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CHRISTIAN DEATH was formed by Rozz Williams in Los Angeles, California in 1979. Williams was eventually joined by guitarist/songwriter Rikk Agnew of ADOLESCENTS, James McGearty on bass and George Belanger on drums. This CHRISTIAN DEATH line-up was responsible for recording the band's iconic 1982 debut, ONLY THEATRE OF PAIN, widely regarded as the #1 American goth album of all-time. This exclusive double-LP version of OTOP commemorates its 40th anniversary- the first disc is the digitally remastered, original version of the album while the second disc is comprised of "Dogs" from HELL COMES TO YOUR HOUSE, four pre-Frontier demos, two studio demos made for a second Frontier Records' LP that never happened and two alternate studio mixes from OTOP. The gatefold LP jacket is printed in its original its black and metallic gold, includes a Colver collage poster and a hardcover copy of the photo book, ONLY THEATRE OF PAIN and all come in a hard slipcase. The oversized 12" x 12" book features rare and never-before-seen photos of CHRISTIAN DEATH as well as new interviews with photographer Edward C. Colver, the surviving band members, Frontier's Lisa Fancher and others. Colver befriended the band and followed them around in late 1981 and early 1982 at more than a dozen concerts as well as photo shoots in Rozz Williams' family home (used on the back cover and insert of ONLY THEATRE OF PAIN) and a session of now famous images at a Pomona CA cemetery. Info: Just as the theatrically-minded LA punk scene was beginning to give rise to such morbidly themed outfits as 45 Grave and the Flesh Eaters, an androgynous teenaged street performer named Rozz Williams (né Roger Painter) founded CHRISTIAN DEATH, one of the most prolific, enduring, and beloved gothic acts of all time. Williams' otherworldly groan can make "Only Theatre of Pain" difficult going for those that aren't the gothic faithful, but the loud/not-too-fast music (courtesy of ex-ADOLESCENTS guitarist Rikk Agnew and the walking-dead rhythm section of bassist James McGearty and drummer George Belanger) is appropriately doom 'n' gloomy, with inventive arrangements and clear sound - thanks to Frontier Records' go-to punk production legend, Thom Wilson- capturing the mood in full B-movie fidelity. The lyrics sacriligiously address horror topics and religion: they're overwrought (the backwards masking of 'Mysterium Iniquitatis' being one clever exception) but easy to overlook in the wash of inspired rock noise. The original lineup's recorded debut is a gem. Artists inspired by CHRISTIAN DEATH include Danzig, Craddle of Filth, Paradise Lost, Korn, Type O Negative, Nine Inch Nails, Marilyn Manson and Jane's Addiction. Press: "A depraved masterpiece, this was punk rock made poetic, subversive, and gracefully savage."- AV Club "The Gothic album to out-gothic all others" - Melody Maker "Only Theatre of Pain's influence should not be underestimated" - Record Collector Limited availability!

Hot off the heels of Official UK no.1 and soundtrack to the first summer after lockdown Afraid To Feel, skyrocketing duo LF SYSTEM satisfy fans' cravings for a powerful disco anthem with follow-up single Hungry (For Love).

Still relishing in the success of Afraid To Feel, the duo have now earned over 150M total global streams, landed Clara Amfo’s ‘Hottest Record’ on BBC Radio 1 and certified Platinum, all before being crowned the Official UK no.1 after rocketing past Beyonce, Harry Styles, Drake, George Ezra and knocking Kate Bush off the no.1 spot.

Remaining there for eight consecutive weeks as the longest running no.1 record of 2022 behind Harry Styles, Afraid To Feel is the longest running dance no.1 in chart history, matching Calvin Harris’ One Kiss and cementing the nation’s appetite for a credible dance smash.

Now set to share a slice of Scotland across the UK with their new release, LF SYSTEM will host the ultimate pattie parties with pop up raves at independent fast food chains across Edinburgh, Manchester, and London. Meanwhile, later this month LF SYSTEM will give 100 fans a chance to hear Hungry (For Love) for the first time in an exclusive live set at Metropolis Studios with a special vinyl pressing that features Afraid To Feel on the b side, marking the first time the smash hit will be available on vinyl since its release.

