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An artist as imaginative and unique as Ana Mazzotti doesn’t come around often. Dubbed a “super-musician” by fellow Brazilian virtuoso Hermeto Pascoal, Mazzotti’s short but rich musical career culminated in just two studio albums: Ninguem Vai Me Segurar (1974), and Ana Mazzotti (1977). Outside circles of Brazilian funk aficionados, these two gems of spellbinding samba-jazz, lysergic funk and trippy bossa have remained relatively obscure. This was partly as a result of Mazzotti’s premature death (she lost her battle with cancer in her mid-thirties), but also due to financial restraints and the prejudice she faced as a female songwriter in a fundamentally sexist society.

Born in Caixas, in Brazil’s Rio Grande do Sul municipality, Mazzotti began to play the accordion aged five, before moving with prodigious ease onto the piano. By the age of twelve she was already conducting her convent school’s choir, and at twenty-one she led her city’s premier chorus, the Coral Bento Goncalves. When rock and roll hit South America in the sixties, a young Mazzotti was one of the early adopters, fronting various guitar groups including an all female Beatles cover band, and an eclectic, eight-piece psychedelic group Desenvolvemento. Before moving to Sao Paulo to start her career proper, Mazzotti met drummer, producer and fellow music educator Romido Santos, who she would later marry. Romildo introduced Mazzotti to jazz, and music by the likes of Chick Corea and Hermeto Pascoal who she would later befriend and perform with.

In 1974 Mazzotti recorded her first album Ninguem Vai Me Segurar (1974), enlisting the in-demand arrangement talents of Azymuth’s original keyboard maestro Jose Roberto Bertrami who co-wrote several of the tracks and plays organ, piano and synthesizers on the album. It also features Azymuth’s bassist Alex Malheiros and percussionist Ariovaldo Contestini, with Romildo Santos who produced the album on drums. Recorded in Estudio Haway around the same time Azymuth recorded their debut album there, it’s no wonder the samba jazz-funk pioneer’s distinctive aesthetic is present throughout, and Mazzotti’s sensational compositions are made even more beautiful for it.
Kicking off with the swirling samba-jazz-dance masterpiece ‘Agora Ou Nunca Mais’, the album hosts several groove-heavy Brazilian cult-classics including ‘Roda Mundo’ and ‘Eu Sou Mais Eu’. Deeper moments come in the form of the alluring future soul synth sounds on ‘Bairro Negro’ and ‘Sou’, and Mazzotti’s tender, hallucinatory version of ‘Feel Like Making Love’ (made famous by Roberta Flack) perfectly reflecting the idiosyncratic genius Mazzotti achieved with Bertrami’s visionary arrangements, and Romildo’s impeccable production approach.

Far Out Recordings is proud to present the official reissue of this cult favourite Brazilian treasure. Remastered and pressed to 180g vinyl, Ninguem Vai Me Segurar (1974) will be available on vinyl LP, CD and digitally from 13th September.

Platform 23 reunites once more with Vox Man Records to dig deep into their archives and shine a new light on. In the past they have done some mega well loved Alternative Funk compilations which got the label off to a fine start and now they dig into an array of cult cassette releases to bring us treasure from Audiologie N-4 - The Independant Psychedelic Trip and Audiologie 5 et 6 - Ethniques Urbaines. This is music from the avant-garde and post punk scenes that draws on wave, spoken word, dark dub and industrial for its eerie yet alluring charms, all with a real edge. Ethnic, idiosyncratic and psyched out, this is another great overview.

Jeigo dropped a thrilling debut album Cerulean back at the end of 2022, worked in a tune with Elkka for her DJ-Kicks mix and also remixed Bicep not long ago.

Now he follows all that up with a firing four-track EP on Tread Records that again collides different club sounds, great samples and hooky melodies. 'Hatchet's Cave' is hands-in-the-air house euphoria with blistering drums and warped pads, then 'Move X' is a gritty tech bouncer and 'Compulsions' is a bubbly one with crisp hits.

Nervous Horizons label boss Anunaku remixes the title track into a bass-heavy banger and four locked grooves feature on this 12" for adventurous DJs to play with.

Caz Plak İstanbul proudly presents...

ONE OF JAZZ'S ALL-TIME GREATS PLAYING TURKISH RHYTHMS!

Don Cherry delves into Turkish rhythms, accompanied by his long-time Don Cherry Trio members: Turkish drummer Okay Temiz and South African bassist Johnny Dyani.

The vinyl LP is manufactured in Istanbul under the guidance of Mr. Okay Temiz, the only living member of this iteration of the Don Cherry Trio. The LP has been remastered from original material housed in BYG Records' vaults by Okay Temiz & Mert Ucer and licensed from BYG Records, France.

This LP features the recording by the Don Cherry Trio in Paris 1971 for the Sound and Vision program at the legendary ORTF studios in Paris 1971. Serving as the second chapter of our 'Turkish Jazz Trilogy', it follows Okay Temiz's magnum opus, 'Okay Temiz's Oriental Wind at Montreux Jazz Festival 1982' LP. We present one of the paramount Jazz figures of all time interpreting Turkish rhythms in Don Cherry Trio - The ORTF Recordings Paris 1971 LP

This release also stands as one of the most important recordings prior to Don Cherry's legendary "Organic Music Society" album in 1973, in which Okay Temiz also plays drums.

"Don Cherry Trio as an 'Applied Universe of Thought.'
In the spring of 1971, while we were playing as the Don Cherry Trio in Paris, Don (Cherry) seamlessly flowed from the trumpet to the piano, with improvisation as the lighthouse of the melody. This approach opened up a realm of boundless freedom for Johnny and me. It is to be observed as a melody within a melody. From the Organic Music Society album we recorded a year after this concert, up until the ECM album we recorded before Don's final departure from this planet, this principle has been the gravitational force of the Don Cherry universe.
That, indeed, is the true legacy of the Don Cherry Trio."

Excerpt from the liner notes by Okay Temiz and Haluk Damar

Leroy Se Meurt is a French musical duo known for their eclectic and experimental sound.

Formed in 2018 in Paris, their music can be described as a fusion of various genres, abrasive and hypnotic, an energetic old school EBM fused with fierce electro and bound by punk ethos.
Retaining the minimalist and raw qualities of punk rock, and replacing the complement traditional punk rock instruments like guitars and drums with drum machine and synthesizers, LSM sound is characterized by a blend of influences, including electronic, experimental, and noise elements, which contribute to their unique and distinctive style. If you enjoy post-punk music or are interested in exploring this genre, you may find aspects of it in Leroy Se Meurt's work, but their music also transcends traditional genre boundaries.

