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“Klangstof are conducting deliciously evil experiments on indie rock.” – Clash. Klangstof recently returned to attention with the ‘Ocean View’ EP, which was one of two projects they recorded simultaneously in 2021. Its release added to the anticipation for the bigger set that was recorded at the same time, their third studio album ‘Godspeed To The Freaks’, which will be released on September 16th. The band today launch the album by sharing its lead single ‘Disguiser’. ‘Godspeed To The Freaks’ will see the Edison Award (the Dutch equivalent to the Grammy or BRITs) winning band add to the widespread tastemaker attention that has greeted their previous two albums. It’s an album which focuses on self-reflection; finding the courage to confront your inner self and being at peace with your demons. There’s a power that comes with the acceptance that every good day might have a touch of darkness to it. And in a further contrast to the electronic-orientated 2020 set ‘The Noise You Make Is Silent’, this record is focused primarily upon the warmth of its live instrumentation and the intuitive interplay between the band members. Remarkably, the bulk of ‘Godspeed To The Freaks’ was recorded in just two weeks. The trio - Koen van de Wardt, Wannes Salomé, and Erik Buschmann - were boosted by the addition of their touring guitarist Wouter Van Nienes and channelled the energy of their live show, an approach further amplified by recording in a temporary studio in De Bolder, a music venue on the tiny Dutch island of Vlieland. Klangstof essentially rehearsed, recorded and produced the core of the record themselves in that serene environment, giving them a bubble of freedom amidst a world in chaos. Any outside input only followed later, with additional mixing by Sam Petts-Davies (Radiohead, Frank Ocean) and mastering by Heba Kadry (Björk, Slowdive, Big Thief). The album campaign’s visual aesthetic features band portraits courtesy of the iconic photographer and director Anton Corbijn. His timeless photography includes shoots for R.E.M., U2 and Nick Cave, while Nirvana, Metallica and Depeche Mode lead his numerous renowned music videos. He is also a feature-length film director who is best known for the Ian Curtis / Joy Division biopic ‘Control’. Klangstof will play several European shows this summer as guests to Pixies, including Manchester’s Castlefield Bowl on July 5th. They will again link up with Pixies in December for a tour of Australia and New Zealand.

Deep spiritual jazz recorded in Germany, performed by Jamaican born saxophone player Fitz Gore and his international group The Talismen, featuring a.o. bassist Gérard Ebbo from Morocco and drummer Philippe Zobda-Quitman from Martinique. This is the first reissue of their second album, released in 1976 by the small private label GorBra from Bonn, including "Delilah" and "Requiem For Julian Cannonball Adderley". The rare LP comes in a newly mastered version with original cover design and sleeve notes. Fitz Gore's music is full of tremendous tension and movement between deep seriousness, inwardness and humility; it affects your life, it liberates and heals.

Original sleeve notes from 1976:

"Soundmagnificat" is the successor to "Soundnitia" (GorBra Records F 665 532), the first release from the Talismen, an international group with Jamaican Tenor saxophonist Fitz Gore (born1935) as founder, spiritual and musical leader, main soloist. "Soundnitia" contained concert performances of June, 1975, including compositions by John Coltrane, Horace Silver and one by Gérard "Prof. Dr. Splüm" Ebbo, bassist of the Talismen.

This second offering from the Talismen is more varied. It has four tracks recorded at four different occasions. It presents Fitz Gore as a singer, a composer, as well as, a tenor saxophonist. The opener, Requiem for Julian "Cannonball" Adderley, is a moving tribute to a great American artist, the late alto saxophonist "Cannonball" Adderley. On this track, Hungarian drummer Janos Sudy is heard with the Talismen, for the first time. The playing by the quartet on this slow lament very adequately illustrates the mood of the composition

For the next piece, a concert performance, Gore selected a gem from the American Negro Song Tradition and he displays a mighty, masculine and soulful voice in Steal Away. An example of a modern artist using an old traditional to express his own inner feelings. Delilah is taken from another concert performance, the same concert as the music on "Soundnitia". It has extensive playing by Gore, a bass solo by Gérard Ebbo, leading into some exciting conga playing by Lamont Hampton.