For Conor Larkman and Sean Finnigan of LF SYSTEM, their success follows humble beginnings in the Scottish countryside, playing football against each other as teenagers on rival teams and raving at Scotland’s best clubs. They give credit for their dance hits to home village parties, soundtracked by Motown where Sean's Dad would share classic 70s records with them to dig into. Naturally, LF SYSTEM soon dropped disco edits of their own in 2020 including Dancing Cliché, which Danny Howard discovered and played for nine weeks on his BBC R1 show, earning over 4M streams and further plays from Sarah Story and Charlie Hedges.

Since then they have captured the attention of the whole industry and have played a bucket list headline Boiler Room set in Edinburgh, marking a full circle moment for the lads who were previously club residents for its promoters FLY CLUB. Continuing a flourishing tour schedule across the summer, LF SYSTEM graced BBC Radio 1’s Dance Party Weekend in Ibiza, played b2b with Danny Howard at Amnesia and sold out their first headline show at Night Tales in London.

Hungry for their next anthem, LF SYSTEM demonstrates a soaring dexterity of two ambitious producers deep in their creative prime, now whisking up a weapon exuding vibrancy and disco-edged orchestral joy. Sampling Sandy Gang’s bubbly 70s record Hungry and featuring warm sonic textures blended with rousing strings, Hungry (For Love) is set to leave fans drooling for more.

THE ICONIC 1986 DOOM METAL OPUS 'EPICUS DOOMICUS
METALLICUS', FEATURING REMASTERED AUDIO & PRESENTED WITH ITS
ORIGINAL SLEEVE DESIGN
Candlemass was formed by bassist & songwriter Leif Edling in Stockholm,
Sweden in 1984 & they are well known for their epic doom metal, having a great
influence over a generation of the genre's subsequent greats - Candlemass
themselves taking a large influence from Black Sabbath. Bands such as Paradise
Lost & My Dying Bride to this day rate 'Epicus...' among their most inspirational
albums. 'Epicus Doomicus Metallicus' is a true classic. Heavy metal riffs blended
with almost neo-classical touches, plus some theatrical elements recalling bands
like Mercyful Fate (thought to be another influence). All-in-all, this is considered
one of the definitive Doom Metal releases. 'Epicus € ' was recorded at
Thunderload Studios in 1986 & was released later that same year. The vocals
were handled by Johan L ngqvist, before the iconic vocalist Messiah Marcolin
became a solid fixture in the band until the early nineties. Candlemass instantly
became a great inspiration to countless metal bands upon the album's release in
1986; a time when thrash metal, not doom, was fast becoming the dominant style
in both Europe & the US. This edition of 'Epicus Doomicus Metallicus' features
recently remastered audio courtesy of Patrick Engel at Temple of Disharmony &
is presented with its original sleeve design.

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

Widely regarded as a modern day classic. First repress (in nearly twenty tears) of this highly sought after treasure. Limited edition vinyl with original, single sleeve, artwork.

Bitty McLean’s rebirth as a bona fide hit-making lovers rock singer, since his link up with Daddy Peckings’ sons Duke and Chris, has been particularly sweet, due in no small part to his superior talents in the vocal department, and his accomplishment in the studio, but also because he is a humble soul whose talent has often been overshadowed by the perception of him as something of a reggae lightweight, due to the commercial success he experienced back in the early nineties with It’s Raining. Bitty’s credentials far outstrip any of his detractors though, and with the release of the superb single Walk Away From Love, he’s proved beyond doubt his worth as an interpreter of classic songs and a gifted songwriter in his own right. Kicking off with the hit single which utilised the classic original 1967 Treasure Isle rhythm to Alton Ellis’ Rocksteady. All selections revive original Duke Reid rhythms created by Tommy McCook & The Supersonics including the beautiful Ranglin On Bond Street (Tell Me), Those Guys (Baby Tonight), Moonlight Lover (To Fall In Love), Inez (My Lovers Call), Queen Majesty (a wicked version of Bread’s Make It With You featuring some beautiful overdubs from Dean Fraser), I’ll Get Along Without You (I’ve Got Love), Lonely Street, and a cover of Smokey Robinson’s Cruisin’. An album to cherish for young and old alike.

yellow marbled vinyl

Swoose makes his return to Shall Not Fade, joining the new Classic Cuts series, a year after his extremely popular Introspective EP. The Irish producer is known for his explosive nineties influenced style of house; think blissed out vocals over a headsy nightclub ready beat.

Bloom EP starts off with a bang, the title track a percussive trance of arpeggiating synths and a touch of nineties nostalgia with a classic sample. "Algo" is equally hypnotic; floaty melodies that glide across the deep bass edge of this sundowner party track.

