023 on Madfish and is strictly limited to 2000 copies worldwide.






















































[yb] L.2. Phantoms In The Mirror [04:36] D.3. The Eulogy

Svitlana Okhrimenko (artist name: Svitlana Nianio) is a Ukrainian artist, musician, and signer. She is one of the most prominent representatives of the independent music scene of Kyiv in the late 1980s — early 90s. She has repeatedly recorded and performed in collaboration with other musicians and bands, such as Oleksandr Yurchenko, Sugar White Death (Cukor Bila Smert’), Ivanov Down, GeeNerve & Taran, and Blemish. Svitlana still performs and publishes new recordings today.

“Transilvania Smile” is one of the first solo works recorded in 1994. During this time, Svitlana repeatedly visited Germany, where she had the experience of playing in parks and on the streets, gathering contacts of the local art scene. Her cooperation with the international choreographic group Pentamonia, based in Cologne and consisting of several girls who performed in theaters, took part in various performances, and were engaged in music. They met in the 1990s during joint performances with "Sugar-White Death." After that, they corresponded, and the idea of doing something together arose. Svitlana attended several of their performances, which inspired her to write music for a new project, and the band members helped to realize their creative ideas. Later, they started rehearsing together.

The name “Transilvania Smile” was invented by the project participants, and it symbolized the mold on the mirror and the reflection of a smiling vampire. However, shortly before the premiere, they changed it to “Firefox”, as the participants actively used flashlights and the play of light and shadows in the scenography.

The premiere occurred in the local Urania theater, previously a gallery. Isabel Bartensein directed the choreography, and Svitlana played, sang, and improvised. She said it was an excellent experience for her and the band. Besides Cologne, they also performed in Aachen.

Later, Michael Springer offered Svitlana to record this material in his "Phantom" studio. They had already worked together and recorded music for their project (Svitlana Okhrimenko / Phanton). Michael was also interested in the Ukrainian independent scene and participated in the creation of several compilations that featured bands from Kyiv and Kharkiv. Svetlana played the piano and harmonium in the studio and also sang. After the recording, the material was never released in its entirety. Two compositions appeared on the cassette compilation “Shovaisia” (Hide) in 1995, some episodes were re-recorded for the “Kytytsi” album in 1999, but for a long time, the full version of this recording remained practically unknown to listeners and was kept in Svitlana's and Michael’s archives.

This album is one of the most personal and insightful works of Svitlana Nianio from the 90s, which you can now get to know in its original form and sound.

Sam Records and Saga present:

A never-before released Billy Harper 1975 live recordings.

First official release with the full permission and cooperation of the Billy Harper & INA (Institut National de l’Audiovisuel).

Billy Harper Quintet – Antibes ‘75

Two days after recording the first album ever issued on the Black Saint label, Billy Harper and his quintet were onstage at the Antibes Juan-Les-Pins jazz festival. Though Black Saint is a phenomenal album and is rightfully considered as one of the finest jazz releases of the period, Antibes ’75 shows that Billy and his men gathered momentum to push the boundaries of their studio effort even further.

That night, surrounded by stars, pine woods and a captivated audience, the quintet delivered a powerful and inspired performance. Never had Harper’s signature tunes “Cry of Hunger” and “Croquet Ballet” reached such a soulful expression, and we only wish that this moment of truth would have lasted a little longer.

We are honored to present to you this concert for the first time on record, a 180g LP including a 6-page insert with previously unseen photos by Gérard Rouy and Thierry Trombert and an essay by Bernard Loupias.

Virgil Jones (Trumpet)
Billy Harper (Tenor saxophone)
Joe Bonner (Piano, arranger)
David Friesen (Double Bass)
Malcolm Pinson (Drums)

Lavinia Meijer is one of the most versatile harpists of this era and representative for Dutch harpists worldwide. She experiments with different forms of music and art, like theatre, dance, electronica and jazz. Her last album contained adaptations of Phillip Glass, for which she received a Platinum award in The Netherlands for selling more than 20.000 copies.

In Passaggio, Lavinia adapts the works of Ludovico Einaudi, for which the maestro allowed his full cooperation. As Lavinia herself says: “The music of Einaudi speaks to me through my fingers and crosses all borders. The pieces that are presented on Passaggio fill me with joy and affection, which I want to share with my audience, hoping to solve some of the mystery of Einaudi. Or maybe even better; to enlarge the mystery altogether”.

Passaggio is available as a 10th anniversary edition of 500 individually numbered copies on translucent red coloured vinyl. The package contains a 4-page booklet with pictures and liner notes.

Moodfamily buddies Niels (AMyn) & Ijsbrand (member of Stavroz) have been nurturing Mosley Jr for quite some years by now. The result of years of hermitage and grinding has now culminated in their much-anticipated debut album 'Lonestar Retreat' - a sonic escape to a more creative reality and both the imaginary and physical place you visit when in need of solitude and peace of mind. Brought to you in cooperation between yours truly and Core Records.

After the recently released cooperation album "Nathan Johnston & The Angels Of Libra", the Angels are now releasing their first own work. Warm analogue sounds and a lot of groove. Guest musicians include Milo Milone (Rhonda) and also Nathan Johnston on Revelations. The project came about in a Danish holiday home, where producer & guitarist Dennis Rux, keyboardist Chris Hartel, bassist David Nesselhauf and drummer Lucas Kochbeck spent two weeks together writing instrumental songs and recording them on a 1980s TASCAM 388 8-track tape recorder . A large number of songs were created, some of which the band released on an independent album with singer Nathan Johnston. Other songs, some with other guest musicians, are now finding their way onto this album. "Revelations" sounds so varied that it would simply not be enough to classify it as a soul album; soundtrack-like film noir passages can be found here as well as progressive space rock elements.

Much anticipated debut album from this Leeds-based electronic duo, following high-profile UK festival slots, and shows alongside luminaries The Brian Jonestown Massacre, Warmduscher, Sea Power, Moonlandingz, The KVB, with multiple plays across BBC6/BBC Introducing and Amazing Radio, jellyskin are finally ready to unleash ‘In Brine’, their first full length release. The result of four years spent writing, recording, and refining the album between Leeds, Liverpool, Bristol, Palamos, and Berlin, ‘In Brine’ showcases the many talents of Will Ainsley and Zia Larty-Healy in a work straddling iridescent electronica, tungsten-tipped techno, art pop, and queasy, brown acid folk. The songs are pieced together with themes of longing, misadventure by the sea, desire and aquatic apparitions that showcase Larty-Healy’s warm but urgent vocal range, as at home around the campfire as it is in the club. The pair’s meticulous arrangement and rearrangement, sculpting, recording, and mixing was a glacially slow process of adaptation, mutation, cooperation, growth, and, yes, natural selection. First single ‘Bringer of Brine’ thumps from the speaker anthemically and forcefully, pitched somewhere beautiful and uncanny; Larty-Healy’s vocals soar and skim off the production like a smooth stone across choppy waves. The radio-ready pop electronica of ‘I Was The First Tetrapod’ bursts into the world with an urgency in line with the lyrics. An aquatic tale of crawling onto land for the first time, desperate to make new life forms, it’s also a positive, joyful rebuke to the despair of the world around us. “Growing my legs...”. The fuzzed-out psychedelic keys and forward-moving, Knife-like structure echo throughout while beautiful lyrics detail visions of where this would all lead life as we know it-“I can run freely, white horse behind me. Flexing my bones and artery twine, find human tone and reach for the vine.” ‘Fox Again’ opens with chopped alarm clocks segueing into a lurching rhythm, before exploding into skittering beats and a soaring chorus. The effect is like waking up drowsily, going over to the window in your room and yanking open the curtains to be blasted by searing sunshine. The pair brought in Berlin based co-producer, mixer and masterer Lewis D-t to help finesse the tracks into fat-free hunks of ecstasy and sonic exploration, their rich depths marking ‘In Brine’ as an album everyone should be talking about this summer and beyond-all nine tracks will have feet moving and hearts swelling in equal measure. As opening track ‘Lift (Come In)’ positively opines “Going up!/Just want to keep going up!”. It’s time to get in on the ground floor