Seoul duo Salamanda arrive on Wisdom Teeth with their latest and most focused LP yet: 'In Parallel' - a vividly textural and immersive record that brings a new level of clarity to their typically psychedelic, expansive approach. Since arriving in 2019, the pair - comprised of friends Uman Therma (aka Sala) and Yetsuby (aka Manda) - have been fast at work mapping out their elaborate, dream-state sonic world - prolifically honing their sound across four albums and over a dozen singles to date. Across their already-extensive discography the pair have established a few key calling cards. Mallet instruments and tuned drums play out playful music-box melodies. Thick washes of gaseous ambience invoke otherworldly or ancient soundscapes. And buried fragments of found sound and manipulated vocal give their otherwise synthetic compositions a warm sense of first-person narrative. Ambient and Reich-school minimalism are the music’s most obvious sonic touchstones - yet the pulse of contemporary club and pop music have never been totally out of earshot. All of these themes come in to play here - but 'In Parallel' signals a step well beyond Salamanda’s work to date. Since 2022’s 'ashbalkum' (released on Wisdom Teeth alumni Tristan Arp’s label, Human Pitch), the duo have toured extensively: at classical institutions like London’s Kings Place as well as DIY club dens like Manchester’s White Hotel, all via a series of globally renowned festivals like Mutek, Nachti and Dekmantel. Their creative set-up has grown steadily alongside to incorporate a whole suite of new machines, processes and perspectives, taking their music in bold new directions in the process. The clearest development here is in the duo’s use of vocals - a shift that has been slowly taking place over their last few records, but that comes to a head on In Parallel. The album’s lead single 'Homemade Jam' is the closest the duo have come to writing an all-out pop track: its buoyant beat and autotuned vocals sounding like something SOPHIE and Charli XCX could have written after a particularly potent batch of mushroom tea. It’s a razor-sharp slice of alt-pop that offers a mouthwatering first look at what happens when Salamanda’s sprawling, unbridled creative energy is distilled right down into something concentrated and polished. At other points their sonic explorations lead them to embrace a more upfront approach to rhythm, skirting closer than ever before to the dancefloor in the process. The meandering drums and vocal chops on 'Paper Labyrinth' are underpinned by a firm 4x4 pulse, while the dembow groove of 'Tonal, Fluid' would feel right at home in a Nick León or DJ Plead set. 'In Parallel' is a record about connection, and the warmth and nostalgic simplicity of friendship is felt vividly throughout. Its title refers to the harmony the duo have found between them as friends and collaborators - and sonic parallels are traced throughout the record as testament to this. Motifs come and go before reappearing at later points: take, for example, the melody underpinning ‘Sun Tickles’, which returns in a different key and tempo on album closer ‘Mysterious Wedding’. Parallel lines are traced between each artist and through their music, linking back to their past and pointing ahead to the future. Only Salamanda know where these will take us next.

T4T LUV NRG presents “Name It”, the latest album by Oakland’s Bored Lord, aka DJ Daria. The internationally beloved producer and DJ has created a truly stunning album of impeccably produced and mixed work, each song an enticing chapter in a complexly woven story about love. This album of uninhibited, hook-laden tracks conveys a narrative of love that is not only romantic and personal, but also communal and familial— a love that refuses to limit itself to just two people, but instead spills forth into the world, embracing everyone open to its power. With her emotive, tenacious album, Bored Lord reminds us that to truly allow yourself to be enveloped in desire, you have to endure the pain that comes alongside it. You have to adapt and stretch yourself in order to experience the immense growth love has to offer. You have to believe there's more to this world than suffering and isolation. You have to look within and accept whatever you find, even if it is ugly or difficult. Love is the peace you find amidst the chaos of living, and it doesn't just fall into your lap. You have to want it. You have to be ready for it. And if you are ready, you have to name it.

As a producer known in no small part for her edits, Bored Lord presents “Name It” as a work undeniable in its artistry, completely authentic in its messaging, and absent of the industrial notion of production. The songs on “Name It” have instant hooks and each is deeply inspired by the genres Bored Lord loves—broken beat, drum n’ bass, jungle, UK bass, Florida breaks and house among them—but rather than simply reproducing, these tracks expand each genre beautifully. Daria’s technique is decidedly hardcore, with samplers, romplers and a bone dry aesthetic, each song and sound all her own. In the artist's own words “I want the industry people to be confused while the ravers understand the very moment they press play. I want to challenge everyone to name it.” And we expect that indeed they will, play after play after play. Now, close your eyes and believe there is more, more, more….

Miss D used to work as a model in New York. That she ended up in Vienna was sheer coincidence. That she became a recording artist was never planned, either. She moved to the Austrian capital with a well-known commercial producer in the mid-1980s, and soon she found herself recording TV ads for ice cream manufacturers.

One day in the recording studio, someone had the brilliant idea of making a proper record with her. The outcome was the highly sought-after disco oddity "Moving", most copies of which were destroyed due to a lack of commercial success.

Now getting a second chance, "Moving" is as strong as Austrian disco productions from that era come: slow, bouncy, full of personality and consistently surprising. So, three cheers to coincidences and random ideas in recording studios. This is a most memorable 7".

Neither so young nor the eternal promise, Promising/Youngster is here to stay. Diego Cadierno signs his second appearance on AF with 'Bernesga EP' (tribute to his homeland), a free-flying 4-tracker full of dreamy landscapes and nostalgic electronics, with nods to the 90's golden era but exploring paths of present and future. Suitable for listening inwards or shared outwards, perfect to express emotion and lightness. Artwork by Geometric Love, UK. Enjoy!.

Will Anderson believes in true love—as both concept and catalyst, aspiration and inspiration. During his 34 years, the Hotline TNT founder and architect has found such love perhaps half-a-dozen times. Each instance has prompted some enormous swing of commitment, like a cross-country move or simply being honest about his budding attraction. It is a hopeful and vulnerable way to exist, a way to ensure maximum bruising during the fall of the breakup. And so far for Anderson, that is how it has always ended, whether the air has slowly seeped out of some once-full balloon or whether it has simply popped, those expanded feelings expelled in an instant. This tension is the brain, blood, and beating heart of Cartwheel, Hotline TNT’s second LP and an endlessly romantic testament to reaching for something that slips forever out of grasp. The byproduct of Anderson’s decades-long quest to pin down the surging sound long in his head, Hotline TNT has come to notice in the last four years through loose association with a feverish surge of shoegaze revivalism. And Hotline TNT indeed trucks in the touchstones you might expect: skywriting guitars that bathe in fluorescent hazes of distortion, blown-out drums that pound as though they’re trying to escape a concrete box, and honeyed vocals that try to rise above the chaotic mess in true-to-life mimesis.

FSOL present the final instalment in the Environments Trilogy. “7.003” goes deeper and darker than the previous two albums, the flavour here harping back with memories of the group’s 90’s sounding pre “Dead Cities” album. On this release we have swamp laden electronics dripping from cavernous breakbeats weaving in and out of otherworldly chords and strings firmly back in the driving seat.

FSOL deliver not only the final piece of the jigsaw but a clever jaw-droppingly sensorium.

Another of the albums that Prestige would issue several years after it was recorded, Bahia is drawn from a couple of sessions that the iconic tenor saxophonist recorded for the label in the late 1950s, during a time in which he was exploring different genres with various players, including pianist Red Garland, bassist Paul Chambers, plus drummers Jimmy Cobb and Art Taylor. The album has plenty of Trane hallmarks in the saxophone lead, and there is noteworthy contribution from trumpeter Wilbur Harden on ‘My Ideal’ and Freddie Hubbard on ‘Something I Dreamed Last Night.’ This is simply a great Coltrane listening experience.

Whatever condition your condition is in, Soul4Real have huddled together a team of the finest soul physicians to make you feel good.

We scoured all the shelves in the soul pharmacy and discovered some potions that were only just through the trial stage. Just one listen to the brilliant Aretha, Gladys, Walter Jackson and the Purify’s tracks convinced us not to wait for FDA approval, so we took the plunge and shared them with the world on vinyl for the very first time.
Recorded in 1968, Arthur Alexander‘s magnificent “I Need You Baby” reached legendary status during the tape-swapping epidemic of the late 70s/early 80s. The first traces of Alexanderitus were linked back to a tape dispensed by a north London mod by the name of Randy Cozens, which went viral. Even today, the mere mention of the title to any of those C60-swap-survivors can cause severe heart palpitations.
Down in Memphis, they tend to practice the holistic approach to heartaches. Southern folk understand it’s about the voice and its natural healing powers, especially when it’s being administered by the likes of the Soul Children and Shirley Brown, who instinctively inject the perfect amount of ache, warmth and emotion to hit just the right spot. May we prescribe at least two listens a day, taken with or without food.
Helping with recovery we have included tracks by our care team Maxine, Gil Scott-Heron and the Isleys, whose gentle grooves will help nurse you back onto the dance floor in record time.
And finally, my personal favourite, Dr Johnnie Taylor. Frankly, it beats me how someone who delivers the lines "she don’t break no records when it comes to good looks” and “she burns up the food when she cooks" to his girlfriend manages to avoid a trip to A&E. We decided such foolish bravery should be rewarded by having his picture on the album cover.