"Polypore" hits hard with a purposeful kick drum, driving home the sidewinding acid inflections and making for a glitchy tool for dark club nights. The closing track changes things up; "Allure" takes natural piano loops and organic breaks to create a haunting piece of music which is a peaceful end to the EP, demonstrating Swoose's range and ability to move away from his comfort zone in production.

Producer and multi-instrumentalist Ben Marc, who's emerged as a key figure of London's cutting edge jazz scene, has just announced his debut full length, a follow up to last September's widely acclaimed Breathe Suite EP (heralded by NPR, Pitchfork, The Wire, The Guardian, and more)

Glass Effect is an assured and accomplished 13-track realization of a singular vision that unifies a multitudinous profusion of influences (free-jazz, broken beat, hip-hop, electronica and beyond) into a sublime whole, underscoring the evolution of his quest for a distinctive sound: lambent, low-key, and yet dizzyingly intricate.


It's a rare talent that can link Radiohead's Jonny Greenwood, Ethio-jazz pioneer Mulatu Astatke, Afrofuturists Sun Ra Arkestra, and grime legend Dizzee Rascal, but Marc has long blurred musical worlds and criss-crossed boundaries. One of the reasons that he started writing Glass Effect, says Marc, was going to nightclubs in Ibiza and experiencing the heady sun- dappled euphoria of a summery dancefloor, as well as the beat-driven production of artists like Four Tet, Bonobo, Machinedrum, DJ Shadow, and Madlib.

Limited Clear Vinyl Edition, 500 copies! Twistin’ the Night Away is Sam Cooke’s eighth studio album. Released in April 1962 by RCA Victor, the album shows how the one and only Sam Cooke approached the twist dance phenomenon and as a result became one of Cooke’s most
successful releases. In fact Twistin’ the Night Away peaked while the single of the same name charted high at number nine on the Billboard Hot 100. Twistin’ the Night Away stands as one of the great dance albums of its period,”and “a brilliant soul album as well.

Labi Siffre’s third album was the first to be produced by Labi himself, who declares it to be “the one where it all
came together… singing some of my best songs”.
• Issued in 1972, it features the beautiful original version of “It Must Be Love”, a # 14 hit for Labi nine years
before Madness took it to the top. Also featured is “My Song”, as sampled by Kanye West for “I Wonder”, and
the # 11 hit title song, also covered by Rod Stewart and Olivia Newton-John.
• This new edition has been expertly cut by Barry Grint at AIR Mastering from the original stereo tapes using
precision half-speed mastering.
• Half-speed mastering is a vinyl cutting technique that improves groove accuracy and transient information
creating an incredibly detailed stereo image with a natural high frequency response.
• Presented in its original gatefold sleeve, pressed on180 gram heavyweight vinyl, featuring an obi strip and
housed in a poly-lined inner sleeve, with all the lyrics on the 4 page insert.

The nine songs that comprise You Become The Mountain are heavily
inspired by the landscapes of the Pacific Northwest, meditation, longdistance running and Silverstein's work as a special education teacher
Expanding on the minimalist approach heard on How on Earth, Silverstein invited
pedal- steelist Barry Walker Jr. (North Americans, Rose City Band) and bassist
Alex Chapman (Parson Redheads, Evan Thomas Way) to round- out an
increasingly meditative sound.
Led by the spirit of late Detroit musician Ted Lucas, Silverstein was moved to
create an album featuring both instrumental and lyric- based compositions.
Silverstein casts a wide net in 40 minutes, offering fans of both traditional and
experimental folk entry points into his universe. Primarily tracked live and void of
heavily processed sounds, the LP serves as a proper introduction to a songwriter
who celebrates patience and restraint in the highest regard.

