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The strength of Fan Club Orchestra's (FCO) trajectory lies in their nebulous, collaborative, and experimental nature, always with Laurent Baudoux at the centre. With its roots in the DIY impulses of the Brussels art and music scene of the late nineties, Baudoux rallied together a revolving cast of players with an unconventional ensemble of instruments to explore melancholic psychedelia that touched on drone and minimalism as readily as it carved minor pop hits from cracked electronics. Performances were often highly improvisational, aided by the barely controlled chaos that guest collaborators—such as American artist Mike Kelley—would inject into an appearance.

FCO self-released two albums in the early 2000s before finding a home with Sonig, where they released several more records up until their last with the label in 2013. This was a fitting frame as Sonig, like FCO, channelled the fervour and formalism of the experimental music history of the Rhineland, which includes Kraftwerk, krautrock, and key early electronic music studios.

Following an eleven year hiatus, Laurent Baudoux reassembled the group in 2024 and presented a new album with the esteemed Glaswegian label 12th Isle late in that same year. Building on the strength of the new iteration, and with the aim of reappraising some of the rich yet oblique history of the group through this new lens, FCO have remastered and reissued their 2013 album, 'An Insane Portrait'.

The recordings were originally commissioned in 2009 for Fabrizio Terranova's film 'Josée Andrei, An Insane Portrait' about the truly remarkable figure Josée Andrei. Shot in San Francisco, the film is an intimate portrait of Andre. Blind from birth, she is a witch, painter, photographer, tarot reader, and psychology and modern literature graduate.

'An Insane Portrait' captures a stripped-back FCO, with Baudoux working solely with original FCO member Ann Appermans. The configuration of Baudoux's electronics and Appermans' bass guitar yield a tender and preciously melodic suite of instrumentals.

Originally released on vinyl by Sonig in 2013, the remaster will again be presented by the label in a limited cassette edition and in digital formats, each featuring a bonus track that was not included in its original release.

The strength of Fan Club Orchestra's (FCO) trajectory lies in their nebulous, collaborative, and experimental nature, always with Laurent Baudoux at the centre. With its roots in the DIY impulses of the Brussels art and music scene of the late nineties, Baudoux rallied together a revolving cast of players with an unconventional ensemble of instruments to explore melancholic psychedelia that touched on drone and minimalism as readily as it carved minor pop hits from cracked electronics. Performances were often highly improvisational, aided by the barely controlled chaos that guest collaborators—such as American artist Mike Kelley—would inject into an appearance.

FCO self-released two albums in the early 2000s before finding a home with Sonig, where they released several more records up until their last with the label in 2013. This was a fitting frame as Sonig, like FCO, channelled the fervour and formalism of the experimental music history of the Rhineland, which includes Kraftwerk, krautrock, and key early electronic music studios.

Following an eleven year hiatus, Laurent Baudoux reassembled the group in 2024 and presented a new album with the esteemed Glaswegian label 12th Isle late in that same year. Building on the strength of the new iteration, and with the aim of reappraising some of the rich yet oblique history of the group through this new lens, FCO have remastered and reissued their 2013 album, 'An Insane Portrait'.

The recordings were originally commissioned in 2009 for Fabrizio Terranova's film 'Josée Andrei, An Insane Portrait' about the truly remarkable figure Josée Andrei. Shot in San Francisco, the film is an intimate portrait of Andre. Blind from birth, she is a witch, painter, photographer, tarot reader, and psychology and modern literature graduate.

'An Insane Portrait' captures a stripped-back FCO, with Baudoux working solely with original FCO member Ann Appermans. The configuration of Baudoux's electronics and Appermans' bass guitar yield a tender and preciously melodic suite of instrumentals.

Originally released on vinyl by Sonig in 2013, the remaster will again be presented by the label in a limited cassette edition and in digital formats, each featuring a bonus track that was not included in its original release.

"Super Killer Aptocalyptic Noise and ultra Desperate Drowning Garage Punk from Toulouse France , members of the Fatals, Blow up! Amphetamine penis etc.." Die Jungs aus Toulouse sind zurück auf der Bühne der Anti-Pop Szene und sprengen mit ihrem super killer apokalyptischen Noise und ultraver Desperate, Drowning Garagenpunk das Hirn weg. Mitglieder von The Fatals, Blow up! oder Amphetamine Penis, und so weiter... die französischen Gitarrenwand-Könige sind zurück und haben diese 11 Songs im legendären Swampland Studio aufgenommen (The Monsters, Bad Mojos, The Spits, Sloks, Oh Telephone, Nestter Donuts...) um ihr bereits viertes Album!! bei Voodoo Rhythm Records zu veröffentlichen (You Can't Save Me - 2015 Death of an Angel - 2017 Nervous Breakdown 2020). Wie üblich spielen sie mit dröhnenden Gitarrenwänden (Hawkwind, Jesus und Mary Jane) und flirten mit ihren Musikfreunden The Limiñanas (französische, verzweifelte, herzzerreißende, traurige Liebes Lieder) und ihrem ganz eigenen Garage-Punk aus Toulouse zu zelebrieren... das ist deine Chance, dieses Album zu erwerben, das nur auf Vinyl erschienen ist ... keine CD, kein Tape ... nur Vinyl!! Genre/Stil: Hard Rock/Psych-Rock/Garagerock - Klassisch schwarzes Vinyl mit Booklet & DLC

