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Limited edition 12" dedicated to the Neve A Maggio song flavoured with four remixes. Three from Mushrooms Project and one with a 90's house style by Deep88.
Wrapped in elegant electronics and an international flavour, Sara's voice recounts the unusual in these days characterized by strong anomalies and cold solitude. Like when it snows in May, like when you want to pick a rose and instead find yourself blinded by a white reflection, completely out of place. Yet there is life, under that white; breath, pulsation, a rhythm that presses and makes you dance: a song that drags you away from a daily life troubled by extraordinary events, which become intimate and confidential, but still unique, like every single snowflake.
Archeo Recordings is a reissue record label that regenerates old, lost, obscure and forgotten rare gems of mostly Italian music but also all over the world of the 70s, 80s and 90s.
All releases are licensed audio tracks re-mastered in their original form with sleeves recreated for today but all based on the original images.
Archeo would like to make the music available to a wider audience of collectors, DJs, music lovers of a forgotten time.

Long Awaited Double Gatefold Release!

Omar Lyefook MBE is without doubt, one of the greatest soul music talents the United Kingdom has produced in the last 40 years. If anyone has doubts about that, then they might want to consider the list of legendary artists who happily line up to collaborate with him musically, or simply sing his praises - from Stevie Wonder, the late Leon Ware, Erykah Badu, Common, through to Carleen Anderson, D'Angelo, and Soul II Soul's Caron Wheeler, Angie Stone and U.K. artists Courtney Pine, Rodney P, Kele LeRoc, Natasha Watts and Estelle, all appreciate his truly original and unique voice, musicianship and songwriting talent.

When asked to reflect on his long, successful, critically acclaimed and deeply influential career that shows no signs of slowing up, Omar said "I feel blessed. I try to keep things moving and evolving, and when I finish an album, I always put my heart and soul into it. I'm looking at it from an outsider's point of view, because I never really see myself making the music. It's like I'm the vessel and somebody's controlling what I do, I just happen to be the one that gets the praise for it".

That modest statement just re-enforces the fact that Omar is simply a one off, a genuinely unique artist. That is a bold claim, but his sound is so immediately identifiable, that you will know you are hearing an Omar track within seconds - and that is the stamp of true originality.

This collection features many of his classic collaborations, from his evergreen worldwide anthem There's Nothing Like This, It's So, the dancefloor destroying banger inspired by the amalgam of sounds Omar heard at The Notting Hill Carnival.

The original Soundtrack to Greek-German director Nikias Chrssos’ new feature, ‘A Pure Place’, scored by John Gürtler (Eigenlicht, COUNTER019), with his studio partner Jan Miserre, and featuring a track by chameleonic British artist Shackleton.

The script for A Pure Place had a dizzying effect on John Gürtler & Jan Miserre; their minds reeling with the possibilities.

From Persian sheep bells, Chinese sheng, prepared trombone, quarter-tone piano, a beaten-up cembalo, hand percussion, and a room full of synthesizers, embryonic compositions and experiments came to life early on in the project.

An electro-acoustic extravaganza, the soundtrack for A Pure Place takes a deep bow towards the many magnificent composers and scores from the late 60s and 70s where orchestral arrangements met with tape loops, psychedelia, and instruments from across the globe. Listening to that era of film music, anything seems possible.

The minimalist tones of ‘Ritual Bells’ set the dial to weird in the opening sequence of the movie, whilst ‘The Island’ makes use of ambient vocals recorded through an oil drum, gently introducing one of the score’s main themes with a distant quarter-tone cembalo.

Acclaimed British artist Shackleton’s eerie original version of ‘Fust’s Song’ (also included) was a tonal keystone for the entire soundtrack. Gürtler and Miserre translated his psychedelic electronic blueprint, layering acoustic instruments and bottom-heavy percussion in their ‘Paradox Paradise’ production style. The vocals, written by Chryssos, and sung by the cast on set, capture the sonics of the actual crypt-like space where cult leader Fust addresses with his following.