The legendary 1964 rehearsal collaboration receives its first official issue Restoration and Mastering by Grammy®-winning engineer Michael Graves Packaging contains rare photos plus liner notes from Jorma Kaukonen Jorma Kaukonen (later of Jefferson Airplane and Hot Tuna) met a singer named Janis Joplin at a hootenanny in San Jose, California, in the fall of 1962. Over the following years, Janis would call on Jorma to accompany her at gigs. As they continued to play together, the Bay Area was changing musically and developing into the legendary San Francisco scene to which both Janis and Jorma would be integral. During a rehearsal for a show in North Beach, Jorma started his reel-to-reel machine to capture what they were working on. For decades, this recording was the stuff of legend, with inferior, multi-generational transfers making their way through select collector’s circles. Now, for the very first time, it is available officially, with the blessing and cooperation of both the Janis Joplin Estate and Jorma Kaukonen. The Legendary Typewriter Tape: 6/25/64 Jorma’s House contains this legendary recording, featuring Restoration and Mastering from acclaimed, Grammy®-winner Michael Graves. The tracks include Joplin on vocals, Kaukonen on guitar, and Jorma’s wife Margareta typing away intermittently in the background. This may have just been a rehearsal, but it is so much more. Featuring Joplin originals, as well as blues classics, The Legendary Typewriter Tape is an intimate glimpse into two major artists at the beginnings of what would become highly influential careers. As Jorma says in his liner notes: “This is indeed a window into a simpler time when the music truly was everything.” Available on CD and Digital December 2, 2022, the release will also be available on vinyl exclusively for Record Store Day Black Friday, November 25, 2022 Enjoy being a fly on the wall and revel in the magic of The Legendary Typewriter Tape.

THULCANDRA’s rise to power ignited when the Germany-based outfit unleashed their debut album, Fallen Angel’s Dominion, upon metaldom in 2010. The group, fronted by founding member and visionary Steffen Kummerer (also of Obscura fame), have tightened their hibernal grip on blackened death metal since. The desolate melodic emanations in follow-up studio records Under a Frozen Sun (2011), Ascension Lost (2015), and the chart-topping, 2021-album A Dying Wish, dedicated to the late drummer Chris Kratzer, solidified THULCANDRA as a superior force, expertly thrusting the magic and mystery of mid-’90s melodic black-death metal into the modern era. Their fifth attack, entitled Hail the Abyss, sees THULCANDRA prove yet again why they’re atop death metal’s malefic vedette! Fierce tracks such as "As I Walk Through The Gateway", or the uber-brutal "Blood Of Slaves", showcase the band‘s affinity for dark, aggressive, and mellifluous metal while the album title track and the epic, mid-tempo rager "On The Wings Of Cosmic Fire" rip and terrorize with the intensity of hell. As always, THULCANDRA's about a vibe - there's a distinct "feel" to the band's latest album that's distinctly old-school but without the tired trappings of it. The hotly-anticipated Hail the Abyss is slated for release on May 19, 2023 via Napalm Records. Cooperation with renowned producer Dan Swanö (Dissection, Opeth, Katatonia), who handled the crushing album mix, was compulsory, as was the re-invitation to cover-master Lochner. Don’t fear the reaper—fear the majestic might of THULCANDRA, as Hail the Abyss will see them ultimately rise to full power!

Boppin’ In Baltimore: Live at the Left Bank is a previously unissued recording of saxophone master Sonny Stitt captured live at the Famous Ballroom in Baltimore, MD on November 11, 1973, for the Left Bank Jazz Society. Recorded by Left Bank founder Vernon Welsh, Boppin’ In Baltimore is an official release in cooperation with the Sonny Stitt Estate and features an all-star rhythm section of pianist Kenny Barron, bassist Sam Jones and drummer Louis Hayes. The deluxe limited-edition 180-gram 2-LP set includes an extensive booklet with rare photos by Christian Rose, Raymond Ross, Tom Copi, Burt Goldblatt and others; liner notes by acclaimed jazz critic Bob Blumenthal; and interviews with Barron, Hayes and saxophone icon Charles McPherson, Muse Records founder and producer Don Schlitten, and an archival interview with Sonny Stitt himself from the early 1970s conducted by Marc Vasey in Canada. The vinyl edition is mastered for vinyl by legendary mastering engineer Bernie Grundman.

LTD. COL. VINYL

Definitive compilation spans solo recordings, rarities and duets with Lee Hazlewood Newly remastered from the original analog tapes by GRAMMYr-nominated engineer John Baldwin New interviews with the legendary singer, actress, and activist, Nancy Sinatra Extensive essay by Amanda Petrusich Q&A interview with Nancy & GRAMMYr-nominated reissue co-producer Hunter Lea Never-before-seen photos from Nancy Sinatra's personal archive Deluxe CD housed in 7"x7" hardcover book w/ 64-pg booklet Beautifully packaged Double LP featuring a 24-pg book 2xLP available on Standard Black Wax plus Summer Wine Sunburst Orange Release coincides with Nancy Sinatra's 80th birthday celebration Release to be supported by international press campaign in cooperation with Nancy Sinatra // Light In The Attic Records is proud to present Nancy Sinatra: Start Walkin' 1965-1976. The definitive new collection surveys Sinatra's most prolific period over 1965-1976, including her revered collaborations with Lee Hazlewood, over 23 tracks. Remastered from the original analog tapes by GRAMMYr-nominated engineer John Baldwin, the collection is complemented by liner notes penned by Amanda Petrusich (author and music critic at The New Yorker), featuring insightful new interviews with Sinatra, as well as a Q&A with archivist and GRAMMYr-nominated reissue co-producer Hunter Lea. The CD edition comes housed in a 7"x7" hardcover book (featuring 64-pages) and the two-disc vinyl set is presented in a gatefold jacket (featuring a 24-page booklet), with special color editions available exclusively at and independent record stores. Nancy's performance of the Lee Hazlewood-penned song "These Boots Are Made for Walkin'" was a huge hit in 1966 and became her signature tune. The pair began a three year run of successful albums, duets and singles including "Sugar Town," "Some Velvet Morning," "Summer Wine," "Sand," "Jackson," and the title track to the 1967 James Bond film "You Only Live Twice." Start Walkin' explores Nancy's recordings with Lee, her inspired collaborations with songwriter Mac Davis ("Hello L.A., Bye Bye Birmingham"), producer Lenny Waronker ("Hook and Ladder") and the "should've been hit" song with arranger/producer Billy Strange ("How Are Things In California.") Over the years, she has been cited as an influence by countless artists, including Sonic Youth, Morrissey, Calexico, U2, and Lana Del Rey. Her haunting song "Bang, Bang" gained a new legion of fans when it appeared in the opening credits of Quentin Tarantino's 2003 film, Kill Bill Volume 1.