The final track, A Sinner Kissed An Angel, was recorded by another tenor player, Wardell Gray, in 1950, but this version is all Gore's. After the piano introduction, Gore delivers the melody with authority and with an expressive use especially of the high register of his instrument. In his improvisation, Gore's playing becomes more dissonant. Some of his playing here causes me to think of the way the late Albert Ayler sounded on his first recordings done in Sweden, in the beginning of the 60s. No drums here, but nice accompaniment and solo work of Jochen Paul on vibes.

I met Fitz Gore in Copenhagen in the fall of 1975. We were both listening to the trumpet playing of Harry "Sweets" Edison at the now defunct Café Montmartre. Prior to that time, I did not know Gore and his music, but listening to his playing on this album and the earlier one, has once more widened my musical horizon. His music has struck some chords within me. "Music is communication", John Coltrane once said. I feel sure that as you listen to the music of Fitz Gore and his Talismen, you will get the message.

In these notes, I have mentioned a couple of jazz artists and another one ought to be named primarily, because he has meant a lot to Gore: Sonny Rollins. The two met in Paris in 1966. Gore says of Rollins: "He openend my eyes ...big man … phenomenon … my man". As Sonny Rollins's artistry, the music of Fitz Gore holds many aspects, some being aggressive and even hysterical, others being those of beauty and peace. As life itself … (Roland Baggenaes, June 1976)

The music of Fitz Gore, rooted in the blues, is full of tremendous tension and movement between deep seriousness, inwardness, humility and humor, hardness and tenderness; it affects your life, it liberates and heals - a hopeful, a truly groundbreaking, a timeless, a new music - Newsic!
(Gisela Braasch, 1976)

In memory of Fitz Gore.
Mastered 2020 by Roskow Kretschmann at Audiomoto,
kindly supported by Tom Sky. Vinyl cut at SST.
Producer for reissue: Ekkehart Fleischhammer,
reproduction of original cover design by Gisela Gore:
Patrick Haase aka rab.bit.

1970’s best-kept Bossa Nova secret. Surrounded by mystery for nearly 50 years due to its obscurity, this is one of the most honest, personal and unpretentious albums of it's genre.

A selection of 12 exquisitely crafted songs supported by measured, subtle arrangements. The list of musicians born or raised in the Tijuca district of Rio de Janeiro is long and illustrious and includes names that have shaped Brazilian music: Tom Jobim, Roberto Carlos, Tim Maia, Milton Nascimento, Jorge Ben or Erasmo Carlos – to mention but a few.

We can now add to that list another name: Werther. In 1970, a man by that name recorded an album unique in its personality, its honesty, and its lack of pretense. In a time when Bossa Nova had become a global phenomenon and its main characters were already household names in Brazil, Werther assembled a collection of songs that uncannily – almost naively – remind us of the time when Bossa Nova was just a group of youngsters making music. His songs are about simple things: bohemian life, the sea, love.

Despite Werther and his friends being only in their teens, without any previous experience recording music, those working behind the scenes were not equally amateur. Producer Peter Keller had already worked with Aloysio De Oliveira in the quintessential Bossa Nova label Elenco, and was also an initial partner in Roberto Quartin’s cult label Forma.

Studio owner Bill Horne was a very loved character in the Rio jazz scene who had regularly taken part in the legendary meetings in Nara Leão’s apartment and befriended some of Brazil’s most respected musicians. Some of these musicians were, for example, Naná Vasconcelos and Edison Machado, who provided small contributions to Werther’s album.