‘A Glimpse of the Other Side’ speaks of love and death in a 70s-indebted composition reflecting John and Jan’s shared love for melancholic and suspenseful chord progressions. Meanwhile, the sparkling synths of ‘Athens’ - the children discovering neon-lit civilisation after years confined on the island - transplant us to an entirely different era.

Greek artist Maroulita del Kol features heavily throughout - her choir of vocals on ‘Erotica’ were recorded late at night in the studio foyer, capturing its unique tiled reflections and concrete reverb.

On ‘Purification’ Maroulita’s voice guides us alongside a Moog bass drone, building to an ecstatic climax, whilst she also features in the film’s disco-centric ending credits on ‘Gatoula Mou Mikri’.

Giving form to a broad personal project of continuous inquiry and existential expression, A World Of Servicemarks the Ostgut Ton debut of Spanish producer, DJ and artist JASSS aka Silvia Jiménez Alvarez.

The evolution of A World Of Servicehas curved around genre collapsing and unexpected metamorphoses. Formerly the name of the monthly radio show JASSS hosted in Berlin, and soon to be the title of her expansive multi-sensory touring concept in collaboration with Ben Kreukniet, here A World Of Serviceis powerfully concentrated in sonic form. Throughout the album JASSS muses on the especially current human and technological barriers to interconnectivity; both lyrically and musically she deconstructs the self, unmasks anxieties and interrogates the insufficiencies of language as applied to gender, identity and interpersonal relationships. Forming her own fluid, nuanced lexicon in response, JASSS seeks a deeper understanding of her multiple selves, emerging through unbridled adolescent rage and the wisdom of maturation, traversing liminality with abstract electronics and baroque industrial pop. Visually this is underscored by Matt Lambert’s uncanny floral cover portraiture, as well as the record’s distinct scent of wet earth, flower and woods developed for the album by Meri Bonastre and applied to the vinyl innersleeve.

Following the imaginative nostalgia of Weightless, her 2017 debut album for iDEAL Recordings, as well as her series of blistering dancefloor 12”s for Whities/AD 93, A World Of Servicefolds personal and societal concepts in on themselves, not seeking answers but rather luxuriating in the unique friction that questions create. JASSS is intensely focused yet musically unbridled; this is reflected in tonal shifts of A World Of Service. Through the computerised yearning and bruising of a heartbreak on “Luis”, to the jagged and wordless tundra of “Vapor Dentro”; the intriguing juxtaposition of warm, alluring Spanish vocals against rigid pillars of industrial heft and bass grind (“Camelo”), and the soaring maximalist industrial popof the album’s closer, “Wish.”

As intensity rises through the pandemic-era trip hop of the album’s title track “A World Of Service”, JASSS sings: “Pleasure / Is nowhere to be found inside this world of service / I call to be my life.” Pleasure may remain elusive to her, but in the determination to make peace with her various identities in this technological age, JASSS offers a compelling glimpse into an essential type of artistic voice.

West coast new romantic icon Riki returns with her 2nd simulacrum of pitch-perfect synth-pop, aptly titled for the precious substance it is: Gold. Inspired by notions of symbolic power, letting go, and transmutable realms of the heart, the album further refines her rare gift for making swooning melancholia as anthemic as it atmospheric. Working with Telefon Tel Aviv co-founder Josh Eustis at his Pasadena studio, the sessions unfolded fluidly and fruitfully, focusing on “quieter moments” and refining the record’s palette and voice. Occasional interruption from a nearby flock of wild parrots infused a mood of California dreaming, purple sunsets dissolving into deepening neon night.

West coast new romantic icon Riki returns with her 2nd simulacrum of pitch-perfect synth-pop, aptly titled for the precious substance it is: Gold. Inspired by notions of symbolic power, letting go, and transmutable realms of the heart, the album further refines her rare gift for making swooning melancholia as anthemic as it atmospheric. Working with Telefon Tel Aviv co-founder Josh Eustis at his Pasadena studio, the sessions unfolded fluidly and fruitfully, focusing on “quieter moments” and refining the record’s palette and voice. Occasional interruption from a nearby flock of wild parrots infused a mood of California dreaming, purple sunsets dissolving into deepening neon night.