12 tracks, all great examples of real soul music, a mix of well known classics, overlooked gems, and 4 original unreleased songs.

It was not only in Brittany that progressive rock bands went under the radar in the 1970s This was the case with the New Zealand quintet Dragon, born in 1972 in Auckland. Author of two albums released by Vertigo, certainly appreciated by amateurs, the group unfortunately did not meet with the expected success in its country of origin, which led it to emigrate to Australia from 1975. From there, they would spin the perfect love with the kangaroo public and the rest of the world in the 80s. Since then, between splits and reformations, they are still touring! But let's come back to this second album "Scented Gardens For The Blind" published for the first time in 1975 and today emerged from the shadows by the Replica and Musea labels. Note that from the first title, they try to get out of the shackles of progressive pop with Ivan Thomson's keyboards which push the combo to venture towards very English lands that the Zombies then Argent knew how to borrow. It is both marked by the 70s and a real desire to seduce the charts. What they did next in Australia. For the time being, on most of the album, the work remains a paragon of progressive rock marked by long guitar solos and beautiful flights of keyboards. Masterfully reissued.

Easy Listening Recordings is here, and to kick things off we've got a new three-track EP from Vancouver's Teen Daze.

We begin with the title track, Quiet City, and immediately conjure up images of late night drives through anonymous city streets. Brimming with emotion, and a gentle energy, this one could find itself at home in a warmup set, early in the night, or one of those aforementioned late night drives. No matter where you hear it, this is one of Teen Daze’s most beautiful tunes.

Life Style brings us out of the car, and onto the sidewalks of that once quiet city. Now there’s a bustling energy from crowds of people, steam rising from the sewers below. You’re navigating it all in stride, with Life Style in your headphones. This is City Music.

We start Side B with an ode to Vancouver, BC, aka The Glass City: Night Club. The soft, swung drums, the walking bassline, the dubbed out bongos; this one feels at home across the entire Lower Mainland. Maybe you’re taking a stroll along the Sea Wall, maybe you’re watching the sun set while sipping on something at Juice Bar, maybe you’re walking up to Paradise at 12 am. No matter how you might experience Vancouver, Night Club has got your soundtrack covered.

Finally, we wrap up this first disc for Easy Listening Recordings with a special vinyl-only track, called New Mood. Pulsating percussion lead this dream-like track through 4 ½ minutes of Balearic Bliss. A beautiful way to finish this first release.

Early support from:
Paula Tape, NIKS, Eug (Public Records), Pleasure Voyage, Masha Mar, Massimiliano Pagliara, Loz Goddard

On their long-awaited debut album Morning Ritual, Chartreuse have found the light in the darkness, sifting through the ruins of an anxious age in order to find the hope in it "There's a strange optimism in pulling all of your negative traits out, revising and reviewing them, and then putting them back, in order," says Mike Wagstaff, of the band's intricate, gorgeous songwriting. Chartreuse resist easy definition. The Black Country four-piece have been close friends since they were at college. In 2013, Mike and Harriet Wilson started playing folk music together ("We were not good at all," laughs Harriet), and a year later, they added a rhythm section, with the addition of Mike's brother Rory on drums and Perry Lovering on bass. Mike and Rory live together in Kidderminster in the West Midlands, while Harriet and Perry live just ten minutes away. They are very close friends and the songwriting is an extension of this intimacy. Their songs might find Harriet singing Mike's lyrics, or vice versa. "It takes a lot of trust, because the songs are not short of emotion," says Harriet. Morning Ritual has been a long time coming, with Chartreuse honing their craft over the course of four well- received EPs and the standalone 2022 single 'Satellites', a collaboration with Orlando Weeks. Having experimented with partly producing their previous EPs, Mike stepped up as sole producer on 2021's 'Is It Autumn Already?'. But they had big decisions to make. Should they build on the tracks from the last EP, and turn it into a full-length album? Would they work with a producer, or would Mike do it himself? They had more than enough new material to start an album from scratch, and Mike was ready to produce it. The framework for Morning Ritual was starting to take shape. "It was a natural progression," says Perry

The first album on ohne kommerziellen Wert comes from label co-founder Stute. After several appearances with hard-hitting club material on the OHNE EP series, Stute’s debute LP “Petra” demonstrates a beyond-genre approach that shows a different and more introverted side of the Hamburg-based producer. Far from being a collection of stand-alone gems that have accumulated over the years, the 12 stages of “Petra” sound like they were formed in a single cast. It is a personal and intimate journey through a unique man-machine mindset that has been manifested in music and sound.

Stute isn’t new to the game, but he has been producing under the radar for far too long. He started DJing and producing more than 20 years ago and found himself progressively drawn to different genres like Hip Hop, Breakbeat, Drum & Bass and Techno. And all of those experiences culminate in “Petra”, where Stute maneuvers his production skills through a wide range of styles and tempi somewhere between leftfield and rave. Urgent techno coldness, promising downtempo dystopia, restless acid dreams, floating breakbeat pleasure or hopeful leftfield romance – every track represents a different phase of a long-time companionship with music and making music, resulting in “Petra” being filled with conflict and drama as well as bliss and belonging.

Like all of Stute’s releases, his first LP is shaped by a very high level of production paired with a rare sensitivity for harmonies and arrangements. Every sound is made from scratch with analogue equipment – heavy dragging beats surrounded by glistening synths and bleeps built on a pure love for music and hardware. “Petra” sounds unlikely complete: nothing is missing, nothing is overdone. Nevertheless… or maybe because of that, the 12 arrangements offer you enough space to conjure up images of distant worlds or let you turn inwards to dive deep into your inner self.

Forged in a warehouse in Liverpool's Baltic Triangle, Beatowls emerge in 2023 as a genre-defying trio. Darcie Chazen, Tom Roberts and Carl Cook, possess distinct talents, fusing elements of electro, folk, and psychedelia into captivating, dark atmospheric grooves.
The city’s urban-industrial mood inspires their sound, weaving evocative and cinematic tones into their upcoming debut album Marma.
For Fans Of : Dean Blunt and Inga Copeland,The XX, Portishead , Nancy & Lee
Badalamenti/Lynch, Broadcast, Warp Records.
Above all, Beatowls embody a journey. Their story starts from a shared passion, extends into this collection of songs and sounds, and hints at a future filled with creative exploration.
From a dream in a Liverpool warehouse to a national platform, Beatowls stand on the cusp of an era promising audio adventures steeped in originality, emotive tales, and sonic diversity.

Error Subcutaneo was born under the sweltering sun of Santo Domingo, Dominican Republic, but their project portrays the colder, more urban side of life in the Caribbean, where cacophonous violence and Cold War monoliths collide with dreams of a better tomorrow The duo take elements of hip- hop, modular electronics, island syncretism, and bebop to twist and distort contemporary narratives on music composition, representing the greater movement of Latin American resistance directly from its epicentre Temporada Ciclonica is a recollection of alibis from a quenched island imaginarium. Palm trees dance in sync with the gales, an omen of the upcoming hurricane season. Pictographic technologies seek refuge in time's embrace, as eerie scents of petrichor and blood fill the corridors beneath the temple steps.