Wow, we’re so happy to reissue these incredible two gems from the mighty Brian Auger’s Oblivion Express. Mr. Auger is a superb Hammond organist & pianist. Known previously for his work with Julie Driscoll, Brian Auger & The Trinity in the 60s, Oblivion Express vibes kicked off in the 70s.
Our A side ‘Inner City Blues’ is a cover of the Marvin Gaye classic. A Hammond driven groove with a deep percussive backing and killer vocals, this version stands up as a banger in its own right, a must have cut!! b/w ‘Voices Of Other Times’ is one of my favorites from the Closer To It LP, a super funky, jazz-rock thang, up-tempo and includes a wonderful sample and loop. Dynamite Cuts DJs tool, and one for the collectors!

Both tracks are taken from the groundbreaking ‘Closer To It’ album from 1973 which was such a genre bending release it entered the US jazz, R&B and rock charts simultaneously. We release this amazing 45 with the permission & cooperation of Greg Boraman’s Soul Bank Music – who recently announced they have licensed Brian Augers’ full back catalogue to re-issue, including many previously unheard rarities from Brian’s personal archive.

The sum to infinity of a sequence is the sum of an infinite number of terms in the sequence. It is only possible to compute this sum if the terms of a sequence converge to zero. "sum to infinity" is also the second release from gamut inc, the retro-futuristic ensemble around composers and curators Marion Wörle and Maciej Sledziecki.

This second album by gamut inc combines custom-build autonomous music-machines with haunting classical synthesizer sounds to a dense musical kaleidoscope.
The core of the album is formed by Risset rhythms - cyclic accelerations and decelerations, in which rhythmic layers are repeatedly faded in and out, setting in motion a seemingly endless process of rhythmic movement. The motifs are taken from geometric and arithmetic series that create an urgency and restlessness. The rigor of the construction is obscured by an orchestrion whose timbres are reminiscent of a retro-futuristic indigenous ensemble. gamut inc translate strategies of electronic music like pulse-width modulation to music machines such as automated accordion, automated percussion or glockenspiels and create an intense atmosphere that is idiosyncratic, original and modern at the same time.

Gamut inc. build their own music machines, play electronic music festivals internationally, curate the AGGREGATE festival for automated pipe organs, and compose for film, radio drama, and theater. Their first opera, ROSSUMS UNIVERSAL ROBOTS, premiered in 2022. Since 2011, at the intersection of electronic club culture and experimental music, they have been producing live music, music theater, film and theater scores (including for the Junge Staatstheater Berlin) with their specially developed musical robots. They composed for ensembles like the RIAS chamber choir or the robot orchestra Logos Foundation and received invitations and commissions from international festivals and venues such as Sónar, CTM, Berghain, Sonic Acts, Technosphärenklänge or Numusic (NO).
Their first release EX MACHINA was produced exclusively with music robots, and released in 2014 in cooperation with Bôłt Records.
"Percussion tracks bring to mind the music of Einstürzende Neubauten in their industrial mechanics, until finally the music warms to an expression reminiscent of Johnny Cash's late work."
Süddeutsche Zeitung

We have a very limited amount of these available now for stores. 4LP boxset - white vinyl - edition of 300 - includes: The Dream Derealised LP, Lightnesses I & II LPs, Near Future Residence LP. It’s nearing a decade since William Doyle released his Mercury Music Prize nominated debut album, Total Strife Forever, as East India Youth in 2014. A year later, he had toured the world and was releasing his second album, Culture of Volume, but it would be another four years before Doyle returned with his third full album, and the first official release under his own name. The dizzyingly ambitious Your Wilderness Revisited arrived in 2019 and was followed last year by the artpop masterpiece, Great Spans of Muddy Time. In the years between leaving the old project behind and re-emerging under his own name, Doyle self-released a string of ambient-leaning albums, The Dream Derealised, Lightnesses Vol I & II and Near Future Residence, which are now to receive a first vinyl pressing via Tough Love as both a highly limited four LP box set, titled ‘Slowly Arranged: 2016-19’, and as separate albums. The Dream Derealised is a collection of nine abstract, lo-fi pieces that were recorded during the summer of 2016, when focusing on creating them helped guide Doyle through a “difficult period of anxiety, panic and a regular dissociative feeling called derealisation.” At the time, doing something creative in a quick and immediate fashion felt vital to Doyle, carrying him to a new place: “I’m releasing them now as a cathartic measure, and as a message for others who may be going through difficult times themselves. What I told myself at the time, what I can tell you now: You are not in danger. You are not going insane. You are not alone.” Lightnesses Vol. I & II sees Doyle create what we might understand as true ambient music – that is, music intended for the background that wasn’t composed as such, but allowed to blossom out of the setting of some rules and parameters, played by sounds he created and then resampled. The deceptively simple, droning pieces are unlike anything Doyle has made before or since. “During their creation I’d often take photographs of the light coming in through the windows of the two houses I lived in during their creation. I’d post these on social media and they became quite popular parts of my output. This music was intended to accompany those visuals. The first volume’s photo is a double exposure of the sun shining in on my notebook and my hand, whereas the photo for the second volume was taken in Joshua Tree Park, California as I saw our tail lights illuminate one of the trees.” Near Future Residence is music for an imagined place based on real ideas; the soundtrack for an ecologically sustainable housing development somewhere in a not-too-distant future Britain. The eleven instrumental pieces here come from a place of optimism, imagining a future that is based on cooperation, community and ecological urbanism. It's music intended to sit in this imagined environment rather than impose upon it, similar in principle to the function of Kankyō Ongaku (Japanese environmental music). The ideas contained on Near Future Residence laid the groundwork for - and can be seen as a companion piece to - the album Your Wilderness Revisited, released to critical acclaim in 2019. Doyle explains how the pieces “were composed in entirely generative ways using samples of instruments, synthesisers and field recordings I've collected and developed throughout 2018. In generative composition, rules are set and parameters are chosen and then put into motion, the results constantly changing and surprising.”

Strategy guided by activity. How to best cross the threshold? By allowing the untamed rhythm of thought to reign, or through the possibilities that arise from assembly and cooperation?

Game Plan is the meeting of Gabriel Rei and Gene Tellem. A longstanding friendship unfolded through mutual love for dance music and experience. ‘Club Negotiations’ arrives on Bienvenue Recordings as their first official studio collaboration. Three melodic and hypnotic compositions to help find your focus from the ecstatic nature of the party to the daily hustle of modern life.