Following the recent reissues of Jose Mauro's Obnoxius, Piri's Voces Querem Mate and Victor Assis Brasil's Toca Antonio Carlos Jobim, Far Out Recordings presents a second album from Victor Assis Brasil from the treasure trove of the Quartin Records catalogue, Esperanto. Over the course of the 1960s, Roberto Quartin released more than 20 albums in Brazil on his label Forma, by artists including the likes of Eumir Deodato, Quarteto Em Cy, Baden Powell and Vinicius De Moraës. Selling the rights of Forma to Polygram in 1969, Quartin struck out for pastures new at the dawn of the 1970s with the launch of his self-titled label. Significant works and high-water marks for Brazilian music overall followed in that decade's first year. These singular gems in Brazilian music, difficult to categorise yet compellingly beautiful, have for too long gone unheard.Gifted his first saxophone by his aunt at the age of fourteen, only four years later the inherently gifted and determined young musician Victor Assis Brasil recorded his debut album, with a second to follow only a year later. The prodigious young carioca was subsequently granted a place to study at Berklee College of Music, where he played alongside the likes of Dizzy Gillespie, Clark Terry, Chick Corea and Ron Carter. It was also during this period he recorded Esperanto and Toca Antonio Carlos Jobim with Roberto Quartin, upon returning to Brazil in the summer of 1970.Recorded in the same sessions as the Toca Antonio Carlos Jobim album, Esperanto consists of five deep jazz cuts: original compositions except for a heavy-swinging latin-jazz cover of Jimmy Heath's 'Ginger Bread Boy', alongside more moments of wild frenetic jazz, like 'Quarenta Graus A Sombra', amongst more melancholic, but no less captivating compositions like 'Marilia' and 'Ao Amigo Quartin'. Esperanto's influences span both American continents, finding a meeting point for Latin jazz and North American post-bop, with Roberto Quartin's perfectionist approach to sound elevating the already incandescent music to divine new heights. The band consists of some mercurial greats of Brazilian music: Dom Salvador (bass), Edison Machado (drums), Helio Delmiro (guitar) and Edson Lobo (Bass).Victor Assis Brasil passed away aged just thirty-five, due to a rare circulatory disease, but by this point his status was already cemented as one of the most talented musicians in Brazil's history.

The Single > Side A 'PARALLEL UNIVERSE' is T.D.O.S. debut single featuring Thai rapper MC Sinnamon (Dujada-Dubway), is an cosmic trip between the heat of Chennai's bazars and Bangkok chaotic streets. Based on a rare indian library sample, Side B is 'WAT THAT TONG' featured samples of Thailand molam queen Yenjit Porntavi with modern dub beat and indian percussions. The Artist > The Dude Of Stratosphear aka T.D.O.S. is Jerome Doudet (Swiss/French artist and bass player based in Bangkok). DJ, vinyl collector, musician, graphic designer and East Asian music connoisseur, The Dude of Stratosphear was groomed in the vibrant alternative scene of the very international city of Geneva Switzerland. Growing up in a musical household (His father was a disco DJ), Growing up in a musical household (His father was a disco DJ), Jerome was exposed to a wide range of music at very early age, and started playing the 4 strings at the age of 10. Bass player in the swiss math-core bands Knut for a decade, he toured intensely all around Europe's biggest venues and festivals. He also joined the very underground american band Half Japanese for a couple of european tour and recorded the album Bone Head in 1997. And on top of the list was opening for the mighty KISS with the canadian band Bionic (CA) at Molson center in Monteal. Also member of various bands such as Imericani (SP/IT/CH), Intercostal (CH), Troll Patrol (CH), Bliscappen Van Maria (CH-IT), Edison (CH), Polar (CH-FR), Prejudice (CH-FR), Buz (CH), Void (CH), Ultra DB (CH), to name a few. Aside from the rock scene, he was also part of the multimedia team Ultra Pepita , developer of the today's world famous VJ software Modul8.