In January 2017 Rufus Wainwright toured with the prestigious all string ensemble Amsterdam Sinfonietta through the Netherlands. Critics and audiences of the ten concerts were enraptured by the intimacy and intensity of the program curated by Wainwright. The concerts reflected the immense bandwidth of Wainwright’s musical influences and interests from Verdi Arias to Leonard Cohen and Joni Mitchell, from Rameau pieces to the American songbook and French chanson and from Wainwright’s beloved Berlioz to his family’s and his own songs, some of them written for this program. Emotional center piece of the album is Wainwright’s almost 9 minute version of late Canadian singer songwriter Lhasa de Sela;s harrowing “I’m going in”, a song she wrote about her own death from cancer at the age of 37. All arrangements were created specifically for the Amsterdam Sinfonietta and around Wainwright’s voice that is truly at the peak of its power. The artistic kinship between Wainwright and the Amsterdam Sinfonietta lead by Candida Thompson is astounding and make these live recordings into something utterly unique and breathtaking. “Rufus Wainwright and Amsterdam Sinfonietta Live 2017” will be released on BMG’s Modern Music Label as vinyl, CD and digital releases with two bonus tracks on the digital formats.
The album was mixed by multiple Grammy winner Ryan Freeland and mastered by Ruairi O’Flaherty both in Los Angeles and is comprised of live recordings from five of the ten concerts.

Songs touch on loss, flaws, hiding places, love. Deep connections to the Bay Area, and
the North Coast, with its unique moods of solitude, beauty, and isolation—a place described and transformed by the chaos and power of river-mouth, wild maritime storms, columns of mist that rise up unexpectedly on the road at night. Portions were recorded on Mount
Tamalpais during a self-made residency years back, other pieces made longer ago in Portland, while the rest were tracked during more recent sessions in Astoria.
Throughout, Harris threads a hidden radiant language of voice, disquiet, and guitar, framed by open space and the sense of being far away.
Echoing a lighthouse, burying the faults of being human / Into things that we project upon the sky at night.

Léonie Pernet's second album Le Cirque de Consolation, to be released November 19th on InFiné & CryBaby, inhabits a world where borders dissolve and everyone makes their own unique and singular utopia. Hereby, the record questions the links between pop music, African cultures and electronic music, neo-classical music or the role of voice, whether human or synthetic. Sophomore albums can be a painful process for an artist - how refreshing it is to hear one so decidedly optimistic.

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The sought after whirlwind of French Pop that exploded onto the scene with her debut "Crave", Leonie Pernet, returns with her second album, "Le Circque de Consolation", a sort of double negative of her first. While the yearning that sat at the center of "Crave"might not have been resolved, the young multi-instrumentalist and singer has found a new perspective - a more open and positive outlook on her own life and work. Perhaps telling, then, that the title was the first element of the album to exist: as it is and has always been a journey of personal (and collective) consolation first, a musical confrontation with the self.

"This record parallels my life's journey," confirms Léonie, "it reflects what has happened in my life since 'Crave' came out and how I feel today. There's still a lot of melancholy, but a lot more sunshine and light. In four years, I've become sober, which has saved me; I've worked a lot on my voice, which is a part of a desire to speak, to address my audience more directly, and also a more pronounced pop desire." In line with her new-found "openness", Leonie invites another musician into her creative process for the first time on "Le Cirque de Consolation": Jean Sylvain le Gouic, who lended his coproduction and perspective to her, while Leonie still plays almost all instruments herself with an astounding prowess.

Leonie's voice oozes with a new-found self-confidence and takes center stage amidst eclectic, distinctively fun and open-minded production. Sometimes she sings in English, mostly in French: "I worked a lot on my voice," confirms Léonie, "I didn't dare to sing before, neither live, nor on record, nor in the studio." Surrounding her astounding, intoxicating voice are forays into any direction imaginable: from harsh, experimental electronics to the more sombre, organic and quiet moments - and everywhere, there is the vision of Africa, (also Middle East) it's many sonic gifts and cultures.