Haunting, discordant and deeply unsettling, `Les Maîtres Fous' (`The Mad Masters') was written by French post-metal collective Year of No Light in response to French filmmaker Jean Rouch's controversial 1950's docufiction of the same name. Commissioned by Musée Du Quai Branly in Paris for their 2012 `L'Invention Du Sauvage' exhibition, trance-metal pioneers Year of No Light approached the ritual practices of the Hauka movement as depicted in the film and responded with their uniquely hypnotic heaviness. Performed only twice, once at the exhibition on the 6th January, 2012 and again in Bordeaux on the 29th January, 2015; this release is a live recording of the second and final performance of `Les Maîtres Fous'. Whilst Year of No Light have a long history of collaboration with forward-thinking filmmakers and visual artists, the sensitivity of this documentary's problematic subject matter and the intensity of the band's performance made this performance both a physically and emotionally demanding experience; something that can be keenly felt upon listening. Founded in September 2001 by a collection of Bordeaux's heavy scene stalwarts as an ongoing side project encompassing elements of sludge metal and shoegaze, Year of No Light released their debut album, Nord, in 2006 to critical acclaim. The subsequent years however saw a significant lineup change with the band replacing their vocalist with a third guitarist to become a fully instrumental sextet incorporating aspects of black metal, drone electronica and dark ambient into their already formidable sound. 2010's four track epic Ausserwelt and the 2013 follow up Tocsin saw Year of No Light distilling their punishing sound even further; stalling the tempo to a glacial crawl and tuning guitars ever downwards to new uncharted depths. Consolamentum, the band's first full-length release in nine years and their first with Pelagic Records, brought the outfit's crushing double-drumming percussion to the fore as a masterclass in dynamic control saw Year of No Light embrace the highest highs and the lowest lows of the intervening years. Now approaching their 25th anniversary, `Les Maître Fous' is a pressing reminder that, despite the band's long and ongoing journey, Year of No Light have never been afraid to experiment, to take risks, to square up to life's ugliness and look it straight in the eye. FOR FANS OF Neurosis, Cult of Luna, SWANS, ISIS, Russian Circles, My Bloody Valentine, Chelsea Wolfe

Haunting, discordant and deeply unsettling, `Les Maîtres Fous' (`The Mad Masters') was written by French post-metal collective Year of No Light in response to French filmmaker Jean Rouch's controversial 1950's docufiction of the same name. Commissioned by Musée Du Quai Branly in Paris for their 2012 `L'Invention Du Sauvage' exhibition, trance-metal pioneers Year of No Light approached the ritual practices of the Hauka movement as depicted in the film and responded with their uniquely hypnotic heaviness. Performed only twice, once at the exhibition on the 6th January, 2012 and again in Bordeaux on the 29th January, 2015; this release is a live recording of the second and final performance of `Les Maîtres Fous'. Whilst Year of No Light have a long history of collaboration with forward-thinking filmmakers and visual artists, the sensitivity of this documentary's problematic subject matter and the intensity of the band's performance made this performance both a physically and emotionally demanding experience; something that can be keenly felt upon listening. Founded in September 2001 by a collection of Bordeaux's heavy scene stalwarts as an ongoing side project encompassing elements of sludge metal and shoegaze, Year of No Light released their debut album, Nord, in 2006 to critical acclaim. The subsequent years however saw a significant lineup change with the band replacing their vocalist with a third guitarist to become a fully instrumental sextet incorporating aspects of black metal, drone electronica and dark ambient into their already formidable sound. 2010's four track epic Ausserwelt and the 2013 follow up Tocsin saw Year of No Light distilling their punishing sound even further; stalling the tempo to a glacial crawl and tuning guitars ever downwards to new uncharted depths. Consolamentum, the band's first full-length release in nine years and their first with Pelagic Records, brought the outfit's crushing double-drumming percussion to the fore as a masterclass in dynamic control saw Year of No Light embrace the highest highs and the lowest lows of the intervening years. Now approaching their 25th anniversary, `Les Maître Fous' is a pressing reminder that, despite the band's long and ongoing journey, Year of No Light have never been afraid to experiment, to take risks, to square up to life's ugliness and look it straight in the eye. FOR FANS OF Neurosis, Cult of Luna, SWANS, ISIS, Russian Circles, My Bloody Valentine, Chelsea Wolfe. The Dim Gleam edition is kind of a beige vinyl colour

