Search:es k

This compilation brings together some of the best recordings by Los Indios from Bolivia, recorded during their brief time as a band, pioneers in blending beat sounds with garage rawness through a repertoire packed with covers of artists such as Deep Purple, Wilson Pickett, Eduardo Araujo (via Los Iracundos)_ The birth of Los Indios took place at a key moment for Bolivian music, in May 1968, during the "Festival de la Canción" held at the Félix Capriles Stadium. This event was a milestone for the so-called Bolivian new wave, featuring various groups from all over the country. A month later, Jorge Filipo Dalence, in association with Freddy Valdivieso, decided to launch their own band, Los Indios, ready to make their mark on the music scene. Their discography includes one LP and a handful of EPs released on the Caracol and Imperio labels. Their album not only showcases their musical talent but also represents an important moment in the evolution of rock in Bolivia. The combination of their unique style helped open new doors for other artists in the country's music scene. By 1969, the group was enjoying overwhelming success and widespread popularity. This is a joint release with the Peruvian label Rey Record and includes an insert with notes on the band's history

»Rosacea« sounds as strange and demented as all the previous albums by this Norwegian one-man project (on Feeding Tube and Ultra Eczema). But it sounds right. Just like he claimed in a recent interview about his untraditional approach to writing songs: »I just make stuff until it sounds right«. It sounds absolutely right in fact.

As puzzling and lunatic as he may seem, yet a sense of order emanates from the idiosyncrasies featured on this album. Ghédalia Tazartès is a cursory reference. Especially on »Carmelade«. However, the spectrum of sound and compositions on »Rosacea« manage to actually transcend the late French eccentric composer and singer.

Sonor Music Editions proudly presents an absolute Italian mood music grail and one of the best Library Music recordings ever - A.ALESSANDRONI's RITMO DELL'INDUSTRIA n.2, a true legend in the field. This is the maestro most prized and sought-after album, produced in 1969 on the small Grand Prix label, part of the Leonardi publishing group. A mindmelting record featuring some of the most killer driven beats ever! - dark vibes and haunting atmospheres with constant and moody Industrial rhythms, filled with tons of drum breaks, trippy Scat vocals and eastern inspired obsessive grooves. Music has been remastered from the original stereo master tape and the back sleeve will feature deluxe liner notes written by Mr. Jonny Trunk. HOLY GRAIL ALERT!

It was in about 2003 that Jazzman Gerald came on The OST Show and played this album. He played the track "Scherzi Pesanti" (translates roughly as Heavy Jokes) and I had no idea what was going on. This was jazz but taken to a non-jazz place, and it was a place I really really wanted to go to.

I realised the only way of getting there was to try and find a copy of the LP. It took about 12 months and one came up on eBay. And I bought it for about 20€. But this was back in 2004. This kind of thing doesn't happen any more. Copies of "Tempo Di Naja" do not appear for sale. And if they do, few can afford them. Maybe only a handful of originals actually exist, such was the nature of tiny Italian library companies back in the 1960s and 1970s.

Thankfully now you can visit that strange jazz place dreamed up and brilliantly composed by Remigio Ducros. You might like it there, especially if you like heavy jokes.

Jonny Trunk

What or who is Arawak? It's the library music pseudonym of Italian pianist and composer Benito / Luciano Simoncini. Here, he was asked to produce a series of background cues for the Lupus label in 1974. So he began with a track called London 1965. Then proceeded to do what the hell he wanted, writing musical love letters, playing with strange noises, treated trumpets or keeping it simple with his piano and some heavy but controlled reverb.

The result is a consistently interesting album full of passion, joy and beautiful fun, and not a million musical miles away from a classic Morricone release. The original album was repressed five years later on the small Titian library label, and now, at last, there's this final commercial pressing.

It's great to know these near legendary and rare background recordings are moving slightly more into the important foreground.

Jonny Trunk

T.O.N.Y. 2 (Director's Cut) delivers a raw, unfiltered dive into Pounds448’s unique brand of underground Hip-Hop. 15 tracks packed with gritty storytelling, tight wordplay, and heavyweight energy. Completely produced by Spittzwell blending streetwise lyricism with vivid soundscapes, this project showcases Pounds448 honing his craft and carving out his own lane in the modern rap landscape. At just under 50 min, it’s a powerful listen that’s perfect for anyone hungry for authentic, no-nonsense hip-hop from one of Rochester’s most distinctive voices.