Leonie has found a universal utopia that she craves for - a musical, cultural amalgamation that is decidedly non-western, political and poetic, rooted in self-discovery and the connection with other humans: African and oriental percussion, synthesizers, drum-machines; Léonie mixes genres and instruments with ease and precision. The French novelist and philosopher Édouard Glissant - whose work and writing had a big influence on Pernet - coined the term "Creolization ", the "bringing together of several cultures or at least several elements of distinct cultures, in one part of the world, resulting in new data, totally unpredictable in relation to the sum or the simple synthesis of these elements."

From "Hard Billy ", a techno-influenced rebellious anthem, to "Les Chants de Maldoror," a club and dance song propelled forward by feverish derboukas, to the deeply moving "A rebours" and its Afro-electronic rock. Léonie Pernet inhabits a world where borders dissolve and everyone makes their own unique and singular utopia. Hereby, the record questions the links between pop music, African cultures and electronic music (Intérieur Négro), neo-classical music (Le Cirque de consolation, Dandelion), or the place of the voice, whether human or synthetic as in the atmospheric "Vowel". Sophomore albums can be a painful process for an artist - how refreshing it is to hear one so decidedly optimistic.

Swallow this: Part 4 of the Running Back various artists series here and as always, there is no long reading needed: 5 tracks by 5 different producers with different backgrounds and experiences. All somehow fit together and paint a bigger picture between remodeled deep house techniques and floor mechanics.
Yungruzt feat Eluize opens the dance with the emo-house poem Starlight. The young man managed to deliver a transcendental masterpiece that is best used for coming up - or down, if you will. A Human Connection is being made next by Baldo. Imagined and made for high times, the Barcelona mainstay applies a tried and tested formula isn’t failing here either: 303 morse codes, break beats and an on going automated voice message do the trick. The man like 9th House goes back to the deep with the yearning and beautifully composed piece Ara, while Tiger & Woods co-author Delphi trades the boogie and disco tropes for heartfelt piano house. Last but not least, new talent Signal Mute pushes it over the finishing line with another tearjerker. Shared joy is double joy!

In pairing words with art, the ESP Institute often does everything journalists hate. We drown the reader in hyperbole, abstractions as opposed to didactic or literal depictions, and paint the press release with superlatives that construct an existential struggle around the art and its conditions. To articulate our reasoning behind collaborating with the artist, or the synergy between their work and our catalogue, is sometimes so challenging that crossing that finish line is achingly delayed. Patrick Conway’s 2xLP 'Cellular Housekeeping', his fourth release with the label, is one of these works so monumentally exciting for us that we’ve strained over how to deliver with honor his art unto the masses. After the initial hurdle of visual representation (in this case handled with gusto by artist Hassan Rahim), how do we directly and intentionally talk about the art we deeply love, when in reality we’re largely guided by instinct? We explore many angles, often failing along the way, until finding a final click in the combination that unlocks the floodgates. With Patrick’s album, that elusive impetus revealed itself in a literary gem that both symbolized his aggressive, melancholic, romantic, and bleak overtones, as well as synchronized his work and our task with a metaphor so grand it justified putting these words to paper. In the deeply British poem of despair and hope, 'Comus: A Mask Presented at Ludlow Castle', John Milton immortalized the classic idiom of the “silver lining”, and we find comfort in this transaction between struggle and what the poet considered divine intervention. Our bout of procrastination that brewed a cloud over the art may too tout a silver lining, the time that’s elapsed clearing a path for the album to exist in its rightful place, as opposed to fighting for a voice at an overcrowded table. In hindsight, this final hurdle might have only existed because without it, there is no glory, no resolution, but as all the pieces click and we collectively cross the finish line, Patrick Conway’s once captive 'Cellular Housekeeping' is now truly released.