From a 4x5m room stacked with vinyl, ashtrays, magazine drafts, and semifunctional synths, Stompin n Risin rises again—reincarnated but not revised.
Originally a spontaneous ritual from the days of blunted dreaming and one-eyeopen ambition, this track first snuck into the world under a different name (Jacobite Fool, courtesy of those tasteful Belgians at International Feel) and went on to become a cult curio. Now, it’s back—rebuilt with the very same machines that once hummed beside the mattress, but still left to run wild like they used to.
The rest of the EP stays close to that spirit: music as lived experience, jammed with friends, lovers, and ex-boyfriends (literally). Lucy’s Electricity is a shimmering daydream, born from a jam with Daniele Labbate, recharged by a whirlwind wedding, and soundtracked by a bittersweet guitar line courtesy of the groom’s bride’s ex. A track for walking into churches—or out of time entirely. A personal favorite of the artist, and maybe the only funeral anthem with this much static joy.
One takes things inward—made with the Moog One for open-air yoga sessions during the era of no-dancing-but-still-dreaming. It’s a sun-dappled, slow-motion dancefloor where breath and bass align. Love 2 Love closes the circle: an unearthed jam with long-time collaborator and platonic supermodel Hanne Uekermann, revived from hard drive purgatory and infused with new life. A love song to the music, the moments, and the friendship behind it.
This record isn’t just a collection of tracks. It’s a lived-in photo album, a soft pulse through oceanic memory, a reminder that all sound comes from life, and maybe all life comes from sound.

1976, ein Jahr nach der Gründung der Band, stand die bahnbrechende Besetzung von Motörhead fest. Die „Drei-Amigos“-Ära von Motörhead – Lemmy (Bass/Gesang), Fast Eddie Clarke (Gitarre) und Phil „Philthy Animal“ Taylor – schlossen sich zusammen und begannen ihre außergewöhnliche Reise an die Spitze der Hardrock-Elite. Im August 1976 traf sich die Band im legendären Manticore Studio von Emerson, Lake & Palmer in Fulham, um zu proben und die neue Besetzung zu präsentieren. Dort nahmen sie zum ersten Mal gemeinsam auf. 49 Jahre später wurde das lange verschollene Band entdeckt, entstaubt und in all seiner Pracht restauriert, um das 50-jährige Bandjubiläum zu feiern. Erhältlich als klassische schwarze 1-LP, CD und als Deluxe-2-LP-Bookpack. Alle Formate enthalten zusätzliche alternative Takes und Instrumentalstücke für einen einzigartigen Einblick in die Entstehung dieser legendären Band. Darüber hinaus enthält das Deluxe-Bookpack eine zusätzliche Bonus-LP – den klassischen Bonus „Live: Blitzkrieg on Birmingham ’77“ sowie eine Bonus-7-Zoll-Platte mit zwei bisher unveröffentlichten LiveTracks von Barbarellas Birmingham 1977. Außerdem gibt es ein 24-seitiges Booklet mit Linernotes von Kris Needs, unserem langjährigen Kollaborateur.

1976, ein Jahr nach der Gründung der Band, stand die bahnbrechende Besetzung von Motörhead fest. Die „Drei-Amigos“-Ära von Motörhead – Lemmy (Bass/Gesang), Fast Eddie Clarke (Gitarre) und Phil „Philthy Animal“ Taylor – schlossen sich zusammen und begannen ihre außergewöhnliche Reise an die Spitze der Hardrock-Elite. Im August 1976 traf sich die Band im legendären Manticore Studio von Emerson, Lake & Palmer in Fulham, um zu proben und die neue Besetzung zu präsentieren. Dort nahmen sie zum ersten Mal gemeinsam auf. 49 Jahre später wurde das lange verschollene Band entdeckt, entstaubt und in all seiner Pracht restauriert, um das 50-jährige Bandjubiläum zu feiern. Erhältlich als klassische schwarze 1-LP, CD und als Deluxe-2-LP-Bookpack. Alle Formate enthalten zusätzliche alternative Takes und Instrumentalstücke für einen einzigartigen Einblick in die Entstehung dieser legendären Band. Darüber hinaus enthält das Deluxe-Bookpack eine zusätzliche Bonus-LP – den klassischen Bonus „Live: Blitzkrieg on Birmingham ’77“ sowie eine Bonus-7-Zoll-Platte mit zwei bisher unveröffentlichten LiveTracks von Barbarellas Birmingham 1977. Außerdem gibt es ein 24-seitiges Booklet mit Linernotes von Kris Needs, unserem langjährigen Kollaborateur.