‘Moonlight Concessions’ goes back to basics, a return for Throwing Muses to their esoteric off-kilter best courtesy of Kristin’s pin-sharp sketches and their suitably abrasive musical arrangements. The album follows their acclaimed ‘Sun Racket’ from 2020, a heady set filled with tough and tender tales spiked with surreal imagery. Produced by Kristin Hersh at Steve Rizzo's Stable Sound Studio in Portsmouth, Rhode Island, ‘Moonlight Concessions’ is a collection of snippets from everyday life writ large - think Raymond Carver Short Cuts, overheard conversations, recounted happenings and telling one-liners, all sewed together to illustrate the times as they slowly mature, fully peppered with original Muses’ vim and vigour. ‘Drugstore Drastic’ is a kerbside soliloquy caught en route to a more alluring rendezvous. Built on a brisk acoustic strum with a guitar sub-melody underpinning proceedings, it’s an unfolding tale of social awareness from a blurred sub-conscious. ‘Summer Of Love’ began as a bet with a guy for a dollar that revolved around the idea that the seasons don’t change us. The album opener, it’s a haunting baroque overture, bowed and brooding. ‘Libretto’s strings offset the acoustic ambience, the hot and cold of longing at the very heart of it, a thematic driver filed with warmth in a safe haven lubricated by tequila. Written in the differing South Coast environs of The Gulf Of Mexico and Southern California, ‘Moonlight Concessions’ pulls from the star clusters that light both, generating optimism and hope in varying degrees. Hersh explains, “In New Orleans the stars look greenish-blue, as it’s below sea level and swamp-lit. But on Moonlight Beach, they glow icy white. All these songs were written in these two glowy places, which helped our sonic technique find itself.”

Peter Tosh war ein Reggae-Multi-Instrumentalist aus Jamaika, der zusammen mit Bunny Wailer und natürlich Bob Marley zu den Gründern der legendären Band The Wailers gehörte. »Equal Rights« ist sein zweites Studioalbum und dasjenige, das ihn an die Spitze des Reggae katapultierte und ihn als potenziellen Rivalen von Marley etablierte. Das ist zwar nicht ganz gelungen, aber »Equal Rights« ist immer noch eines der einflussreichsten Reggae-Alben aller Zeiten.

Tosh war ein großer Verfechter der Menschenrechte und das spiegelt sich auch in der Tracklist wider. Natürlich gibt es eine Version von »Get Up, Stand Up«, die zusammen mit Bob Marley geschrieben wurde, aber »I Am That I Am«, »Downpressor Man« (eine Version von Sinnerman, die durch Nina Simone berühmt wurde), »Stepping Razor« und »Apartheid« wurden alle zu eigenständigen Menschenrechtshymnen. 1987 wurde Tosh bei einem Raubüberfall getötet und ließ Reggae-Fans auf der ganzen Welt mit der Frage zurück, was hätte sein können.

»Equal Rights« ist als erweiterte 2LP-Edition mit einer Bonus-Disc erhältlich, die seltene und unveröffentlichte Songs enthält, die bisher nur auf »Dubplates« erhältlich waren. Diese definitive Version eines Reggae-Evergreens ist in einer Deluxe-Hülle mit Leinenfinish und einem 4-seitigen Booklet verpackt und in einer limitierten Auflage von 3000 einzeln nummerierten Exemplaren auf orangefarbenem Vinyl erhältlich.

Based on an unbelievable true story, Roofman follows Jeffrey Manchester (Tatum), an Army veteran and struggling father who turns to robbing McDonald's restaurants by cutting holes in their roofs, earning him the nickname: Roofman. The film's score was composed by Grizzly Bear multi-instrumentalist Christopher Bear, with contributions from The War on Drugs' Jon Natchez. Christopher Bear is a drummer and multi- instrumentalist member of the Brooklynbased indie-rock group Grizzly Bear. He continues developing his independent career, most recently working on arranging soundtracks for the HBO series High Maintenance, and scoring the 2023 film Past Lives alongside his bandmate Daniel Rossen.

Zepter sind eine neue, aufstrebende Heavy-Metal-Band aus Österreich, die 2024 gegründet wurde. Wenig später erschien, auf 100 Stück limitiert als Kassette, die erste EP »Inferno« über Ironbound (eine Vinyl-Ausgabe von Fucking Kill Records sowie eine CD-Edition durch Witches Brew folgten). Das Debütalbum von Zepter, welches über High Roller Records erscheint, bietet authentischen Heavy Metal der alten Schule mit catchy Hooks und geschmackvollen Twin-Harmony-Parts. Das Album klingt, wie ein erdiger Cocktail aus Thin Lizzy und UFO aus der Schenker-Ära mit Elementen aus frühem Speed Metal à la Acid und Slayer, wenn es sie schon 1978 gegeben hätte – mit Einflüssen von Saxon, Witchfinder General, Dark Star, Raven, Saracen, Angel Witch, Satan. Alle Songs bis auf die Coverversion “Lonely Night” von der Band Screem sind brandneu.