The Single > Side A 'PHRAKHANONG DISORDER' is T.D.O.S. second single featuring Japanese turntablalist DJ TO-RU (Dujada-Goja) is a bass battle on a downtempo hard drum beat, hypnotic and chaotic like Bangkok's streets. Phra Khanong is a neighbourhood of this megapolis where hip hop culture meets local traditions. Side B is 'NAMBA VIBRATIONS' with DJ TO-RU fine cuts on a dirty digital mish-mash of bass and dub beats,. Just in tune to get lost in electric downtown Osaka before heading to the dance floor facing a massive sound system. The Artist > The Dude Of Stratosphear aka T.D.O.S. is Jerome Doudet (Swiss/French artist and bass player based in Bangkok). DJ, vinyl collector, musician, graphic designer and East Asian music connoisseur, The Dude of Stratosphear was groomed in the vibrant alternative scene of the very international city of Geneva Switzerland. Growing up in a musical household (His father was a disco DJ), Growing up in a musical household (His father was a disco DJ), Jerome was exposed to a wide range of music at very early age, and started playing the 4 strings at the age of 10. Bass player in the swiss math-core bands Knut for a decade, he toured intensely all around Europe's biggest venues and festivals. He also joined the very underground american band Half Japanese for a couple of european tour and recorded the album Bone Head in 1997. And on top of the list was opening for the mighty KISS with the canadian band Bionic (CA) at Molson center in Monteal. Also member of various bands such as Imericani (SP/IT/CH), Intercostal (CH), Troll Patrol (CH), Bliscappen Van Maria (CH-IT), Edison (CH), Polar (CH-FR), Prejudice (CH-FR), Buz (CH), Void (CH), Ultra DB (CH), to name a few.

The Single > Side A 'BAILAN BREAK' is T.D.O.S. third single featuring Japanese turntablalist DJ TO-RU (Dujada-Goja) is Side B is 'UCHU DAIKAIJU NO BALLAD' (The Ballad Of The Space Monster) featured samples of Gozilla dialogues with a scary soundtrack mood.on a progressive and experimental beat. The Artist > The Dude Of Stratosphear aka T.D.O.S. is Jerome Doudet (Swiss/French artist and bass player based in Bangkok). DJ, vinyl collector, musician, graphic designer and East Asian music connoisseur, The Dude of Stratosphear was groomed in the vibrant alternative scene of the very international city of Geneva Switzerland. Growing up in a musical household (His father was a disco DJ), Growing up in a musical household (His father was a disco DJ), Jerome was exposed to a wide range of music at very early age, and started playing the 4 strings at the age of 10. Bass player in the swiss math-core bands Knut for a decade, he toured intensely all around Europe's biggest venues and festivals. He also joined the very underground american band Half Japanese for a couple of european tour and recorded the album Bone Head in 1997. And on top of the list was opening for the mighty KISS with the canadian band Bionic (CA) at Molson center in Monteal. Also member of various bands such as Imericani (SP/IT/CH), Intercostal (CH), Troll Patrol (CH), Bliscappen Van Maria (CH-IT), Edison (CH), Polar (CH-FR), Prejudice (CH-FR), Buz (CH), Void (CH), Ultra DB (CH), to name a few. Aside from the rock scene, he was also part of the multimedia team Ultra Pepita , developer of the today's world famous VJ software Modul8.

KUF create emotion-laden dialogues across layers of time and dimensions of sound. Voices recorded in private are chopped up and brought out center-stage to sing with beats hammered out right here and now. Glowing synths push forward. Basslines rise to grab the melodic role of a track while a vowel is truncated and locked into a grid, driving the rhythm. Voices move within the frame of a sample, performed by hands pushing keys, guided by the ear, immersed in a trio session's deep flow... A vortex of quirky hands, responsive ears and glowing circuits. Since Thomas A. Edison first recorded the human voice in 1877, the recording arts have changed music forever. Musicians have explored the endless possibilities of bouncing their input onto layers of tape, off the walls of an echo chamber or the circuitry of electronic helpers - technology that modulates, spatializes, shifts, divides or multiplies the work of human hands and mouths. An era of sampling offered a cubistic analysis of the recorded past and DJs took dancers onto intricately fractured time travels. This is the historic foundation that KUF keep probing. Just like the sampler and the DJ before them, they found new ways to re-allocate where machine and man stand when making music together. Most importantly, they turn the resulting friction into sparkling bursts of energy. 'Universe' digs deeper into the android vocal chords. The album offers sweeping melodies, different beats and persistent bass. Immerse in the intimacy of the voices, probably recorded in trains, backstage areas and at late night private parties during Berlin Lichtenberg warehouse rehearsals. By striking the keys, KUF squeeze out and serve up all