Das meisterhafte Zusammenspiel des Trios, das sich auf eine ausgefeilte Kommunikation zu dritt und einen raffnierten Sinn für Understatement stützt, macht Fred Herschs dritte Aufnahme für ECM zu einem unverzichtbaren Beitrag zum Klaviertrio-Kanon. Zusammen mit Drew Gress am Bass und Joey Baron am Schlagzeug, zwei langjährigen Weggefährten, die seit den späten 80er bzw. frühen 90er Jahren immer wieder mit ihm zusammenspielen, nimmt sich Hersch eine Handvoll Kompositionen des 20. Jahrhunderts vor - von Standards bis hin zu seltener gespielten Jazztiteln. Dazu kommen drei Eigenkompositionen, „Ich habe das Gefühl, dass man auf dieser Platte wirklich die Geschichte hört“, merkt der Pianist an. „Ich hoffe, dass die Leute die Reife der Interaktion, die Klangwelt und die Sensibilität im Spiel spüren können.“ Freds eigene Stücke bestechen durch ihre lyrische Intensität, leuchten mit ausgefeilten Harmonien und verwobenem Kontrapunkt in „Plainsong“, zeitloser melodischer Erfindung im Titelstück „The Surrounding Green“ und unwiderstehlichem Latin-Groove in „Anticipation“. Der Ansatz des Trios bei Ornette Colemans „Law Years“ ist eine frei swingende Angelegenheit, während Egberto Gismontis „Palhaço“ eine elegante Reise durchdachter Trio-Interaktion darstellt. Und bei „Embraceable You“ von den Gebrüdern Gershwin glänzen der Pianist und seine Begleiter mit ansteckender Nonchalance. Mit viel Hingabe an die eindringliche Qualität der melancholischen Melodie erkundet das Trio Charlie Hadens „

In den frühen 70er Jahren war Fernsehen ein wichtiges Mittel, um Musiker in den eigenen vier Wänden bekannt zu machen. Frank Zappa, der mit seiner Tournee-Lichtshow und seinem Bühnenaufbau voll ausgestattet war, versuchte, Videomaterial für seine eigene Fernsehproduktion aufzunehmen, um es den großen Sendern anzubieten. Genau wie bei den Dreharbeiten zu The Roxy Performances Monate zuvor gab es technische Probleme, die letztendlich dazu führten, dass das Filmmaterial beiseite gelegt wurde. 50 Jahre später, mit den Fortschritten bei den Bearbeitungswerkzeugen für die Nachbearbeitung, präsentieren wir ”Cheaper Than Cheep”. Dieses neue 2-stündige Konzertprogramm bietet klassische Auftritte der Mothers-Besetzung von 1974, direkt von den neu restaurierten Original-Audio- und Videoband-Mastern aus dem Archiv. Die offzielle Zappa-Veröffentlichung Nr. 130 erscheint in einer speziellen, limitierten Super Deluxe-Edition mit dem remasterten Konzertvideo und brandneuem Dolby Atmos, 5.1 Surround sowie Stereo-Mix auf einer Blu-ray, dem Stereo-Soundtrack auf 2 CDs und 3 LPs auf 180 Gramm schwarzem Vinyl, einem ausführlichen Booklet mit seltenen, bisher unveröffentlichten Bildern und Linernotes von Ruth Underwood und Joe Travers, alles in einem ausziehbaren Schuber verpackt. Weitere Formate sind eine komplette 2-CD + Blu-ray und ein eigenständiger Soundtrack auf 3 LPs auf 180 Gramm schwarzem Vinyl

In den frühen 70er Jahren war Fernsehen ein wichtiges Mittel, um Musiker in den eigenen vier Wänden bekannt zu machen. Frank Zappa, der mit seiner Tournee-Lichtshow und seinem Bühnenaufbau voll ausgestattet war, versuchte, Videomaterial für seine eigene Fernsehproduktion aufzunehmen, um es den großen Sendern anzubieten. Genau wie bei den Dreharbeiten zu The Roxy Performances Monate zuvor gab es technische Probleme, die letztendlich dazu führten, dass das Filmmaterial beiseite gelegt wurde. 50 Jahre später, mit den Fortschritten bei den Bearbeitungswerkzeugen für die Nachbearbeitung, präsentieren wir ”Cheaper Than Cheep”. Dieses neue 2-stündige Konzertprogramm bietet klassische Auftritte der Mothers-Besetzung von 1974, direkt von den neu restaurierten Original-Audio- und Videoband-Mastern aus dem Archiv. Die offzielle Zappa-Veröffentlichung Nr. 130 erscheint in einer speziellen, limitierten Super Deluxe-Edition mit dem remasterten Konzertvideo und brandneuem Dolby Atmos, 5.1 Surround sowie Stereo-Mix auf einer Blu-ray, dem Stereo-Soundtrack auf 2 CDs und 3 LPs auf 180 Gramm schwarzem Vinyl, einem ausführlichen Booklet mit seltenen, bisher unveröffentlichten Bildern und Linernotes von Ruth Underwood und Joe Travers, alles in einem ausziehbaren Schuber verpackt. Weitere Formate sind eine komplette 2-CD + Blu-ray und ein eigenständiger Soundtrack auf 3 LPs auf 180 Gramm schwarzem Vinyl

After decades of DJ-ing and recording for acts in the Dutch underground hip-hop scene (like Osdorp Posse, Def P & Beatbusters, Onderhonden) and being a mainstay of events like Rauwe School and In Full Effect, DJ Daan releases his first solo record. Six atmospheric instrumental tracks sprinkled with some mild turntable action, meant to sit back and chill out to.