Does returning to a place have a sound? Can the ear have a memory? And what if places which we return to are just empty shells? Choreographed rooms which we need to play, fill from scratch each time with fragments from the past and present, layer upon layer, familiar and still somehow always new and differently assembled. Paula Schopf’s Espacios en Soledad are acoustic walks around present day Santiago de Chile, the city where she was born - which she always left, had to leave and to which she always returns - but more than anything also through her own memories which resonate throughout the public places, squares, streets though still in their own way remain strange.

„Every immigrant in the world has a piece like this - a kind of missing link, something which is incomplete. And every time one returns to the home country you are looking for it. For me it was a matter of sound.“ (Paula 2019).

In the mid 70s leaving Santiago was a flight of exile as a child with her family. Leaving in 1990 was an autonomous decision to head for Europe, Berlin, where the wall fell, where the heavens opened up all at once and electronic music became a kind of new home to so many. Paula Schopf belonged there. For her the Ocean Club at Tresor club was a central place where friends and mentors like Gudrun Gut and Thomas Fehlmann made it possible for her to get really into it. Dancing, being and feeling your body, forgetting oneself in the bass and beats, who one is and where one’s from, to becoming the DJ Chica Paula. Chile was very far away during this time, Latin America was more just a code, a musical and habitual cliche to be cautious of. This was especially true for the culture of the Chilean exile, the pathos of the “Canto Nuevo”, the sound and ideologically charged instruments of the „música andina“, for example the Zampoña, Quena or Charango. Techno was the greatest thinkable alternative to this even if or perhaps because so many kids exiled from Chile became key figures in the German and European scene: Ricardo Villalobos, Dandy Jack, Cristian Vogel, Matias Aguayo and many more.

How does returning to a place sound? Does the ear have its own memory? The field recordings which were recorded in Santiago de Chile in 2016 and form the central sonic material for Espacios en Soledad represent the paradox for Schopf’s return to her home country after emigrating: the inevitable drifting apart of her own lived time from that of her former home. Already the Venezuelan and Colombian hawkers are unmistakable signs of the deep change in Chilean society which has happened in recent years due to immigration. Which is in contrast to the old lady who sits on the floor in a pedestrian zone and without break sings the same three songs by Violeta Parra and then keeps falling asleep while doing so. The fragile presence of her voice is joined with a repertoire which is almost mythologically timeless in Chile in a particularly moving way.

By layering, ordering and conjoining such found sounds from modern day Santiago this piece become about the urban sound of Chile’s present. But more than anything by doing this Paula Schopf becomes an arranger of her own sonic memory or sound-triggered memories of returning to this city. Just as techno and Berlin helped her for such a long time to get away from too strong of an identification as a Chilean in exil, now with Espacios en Soledad she has found a way to bring these two seemingly disparate lives and remembered worlds together.

Matthias Pasdzierny

Ten years after its release, the reissue of this fabulous Matt Elliott record seemed essential to us since it was eagerly expected! It is undoubtedly the most dramatic sequel to the songs trilogy being outstanding for its darkness, from which he has progressively turned away. The Songs Trilogy is over, A new chapter entitled 'The Broken Man' is about to open and is the most delicate of Elliott's albums to date. The angry noise has all but abated, making way for more fragile melodies and a more subtle approach to intensity to immerse the listener. Ideally listened to in total darkness to discover the hope hidden deep within the guitars, voice, choirs, bells, ethereal trumpets, the howl of the dog beneath the skin, in the sincerity of the music. Inspired by the ghosts of European folk music, the voice often resigned but always expressive. Always finding new ways of working, Elliott collaborated with Katia Labeque who interpreted an improvisation of his that became the backbone of one of the central epic pieces on this album 'If Anyone Ever Tells Me That it is Better to Have Loved and Lost Than to Have Never Loved At All I Will Stab Them in the Face'. 'Dust Flesh and Bones', another of the epic pieces on this album, is perhaps Elliott's most beautiful and moving work to date, simple in it's form but emotionally profound. 'The Pain that's Yet to Come' hints at a new almost psychedelic era to come. 'The Broken Man' is an album to be discovered gradually over many listens, and with each one a new depth is surrendered until one can appreciate the panorama in it's entirety. Each track is an invitation to explore one mans analysis of his own descent reflecting the frustrations and sadness that touch us all at some point. Mixed by Yann Tiersen this album is a bridge between the more acoustic work of 'Songs' and the more electronic, ethereal work of Third Eye Foundation. It is finely balanced in the centre of Matt's musical universe.