180 gram vinyl LP of Freddie's 1979 album with extensive sleeve notes
Produced by: Winston 'Niney The Observer' Holness
Recorded, Voiced & Mixed at: Channel One ecording Studio, 29 Maxfield
Avenue, Kingston 13
Engineers: Anthony 'Crucial Bunny'/'Bunny Tom Tom' Graham & Lancelot
'Maxie' McKenzie
Musicians:
Drums: Max 'Feelgood' Edwards & Leroy 'Horse Mouth' Wallace
Bass Guitar: George 'Fully' Fullwood
Lead Guitar: Earl 'Chinna' Smith
Lead Guitar & Rhythm Guitar: Albert Valentine 'Tony' Chin & Eric 'Bingy
Bunny' Lamont
Keyboards: Jamaba Johnson & Keith Sterling
Tenor Saxophone: Enroy 'Hot Train' Grant
Trumpet: Arnold 'Willie' Brackenridge & Donald Vidan-Greaves
Percussion: Herman 'Bongo Herman' Davis & 'Brooksy'
Advertising in Black Echoes and Record Collector

It's coming home, it's coming home - house music is coming home! A second instalment of the Groove Access: series Chicago Is Home offers us five fresh tracks from the windy city landing in a glorious cavalcade of razor edged snares and hypnotic jack house. Ed Nine & Kid Enigma's 'Bandleaders' opens side one in spectacular fashion with spoken mantras lying deep in the mix, distinctive phasing arpeggios, poking keyboard riffs and ringing cymbals. JSquare's 'Get Wicked' kicks with even more power, tribal rhythms bouncing of bleepy melodies, before 'Move' by Geto Mark rounds off the side with the strutting, beautifully brutal 'Move', a proper 3AM peak time pleaser. Steve Noah's 'The Hater' opens side two, a wily acid line worming its way across a raw, stripped down backing before exploding into serious gnarliness when you least expect it. AFTR's 'Undercover' rounds things off with another knuckle duster of a tune, leaving no doubt that Chicago is still the place to be when it comes to house.

URBAN WARFARE

Music has always been a common means to deal with global events – so does this new release on Snork Enterprises by Lee Holman. Having actually performed in Ukraine shortly before the war, Lee Holman clearly has chosen the title of his new release by purpose. “Urban Warfare” dedicates for titles, all of them bearing names with military connotation, to the recent events in Ukraine and beyond.
The musical means of his choice to process the happenings are raw, straight forward electronic sounds echoing from the underground. His combination of beeping, roaring and crooked tunes creates a dystopian atmosphere in each track – yet, each in its unique way. This makes the release a diverse collection of four tracks of unadorned urban club sounds dashing through present day history.

LEE HOLMAN

An uncompromising underground ethos, Lee Holman has garnered support from a host of Techno's brightest names.
Performing in clubs since the late nineties, he has travelled throughout Europe, North America, South America, Asia and everywhere inbetween, compounding a reputation for his unique vision on Techno. Playing a fusion of deep, raw and energetic electronics, his sound creates a myriad of tension, constructing the perfect combination of musicality for club appearances.
Performances both as a live act and as a DJ have unlocked opportunities to share hallowed ground with Techno’s elite, appearing in prestigious underground venues such as TRESOR Berlin, Corsica Studios London, 8Bahn Arnhem, Sub-Scape Antwerp, Move Medellin, Tag Chengdu, Arkham Shanghai, Nechto events Kyiv + many more.
Production has earned him international recognition, leaving his mark at the forefront, building a reputation for consistency, originality and delivering his dynamic sound on both cutting edge and classic Techno Labels. Generating consistent support, he has remixed for high profile artists such as Aubrey and Gary Beck and has himself been remixed by leading Techno mainstays ranging from Orlando Voorn to Mike Dehnert.
Founding the Kawl Imprint, the label’s aim was to provide diversity in Techno and this formula was immediately picked up on and amounted to rave reviews and impressive charts and plays by leading connoisseurs of the underground.
This year, his releases have been frequent and in demand, with his production skills confirmed for Knotweed Records, Science Cult, Shaded Music, Nechto and more, adding to an already excellent discography.
With an ever expanding release schedule, combining remixes and a new label project called Demarcation, Lee Holman promises to be unrelenting in his definition of essential timeless Techno.

Before he co-founded the legendary Sunday afternoon event Body & Soul with fellow New York DJs Danny Krivit and Francois Kevorkian in 1996, Joaquin "Joe" Claussell was the driving force behind Instant House, an eclectic production outift who released a series of uplifting deep house records, several of which were spun by David Mancuso at the 90s iteration of his influential Loft parties.

In 1993, Instant House released their deepest single, Lost Horizons, through Jungle Sounds Recordings. The A-side, ‘Lost Horizons (The Mind Travel Saturday Night Sunday Morning Mix)’ is a seventeen-minute and twenty-second sojourn into the vibrant club sounds of early 90s NYC. Driven by a Latin-accented man-machine beat that marches into infinity, it comes backed by two shorter mixes, ‘Lost Horizons’ and ‘Lost Horizons (Percussion Bonus)’. Twenty-nine years later, Isle of Jura presents an official vinyl and digital reissue of this slow-burning deep cut.