The cyclone's ravaging beauty and destruction bring rain, fertility and life to the land, an allusion to the cyclical nature of creation. Masters of musical past ride the storm's eye, a semiotic double- entendre on the spinning nature of the vinyl medium. A pupil glimmers from the dark, a kid rubs its belly in the womb. Press: Truth and Lies - review "a challenging but exhilarating journey through the minds of two young artists who's deep knowledge of local and international music places no harness on their creativity. Raw and instant, these boys look at the world as it is and let its contradictions flow into their creations. 9/10" Received airplay on BBC Radio 6 Music (Gilles Peterson), BBC Radio 3 (The Late Junction - Wolf Eyes' Mixtape) + The Lot Radio NYC - Marco Wibel - Darker Than Wax

So a Burner fan is a Rock'n'Roll fan. When Bjorn (guitar/vocals) and Mats (bass) finally found their drummer Jan, the trio is solid as a rock. In September 2018 they wrote and recorded the songs for their first album which was released via Time To Kill Records in spring 2020. Now the Swedish diesel rockers Burner are back! After their first attack with the debut album "Baptized in Gasoline" the band has received praise from all corners of the globe. And after a successful tour with English monster Orange Goblin the band started focusing on their upcoming new album. Burner say: "After the release of Baptized in Gasoline we continued to write new songs as always. Soon there was enough material for a second album and recording began. We always do everything with a smile and our sick sense of humor. The inspiration it comes from anything really, there are so many bands that have inspired us over the years. Janne came up with the idea for the cover and title and work moved on. We are really happy with the result and our fans will be in for a nice surprise. "Hittin' The Target" will be our second release and once again it will be filled with hard rock'n roll riffs. The perfect soundtrack for gulping cold beer!

180g virgin vinyl pressing, limited edition of 750 copies only - the complete album + 2 bonus tracks A superb performer with a real knack for the blues, Debby Moore (1924-2017) only recorded one LP. She sang with the bands of Earl Hines, Rex Stewart, and Count Basie, and mentored by none other than Louis Armstrong. On 'My Kind of Blues', the pinnacle of Debby Moore's career, she is backed by brilliant jazz soloists, including Harry "Sweets" Edison, Jimmy Jones, Barry Galbraith, and Elvin Jones. "As its title promises, My Kind of Blues captures a distinctly personal interpretation of familiar blues and jazz standards - Debby Moore's uncommonly warm and gentle vocals soften the blow delivered by some lyrics transforming their melancholy into profound compassion and understanding. Nuanced contributions from trumpeter Harry 'Sweets' Edison, pianist Jimmy Jones, guitarist Barry Galbraith, bassist George Duvivier, and drummer Elvin Jones further underscore the session's feather- light beauty." - **** Jason Ankeny, AllMusic

Swarm Intelligence’s unique take on industrial techno is back, with the second instalment on his self-titled label, coming this November.

Fiercely intense, dramatic and cutting-edge, Swarm Intelligence’s distinctive take on techno has garnered him a solid following amongst the true underground of the scene. Following on from the widely supported launch of his label, SWRM002 is a striking next step – a testament to the quiet confidence of a skilled artist unafraid to eschew norms and carve his own path. This second EP continues to draw inspiration from dystopian themes of new and imagined technologies and their resulting societal impact.

‘Critical Signal’ was produced during the global pandemic, and iteratively refined over the following years. Grinding basses and tense atmospherics sit atop a thunderous four-to-the-floor. Its message to humanity is as relevant now as it was then – “you are resilient, you will prevail”. In ‘Mass Disinformation’ a visceral, bleak and unsettling sonic landscape punctuated by a slamming groove is an apt metaphor for the psychological warfare being unleashed on the world today.

Opening the B-side, the uplifting glory of ‘Digital Immortality’ lifts the tone of the release. Here, Swarm’s signature glitchy, broken beats complement beautiful melodic swells and a rolling bass line. The track imagines a digital afterlife where, upon uploading our consciousness, we leave our bodies behind. Bringing the EP to a close, “Singularity Dawns” is the most freeform, cinematic composition. Its obscure broken rhythms and traversing sequence tells the tale of an AI becoming self-aware and discovering its capacity to feel.

Grand River and Sofie Birch are set to unveil their collaborative EP, titled “Our Circadian,” on November 24, through Melantónia.

The two-track release follows Grand River’s final release under the now-discontinued Editions Mego label earlier this year, and Sofie Birch’s two solo albums from 2022. Our Circadian represents the second collaborative release on Melantónia, a platform founded by Hanna Maria & Mattia Onori in 2021, dedicated to music for non-dance environments, featuring early contributions from artists like Polygonia, Plants Army Revolver, and Melantónia co-founders Hanna Maria & Mattia Onori themselves, amongst others.

“Our Circadian” was conceived remotely in 2021 during the lockdown, with the aim of encapsulating two distinct moments of those days – early morning and late afternoon – along with their subtle emotional nuances. The first track of the release – 7PM – conveys dreamy atmospheres that flow into colorful rhythms, recalling the electroacoustic nature of the label’s melancholic sounds. The gloomier 3AM, on the other side of a 7“ record, offers a timeless introspection of a gently intensifying synth sound’s fling.

Grand River, a composer and sound designer, brings her background in linguistics to her work. She draws inspiration from minimalism and ambient music, resulting in atmospheric and rhythmically intricate compositions. Her artistic pursuits traverse the realms of art and electronic music, exploring forms of communication that transcend language, often influenced by nature, scale, and movement. Grand River’s impressive portfolio includes sound installations at 4DSOUND/Monom and Terraforma’s Il Pianeta, as well as performances at prestigious venues like Barbican, Rewire, MUTEK, Le Guess Who?, CTM, Draaimolen, and Atonal’s Kraftwerk. She has also worked on remixes for notable acts like Tangerine Dream. Since 2016, she has curated the label One Instrument, offering a unique creative challenge to artists: creating music using only a single instrument.

Sofie Birch, a celebrated sound artist and producer, is known for her lush ambient releases, art installations, live performances, DJ sets, and her NTS show “Ambient Abracadabra.” Her sonic creations can manipulate space, infuse it with a profound sense of calm, and invite listeners to engage in meditation and introspection through the healing qualities of sound and vibrations. Her music acts as a conduit for understanding the complexities of the mind and body through artistic expression, characterized by a distinct emphasis on stillness, suspension, and sustain. Sofie’s soundscapes open gateways to dream-like states of perception and heightened presence, providing a transcendental journey into an alchemical biosphere. Her extensive repertoire includes performances at renowned events such as Barbican, Roskilde Festival, MUTEK, Unsound, CTM, Rewire, Monom, and Terraforma, as well as award-winning compositions for VR experiences and animated films, in collaboration with artists like Baum & Leahy and animation director Pernille Kjaer.

As Our Circadian takes its final form, it promises a narrative of resilience, creativity, and the indomitable human spirit guided by the artistic mastery of Grand River and Sofie Birch.

repressed !

To celebrate 25 years of the label, Tearin Vinyl’s debut release ‘Brok Out/London Talk’ has been repressed on krome (silver!) 180 gram vinyl. Originally crowdfunded on Kickstarter in 2019, meeting it target in less than 24 hours!

DJ Krome & Mr Time take you back to 1994 with two heavy hitters that were heavily rotated back in the day. This is Jungle Music as it should be heard, written by two of the genres finest purveyors. It’s now 2020 and the Jungle scene paved the way for Drum and Bass, which has since spawned numerous other genres which built the foundations that have supported many of todays EDM producers.