A true psychedelic masterpiece!
Black vinyl LP in black and white jacket with miniature two color booklet. Limited second pressing.
Blind Owl Wilson was a truly great guitarist and vocalist whose deep well of psychedelic blues songs were buried amongst the catalog of major label rockin’ blues band Canned Heat. Blind Owl served as Canned Heat’s guitarist and would chip in a song here and there as a front man. A couple of those songs became huge hits in the 60’s – “Going Up The Country” and “On The Road Again”.
Blind Owl’s songs for Canned Heat stood in stark contrast to the bands blustery blues rock – his was a gentle and nuanced voice and the themes of his song were all about personal heartbreak, grasp- ing for cosmic understanding, and ecological justice.
Here we have an LP of Blind Owl’s songs from Canned Heat’s records – left to sit alone and take you somewhere unexpected. Blind Owl’s personal vision quest can be heard throughout these songs. “Poor Moon’ tells the tale of Alan’s heartbreak as he watches the moon being misguidedly bombed by man, ‘My time ain’t long’ confronts death, “Parthenogen in 3 Blind Owls’ and ‘Parthenogen childs end’ take you to the psychedelic limits, and oh yes, we have the hit tunes on here too. Co-release with Sutro Park records.

Muscle Shoals singer-songwriter Dylan LeBlanc releases his new EP,
‘Pastimes’, a self-produced collection of covers of songs from Glen
Campbell, Bob Dylan, the Rolling Stones, Led Zeppelin, Buffalo
Springfield and JJ Cale that inspired him to create his own acclaimed altcountry sound.
 ‘Pastimes’ is released on orange coloured vinyl.
 LeBlanc shared his thoughts about his cover of Led Zeppelin’s ‘Going to
California’: “When I was 15 years old I got my first paying gig at a local
coffee shop called Juri’s,” says LeBlanc. “I remembered this girl that sat
behind me in class and I bonded over Led Zeppelin ‘IV’. I remember I
had gotten a Led Zeppelin box set that year for Christmas, and her
favorite song was ‘Going to California’. I rushed home to learn that song
for her and spent hours in my room at my grandmother’s house where I
lived at the time so I could play it for her and impress her. This song will
always hold a special place in my heart. I love this record and this era of
music that I think will always remain untouchable forever and always.”
 Each song was chosen for its deeply personal impact: JJ Cale’s
‘Sensitive Kind’ takes LeBlanc back to the smoky dive bars his father
would bring him along to as a child. Buffalo Springfield’s ‘Expecting to
Fly’ reminds him of teenage joyrides, speeding through the country and
listening to music to escape life’s harsh realities. He learned the art of
storytelling through songs with the Rolling Stones’ haunting ‘Play With
Fire’ and Bob Dylan’s ‘Blind Willie McTell’ - a track that he compares to
reading a Southern Gothic Faulkner novel. And Glen Campbell’s ‘Gentle
on My Mind’ is a song he remembers from his early childhood, when his
grandfather, also a guitarist, would throw parties where friends would
gather to drink and sing and forget their troubles.
 ‘Pastimes’ was recorded at Fame Recording Studios in Muscle Shoals,
live and with as few takes as possible in order to capture a sense of
authenticity. Says LeBlanc, “I feel like music is nothing more than a
spiritual endeavour to widen the horizons and heighten the senses of the
things inside of everyone that sometimes feel unreachable.”
 Dylan LeBlanc has spent the last decade releasing four acclaimed
albums, winning praise for his arresting alt-country style, collaborating
with the likes of Emmylou Harris and Brittany Howard, and sharing
stages with heavyweights like Bruce Springsteen and Lucinda Williams.
 “One of modern country’s most interesting voices, in both senses of the
term.” - Uncut
 “Sublime voice and evocative songwriting.” - Nashville Scene