The Instant House story begins in the late 80s at Dance Tracks, an East Village record store established by the businessman, DJ, and graphic designer Stan Hatzakis. Patronised by New York trendsetters like Frankie Knuckles and Larry Levan, Dance Tracks was considered one of the world's best underground dance music retailers.

During the winter of 1991, Stan got together with one of his best customers, Tony Confusione, to make music. A wall street guy by day and a keyboardist by night, Tony was also a serious DJ. Not long after their first recording sessions, they invited another Dance Tracks fixture, Joaquin "Joe" Claussell, to join them in Tony’s state-of-the-art home studio in Long Island. He brought a vibrant, percussive edge to the sample-based tracks Stan and Tony were cooking up. Emboldened, the three DJs began recording together as Instant House. That year, they released the Dance Trax EP.

In 1992, after Instant House had dropped two certified classics, 'Over' and 'Awade', for Jungle Sounds Records, Stan exited the group and sold Dance Tracks to Joe and his business partner, Stefan Prescott. Following Stan's departure, Joe and Tony headed into the studio for a special recording session. “I just remember how powerful the connection was while we were making that record,” explains Joe, recalling the creation of ‘Lost Horizons (The Mind Travel Saturday Night Sunday Morning Mix)’. “It was a very spiritual encounter in the studio.”

While laying out the drum patterns, sound effects, and arrangement, Joe explained the vibe to Tony, who played the lush cosmic chords and an effortless keyboard saxophone line over the top. “That was Tony completely feeling himself,” Joe reflects. “He performed majestically.”

After the release of the Lost Horizons 12”, Joe received a phone call from Cisco International Corp. A plane flight later, he was sitting in their label offices in Tokyo, talking to a senior record executive who wanted to introduce Lost Horizons to Japan. “What they were primarily doing at the time was pressing classical records - we’re talking thousand dollar plus classical reissues - and they wanted to license and distribute Lost Horizons,” Joe remembers. Three years later, Joe and Tony released 'Asking Forgiveness', their final 12” as Instant House, before parting ways with full hearts.

In the context of his career as a DJ, remixer, and producer, Joe is known for long songs and compositions. As Lost Horizons illustrates, he’s carried that impulse with him since his foundational days. “When I produce, I don’t believe in the beginning or endpoint of anything,” Joe explains. “I really despise the rules. To me, that’s not true to the art of creation. I just believe there is a flow in creation. When we were making music in the 90s, we were restricted by format, but that record could have gone on forever.”

The 12” is housed in a full sleeve jacket by Bradley Pinkerton based on the original release design.

It’s almost four years since their last opus - two years since the most-recent run
of live shows. Now, Bitchin Bajas return from whatever kind of rare ether they
occupy when they’re at home, bearing the riches of the whole cosmos in their
hands. And strictly OG as well - on cassette only.
 ‘Switched On Ra’ is the outcome of a typical Bajas exercise: pouring some out
for the pioneers that came before (as they’ve done with Bitchitronics and their
participation in the annual Chicago performance of ‘In C’ over the years). It’s a
nice way to get a flow - they play a little of themselves, then some for the
pioneers, then a little more for the band. Before long, they’re playing with the
inspirations twined, as they can only come from within.
 For ‘Switched On Ra’, this meant a deep delve into the song-book of one of their
soul-predecessors, Sun Ra, whose music is literally written in the Bajas DNA.
Digging into this music sounded wild on paper: the drone synth group taking on
the Arkestra harmonies and Ra’s loose grooves? The trick was to get that sense
of rhythm to translate across the spectrum from Ra to Bajas, in a way that
worked for them both.
 Their rearrangements of the tunes went good - up and down the EQ band, they
were finding the round sounds and jagged edges that brought Ra’s music into
their own thing. Then at the last minute, there was another twist - why not pay
tribute to the Queen herself, and think of the arrangements with a Wendy Carlos
vibe? A little side homage? After all, ‘Switched on Bach’ was visionary, bringing
analogue synths from the outside all the way into the mainstream in the late 60s -
and this take on Ra is meant to take him to new ears everywhere.
 Sun Ra of course was his own kind of original keyboard visionary, using electric
keyboards in the late 40s and 50s to fill a role in jazz that had traditionally been
played on acoustic piano only. Once he’d done so, he took his writing in
directions inspired by the electricity, places no one had thought to go before
then.
 Bitchin Bajas have been content to dominate in a microtonal world, usually
without a single chord to be found anywhere. But here, they step up righteously,
their vibe triangulated as they bring Ra’s music forward with some Wendy C
style, making an unexpected space for all to thrive. There’s a real feeling of joy
as these collected signals bounce off the tape and through the speakers into
your space.
 To get this unique colloid exactly right, Bitchin Bajas used nineteen different
keyboards. They abstained from deploying their arsenal of reed and woodwind
instruments: everything had to be on the keys. This meant Yamahas, Rolands,
Korgs, Casios, a MicroMoog and of course their trusty Ace Tone organ. They
even broke out the Crumar DS-2, to have some of Ra’s chosen tone in the mix.
Then Jayve Montgomery added an EWI as a solo voice on a few tunes, just to
get some air-blown signal (and a natural shout out to EWI master Marshall Allen)
in there, after all. It felt like somewhere in the universe, Ra was decreeing it.