Get On Down is proud to announce a vinyl reissue of one of the West Coast's most revered, yet underrated, hip-hop classics and quite possibly one of the best hip-hop albums of all time: The D.O.C.'s No One Can Do It Better. Produced entirely by Dr. Dre and out of print on vinyl in the U.S. for several years, this limited edition colored LP features original album artwork and thirteen tracks of rap heaven. When his debut album hit in mid-1989, The D.O.C. was in the vortex of the biggest hip-hop happening on the planet: the rise and rule of N.W.A. The group’s breakout album Straight Outta Compton had hit one year prior and had created both controversy and worldwide critical acclaim. As rap history buffs and industry insiders know, The D.O.C. was a crucial behind-the-scenes member of the N.W.A. inner circle - his most important role in the early days of the group was writing many of Eazy-E's rhymes, including his hit 1988 single “We Want Eazy.” He would go on to write for Efli4zaggin, The Chronic and Doggystyle. But The D.O.C. wasn’t in N.W.A. and never wanted to be - he was his own man, with his own vision. And after Compton proceeded to blow up the next crew album was No One Can Do It Better. Significantly, it was the first album where Dr. Dre showed his greatness as a solo producer for one MC. Boasting four singles - “The D.O.C. & The Doctor,” “Mind Blowin’,” the smash “It's Funky Enough” and “The Formula” - the album is flawless from beginning to end. Of particular note beyond the singles is “The Grand Finale,” which was the last time that Ice Cube, M.C. Ren and Eazy-E would rhyme on a track together. The D.O.C. showed on this amazing record that he was one of hip-hops most talented MCs. He nearly died in a horrific car crash as the album was catching fire in the late summer of 1989 which damaged his vocal cords, but he survived and continues to make new music and act as a sounding board for Dr. Dre to this day. More recently a documentary covering D.O.C.'s life titled The DOC debuted at the Tribeca Film Festival with fans eagerly awaiting a wider release. This album is a must have for any Hip-Hop fan

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.

KOU is the new project by Apolline Schöser (half of Nina Harker) & Thomas Coquelet.

Apolline & Thomas have been performing since 2022 under the KOU guise with 24 electronic harmoniums. Producing dense layers of tones & overtones. On their debut album KOU steers in another direction. The harmonium appears occasionally, but more prominent are delicate guitar pluckings, distant vocal effects, synths, flutes, piano strokes, a touch of musical magic and Apolline’s jazz not jazz vocals.

As soon as the needle drops it’s clear we are jump-cutting straight to the other side of the mirror. Cats purr, a woman sings as if asleep, drum machines stutter and warp and Alvin Lucier is not 'sitting in a room that is not different to the one you are not in now’. If you’re already confused, join the club. But, it’s the good kind of confused, a bewildering experience akin to the first time hearing the Faust Tapes or watching Inland Empire. Wait though, as pigeons coo and the tape machine clunk-clicks a gorgeous weirdo version of Roger's and Hart’s Blue Moon emerges to let you know this isn’t just dada splurge, there’s a genius pop sensibility at work here too. Side two takes us further into the murk with mournful detuned brass, stoned Joan La Barbara-esque vocalese and a droning Farfisa hymn, before ending with another too-tempting snatch of DIY pop. Some of the references are recognisable. All kinds of 70s/80s European art prog - think early Battiato, Pierot Lunaire’s Gudrun, Lucia Bosè and Gregorio Paniagua's Io Pomodoro etc etc. There’s a strong whiff of 90s us goof-off surrealism too- Bongwater, Siltbreeze, Royal Trux’s Twin infinitives, the damaged folkier side of Alastair Galbraith, Half-Japanese, early Beck even all feel relevant.

Like an oddball group of friends you might meet by chance and end up weirding-out with for days, the minds behind this deliciously odd music allow you to stay for a while in their strange subcultural world. You might not want to live here forever but a short trip, while it lasts, rewires your brain for the better.

They're baaaack_.. While Brainstory is in the studio finishing their sophomore full-length, they treat us to this bombshell of a 7" as a taste of what's to come. They teamed back up with El Michels Affair who is handling production on the whole album and everything about this is leveled up. This show stopping plug & ballad two-sider is clear evidence of that. Side A is an uplifting, dance floor burning, smash hit that shows what years of touring and backing Lady Wray have brought out of Brainstory. "Nobody But You" is built on drummer Eric Hagstrom's crushing back beat that lays the foundation for this inspirational feel good banger that manages to take the uncomfortable truth that "nobody will save you but you" and turn it into pure blissful motivation. Then they drop a ballad on the flip side that is going to cause an entire scene to reconsider how they are doing it. The B side "Gift Of Life" is drop dead gorgeous, haunting, and profound all at once. An homage to the mysteries of life and the intangible truths that the human experience is built on.

2LP - 180 Gram Vinyl When Losing A Dream To Reality is the debut album from Swedish alto saxophonist and composer Hannes Bennich. Bennich is one of the most interesting new voices on the Scandinavian scene and presents all-original compositions for his first outing written for his band of pianist Britta Virves, double bassist Tomas Sjödell and drummer Emil Norman. Special guest vocalist Helen Salim joins for one track. The album is based around dream narratives: "I wrote music with different versions of dreams ending up perhaps not the way you want to. Like a winding path that can go in any direction," explains Bennich.

2LP - 180 Gram Vinyl When Losing A Dream To Reality is the debut album from Swedish alto saxophonist and composer Hannes Bennich. Bennich is one of the most interesting new voices on the Scandinavian scene and presents all-original compositions for his first outing written for his band of pianist Britta Virves, double bassist Tomas Sjödell and drummer Emil Norman. Special guest vocalist Helen Salim joins for one track. The album is based around dream narratives: "I wrote music with different versions of dreams ending up perhaps not the way you want to. Like a winding path that can go in any direction," explains Bennich.

Repress!

Veteran Drum & Bass producer Zero T returns to The North Quarter as he teams up with blind jazz pianist Andre Louis (PKA Onj) on their conceptual album Kilburn.

Having fortuitously discovered that they are neighbours in autumn 2021, Zero T & Onj began writing music together almost immediately. The duo's chemistry was undeniable as Kilburn was written over the course of just three months. With Kilburn being historically known for its large Caribbean and Irish communities, and Zero T being Irish and Onj of Caribbean heritage, it felt undeniable to dedicate the album after the London area it was written in.

The result is a rich, versatile collection of tracks, showing off intricate rhythms along with smooth chord progressions, perfectly marrying the worlds of both artists and their Jazz, R&B and Jungle influences. The darker, heavy side of Zero T’s sound is present on 'Some Type of Way' and 'We Juggle Different', both featuring Neo Soul singer Terrell King. More delicate, soulful tracks include “Everyday Struggles” featuring Jordan Max, “Rodeo Drive” featuring Mercy's Cartel and “Darkness” featuring Steo. Other featured vocalists are the iconic Ursula Rucker, Manchester's T-Man and Ms Nayé. The album also includes a collaboration with Nu Jazz duo Unitsouled, who previously appeared on Zero T’s debut release on The North Quarter Baby Grand.

2023 Repress

On the West Coast, gangsta rap held sway in hip-hop as the 21st century began. The alternative and conscious rap music of the early-to-mid-90s had all but faded into the underground. The scene was set for a comeback, perhaps as a backlash to the perceived violence and misogyny of gangsta rap's content. Leading the resurgence of alternative hip-hop were groups like Jurassic 5, and recentsignees to Capitol Records, a West coast trio that had been building steam underground since the early 90s called Dilated Peoples. Anticipation was high for the release of the debut album from Evidence, Rakaa, and DJ Babu. (Of the influential turntablist collective Beat Junkies.) When The Platform arrived in May of 2000 it was met with critical and underground acclaim, as well as affording Dilated Peoples their first Billboard chartings. It featured a back-to-basics sound with a heavy debt to the old-school hip-hop ethos, the kind of sound that harkened back to the early days of legends like De La Soul & A Tribe Called Quest. Hits like "No Retreat" and "The Platform" were bolstered by Evidence & Rakaa's subtle, abstract wit, and swift, adroit wordplay, while DJ Babu provided production chops and dextrous scratches. On The Platform the trio were joined by the likes of B-Real, Tha Alkoholiks, Everlast, Planet Asia, and many more providing guest vocals, while boasting guest production from The Alchemist & Kut Masta Kurt, among others. Since its 2000 release this influential record, which heralded the return of alternative hip-hop, has never seen a vinyl reissue. With that, Get On Down-always on top of giving the greatest hip-hop albums their due-is proud to present this re-release of The Platform. The rhymes are still fresh, the production is still pristine, and the album is now back on vinyl for the first time in 17 years.