Transversales Disques proudly presents Ahmad Jamal Trio, Live in Paris 1971. Never heard before ORTF recordings performed live at studio 104, Maison de la Radio, Paris. This is the first official release with the full permission and cooperation of the National Audiovisual Institute (INA) coming in a Deluxe Edition - Classic Tip-On Jacket. Including exclusive pictures. Mastered from the original master tapes.

« While be-bop musicians practise one-upmanship in terms of speed, Ahmad Jamal develops a crystal-clear touch and praises silence: "I was an angel among devils! The boppers made notes explode. I let them resonate until the end of their lives".
A reputation as an artist on the fringes perhaps explains this lack of fame he suffered at one time. But despite the great whirlwind that is his life, Ahmad Jamal declares that he is searching for peace: "The quest is that of musical and internal peace. I cannot acknowledge that I am at peace, it would be dangerous to show it. A man at peace with himself doesn't say so".

If you cannot say it, you can hear it, especially during his first concert in Paris in a trio. Here we are transported to the upper echelons of the art of the trio: the master of the piano, in studio 104 of Broadcasting House, is surrounded by brilliant accomplices, Jamil Nasser on double bass and Frank Gant on drums... » (Jérôme Badini, France Musique).

Vocalists/multi-instrumentalists Claus Lessmann and Michael Voss, who also produces acts such as Michael Schenker: a combination that makes rock fans sit up immediately. Considering the two’s various collaborations - lately as members of PHANTOM V - spread over several decades, »Rock Is Our Religion« is way more than a debut. The album, which was recorded and produced by Voss at German Kidwood Studios Münstertal and Kidroom Studios Greven (only Vincent Golly’s drums were tracked by Mathi Brandstetter at Home Studios Hamburg, Germany), rather is a relevation, a bow down to genuine rock packed in 49 minutes of handmade music performed to the point. Lessmann and Voss complement each other over these 12 tracks as if they hadn’t done anything else before: from mysteriously starting opener 'Medicine Man' to lead single 'Smoke Without A Fire', the recording of 'Take My Heart And Run', circling back to one of their earlier songwriting cooperations in the '90s, and the duo’s interpretation of AMERICA’s 1975 hit song 'Sister Golden Hair' (feat. Kenny Lessmann on drums and Martin Huch on pedal steel guitar), this album impressively shows that it still doesn’t need many frills to create impactful heavy music nowadays. Amen!

The “Tumult Hands” duet is made by Jacek Sienkiewicz and Jerzy Przezdziecki - the producers
whose composition has - to a large extent- defined the Polish techno music. Sienkiewicz - as
early as Recognition - started his adventure with music in the late 1990s. Subsequent records,
already under his own name, were released, among others, at Cocoon Records, Trapez, Klang
Elektronik and WMFRec. Przezdziecki started publishing a little later. Over the last two
decades, he has been presenting various types of electronic music, among others, as Praecox,
Epi Centrum and Jurek Przezdziecki.
“Tumult Hands” has two EPs on its account – “Tumult Hands EP” (2014) and “Tropic
Factory” (2016). Both were published by Recognition. So a full record was a matter of time.
The album titled: “TH” (Recognition, 2022) has been prepared for many years. The repertoire
was created mainly out of improvisation. As artists themselves say, “it is the result of
discovering and accepting a chance event.” For both producers, close contact with
instruments was important during their composition; the type of interaction between the maker
and an electronic device. Individual works have been maturing for a long time. Paradoxically -
the lapse of time did not cause them to be ageing but vice versa - allowed them to mature and
gain natural weight.
“TH” brings very diverse music. In part, it is the repayment of the debt that Sienkiewicz and
Przezdziecki incurred towards the most creative techno period, that is, the 90s of the 20th
century. The lovers of experimental dance music from before the quarter of the century will
easily capture in the duet’s themes the art of Cristian Vogel, producers known from the tin
series of Chain Reaction record company or early recordings of Richie Hawtin (Plastikman,
F.U.S.E.). This is a very similar, non-standard approach to sound structure and an original
approach to rhythmic structures. Minimalist melodies, accompanying e.g. the opening of the
“enter TH” or “pow” set, contribute to the composition an element of some sublimity and
metaphysical anxiety. Obviously, it is still the dance music but the duet - to some extent by
abandoning the club functionality (understood in the techno convention) - has given its music
a definitely sophisticated, artistic elegance.
Publishing cooperation between such important makers, as well as high quality of recordings,
leads us to see “TH” as something more than just another techno record. It is an event and an
electronic adventure that all lovers looking for dance music will appreciate.

An absolutely legendary album from Lebanon by Issam Hajali’s group Ferkat Al Ard, “Oghneya” stands out as one of the great musical gems of the Arab world. A groundbreaking release from 1978 that represents the meeting point of Arab, jazz, folk and Brazilian styles with the talent of Ziad Rahbani, who did the albums arrangements. Filled with a variety of sounds and genres, from Baroque Pop to Psych-Folk to flashes of Bossa Nova, Tropicalia and MPB, “Oghneya” is like if Arthur Verocai took a trip to Beirut in the 70’s to record an album.

In 2015 we heard Ferkat Al Ard’s music for the first time, a Lebanese trio compromised of Issam Hajali, Toufic Farroukh and Elia Saba. It was a stunningly unique release that blends traditional Arabic elements, jazz and Brazilian rhythms hand in hand with poetic-yet-politically engaged lyrics. The band was active in the left-wing movement of Lebanon of the time and they communicated their political ideas candidly through their songwriting.

In our mind the idea was to see whether Issam was interested in re-releasing “Oghneya.” He was not opposed to it, but also made it clear that it was not his priority for a first project. He suggested we start with his first album, before Ferkat Al Ard was formed, “Mouasalat Ila Jacad El Ard,” which was recorded in 1977 in Paris together with his friend Roger Fakhr (whose work we have been privileged to re-release in the meantime as well.) “Mouasalat Ila Jacad El Ard” is melancholic, stripped-down, guitar-based folk intertwined with jazz-fused breaks, and the unique sound of the santour glistens through. While the music is very accessible, some song structures are rather atypical, neglecting common patterns of verse, hook, verse, hook. The lyrics mostly trace back to the poetic work of Palestinian author Samih El Kasem, with one song also written by Issam, who composed the music for the whole album.

We re-released Issam’s “Mouasalat Ila Jacad El Ard” in 2019 to a great reception, with positive reviews all over the place and an ongoing appreciation for the album. This meant it was time for us to undertake an “Oghneya” re-release again!

If you compare “Mouasalat Ila Jacad El Ard” and “Oghneya,” one apparent distinction is the strong Brazilian influence in the music. Issam Hajali explained that you can already hear traces of this influence on his debut, but it’s “Oghneya” where this musical relationship really peaks. Lebanon and Brazil have had a strong connection for nearly a century due to the continuous flow of immigrants from one country to the other. Today, Brazil has the largest Lebanese diaspora in the world, the “Brasilibanês”. The migratory route was not a one-way street, however, and some Lebanese returned to their home country, taking recordings of the music they learned to love in Brazil with them. They were followed by Brazilian musicians who visited primarily Beirut during the 1960’s and the first half of the 1970’s, just like many other musicians from around the world. In these years between the independence and the beginning of the civil war, Beirut became even more of a cultural center and regional hub than it already was.