Mixed by master Fred Frith and released in Japan in 1985, this is Mizutama Shobodan’s sophomore album. Another dangerous ride with the fearless Polka Dots Fire Brigade and a further step into the Japanese dreamland.

»Mizutama Shobodan were a force of nature – powerful and original and unapologetic. I saw them live before I heard the first record and was very impressed. I liked the way the group interacted, it was a very good atmosphere between everybody. I really liked the contrasting sounds and styles of Kamura and Tenko, two very different kinds of voices that really worked well together.« (Fred Frith)

Over the past near-decade, Lancashire's medieval metal phenomenon WYTCH HAZEL have been honing an uncommonly wholesome, rustic and devotional brand of timewarped hard rock that's all their own, with 2016's Prelude and 2018's II: Sojourn summoning to mind fevered images of Robin Hood and his Merry Men grooving to Jethro Tull and Thin Lizzy. Yet within moments of pressing play on their third LP, III: Pentecost, the musty mystical minstrelsy takes a back seat in favour of a rich, sumptuous, anthemic late-night drivetime vibe, passionately embracing the most high-end smash-hit classic rock and metal circa its late 1970s heyday. "I thought I put a lot into the second album, but this album has been an absolute obsession," stresses the band leader, Colin Hendra. "Every aspect had to be as good as possible. We've gone back and forth, Ed was tinkering with it for months on end. There's quadruple tracking going on with the rhythm parts, then we've doubled, tripled and quadrupled all our lead parts to get that richness and fullness of sound, all meticulously planned with pages and pages of organisational notes. It wasn't just `get in the studio and see how it goes!'" he laughs. "One day I did 14 hours of vocal recording. All vocals are double-tracked, I can't express how much hard work that is. The last album feels like a breeze compared to what we've done with this - and I don't plan on ramping it down!" Musically there are gorgeous self-professed touches of Black Sabbath, Blue Öyster Cult, AC/DC and early Scorpions_"With the soloing I was trying to go for Michael Schenker" beams Colin_while the scampering headbanger I Will Not initially took a nod from Angel Witch, who Hendra was helping out on second guitar back in 2015 when the track was composed, before studio treatment made it sound "a lot more Wytch Hazelly". But perhaps the most lateral comparison is to a band from the opposite spiritual realm, with Archangel an explicit homage to Swedish faux-Satanic devil cult Ghost. "I find them fascinating, Ghost; musically great, the songwriting is spot-on," enthuses the frontman. "We share an intrinsic connection, with Bad Omen honcho Will Palmer being the person who discovered us both. "Music is created for all, it's a common grace for everyone," he affirms, "which is why the music that shows the glory of God the most, in my opinion, is not music created by Christians. It's Black Sabbath!"

Efter ett år av kreativitet och musikalisk utforskning är det dags för det nystartade bandet Östersjöar att släppa sin debutvinyl, helt enkelt betitlad Östersjöar. Skivan släpps på Coop Records Gotland och fångar bandets unika sound som beskrivs som ett tåg som rör sig framåt, med krautiga influenser och en driven rytmik. Musikaliskt påminner Östersjöar om en fusion av Joy Divisions kyliga, pulserande rytmer och Hawkwinds expansiva ljudlandskap, där varje spår är en atmosfärisk och hypnotisk resa. Skivan spelades in live under en decemberkväll i den mytomspunna Sandkvie Studion, där bandet tillsammans med producent Mattias Bärjed (gitarrist i Soundtrack of Our Lives och Refused ), Mikael Lyander och Samuel Wizèn bakom mixerbordet fångade bandets äkta DNA i stunden.

This is an album made during a crucial period in South Africa’s history during which there was a palpable feeling of a slow turning towards the collapse of the apartheid state side by side with an increasingly well-organised culture of resistance through the formation of the United Democratic Front (UDF) and various affiliated bodies. However, as a result, there was increased pushback from the state security establishment, a turning to dirty tricks and the formation of hit squads whose members murdered and tortured many of our friends and created chaos throughout South Africa as well as neighbouring countries.