Brazil's Zopelar continues to make stellar underground dance music and as a result, Techno House Connoisseurs has another hit record on their hands. He launches with FalaSerio into the acid jazz breakbeat stratosphere and doesn't look back as the track weaves, skips, jumps and floats...all with crisp hi's and acid distorting throughout. 808 Dream is exactly as it sounds, mezmerizing, quirky and jacking. Pads warp and drift but not too far, all while the acid worms into your head for that early am mind f*ck. Acid 1 is the peak hour monster that is set to demolish even the most discerning dancefloor. Relentless and unwavering, it's an all out onslaught of acid squelching, percussionistic chaos. This track is not to be denied and will have the walls sweating. Lastly, Zopelar and fellow Brazilain artist RHR collide to deliver an epic acid techno driver in Acid Republic. What a thrill it is hearing this on a proper system, nearly 7 minutes of pure 303 techno hypnosis. Limited 300 copies.

Repress!

Veteran Newcastle Drum & Bass producer Tyrone makes his debut on The North Quarter with Hurt Index, a bespoke six-track statement piece showing off a new dimension to his sound.

While writing Hurt Index on and off over a two year period, Tyrone challenged himself to step out of his comfort zone and to find a tone that balances his signature sound with that of The North Quarter. The end result is a collection of intricate hi-tech funk of the highest pedigree and a project of a more weathered artist, who has grown and expanded his repertoire.

Gombloh’s forgotten masterpiece

What if you have Brian Wilson and Bruce Springsteen rolled into one? And what if he came of age as an poor buskers in in Surabaya, Indonesia, but then summoned enough strength to record six albums that flew in the face of everyone in the country’s rock scene back in the early 1980s?

Genius, be they Brian Wilson or Soedjarwoto “Soemarsono” Gombloh, don’t conform to rules written for us mere mortals. They have their own way of doing things and in the case of Gombloh, writing music, conducting recording session and spending cash from his music, must be conducted on his own terms and his terms only. Studio time was expensive back in the early 1980s, yet Gombloh could be three-hour late for his session, and while engineers, session musicians and producers were jittery about the prospect of another botched session, Gombloh took his time for a nap before the recording begun.

Yet, some of his greatest works came into being in the wake of this napping session. Recording session for Sekar Mayang is no exception, despite the fact there’s foreboding sense of doom with Gombloh being unsure about the possibility of selling enough units to help his label break even. This is, after all, this is his last record with his band Lemon Tree’s. No one knew that Gombloh was operating with all his cylinders running and what came out of this Indra Record session, in the waning days of 1980, were some of the best compositions ever committed to magnetic tapes (to wax, if now you’re holding this on vinyl).

This is Gombloh at the peak of his creative genius. You can argue that his debut album Nadia & Atmospheer (what’s with the spelling mistake?) is the most sprawling and complex album (both sonically and thematically), but Sekar Mayang certainly had the best songs and I can make the argument that this album’s 10 songs are strong contenders for biggest hits in blues, country, psychedelic rock charts. “Prahoro & Prahoro” is one of those impossible song which appears to have sprung from a bottomless well of inspiration, encompassing King Crimson’s sprawling epic, Deep Purple’s deepest blues and Genesis’ most progressive tendencies. Or “Sekaring Jagat”, which begins as Lennon-McCartney lullaby before launching a thousand ships traveling to the end of the rainbow with children choir singing heavenly melodies backed by droning harpsichord and synclavier, while a buzzing Hammond B3 tightly locks with Gombloh’s guitar strumming.

For many of his fans, Gombloh is known as generous man of the people. A Robin Hood type if you please. He spent his royalty checks to buy foods for beggars and buskers and dish out some more to buy undergarments for Surabaya’s prostitutes. In Sekar Mayang, Gombloh went full Springsteen mode in “Mitra Becakan,” a social commentary that cut so deep you can end up with tears in your eyes and lump in your throat (even if you don’t understand any of its Javanese language lyrics). This is one the most devastating social commentary ever recorded for a pop song, and even if you discount the greatness of its musical composition, you chalk this up as a great social-realism poetry. His years of hanging out with pedicab drivers, street vendors and street-bound prostitutes certainly gave him enough insight into their (in)human condition.

Yet, a record this stellar was largely forgotten. First, this record was a flop upon its release in 1981. Indra Records reportedly only did one pressing on cassette tape and be done with it. For those who were lucky enough to have come across one of songs from this album on the radio were likely growing up in East Java, where Gombloh had a massive cult following early in the 1980s. Nothing was heard from this record again.

There were only a handful of cassette tapes from the first pressing found on second-hand market and I recently stumbled upon one online with a price tag of Rp 50 million (US$3,500). It’s no longer available now.

In Sekar Mayang, Gombloh harbours an obsession for a long-lost utopia, Java’s distant past, where farmers have their barn full of rice and corn, where blacksmith working around the clock making tools and children singing and dancing in their seminaries. Or the fact that he opens the song with stanza from Serat Weddhatama, arguably the most monumental poem in neo-classic Javanese literature, could be his pledge of allegiance. The question for him is should a modern-day Indonesia, rife with poverty, corruption and environmental degradation not be an anathema to that utopia?

In the end, you don’t need to be someone fluent in Javanese to enjoy this majestic record. And if this record turns out to be the last in Elevation Records catalogue and we shut down this label tomorrow, we will be very happy. Mission accomplished!