Bossa Nova, at that time, was one of the defining sounds of Brazilian popular music. Issam Hajali remembers hearing it at a bar in Beirut’s Hamra district in 1974, which hosted musicians from Brazil playing the occasional gig. When Issam had returned from Paris in 1976 he got to know Ziad Rahbani, son of Fairouz, who had a shared passion with Issam for a lot of things, among them Brazilian music. Issam showed him some of the tracks he was working on, and Ziad agreed to help with arranging. The music that evolved from this cooperation between Ferkat Al Ard and Ziad Rahbani’s arrangement is, to put it lightly, outstanding. Issam’s singing is embedded into the uniquely beautiful string arrangements backed by the band’s poignant, swinging groove. The lyrics of the songs on “Oghneya” are based on poems by Mahmoud Darwish, Samih Al Qasem and Tawfiq Ziad, three pillars of Palestinian poetry within the last century, and their influence on “Oghneya” was itself a strong political statement during the Lebanese war.

“Oghneya” was eventually released in 1978 by the band themselves on cassette tapes. Finding a blank tape that fit the playing time proved to be impossible during the war so they needed to open up the case of each cassette to physically cut down the tape and customize it to the playing time. The album was well received, though some cultural critics deemed it too “occidental” in its sound. While the cassette was circulating, Ziad Rahbani started a label called Zida, together with Khatchik Mardirian. They decided to help the band with a re-release on vinyl in 1979, a year after “Oghneya” was originally released on cassette.

Sadly, there are two tracks from the original release of “Oghneya” that did not make it onto the reissue. “Ghfyara Ghaza” was replaced by the song “Juma’a 6 Hziran.” while “Huloul” was taken off without a replacement. This happened as a precondition from the band for this reissue to happen. We would have loved to include all tracks, but the decision ranged between having either a reissue like the one we put out or no reissue at all. Thus, an easy choice for us.

As always both vinyl and CD come with an extensive booklet with an interview with Issam as well as unseen photos from the recording sessions.

LIMITED TO 500 COPIES // HIGH-QUALITY TIP-ON COVER // INCL. DOWNLOAD CODE

OFFICIAL RE-ISSUE, DONE IN COOPERATION WITH THE FAMILY OF BOBBY COLE !!!

If you lived in New York during the 1950s through the 1990s and liked jazz, you knew about Bobby Cole. He played piano, sang, composed, arranged and, in 1967, released an album of original compositions titled "A Point of View" (Concentric Records). He had fans but avoided becoming mainstream. He stayed contemporary without becoming current. Jazz, folk, rock, modern dance scores…he wrote and performed them all. He smoked too much, drugged too much, drank too much. He was also cerebral, curious, a prodigious reader of poetry, philosophy, theology, and an uncommonly intelligent and literate lyricist.

On a December night in 1996, he had a heart attack while walking to work. An ambulance brought him to New York Hospital where, a few hours later, he died. Bobby Cole performed throughout Manhattan for forty years, but he spent most of the 1960s headlining at Jilly's, the midtown bistro owned by Frank Sinatra and his friend Jilly Rizzo. Sinatra called Bobby "my favorite saloon singer."

Bobby Cole caught the attention of Judy Garland, who visited Jilly's one night in 1964. She was hosting a weekly television show, and in the midst of a feud with her special materials arranger, Mel Torme. Three weeks later, Mel was out, and Bobby was in. He performed on Judy's show with his Trio. Bobby was scarcely 30 years old and it was his first time on television, but he was unruffled, sophisticated, and so damn cool. After Judy's show ended, Bobby occasionally arranged and conducted for her until she died.

Today, Jilly's is called the Russian Samovar and the piano is in the same spot. My husband and I ate there a few years ago. As we enjoyed our meal, I talked about Jilly's in the Sinatra era. Jilly had an apartment on the upper floor. I pointed up to the apartment and the balcony, where Jilly and Frank would sometimes drop water-balloons on unsuspecting pedestrians below. Another story described Jilly's as "tough, and you had to be tough to work there. Bobby Cole was tough. Frank and Jilly used to throw firecrackers at him to see if they could rattle him, but nothing rattled Bobby Cole. He ignored them and kept on playing." In the 1980s, Bobby headlined at a club called the Café Versailles. His daughter sometimes visited with her friends. She recalled that when she and her father would exit the club after work, a panhandler would be waiting for him. Bobby, who fought his own losing battle with the bottle, would slip the guy twenty dollars and wryly admonish him, "Be sure not to spend it on food." The night my husband and I visited the Russian Samovar there was a guy playing piano there, very young, and trying hard. I talked to him a little bit between his numbers about Bobby and the history of Jilly's and he was sweet, but I could tell he didn't care. I felt like one of those old people who bore young people to death with stories about things that happened before they were born – which, let's face it, is what I was. Nonetheless, when we were ready to leave, I put twenty dollars in his tip jar and said, "This is with compliments from Bobby Cole." After we left my husband said I should have added, "Be sure not to spend it on food."

Marie Hegeman (December 2021)

Kinshasa, Democratic Republic of Congo - a group of street children gathered around the artist Lova Lova to form the Atelier Kamikazi and record the album "Mokili na poche" in cooperation with Oyo Projects. They are "shégués", sons of soldiers, orphans or accused of being "child sorcerers". They talk in a funny and provocative tone about the difficulties encountered in their daily lives, about rivalry, politics, sexuality, and survival. These kids know they are fucked - and they fuck back.

About Seismographic Records:

Seismographic Records is a label for global hybrid music, run by Martin Georgi (Quiet Elegance Records). «Seismo» deals with connections of local and international sounds, of cultures and epochs far apart. It wants to break through the boundaries of Western music history and focus on the unheard. On currents that have so far been excluded from algorithms and streaming services due to their lack of market relevance. This is about the localization of new trend-setting centers in the Global South. In this way «Seismo» wants to make visible the potential of a decolonized music development. Music takes on the function of a seismograph. It is a sensitive instrument to register social transformations.

The focus of the label is on the production of vinyls and their distribution on the global market. The pressing makes the projects materially tangible. The productions are preceded by a close collaboration with artists, researchers, designers, and journalists in order to explore the cultural and historical contexts of musical trends and to make them audiovisually accessible. Texts, graphics, and videos are used to illustrate the background and contextualize the music. Seismographic Records also collaborates with cultural institutions in order to provide a platform for the projects in the form of exhibitions, concerts, radio broadcasts and to anchor them in cultural discourse.

A co-production of Amazon Studios and the New York Times, based on the weekly same-titled weekly column in The Times. This anthology series explores love in all of its complicated and beautiful forms, as well as its effects on the human connection. Each episode brings a different story to life that has been inspired by the newspaper’s popular Modern Love column. The second season premiered in August, 2021 and stars Kit Harington, Jack Reynor and Minnie Driver.