This album is situated in this political environment however it took advantage of the new do-it-yourself music technologies available at that time. Technologies that made it possible to make and release records without interference from traditional record company executives. Two musician friends of mine pooled their resources after their respective bands had broken up. Ivan Kadey (National Wake) and Lloyd Ross (Radio Rats) built an 8-track recording studio control room and fitted it out in a second hand caravan and called it Shifty. They parked it in a garage attached to the only house left in a demolished and derelict mining village near Soweto on the outskirts of Johannesburg.
All the work on this album was completed there, mainly after hours and mostly alone where I enjoyed an exhilarating freedom to develop a whole new set of musical skills and ideas, incorporating my love of a wide range of music I’d grown up with. Influences of 1970s progressive/kraut/and psychedelic rock combined with mbaqanga bass styles, early reggae/dub and Indian tabla rhythms. Stockhausen, early Zappa and Holgar Czukay were radio text and shredding influences, and Chris Cutler’s band Henry Cow & Art Bears helped me see a way to political expression. Mostly though was the exciting post-punk and no-wave music coming through to us from Europe and America: bands like This Heat, the Mekons, Raincoats, Sonic Youth and Pere Ubu were immensely important to me as was my reading from the period: J.M.Coetzee’s first 3 novels are strong influences on Free State Fence; the stark landscape, superstition, ritual, and sexual repression are in many of his settings. JG Ballard was a constant presence throughout that period, especially whilst living in such a surreal environment, surrounded by mine dumps, but mostly I think the whole French post-modern philosophical movement—Derrida, Foucault and of course, Baudrillard’s Simulacra and Simulation—set out a new sense of possibilities, possible ways to express oneself, ways to think, and ways to try and analyse the political intersection of public and private life. Most important at that time was the influence of sound recordings I had made and experiences garnered from working as a sound recordist on documentary films. These financed my work and later the studio and were consistent employment throughout the 1980s. Film work also enabled me to experience much of South Africa that was hidden from most. The track Independence Day is a good example; drawn from some time spent in the rural homeland of Venda. This then was the first full length Kalahari Surfers album, completed in summer of 1984 it was taken to EMI pressing plant but rejected by the cutting engineer as being ""political, pornographic and anti religious"". Chris Cutler at Recommended Records took up the challenge and released the album through his label. He wrote the original liner note

Further explorations into the deep space of the future/past by two master- improvisors who compose their wordless paintings out of thin air. Their collaborative powers are nowhere near their peak and this voyage takes them further into the Uncharted. These pieces unfold as revelatory mind blooms. Creating a canopy of sound forms inside which they speak the rarifi ed language of world creating. This isn’t just music, it’s a journey without maps, Inside.
This new LP takes Nelson & Kramer deep under the earth's seas, pulling the listener down beside them as they explore the uncharted currents that fuel the human imagination, fl uid, always moving, and always changing. It is an excursion into the lowest depths of Ambient Music, and a new beginning from the very place where life itself began. The fl oor of the ocean has a new sound, and it is breathtakingly beautiful.

Hot on the heels of a 7" released in Febuary, Split System follow up with a split 7" release in tandem with French garage-punks Les Lullies - one song apiece.
The Australian side features a tough-as-guts Rock & Roll stomper, 'Chemicals'.
On the other side Les Lullies deliver A L'Etroit. written and recorded in a burst of urgency - fast, loud and straight to the point.
The two bands will hit the road together in June for a run of high energy gigs across Europe.

Named after a (US) West Coast grocery store chain, The Whitefronts started out in 1982 as a quartet of art and theater students attending UCSB. The band quickly mutated into a sextet. In 1984, they moved north to establish themselves as part of the SF DIY culture. Live shows usually consisted of open jams drawing from what the band was obsessing about at the time—free jazz, The Velvet Underground, Caribbean music, improv noise—as well as their own unheralded genres that popped in and out of existence like subatomic particles. Shows with local bands like Slovenly, Camper Van Beethoven, Caroliner Rainbow, Vomit Launch, Barnacle Choir and Barbara Manning provide some context as to their eccentric position within the indie scene of the era.

In 1985, the band released their sole LP, Roast Belief, on their own Bogden label. This was an ambitious attempt to document the various ideas that were happening live. Though practically unknown today, it’s an extraordinary record—a mid-80s classic serving up eclectic derangement on a par with contemporaries like the Butthole Surfers, Meat Puppets, Sun City Girls, Tuxedomoon and Eugene Chadbourne.
The Mamo Waves LP was compiled from recordings made between 1982-1987. As with Roast Belief LP, it’s a mind-melting jumble of the genres explored by Whitefronts throughout their existence. It was originally supposed to be released by Camper Van’s Pitch-A-Tent imprint, as a couple of WF members were touring with CBV in 1987, but the release fell through the cracks when CBV was airlifted to Virgin Records in 1988. Today, it’s clear that Mamo Waves belongs to the same 1980s Californian sub-underground aesthetic that nurtured mythical 80s bands like Departmentstore Santas and Prominent Disturbance. It’s a real WTF m.o. that still sounds like the future.