In 2016 lutenist Sofie Vanden Eynde put her instrument aside for nine
months in order to recover from a severe burnout
Five years later, she felt the need to look back. Would it be possible, she
wondered, to use the intense, shared concentration between musician and
listener to convey sensations of over- stimulation, contrast, excess, stagnation,
emptiness, beauty and movement? Would it be possible to articulate the inner
reality of a burnout musically: to make a burnout audible, tangible,
understandable and, who knows, avoidable? The result is Vanishing Point /
Verdwijntijd, an autobiographical recital, a musical narrative, a journey:
somewhere between fragile comfort and cautious happiness. Writer Annemarie
Peeters drew on her interviews with Sofie to write a text that reflects the three
phases of a burnout. The run- up, the phase of total stagnation during, and the
cautious way out. Three colours, three seasons, three ways of being. Lurking
beneath Sofie's personal story are experiences that many will recognize: the
craving for efficiency, the sudden faltering, the unfamiliar and at the same time
disconcerting sense of emptiness, and the tentative search for a new balance.
But also the questions Sofie asked herself – about the connection between her
own little story and the big world that surrounds her – evoke wide recognition. Is
burnout a personal failure or a social symptom?
Sofie went in search of pieces from the solo lute repertoire that she intuitively
associated with the various phases of the text. This resulted in a recital with a
surprising palette of colours, styles and atmospheres. At times she chose the
rich, powerful sound of the theorbo. At others she chose the fragile, hushed
sound of the Renaissance lute. The Prelude by the French baroque composer
Robert de Visee combines phrases full of grandeur with breathing pauses filled
with intimate doubt. The music of John Dowland draws on the typically English
penchant for melancholy. In the fantasias and ricercars of Francesco da Milano, it
is not only the bright colours of the Italian Renaissance that resound, but also the
constant search for a new beginning. Luis de Narvaez's Cancion del emperador is
an arrangement for lute of the famous chanson Mille Regretz by Josquin Desprez,
a song that emanates serene regret for everything that is not. And in Robert de
Visee's Chaconne the same chord sequence revolves around its own axis. Hope,
tenderness, revolt and acceptance each step to the fore in turn.
At Sofie's request, Vladimir Gorlinsky created a new composition, one which
reflects the state of mind in the middle of a burnout. Vanishing Point balances on
the edge of total emptiness, a stagnation that at times is hard to bear. Vanishing
Point starts out from this stagnation to explore the different facets of burnout:
resistance and acceptance, fear and hope, stagnation and movement, absolute
solitude and the desire to interact again with the surrounding world. Vanishing
Point / Verdwijntijd can be listened to in different ways: not only as a lute recital,
but also as a radio play with voice, lute and soundscapes. Annemarie Peeters'
text was recorded by actress Katelijne Damen (NL) and voice artist Caroline
Daish (EN). Vladimir Gorlinsky created soundscapes based on the sounds of the
lute, which were magnified as if under a microscope. The soundscapes weave
themselves between the text and the lute music. Jo Thielemans created the
sound design and provided the live electronics.