The score of Modern Love Season 2 features both score music and original songs heard throughout the season’s eight half-hour episodes. The music was written by Jay Wadley in cooperation with Gary Clark and feature vocal tracks featuring Rosie Carney, Nerina Pallot, John Byrne and Adermo. In addition, the score feature never-before-released songs written and performed by Andy Shauf, Chong The Nomad, Morcheeba’s Skye Edwards and Gregor Philp.

The start of the new "Live At Fabrik Hamburg" series on Jazzline in
cooperation with the legendary venue and NDR Kultur - is this previously
unreleased concert from jazz greats Freddie Hubbard and McCoy Tyner
from 1986
It will be released as a double CD in a three-part digipak and as a triple LP in a
triple gatefold cover that includes detailed Liner notes by Michael Laages. In the
Altonaer Fabrik in 1986, the master trumpeter Freddie Hubbard was a guest in the
trio of one of the most important pianists of contemporary jazz: McCoy Tyner,
whose extremely powerful attack always added percussive power of the most
energetic kind to his virtuoso playing.
McCoy Tyner died in March 2020, the recording from 1986 (he was 58 years old
at the time) show him at the height of the unmistakable jazz expression that
defined him. His piano and the enormous radiance of the Hubbard trumpet (born
in the same year as Tyner in 1938, but died in 2008) are the outstanding
protagonists. But the recording also features bassist Avery Sharpe, born in 1954
and with excellent acoustic and electrical credentials, as well as Louis Hayes, still
today the most indestructible of all modern drummers at well over 80 years of
age. Together they refine the nine titles of this two- hour concert on this truly
remarkable evening of music!

Second release of the new "Live At Fabrik Hamburg" series on Jazzline in
cooperation with the legendary venue and NDR Kultur - is this previously
unreleased concert from jazz great Gil Evans with a 16-strong all-star
cast from 1986
It will be released as a double CD in a three-piece digipak and as a triple LP in a
triple gatefold cover that includes detailed liner notes by Michael Laages. By the
1980s, the Gil Evans Orchestra's repertoire had developed into a distinctive blend
of Jimi Hendrix melodies, the band members' own compositions and occasional
references to Gil's older recordings. This concert in Hamburg contained four
songs by Hendrix, with only one ("Up From The Skies") being part of an original
studio album. The regular performances in Europe meant that the audience of the
band was getting younger and was also well acquainted with rock music.
A year and a half after this performance, Gil Evans passed away. He will rightly be
remembered forever for the brilliant albums he recorded with Miles Davis and
under his own name. In reality, however, he lived three quite contrasting musical
lives. As was the case with his Monday evening concerts in New York's Sweet
Basil, this Hamburg performance is a reminder of the lively late phase of Gil
Evans. Here a great all- star ensemble played an outstanding concert of eight
pieces in over two hours.

Siavash Amini is a composer from Tehran, Iran. He Has worked with labels like Room40, Hallow Ground, Opal Tapes and Umor Rex for the better half of the past ten years. He has performed at festivals like CTM & MUTEK and many other well known international events. Apart from it Siavash is a co-founder of the “SET experimental art events” and “SETfest” in Tehran, Iran. His work ranges from fragile ambient pieces and brittle IDM (incorporating his distinctive style of atmospheric guitar playing) to noisy drones and bleak modern classical pieces. His compositions have been inspired by films such as Andrei Tarkovsky's The Mirror as well as novels by Dostoyesvky and poems by T.S. Eliot.

Saffronkeira is the Sardinian sound researcher Eugenio Caria being active in the electronic music scene since almost two decades. His most recent work - a cooperation with the Italian jazz trumpet legend Paolo Fresu - earned a lot of praise from the international music press for the pure timelessness of the album.

"Upon hearing a small snippet of sound an image is conjured, not a memory but not unfamiliar. A shell of a memory, thousand events superimposed on each other. While trying to extract points of a narrative to ease the discomfort of this recollection, I try to separate and unfold the image and with it the points of the spectrum which make up the sound, a shell of a narrative. Here is an album based upon an almost entirely imagined/ synthesized happening upon hearing a snippet of sound. It sounded like of a whole story that never happened but yet I felt myself amongst it’s participants, a sound triggering a false memory. Each sound in Eugenio’s collection of sounds and ideas guided me a to a point in the narrative and it’s construction. He had handed me a portals of some kind to a few scenes of the whole narrative. This is the soundtrack for that false memory from all the perspectives I can think of."

Via tape loops and synth motifs sent from LA to NY, sound artist Christopher Royal King has teamed with violinist and composer Christopher Tignor toward richly timbral, emotionally gripping works of spontaneity that unfurl immense details with each replay while marrying west coast outboard-ambient to studied east coast modern classical. The resulting debut album, A Wave From A Shore, exhibits both artists' sonic identifiers falling in and out of cooperation before binding into a new entity distinct from either's solitary palettes. A visual artist whose work includes album covers for Thrice and Deftones in addition to video bumps for Adult Swim, Christopher Royal King spent his teenage years cutting his teeth on heavy metal and punk before gravitating, quickly and perhaps unexpectedly, toward experimental composers like Philip Glass and Terry Riley. This unlikely seesaw of influences led directly to King forming the post-rock pillar This Will Destroy You with fellow San Antonio native Jeremy Galindo. Similar to his former band's output, King's solo meanderings impart a mood of buoyancy and contemplation while hinting at darker, more shadowy hues beneath the glimmer, making his music stand apart from the glut of New Age droners and modular-synth influencers.

Red & Yellow Vinyl

With its first track produced in early 2017 (that crowds worldwide were listening to already in 2018), the OBI THINE XI album by RICO PUESTEL took up the time of 4 years to become the wild-at-heart ride at hand.
The fantasy concept of OBI THINE XI (based on an anagram of the label name EXHIBITION) tells stories from a wonderous kind of holistic place in space with two dualistic layers and velocities of perception present:
On the one side of SPACE, the main plot is based on the idea of an exhibition-walkthrough, representing the culmination of the EXHIBITION label itself. Throughout these acts of promenading from exhibit to exhibit, the journey passes different angles of RICO PUESTEL's musical mindset from the uniquely designed depths of OBI XI or RITUALIST to the blunt uplifts like MODEST or ID (a cooperation with scene-bedrock Tom Wax), finally peaking with the retro-game styled melodies of THINE that close this primal arc.
On the other side of TIME, there's a 12“-exclusive mini-album within the album itself that pays tribute to the vinyl record (and all of its fans) with four tracks at the end of each side, telling tales at their own pace and reflecting their perspective on the main course of the album like reflective and feverish dreamscapes from places without any conception of time.
The union of both layers merges the dualism of space and time, demonstrating the wayward ideas and musical excesses of RICO PUESTEL when it comes to his grasp and definition of Techno music and beyond – you gotta say yes to this excess...