Jedes Album von BC Camplight hat eine Hintergrundgeschichte, die genauso fesselnd ist wie seine Musik. A Sober Conversation ist da nicht anders, denn der virtuose Songwriter und Pianist Brian Christinzio dokumentiert die letzten zwei Jahre seines Lebens, in denen er sich endlich einem schockierenden Kindheitstrauma stellt, während er sich der Nüchternheit verschreibt, um sein mutigstes und aufschlussreichstes Album zu schaffen. Es handelt sich um ein fesselndes, manchmal eindringliches Quasi-Konzeptalbum, das von schonungsloser tragikomischer Läuterung und erhabener, komplexer Melodik geprägt ist und lyrische Drehbücher mit schillernden Arrangements verbindet. Es ist BC Camplight auf dem Höhepunkt seiner bemerkenswerten Fähigkeiten.

A Sober Conversation folgt auf Christinzios Album aus dem Jahr 2023, das von der Kritik gefeierte The Last Rotation Of Earth (sein erstes Top-40-Album), ein Album, das sich um die quälende Trennung von seiner langjährigen Beziehung dreht. Es erhielt die enthusiastischsten Kritiken seiner Karriere – „Ein Meisterwerk“ (Sunday Times), „Meisterhaft“ (Uncut), „Eine außergewöhnliche Platte“ (MOJO) – und seine bisher größten Headline-Shows im Londoner Shepherd’s Bush Empire und in der Manchester Albert Hall. Doch selbst die zunehmende Anerkennung für das beachtliche Talent des Mannes kann die lange Geschichte seiner Depressionen nicht ausgleichen, und Christinzio gibt zu, dass es ein harter Kampf war, diesen Punkt in seinem Leben zu erreichen.

'A Necessary Escape' ist der Soundtrack zum demnächst erscheinenden Film 'Dakar: Race Against The Desert'. Die physischen Formate umfassen CD, Vinyl und eine limitierte Farbvinyl-Edition in Curacao-Blau. Es ist der vierte Album-Soundtrack von M83 und wurde in Frankreich und den USA von M83s Anthony Gonzalez zusammen mit den regelmäßigen M83-Mitwirkenden Joe Berry und Clement Libes aufgenommen. Der Film erscheint am 12. Mai digital bei Universal Pictures und feiert seine weltweite Kinopremiere am 26. Juni in der MK2 Bibliothèque in Paris. Unter der Regie des französischen Schauspielers und Regisseurs Jalil Lespert wird hier die weltberühmte Rallye Dakar begleitet - ein Event, das seit 45 Jahren die ultimative Bewährungsprobe für Belastbarkeit, Können und Ausdauer im Motorsport darstellt. Das 9.000 Kilometer lange Rennen dauert 14 strapaziöse Tage durch raues Wüstengelände. Mit beispiellosem Zugang taucht dieser Film in das härteste Autorennen der Welt ein. Begleitet wird dies von einem wunderbaren Score den Gonzalez perfekt auf den Film zugeschnitten hat. Ambient trifft auf sphärische Klangcollagen und ist damit der perfekte Ausgleich zu den im Film dokumentierten Strapazen um die berühmte Rallye. Nach dem fantastischen 'Fantasy'-Album von 2023 oder dem 2011er Klassiker 'Hurry Up, We're Dreaming' ein weiterer Geniestreich des französischen Sound-Magiers und seinem M83-Projekt!

Prism Shores are Montreal janglers with one foot planted in ramshackle C86-indebted indie pop and the other in the shimmer of early English shoegaze. While their sound is reminiscent of perennial genre reference points (Sarah, Creation, Flying Nun), the band leaves their own idiosyncratic stamp. Out From Underneath, their new record due out January 17, 2025, on Meritorio Records, tackles young adult ennui and the adjustment of settling in an unfamiliar city, its lyrics dealing with the growing pains experienced during a time of upheaval. It is contemplative and chock-full of emotional depth; a nighttime album that channels self-reflexive melancholy into some form of catharsis.

Atlantic Records is thrilled to announce F1 The Album - the supercharged companion album to Apple Original Films and Warner Bros. Pictures’ high-octane, action-packed film F1, starring Brad Pitt. From the label that brought you the award-winning, blockbuster soundtracks Barbie The Album, Twisters: The Album, The Greatest Showman, Suicide Squad and more, F1 The Album is driven by brand new tracks from an exhilirating lineup of superstar artists.

Over 25 years ago DJ Maaco and P Dog aka Detroit In Effect released the mean green "Only Time Can Stop A Dream" EP on their M.A.P. label. Tracks like "313 Frequency" and "Sike Yo Mind", just to name a couple, banged dance floors from Detroit to Europe! Now with new generations of music lovers almost three decades later catching on to sounds some would now consider vintage, we feel it's only right to pull out some throwbacks and make them available again! So here's to old and new, the reissue of Detroit In Effect - Only Time Can Stop A Dream.

Repress!