GER "Wir suchen nach Glitzer, nach dem hellsten Geröll und Blitzen. Wer sich heute Nacht verliert, wird sich nicht finden. Ihr sucht in uns die Perfektion der Generation Maximum.." An was noch glauben. Mit ihrem dritten Album Generation Maximum nehmen CULK den Druck von einer Generation, die den Horror der Gegenwart wie durch Magie doch noch zu etwas Positivem wandeln - und richten ihn bewusst auf diejenigen, die ihre Zukunft zerstört haben. "... Ihr sucht in uns die Revolution, bürgt uns auf, was ihr nicht leisten wollt. Wer sich heute nicht mehr wehrt, wird übrigbleiben." Generation Maximum ist sicherlich kein Album, bei dem im SUV laut mitgegrölt wird, weil der Refrain so schön in die Sonnenuntergangsstimmung passt. Niemand klatscht vor Freude über den nächsten Waldbrand die Hände zusammen. Stattdessen beobachtet Sängerin Sophie Löw ihre Umwelt durch ein Brennglas und nimmt die Zuhörer:innen mit auf eine lyrische Rückblende der letzten zwanzig Jahre, in denen sie selbst vom Kind zur Zeugin wurde. Das selbstbetitelte CULK Debut (2019) erschien beim Wiener Label Siluh Records, einer der verlässlichsten Quellen für spannende Indie-Musik in all seinen Facetten. Vom Spiegel-Magazin gab es dazu das Attribut "Suchtsound". Mit ihrem zweiten Album "Zerstreuen über Euch" (2020) schuf die Gruppe ein famoses Konzept-Album. Es wurde von vielen Seiten als eine Kampfansage an tiefverwurzelte patriarchale Strukturen gedeutet und schaffte es u.a. in die TOP 5 der Jahresbestenliste des Spiegel-Magazins. Mit "Generation Maximum" übernimmt Jakob Herber die Rolle des Bassisten von Gründungsmitglied Benjamin Steiger. Herber ist von Anfang an ein wichtiger Wegbegleiter im engen Zirkelder Band, Sängerin/Gitarristin Sophie Löw hat im August 2022 als SOPHIA BLENDA ihr Solo-Debüt-Album "Die neue Heiterkeit" veröffentlicht. "Die neue Heiterkeit" ist eines der stärksten deutschsprachigen Pop-Statements der jüngeren Zeit" - Spiegel. Für ihr neues und nun drittes Album "Generation Maximum" hat sich die Band mit dem Produzenten Wolfgang Lehmann, vormals Wolfgang Möstl, zusammengetan, der unter anderem für seine Arbeit mit Voodoo Jürgens, Clara Luzia, Jungstötter, Dives uvm. bekannt ist. Und bringen es musikalisch nach draußen zu den Menschen, die vor lauter Existenzkämpfen fast vergessen hätten, die Revolution zu starten ("Generation Maximum"). Kein Ausbaden. Generation Maximum ist ein progressiv lauter werdendes "Nein" zur auferlegten Bürde, ein Appell an mehr Verletzlichkeit ("Eisenkleid") "Jede Rüstung erzählt von Verletzlichkeit. Stärke zeigt, wer Narben teilt." und weniger Elend im Privaten wie im Öffentlichen. Letztlich aber auch eine Suche nach einer neuen "Ode an die Freude" und Mut um uns. "Wir erheben Stimmen, auf dass sie für immer klingen. Wo sollen wir heute Zukunft finden?" Wer genau hinhört, findet sie: Lieder über unausgesprochene Träume, die durch epische Gitarrenklänge und Löws entrückten Gesang näher wirken, als sie eigentlich sind. LP klassisch schwarzes Vinyl.


With their third album Generation Maximum, CULK take the pressure off a generation that magically transforms the horror of the present into something positive after all - and deliberately direct it at those who have destroyed their future."... Ihr sucht in uns die Revolution, bürgt uns auf, was ihr nicht leisten wollt. Wer sich heute nicht mehr wehrt, wird übrig bleiben." Generation Maximum is certainly not an album to be bawled along to loudly in the SUV because the chorus fits so nicely into the sunset mood. No one claps their hands together in joy over the next forest fire. Instead, singer Sophie Löw observes her environment through a burning glass and takes the listeners on a lyrical flashback of the last twenty years, during which she herself went from child to witness. The self-titled CULK debut album (2019) was released on the Viennese label Siluh Records, one of the most reliable sources for exciting indie music in all its facets. Spiegel magazine gave it the attribute "addictive sound". With their second album "Zerstreuen über Euch" (2020), the group created a fabulous concept album. It was often viewed as a declaration of war against deeply rooted patriarchal structures and made it to the TOP 5 of the Spiegel magazine's best of the year list and gained the band a following in various scenes and audiences. With "Generation Maximum", Jakob Herber takes over the role of bass player from founding member Benjamin Steiger. Herber has been an important companion from the beginning. Singer/guitarist Sophie Löw released her solo debut album "Die neue Heiterkeit" as SOPHIA BLENDA in August 2022. "Die neue Heiterkeit" is one of the strongest German-language pop statements of recent times" - Spiegel. For their new and now third album "Generation Maximum", the band teamed up with producer Wolfgang Lehmann, formerly Wolfgang Möstl, who is known for his work with Voodoo Jürgens, Clara Luzia, Jungstötter, Dives and many more. And they take it musically outside to the people who almost forgot to start the revolution because of all the struggles for existence ("Generation Maximum"). No payback Generation Maximum is a progressively louder "no" to the burden imposed, an appeal for more vulnerability ("Eisenkleid") "Every armour tells of vulnerability. Strength shows who shares scars" and less misery in private as well as in public. But ultimately also a search for a new "Ode an die Freude" and courage around us. "Wir erheben Stimmen, auf dass sie für immer klingen. Wo sollen wir heute Zukunft finden?" Wer genau hinhört, findet sie: Lieder über unausgesprochene Träume, die durch epische Gitarrenklänge und Löws entrückten Gesang näher wirken, als sie eigentlich sind. RIYL Nu Wave, Independent, Shoegaze

GER "Wir suchen nach Glitzer, nach dem hellsten Geröll und Blitzen. Wer sich heute Nacht verliert, wird sich nicht finden. Ihr sucht in uns die Perfektion der Generation Maximum.." An was noch glauben. Mit ihrem dritten Album Generation Maximum nehmen CULK den Druck von einer Generation, die den Horror der Gegenwart wie durch Magie doch noch zu etwas Positivem wandeln - und richten ihn bewusst auf diejenigen, die ihre Zukunft zerstört haben. "... Ihr sucht in uns die Revolution, bürgt uns auf, was ihr nicht leisten wollt. Wer sich heute nicht mehr wehrt, wird übrigbleiben." Generation Maximum ist sicherlich kein Album, bei dem im SUV laut mitgegrölt wird, weil der Refrain so schön in die Sonnenuntergangsstimmung passt. Niemand klatscht vor Freude über den nächsten Waldbrand die Hände zusammen. Stattdessen beobachtet Sängerin Sophie Löw ihre Umwelt durch ein Brennglas und nimmt die Zuhörer:innen mit auf eine lyrische Rückblende der letzten zwanzig Jahre, in denen sie selbst vom Kind zur Zeugin wurde. Das selbstbetitelte CULK Debut (2019) erschien beim Wiener Label Siluh Records, einer der verlässlichsten Quellen für spannende Indie-Musik in all seinen Facetten. Vom Spiegel-Magazin gab es dazu das Attribut "Suchtsound". Mit ihrem zweiten Album "Zerstreuen über Euch" (2020) schuf die Gruppe ein famoses Konzept-Album. Es wurde von vielen Seiten als eine Kampfansage an tiefverwurzelte patriarchale Strukturen gedeutet und schaffte es u.a. in die TOP 5 der Jahresbestenliste des Spiegel-Magazins. Mit "Generation Maximum" übernimmt Jakob Herber die Rolle des Bassisten von Gründungsmitglied Benjamin Steiger. Herber ist von Anfang an ein wichtiger Wegbegleiter im engen Zirkelder Band, Sängerin/Gitarristin Sophie Löw hat im August 2022 als SOPHIA BLENDA ihr Solo-Debüt-Album "Die neue Heiterkeit" veröffentlicht. "Die neue Heiterkeit" ist eines der stärksten deutschsprachigen Pop-Statements der jüngeren Zeit" - Spiegel. Für ihr neues und nun drittes Album "Generation Maximum" hat sich die Band mit dem Produzenten Wolfgang Lehmann, vormals Wolfgang Möstl, zusammengetan, der unter anderem für seine Arbeit mit Voodoo Jürgens, Clara Luzia, Jungstötter, Dives uvm. bekannt ist. Und bringen es musikalisch nach draußen zu den Menschen, die vor lauter Existenzkämpfen fast vergessen hätten, die Revolution zu starten ("Generation Maximum"). Kein Ausbaden. Generation Maximum ist ein progressiv lauter werdendes "Nein" zur auferlegten Bürde, ein Appell an mehr Verletzlichkeit ("Eisenkleid") "Jede Rüstung erzählt von Verletzlichkeit. Stärke zeigt, wer Narben teilt." und weniger Elend im Privaten wie im Öffentlichen. Letztlich aber auch eine Suche nach einer neuen "Ode an die Freude" und Mut um uns. "Wir erheben Stimmen, auf dass sie für immer klingen. Wo sollen wir heute Zukunft finden?" Wer genau hinhört, findet sie: Lieder über unausgesprochene Träume, die durch epische Gitarrenklänge und Löws entrückten Gesang näher wirken, als sie eigentlich sind. LP klassisch schwarzes Vinyl.