With "Broken Land" Daniel Nitsch presents the first album of his latest project "Hounah" - and thus grants a deep look into his feelings and thoughts. Pieces like "Sorrow", "Fairbanks" or "Norton Bay", which invite you trace inside, are accompanied by those that present Daniel's personal views on very political and generally relevant issues, presented in songs like "Revolution", "Guilty State" or "Cash For Your Home". They cover topics like racism and gentrification, deal with the burden that imperialism places on us. Ask for what a future could look like - and how it could successfully happen at all. Thus, Hounah is not a feel-good project, "Broken Land", the title suggests it, a profound, here and there even painful inventory, which wants to stimulate reflection and further thinking. Very diverse, thematically as well as musically – and created with great attention to detail. Listening closely allows light bulb effects in terms of content, but also in terms of sound, lets us walk in the footsteps of downbeat, hip-hop, trip-hop, ambient, electronica and jazz. Hounah quickly reveals here that they are not afraid of breaks, but are also capable of soulful fusions in sound collages. The circle of friends behind Hounah, consisting of producer Daniel Nitsch, pianist Johann Blanchard, singer Lena Schmidt and guitarist Marten Pankow, came together for the album "Broken Land" in order to immediately try out further alliances: two of the songs on the album were created in creative cooperation with A-F-R-O, the internationally known rapper from Los Angeles. And so it is little surprise that each song creates a new world of sounds and thoughts – and one suspects already after the first tracks that there is more waiting for us, that "Broken Land" will not remain Hounah’s last work.

IMPORTANT NOTE: UNFORTUNATELY THE SIDES ARE REVERSED ON THE VINYL, I.E. THE A-SIDE IS THE B-SIDE AND VICE VERSA. WITH THE PURCHASE OF THE VINYL OR THE CD YOU WILL GET THE SINGLE MP3 FILES AS WELL AS A CONTINOUS MIX VIA E-MAIL.

With the cover artwork for Pop Ambient 2022, longtime KOMPAKT graphic artist Veronika Unland has once again outdone herself. Following the almost baroque, blood-red and jet-black, extremely physical sculptures of Pop Ambient 2021, which emerged from a dark, floral sea like bodies erect for dancing, the front of 2022 is adorned with a pastel-white form, intertwined, folded many times and crisscrossed with delicate shading, which seems to float on a pale pink background; soft, gentle waves woven from Venetian colors that leave the viewer puzzled: Is it a flower, a coral, a mollusk?

Again, the current edition of the tradition-steeped compilation series curated by Wolfgang Voigt is about the persistent and ever-necessary definition of beauty, of reduction, of electronic music of heavy lightness and light heaviness, of ambient's eternal promise of a state of physical and acoustic weightlessness and Pop's of redemption. And about the question why a never arbitrary combination of soundscape, drones, samples and loops, put together in a certain way, can create this feeling of warmth, depth and space, - something three-dimensional, where the imagination feels at home as a fish in the water or a bird in the sky. A key aesthetic stimulus that sends all the senses into a slow glide and drift, after which your synapses feel like they've been bathed in essential oil. Next to Soul, Ambient is probably the most effective musical healing plant of mankind.

Behind the aural test tubes, the who's who of Pop Ambient is once again at work, led for the first time by the highly trafficked Californian duo Blank Gloss, whose debut album "Melt" this year was certified by The Guardian as nothing less than "heartaching beauty". Yui Onodera's "Chrome" as well as "Kari", a cooperation of Markus Guentner and Joachim Spieth, could also be imagined in the score of Denis Villeneuve's new film version of DUNE - however, colleague Hans Zimmer managed that quite well without the three. After such wonderful and stylish contributions by Reich & Würden, Triola and Thomas Fehlmann, the ear then lingers a bit longer on the ghostly "Weiht" by Morgen Wurde feat. Maria Estrella, a track like a temple of sound, a deep electronic immersion in a Japanese onsen. In this sea of unnameable time you could sink forever, but with the tracks of Andrew Thomas, Thore Pfeiffer and Max Würden & Pepo Galán the journey slowly comes to an end.

Mit dem Cover-Artwork für Pop Ambient 2022 hat sich die langjährige KOMPAKT-Grafikerin Veronika Unland einmal mehr selbst übertroffen. Nach den geradezu barocken, in blutrot und tiefschwarz gehaltenen, äußerst physischen Formationen von Pop Ambient 2021, die wie zum Tanz aufgerichtete Körper aus einem dunklen, floralen Meer auftauchten, ziert die Vorderseite von 2022 eine pastell-weiße Skulptur, in sich verschlungen, vielfach gefaltet und von zarten Schattierungen durchzogen, die auf einem blass-rosa Hintergrund zu schweben scheint; weiche, sanfte Wellen aus venezianischen Farben gewebt, die dem Betrachter Rätsel aufgeben: Ist es eine Blüte, eine Koralle, eine Molluske?

Natürlich geht es auch in der aktuellen Ausgabe der traditionsreichen, von Wolfgang Voigt kuratierten Compilation-Reihe um die beharrliche und immer wieder notwendige Definition von Schönheit, von Reduktion, um elektronische Musik von schwerer Leichtigkeit und leichter Schwere, vom ewigen Versprechen des Ambient auf einen Zustand körperlicher und akustischer Schwerelosigkeit und dem von Pop auf Erlösung. Und um die Frage, warum eine nie beliebige Kombination aus Klangfläche, Drones, Samples und Loops, auf eine bestimmte Art zusammengefügt, dieses Gefühl von Wärme, Tiefe und Raum entstehen lassen kann, - etwas dreidimensionales, in dem die Fantasie sich so zuhause fühlt wie ein Fisch im Wasser oder ein Vogel in der Luft. Ein ästhetischer Schlüsselreiz, der alle Sinne in ein langsames Gleiten und Driften versetzt, wonach sich deine Synapsen wieder anfühlen, als habe man sie in ätherischem Öl gebadet. Neben Soul ist Ambient die wahrscheinlich wirksamste musikalische Heilpflanze der Menschheit.

Hinter den auralen Reagenzgläsern hantiert einmal mehr das Who-is-Who der kompaktschen Pop Ambient-Riege, erstmals angeführt vom hoch gehandelten kalifornischen Duo Blank Gloss, deren diesjähriges Debüt-Album “Melt” der englische Guardian nichts weniger als “herzergreifende Schönheit” bescheinigte. Yui Onodera’s “Chrome” sowie “Kari”, eine Kooperation von Markus Guentner und Joachim Spieth, könnte man sich auch gut im Score von Denis Villeneuve’s Neuverfilmung von DUNE vorstellen, - das hat der Kollege Hans Zimmer allerdings auch ohne die drei ganz gut hinbekommen. Nach so wundervollen wie stilsicheren Beiträgen von Reich & Würden, Triola und Thomas Fehlmann verharrt das Ohr dann etwas länger beim geisterhaften “Weiht” von Morgen Wurde feat. Maria Estrella-Weiht, ein Track wie ein Tempel aus Klang, ein tiefes elektronisches Eintauchen in einen japanischen Onsen. In diesem Meer aus unnennbarer Zeit könnte man ewig versinken, doch mit den Tracks von Andrew Thomas, Thore Pfeiffer und Max Würden & Pepo Galán geht die Reise langsam zu Ende.

Deep down in the sediment – you will find the element – of human being error. CLEAR006 is the cure. The next edition of cooperations, cross-overs and contemplations on current events brings you the soundtrack for the basements in which you will be allowed to go to again soon. Enjoy this blend of dystopian funk, battle ship movements and laid-back tributes while it’s still cold (-80°). Sorry, that we kept you waiting, but research does take time.