Recommended If You Like: Trentemøeller, Nine Inch Nails, Zola Jesus, Tropic of Cancer, Chelsea Wolfe, William Basinski, oOoOO, The Focus Group/Ghost Box -- hauntology in general. LP on Blood Red Vinyl, LP & CD packaged in a gatefold jacket. First new music since 2018’s Lingering Pt. II. Featuring k Hover (Sound of Ceres) on “Moldering Fragments”. Sleep Party People’s Brian Batz dives into the darker edges of orchestral pop on new album Heap of Ashes. Influenced by primarily Bulgarian choral music, old-school metal, and 21st century experimental composition, the music of Sleep Party People exposes every facet, every moment, and every wound, finding beauty even when the last glow of hope looks like it’s ready to fade into the ashes. Heap of Ashes includes contributions from Halvcirkle, GNOM, and Sound of Ceres’ K Hover. Track Listing 1 It Won't Be Cinematic 2 Tide 3 Spider Cracks 4 Moldering Fragments 5 No. 3147 6 Labyrinth 7 Parched Bodies 8 Pagan Flames 9 Needle

Recommended If You Like: Trentemøeller, Nine Inch Nails, Zola Jesus, Tropic of Cancer, Chelsea Wolfe, William Basinski, oOoOO, The Focus Group/Ghost Box -- hauntology in general. LP on Blood Red Vinyl, LP & CD packaged in a gatefold jacket. First new music since 2018’s Lingering Pt. II. Featuring k Hover (Sound of Ceres) on “Moldering Fragments”. Sleep Party People’s Brian Batz dives into the darker edges of orchestral pop on new album Heap of Ashes. Influenced by primarily Bulgarian choral music, old-school metal, and 21st century experimental composition, the music of Sleep Party People exposes every facet, every moment, and every wound, finding beauty even when the last glow of hope looks like it’s ready to fade into the ashes. Heap of Ashes includes contributions from Halvcirkle, GNOM, and Sound of Ceres’ K Hover. Track Listing 1 It Won't Be Cinematic 2 Tide 3 Spider Cracks 4 Moldering Fragments 5 No. 3147 6 Labyrinth 7 Parched Bodies 8 Pagan Flames 9 Needle

2022 Repress

Trip Recordings follows the huge success of its first three releases with a third double-vinyl album, once more curated by label owner Nina Kraviz and featuring gatefold artwork by in-house artist Tombo. The release draws on contributions from established Trip members Kraviz, Population One and Nikita Zabelin, in addition to new artists added to its expending roster including K-Hand, Philipp Gorbachev, Vladimir Dubyshkin and Roma Zuckerman.As established with the label's first three releases, TRP004 will function as a soundtrack to a scenario and its accompanying artwork from Kraviz and Tombo. The title 'Ivan, Come On! Unlock The Box!' (, ! !) is inspired by the track contributed by Philipp Gorbachev (Comeme/PG Tunes), from which Kraviz has extrapolated a story of a rule-defying Russian maverick who is 'searching for the key to the future'.Set for release in mid-November, TRP004's two twelve-inches orbit around a nucleus of talent drawn from label boss Nina Kraviz's homeland of Russia. In addition to 'I Believe I Can Fly (KLM Delayed Flight Version) - one of her own 'road tracks' produced during the producer's hectic global touring schedule - Kraviz has enlisted a quartet of her countrymen for this latest collection. Philipp Gorbachev contributes his most uncompromisingly techno track yet, while Moscow's Nikita Zabelin follows his label debut on TRP003 ('De Niro Is Concerned') with the sinister minimalism of 'Bells'. In addition, TRP003 marks the label debuts of Vladimir Dubyshkin and Roma Zuckerman, both of whom were recommended to Kraviz by Zabelin. The former - a true outsider, just 17 years of age and based in the remote Russian town of Tambov - follows an early 2015 LP for SUB-AMP Records with the disorienting off-kilter techno of 'Lose Yourself', while the latter marks his first ever release despite years of producing with the unsettling 'Geburt Part 2'.

Completing TRP004 are two defiantly individual international artists: K-HAND makes her Trip debut following a two-decade career that's seen her become on of Detroit's true underground, and relatively unsung, heroes. Her contribution, 'The Box', finds her clipping effortlessly within Trip's aesthetic, with a heady textured acid potboiler. Two more Barcode Population tracks, excavated from a mine of undiscovered Nineties-made rarities, complete the release with furiously paced techno rollers which will remain strictly vinyl-only.