Five years after the release of "Je vous dis" in 2018, Geins't Naït and L.Petitgand's second album from the "Mind Travel" and "Make Dogs Sing" collection on the German label "Offen", the duo are now writing a new chapter in their story with this fascinating poetic tale. The same mysterious and heady atmosphere which characterises the two musicians is present in this new work but clearly they have never ceased refining and polishing their sounds to give their compositions even more power and depth. Geins't Naït and L.Petitgand here offer twelve new tracks with names as enigmatic as the title "Like this maybe or This" itself and the record's whole universe. In reality, these mysterious names lead us to let ourselves be taken to the deep meaning of their creation. The subject matter is certainly difficult to grasp and invites us on an inner journey while leading us to doubt and question ourselves incessantly. There is a perfect alchemy between these two artists though this was far from self-evident as they come from two very different schools. Thierry Merigout, who is now the only representative left from the late 80's experimental project Geins't Naït in Nancy, comes from the post-industrial scene. As for Laurent Petitgand, he is a pure melodist who is best known for his work as a composer of music for films and live shows and has collaborated with Wim Wenders and Paul Auster in particular. "Like this maybe or This" is a fully accomplished symbiosis between Geinst Nait's industrial and experimental tonalities and the celestial melodies of Laurent Petitgand. "Shape of the storie" starts the album with a bewildering atmosphere which mixes a sample of a guttural voice with cavernous resonances thus prefiguring the album's general atmosphere. However, while some tracks like "HAC" fuel our existential anguish, other tracks have a poetic and melancholic tonality which touches our deepest humanity. This is the case of "Dustil" whose subtle piano notes combined with the melancholy violin show us a sublimated world. This fascinating blend of violence and gentleness makes this record an atypical work which enables listeners to lose themselves in an emotional nebula where they can perceive the turbulence and also the intensity of our inner life.

You have to know how to move away from the rich, strong and noisy streets, if you want to discover another Havana. A Havana far from the tourist circuits and preconceived images. A Havana where one discovers bucolic, but hard and stripped too after slow journeys in the crowded buses, a Havana with which Al Quetz maintains a passionate history since more than fourteen years.
Installed in one of those neighborhoods that can only be reached by going deeper into the alleys, from the open window of the studio comes the sound of banging drums and thumping bass. The sound reaches the streets on which the day rises.
The place wakes up in a growing tumult, with some rare engines coughing, conversations under the windows, songs of the street vendors , an urban ballet sets up as the sun darts its rays.
Far from the musical clichés with percussions and horns, Cuba is an island bombarded with influences that one discovers.
An island which vibrated for the jazz, the soul, the psychedelic rock , from the waves coming from the Caribbean to those of the bulky neighboring ogre.
A musical flowering as varied as abundant that the glorious post-revolutionary label Areito has on thousands of recordings,
and that Al Quetz has designated as the sole source of his samples to compose Habanologia.
From the ambiences that punctuate the local daily life caught by his samplers, he let the melancholy infiltrate his hip hop beats, the nostalgia melting in the depths of his grooves. Nostalgia in the Cuban air, even during moments of intense laughter, which never totally disappears.
Habanologia restores these moments when the song of the birds has extinguished those of the cars. Where, sitting on a doorstep, we comment on the life of the neighborhood, we watch the women's swaying at eye level. The whole day if necessary, the coffee at one peso, after a certain hour, which leaves its place to the Planchao rum. Wandering through its streets where a chance encounter can itself bring others and lead to the essence of the habanera life. From Regla, after a short trip on the bus-boat that crosses the bay, savor the end of the day, observe the capital from afar, let the nocturnal insects ensure some arrangements and drift towards mysterious horizons, bringing to the contemplation of the place and the moment.
A flute, a keyboard, percussions or a voice. Al Quetz also invited his friends from the island or elsewhere to decorate his productions with their live touch. To share with him this Havana for which he covered his tracks, mixed times and distorted space-time to make it timeless.
To write with Habanalogia, a declaration of love to the Cuban capital, to make Havana, His Havana.