Side effects may include Nausea, Dizziness and Muscle Twitches.

First-time limited-edition reissue of this mega super-crazy rare US hard
rock/metal heavy psych private press LP from 1981, Limited deluxe
edition of 499 copies.
Includes an insert with line notes and photos. Golden Dragon were a wild Filipino-American quartet from the Bay Area lead by Freddy Mabuhay. The album
is filled with heavy blazing psyched out metallic rock, blistering guitar solos
loaded with fuzz and wah, heavy riffs and stoned vocals.
Freddy was the bass player in the legendary band Dakila who had a fantastic album out on Epic in 1972. Later in 1978, after playing the Diamond Head Crater
Festival in Hawaii, Freddy formed his own group; Golden Dragon.
In 1981 he and his band; consisting of his brother and two musicians from the
legendary Bay Area punk band VKTMS, recorded the amazing Golden Dragon
album. The album was only pressed in a few copies to be sent out as a demo to
secure a record deal. Unfortunately, the deal never happened, and the album
stayed unreleased and pretty much unobtainable for all these years.
The short lived, but lethal, Golden Dragon band performed live at the legendary venue Mabuhay Gardens, aka The Fab Mab, in San Francisco. Sadly, Freddy
passed away shortly thereafter, and the mighty Golden Dragon’s music stayed
obscure growing to mythical status among hard rock and psych rock aficionados. Subliminal Sounds has now put together this release in cooperation with
the surviving musicians. It’s finally time for the world to experience the mighty
sound of Golden Dragon!

YWF is one of those producers who is capable of bringing a twist to his dedicated genre with every release. His cooperation with the TDS crew truly undermarked the concept of technodub.

The second release of TDS Records is dedicated to a forgotten TV show character, this sets the dynamic and emotional focus. The original track was written and named by the Danish producer, and it starts the vinyl with a twisty opus, followed by some jolly dub vibes from Garpo and beko. On side B Krisz Deak brings his stirring, metallic sounds back to the table, and the season ends with the ambient style closure that we all deserve.

With TDS02 the label continues to pay its respect to the timeless sounds of dub & techno, by keeping this kind of raw minimalist aura alive.

"To mark the 50th anniversary of the 1970 concept double album, Jesus Christ Superstar, it has today been announced that a variety of special anniversary edition albums will be released on September 17th. This landmark release, which includes full cooperation from the creators Tim Rice and Andrew Lloyd Webber, features an array of exclusive demos, commentaries, interviews and much more.
The special anniversary editions are a celebration of the original 1970 concept double album and its continued success spanning 50 years. With the new editions all having been re-mastered at Abbey Road, fans have a great selection to choose from.

This year Music On Vinyl in cooperation with Sony Music and Alex Callier are releasing 4 Hooverphonic remix Eps. Each EP represents a Hooverphonic album; A New Stereophonic Sound Spectacular, Blue Wonder Power Milk, The Magnificent Tree and Presents Jackie Cane. Alex Callier selected the best remixes of their songs for each remix EP. All 4 remix EP’s are scheduled for release in 2021 and are cut on 45 RPM and pressed on 180 gram audiophile vinyl.

Hooverphonic are a Belgian band that formed in October 1995. Though originally categorized as a trip hop group, they quickly expanded their sound to the point where they could no longer be described as a lone genre, but rather encompass alternative, electronica, electropop, rock, and a mixture of others. The band originally called themselves Hoover, but later changed their name to Hooverphonic after discovering other groups were already using the Hoover name and to avoid any legal issues with the vacuum cleaner company.

Since their formation, Hooverphonic’s lineup consisted of bassist Alex Callier, guitarist Raymond Geerts, and various lead singers. Geike Arnaert (1997–2008, 2020-present) has recently re-joined the band. Hooverphonic represented Belgium in the Eurovision Song Contest 2021.

The band achieved international recognition through the inclusion of the Stereophonic track “2Wicky” on the 2000 individually numbered copies of Blue Wonder Power Milk remixes are available on on solid blue vinyl.

In view of the immense Black Lives Matter mobilisation in reaction to the murder of George Floyd and the comparatively meagre societal reaction to the attack in Hanau, the question arises: How come our society does not show the same empathy and solidarity towards its own fellow citizens with Kurdish, Turkish, Bulgarian, Bosnian, Afghan migrant backgrounds or members of the Roma and Sinti?

How limited is our postcolonial discourse if we are unable to address the racist exploitation of those who repair our cars, deliver our parcels or harvest our asparagus?

It’s all a sham. Shake it off like a biometric photograph. Shake off that false consciousness. The Black Diaspora is a transatlantic lie invented by music curators and journalists. Embrace this nuanced return to structures and superstructures, to articulations and historical constellations as analytical tools.

Allow me to dampen your expectations. This is not the sound of decolonisation. This is no compilation of BLM protest songs. This is no celebration of Black emancipatory struggles. You will not be able to play this at your hip post-pandemic house party. This will not go down well with your woke friends. This is music for the square in the room. For that reluctant BAME/Person of Color repelled by your fetishisation of the African-American experience.

This is music for gated communities. This is Fehler Kuti singing of class relations, not of identities and positionalities. This is Fehler Kuti resisting.

Listen to these songs of infrastructure and appraisal of the welfare state. Join me in mourning the broken promises of prosperity for all. Send that “Ausländer“ of your mind to heaven. Colonialism fucked you up. Platform Capitalism is keeping you in chains. Are we to unionise all human and non-human workers at Amazon? Will modernity always have that "forever nigger“? What about those dispossessed field hands harvesting your asparagus?

All is lost. The system is rigged. Because all histories, gestures and identities have been absorbed into this late capitalist apparatus we call diversity. It can integrate anything and anyone. It made me. It is the price of the ticket. And it is unable to challenge its own premise of an atomised society. As if you and I had so little in common.

They will try and help you. They will build a museum for your history and a scholarship program for your future. I warn you. Don‘t let them give you a name. Resist appellation. Don’t get that German passport. Don‘t eat asparagus.

Fehler Kuti, Spring 2021

All songs by Julian Warner. Produced by Markus Acher and Tobias Siegert.

Markus Acher – drums, percussion, backing vocals Micha Acher – sousaphone, trumpet Cico Beck – synthesizer Jenny Bohn – backing vocals Pacifico Boy – vocals Katja Kobolt – spoken word Theresa Loibl – bass clarinet, backing vocals Sascha Schwegeler – steeldrum, kalimba, percussion, backing vocals Tobias Siegert – bass, synthesizers, percussion, backing vocals Julian Warner – piano, memotron, vocals

recorded and mixed by Tobias Siegert at Minga Records, july – december 2020 mastered by Moritz Illner at Duophonic

Cover art and photography by Andreas Neumeister. Layout by Sascha Schwegeler.

Fehler Kuti “Professional People” is part of the same multiverse as “The History of the Federal Republic of Germany as told by Fehler Kuti und die Polizei”. A production by Julian Warner. In cooperation with Münchner Kammerspiele. Funded by the Department of Arts and Culture of the City of Munich. Released by Alien Transistor.