Wonderwheel recordings is proud to present the first full-length album from

producer Robin Perkins, aka El Buho. Balance represents a meeting of different currents that make up Buho's music: a fascination with the natural world, and its protection, a fascination with the rhythms, traditions and sounds of Latin America and a fascination with modern electronic music and production aesthetics. The album is peppered with Cumbia, Son Jarocho, Andean instrumentation & Afro-Colombian rhythms. Mixed with this, Robin integrates this idea of "nature music" - putting the sound of a misty forest, the songs of birds, of crunching leaves under foot or the rhythmic tapping of rain alongside synthesized sounds, electronic clicks or claps, deep basses. Trying at once to give them their own space but in a new, surprising perspective - it draws electronic music into something more soft, natural, different and appealing.

Balance is also an album that celebrates community and collaboration, showcasing collaborations with ten different artists form Latin America and beyond, both producers, instrumentalists and singers. Including more of a lyrical presence than his previous EPs, Perkins solicited the participation of talented singers like Dina al Wedidi from Cairo, Luzmila Carpio from Bolivia and the incredible decimas of Mexican poet Citlaly Malpica. The album also features the likes of harpist Veronica Valerio, Argentine multi-instrumentalist Rumo Tumba, jarana player Pablo Emiliano from Mexican Son Jarocho group Semilla and members of the Shika Shika family (the global collective he co-run's) Uji, Barrio Lindo, Kaleema, Minük and Jhon Montoya.

El Buho's music has an incredible power to convey feelings, atmospheres, memories or messages. The message that sits behind this music is to value on the one hand the power of community, of collaboration and of our modern, globally, connected world but also the remembrance, protection and celebration of the very earth we depend upon for our existence.

“Ti Ho Sposato Per Allegria” (1967) is a comedy directed by Luciano Salce, taken from the theatrical play of the same name (1965) by Natalia Ginzburg. The main characters are Pietro and Giuliana, respectively interpreted by Giorgio Albertazzi and Monica Vitti. A lawyer from a good family, serious, accustomed to a calm and regular life who got married to a indolent and dazed girl with a difficult past a month after meeting her at a party. Despite Giuliana's inability to transform herself into a good housewife, his relationship with Pietro continues to flourish, because he seems to find enjoyment in each of his wife's many mistakes. The reason for their union lies not in love but, perhaps, in a genuine sympathy, as strong as it is mutual. The story has become a minor classic with each new representation. On both stage and screen the themes of everyday life, and the more complex and existential ones, are addressed. The subtle irony of the work relies on recounting problematic events in a carefree tone: realities such as abortion, death, separation and the couple's incommunicability are underplayed with naturalness. The funny events of the film are commented on by Piero Piccioni's music, published for the first time on vinyl by Musica Per Immagini, with an harmonious tracklist. For this first orchestra rehearsal with the director, which will be followed by other important soundtracks, the composer makes an effective and elegant synthesis: on the one hand he reworks moods and aesthetic intuitions of some previous and happy experiences, while on the other he identifies and anticipates the first bars of that unmistakable sound between bossa nova, funk and lounge nuances that will characterize almost all the production of the Seventies. In fact, the Turin-native artist simplifies in a positive sense the articulated harmonic structures that have always distinguished his authorial figure – where the so called jazz features are to be considered more than central in the musical texture, as prominent elements of the harmonic syntax – and he tries a melodic reduction that will make the compositions more catchy or memorized, but not easier for this. Lightness of spirit and rarefied elegance are the keys of this new Dionysian world.

Rhiza Semar returns with Scarlet Cloak, the second instalment from Dutch-Indonesian producer and label founder Hitam. Emerging from the depths of sonic experimentation, Scarlet Cloak continues Rhiza Semar's mission - blending club-oriented tracks with a left-field approach. With three tracks from Hitam and a remix by Nawaz, the EP offers a subtle nod to early 00's mental tribe, reimagining it with a sleek, contemporary, edge. Pulsing tentatively, Scarlet Cloak opens with delicate drum patterns, paving the way for gritty, heady sonic immersion. Meticulously crafted, faint and distant synths emerge on the horizon, orchestrating an ambience that conjures quiet anticipation - a peaceful wonder drifting through the shadows. Blissfully snaking into the next production, Nawaz remixes the track with a razor-sharp switch in tempo, locking the mental trip. Setting the pace for deep introspection, fast and obscure aquatic layers ripple, submerging the listener into dark, murky textures. Flashes of club lights dissolve into a distorted memory, intangible yet electrifying as Future Kill seizes the mind. Pangs of liquid acid spread through an aphotic tunnel of sound, while percussive elements pump the heart, mirroring the adrenaline rush before stepping into a cavernous rave. In Your Head spins forward, stripped-back minimal layers congregate, spiraling the EP toward a hard climax. Rough-cut textures and skittish vocals lay on a soft bed of snares, creating psychedelic dissonance. The atmosphere thickens and breaks with permeating, rolling kick drums, drawing this 10-minute odyssey to a close. Lose yourself in a sonic labyrinth as Hitam masterfully crafts Scarlet Cloak - a volatile minefield seeping with rude, mental, teeth-gritting energy. credits Words by Charlotte Hingley