There is something magical about the synergy of the voices of a couple; they gel, they interweave, they lift each other. Remember classic duets sung by partners over the years; so much is said, more than just words.

'Warm You' is the collaboration between Mandaworld (aka Amanda Hicks) and partner Matthew Tavares (aka Matty of BADBADNOTGOOD fame). It is a song about your lover getting out of bed in the middle of the night because they can't sleep and you telling them to come back to where it’s warm and safe and they’re loved.

It was written in their Montreal apartment a few months after they moved in. Matty described the writing process "We just spontaneously decided to make music, and the idea came out pretty much immediately. I laid down some guitar and then Amanda played the synth line over it and I edited the guitar so the timing was more interesting. We worked on it for a few days getting the chorus and the verses to feel right and, for the most part, everything fell into place super intuitively. Amanda wrote the lyrics."

This heartfelt, dream-pop song, with a mellow shoe-gaze sensibility, lets the pair trade verses whilst the instrumentation builds to a crescendo and the duo's voices finally combine. Lush, passionate and personal, a beautiful song, rich in evocative memories.

On the ‘B-side’, Mandaworld takes centre stage. 'Spoonfeed' is a spacey synth bass-led ambient ballad with smokey hazy vocals, calming like a bubble bath. Produced with a timeless quality, the song leaves you with a sense of tranquility and a feeling of being submerged underwater.

Like all the best music this 7" is deeply personal, yet these are universal themes that are relatable to any listener as they recognise their own experiences within the mood of the songs.

Siv Disa, the Chinese-American New York singer currently residing in Iceland has announced her debut album, Dreamhouse on UK based label Trapped Animal. Dreamhouse is available on Sky Blue 180GSM vinyl with a printed inner sleeve including song lyrics. The outer sleeve is printed uncoated high-quality card. Also available on Digipak CD and via Digital streaming and DL. The artwork was conceived and built by Siv Disa. It features a dreamy hand-painted dollhouse—the front image is a photograph of a tangerine sherbet living-room-in-miniature, complete with a teacup table and a glowing salt shaker lamp. The artist herself is hanging on the wall ensconced in a gilded frame overlooking the tableau. The back cover explores the same dollhouse, from a distance: there’s a garden in the basement, a maze of threads in the gallery, and a small ocean in the bathroom. A callback to the intricate maximalism of 70’s psychedelia and Neo-art nouveau, there are layers of details embedded into each room for the viewer to discover. Dreamhouse is a wild journey through its creator's psyches. It moves from gentle break-up songs to dark nights out in the fluorescent haze of nighttime New York and Reykjavik city filled with deep hallucinogenic beats... before it finally closes on a song infused with the isolation of 2020. The first part of Dreamhouse was recorded in upstate New York with collaborator and producer Sam and the sea, they both chose to relocate when the pandemic hit the US – and regrouped at a studio cabin in the wilderness to complete Dreamhouse and take time to escape the ensuing storm we all faced. It’s important to understand, whilst a product finalised during lockdown – this album was largely conceived way before the lockdown or pandemic, this is Siv Disa’s debut album and it was always going to be luminous and otherworldly, as with its creators. Quotes : “psychedelic pop that converges the encompassing textures of Broadcasts with Joanna Newsom’s pleasantly off-kilter melodies” - Line Of Best Fit // “...a haunting feel, while her warm, soft voice invites the listener into even the darkest of stories…Fear is an embodiment of this distinct sound she’s mastered.” Audiofemme // “profound lyrics flow from an ethereal plane, it’s an utterly captivating offering” Get In Her Ears

Welcome to the world of Night Time Transmissions -- here/hear the anxious calls of sleepless tenants, interdisciplinary collaborations, night walks, urgent canons and chants of cosmic healing. Bergur Anderson's first album is an ode to the voice, and a deep dive into the rich waters of polyphony and polyphonic storytelling.