With their third album Generation Maximum, CULK take the pressure off a generation that magically transforms the horror of the present into something positive after all - and deliberately direct it at those who have destroyed their future."... Ihr sucht in uns die Revolution, bürgt uns auf, was ihr nicht leisten wollt. Wer sich heute nicht mehr wehrt, wird übrig bleiben." Generation Maximum is certainly not an album to be bawled along to loudly in the SUV because the chorus fits so nicely into the sunset mood. No one claps their hands together in joy over the next forest fire. Instead, singer Sophie Löw observes her environment through a burning glass and takes the listeners on a lyrical flashback of the last twenty years, during which she herself went from child to witness. The self-titled CULK debut album (2019) was released on the Viennese label Siluh Records, one of the most reliable sources for exciting indie music in all its facets. Spiegel magazine gave it the attribute "addictive sound". With their second album "Zerstreuen über Euch" (2020), the group created a fabulous concept album. It was often viewed as a declaration of war against deeply rooted patriarchal structures and made it to the TOP 5 of the Spiegel magazine's best of the year list and gained the band a following in various scenes and audiences. With "Generation Maximum", Jakob Herber takes over the role of bass player from founding member Benjamin Steiger. Herber has been an important companion from the beginning. Singer/guitarist Sophie Löw released her solo debut album "Die neue Heiterkeit" as SOPHIA BLENDA in August 2022. "Die neue Heiterkeit" is one of the strongest German-language pop statements of recent times" - Spiegel. For their new and now third album "Generation Maximum", the band teamed up with producer Wolfgang Lehmann, formerly Wolfgang Möstl, who is known for his work with Voodoo Jürgens, Clara Luzia, Jungstötter, Dives and many more. And they take it musically outside to the people who almost forgot to start the revolution because of all the struggles for existence ("Generation Maximum"). No payback Generation Maximum is a progressively louder "no" to the burden imposed, an appeal for more vulnerability ("Eisenkleid") "Every armour tells of vulnerability. Strength shows who shares scars" and less misery in private as well as in public. But ultimately also a search for a new "Ode an die Freude" and courage around us. "Wir erheben Stimmen, auf dass sie für immer klingen. Wo sollen wir heute Zukunft finden?" Wer genau hinhört, findet sie: Lieder über unausgesprochene Träume, die durch epische Gitarrenklänge und Löws entrückten Gesang näher wirken, als sie eigentlich sind. RIYL Nu Wave, Independent, Shoegaze

tom Ravenscroft at 6music amongst others. And now, in true AMO1 creative fashion they are presenting an off-shoot release of that album, one completely reimagined by the man, the myth: Ricardo Villalobos.
Much has been written and talked about when it comes to producer/DJ Ricardo Villalobos over the years.
The mercurial Chilean-German artist has consistently redefined the boundaries of techno and electronica over the past 30-years as a producer, whilst also traversing the world and expanding minds as a DJ who can equally delight as he does challenge.Like a great jazz drummer (he was a percussionist before discovering mixing records), Villalobos has not so much as broken “the rules” of structure as just created his own unique approach. One that is often surprising, ever open-minded, and clearly lead by whatever happens to be inspiring him at any given moment. Watching him work or hearing him play music always feels live and free. He’s an artist. And that is exactly how this (perhaps unlikely) collaborative album has come to light – but then this is Ricardo, so maybe we should all know by now that anything is possible.
Villalobos explains, “In my scientific search for some electroacoustic musical landscapes, the offer of remixing ‘Black Apple Pink Apple’ was just perfect for me… In general, the song writing is so very good and particular, with all the instruments played into a sequencer, so it was very inspiring to strip down these pop songs into my dubby extensions, taking only the drums, bass, and vocals of the song.” Expanding further, “After delivering the first remix, Mo and myself came up with the idea of reimagining the whole album in a new way, mixed simple with other ears and my inspirations, with a new and different point of view of what instruments are important to hold the song to bare itself.”
It says a lot, and somehow captures the essence of Ricardo’s approach to music (and life), that one remix soon evolved into a whole plethora of reimagined works, driven by a creative slipstream and a clear connection to the songs created by A Mountain of One.
Mo Morris provides more insight into his own connection with Villalobos, “I lived in Berlin back in 2002-04 and used to religiously go to dance to Rici at the after (after) hours parties: little, tiny events. And he just used to blow my mind, I hadn’t heard anything like it before (or since). Ultra-modern and forward thinking.”
Mo continues, “A good friend connected to Ibiza happenings introduced me to Ricardo as it transpired that he was a fan of our early material, so I sent him some demo’s when we were in the studio creating ‘Stars Planets Dust Me’ and he loved ‘Black Apple Pink Apple’. The relationship and collaboration grew from there really, and I hope that this release is still at the start of what we can all create together.”
Focussing in on the album at hand – ‘Ricardo Villalobos reimagines: Stars Planets Dust Me’ – we are treated to a concept listen that guides us from dreamy daytime Balearic pop – staying very true to the original songs – all the way through to completely original deep dubby techno excursions. And to Villalobos fans, it will perhaps surprise (and hopefully delight) how light a touch he has provided to the opening tracks, focussing more on enhancing the sonics, and allowing the originals to shine brighter through remastering and mixing down. It’s in these moments that we see Ricardo as a pure music fan, needing not overly change or alter what’s already been created, but simply doing what he can to maximise what’s already there.
What will certainly delight Ricardo fans are the four full ‘klub’ remixes provided of ‘Black Apple Pink Apple’, ‘Make My Love Grow’, ‘Softlanding’ and ‘Dealer’ that each boldly explore the outer regions of the dancefloor in a way that only Villalobos can.
Mo rounds off, “From an electronic and sonics standpoint he’s kind of out there on his own. It’s such a unique sound. Weatherall also had this, and Harvey has that unique flavour, and also people like Nils Frahm and Max Richter have this gift. It’s not an easy thing to produce. Ricardo has his own personal cosmic trademark.”
Indeed he does. Take a trip with him around the stars and planets and see for yourself.

The first color pressing of this title. We’re talkin’ TEX-MEX ROCK ‘N’ ROLL! In this show from January 21, 1981, Doug Sahm (AKA Sir Doug) reunites with original band members Augie Meyers and Johnny Perez, along with the legendary Alvin Crow on guitar and Speedy Sparks on bass for a no-holds-barred, rip-snortin’ Texas rock ‘n’ roll revival. Back in the day, the SIR DOUGLAS QUINTET was Texas’s answer to the British Invasion. With the arrival of the Beatles, Sir Doug & Co. saw their chance to break out the rough, Chicano-influenced rock they had been playing in the joints around San Antonio. They donned English-looking suits and hit the charts with “She’s About A Mover” in 1965. Nobody was quite sure where they came from, but they rode the English-pop wave to fame. There’s something contagious about Augie’s cheesy, pumping Vox organ chords and Sir Doug’s chang-a-chang rhythm guitar over Johnny’s Mexican drumming style, drenched in psychedelia, that stood out from everything else at the time. And it still does today. You may not be able to sit down through “She’s About A Mover” or “Mendocino,” but that’s OK. Doug is no longer with us, but you can be sure that somewhere he’s still kickin’ out the jams. - Terry Lickona (Producer Austin City Limits®)