NOFX waren sauer (sind es möglicherweise immer noch) und wollten uns das wissen lassen! Ursprünglich 1999 veröffentlicht, war "The Decline" ein mutiges Werk und markierte einen großen Wendepunkt für NOFX. Der Song, der weithin als eines ihrer Meisterwerke gilt, ist ein 18-minütiges Punkrock-Spektakel, das die Entertainmentqualitäten, den lyrischen Witz und die Musikalität der besten Punkrockband aller Zeiten richtig zur Geltung bringt. Der Song, der den Zustand Amerikas satirisch darstellt und die gleichgültigen Massen und Politiker gleichermaßen aufs Korn nimmt, ist auch im Jahr 2026 natürlich leider noch aktuell und kritisiert somit weiterhin die Mächtigen auf eine Weise, zu der nur wenige Künstler den Mut haben. Die Vinyl-Single enthält auf der B-Seite die erste Version von "Clams Have Feelings Too" (das später auf dem Album "Pump Up The Valuum" wieder auftauchte) und ist ein Muss für jeden NOFX-Fan. Erneut auf schwarzem Vinyl wieder da und und limitiert in neuem farbigem Vinyl. Inklusive Beilage mit Texten und Bildern.

HI-LO returns for another elite EP on Drumcode, ‘REESE’, with the title track a tribute to Kevin Saunderson’s iconic bassline sound. The Dutchman never misses. Following acclaimed EPs HI-LO has released on Drumcode including “‘DIZZY’, ‘CRESCENDO’, ‘WANNA GO BANG’, and ‘HYPNOS”, the HILOMATIK boss brings his A-Game for the stunning ‘REESE’ EP, his anticipated annual release on Drumcode. ‘REESE’ epitomises a producer at the top of his game. The title track is a peak-time headrush built around a moreish bass riff and silky chords. A masterful balance of darkness and light that’s been building since Ultra WMC and also featured in Adam Beyer’s Essential Mix. 'FLORESTA FUNK' is a punchy percussive jam that shows his range.

DJ Support: Dennis Quin, Benny Rodrigues, De la Swing, Archie Hamilton, Jamie Jones, Rich Nxt, Roger Sanchez, Ilario Alicante, Jon Cutler, Adriatique

Fabio Santos is a DJ and producer from Rotterdam whose sound is firmly connected to the underground. With inspiration from labels such as Dungeon Meat and Slapfunk Records, his music and sets combine raw rhythms, rolling basslines and a stripped-back energy that reflects the essence of the scene. Fabio approaches DJing with a focus on flow and atmosphere, building tension and release in a way that keeps crowds engaged from start to finish. His style is direct, uncompromising and always aimed at serving the dancefloor.

Athens-based percussionist and sound artist Yorgos Stavridis makes a stark, physical debut for Heat Crimes with »Solo Percussion«, a set of one-take improvisations that approach percussion as a field of friction between body, objects, space, and sound. Working with membranes, metals, found objects, and feedback systems, Stavridis foregrounds timbre, texture, and spatial presence, collapsing distinctions between instrument, environment, and recording apparatus.

Microphones and speakers are treated as unstable instruments in their own right, introducing opaqueness, resistance, and feedback into the performative chain. Scrapes, low-end pressure, brittle metallic chatter, and sudden bursts of resonance emerge through close bodily engagement with surfaces and materials, each piece documenting a specific configuration of objects, gestures, and acoustic conditions. Performed and recorded live, »Solo Percussion« captures sound in its most contingent state; situational, physical, and irreducibly present. Eschewing narrative, pulse, or formal development, the record sits squarely in Heat Crimes’ lineage of process-led, uncompromising sonic research, where listening becomes an active, tactile act and sound itself is the primary event.

Un-easy listening from »anti-singer« and improviser Sofia Jernberg, a celebration of the voice in its rawest, most malleable form. Jernberg was born in Ethiopia and grew up in Vietnam and Sweden, so one can only imagine these diverse languages opened up a wealth of phonetic possibilities before she entered academia to study jazz and composition. If you dive into her catalogue you’ll clock her startling range – working as a jazz soprano and as an improviser, collaborating with everyone from Stefan Schneider to Mats Gustafsson, as well as appearances on the stage and screen, most notably in Matthew Barney, Erna Ómarsdóttir, and Valdimar Jóhannsson’s »Union of the North«.

On »Voice«, Jernberg provides a ground-level entry point to her work, meticulously running through a litany of unconventional techniques (non-verbal vocalisation, split tones, toneless singing, and distortion) without any effects, just pure batshit sonics designed to show off the voice’s scope as an experimental instrument. On »Mouth Synthesizer« she purses her lips to make ratcheting pops like some analog oscillator, hoarsely mimicking the sort of blustery, Merzbow-coded distortions you might get if you patched a RAT pedal into a broken guitar amp. It isn’t an act of caricature, it’s Jernberg’s way of demonstrating that expensive modular rigs aren’t an essential tool for experimental music, before throwing a side-eye to the field recording industrial complex on »Birds«, transforming her vocal chords into a nightmare aviary. But it’s Jernberg’s startling »multiphonic« experiments that hit hardest. The album opens on »Multiphonic I«, and it’s difficult to tell that you’re listening to a human voice at first – you could just as well be on Colin Stetson’s overblown sax airstreams. Jernberg creates a captivating spiral of crooked, phased tones and hoarse, guttural croaks that she develops over three movements. On »Multiphonic II«, her voice is turned into a storm of pained shrieks, and on the third and final segment, it almost resembles Arve Henriksen or Jon Hassell’s muted brass curlicues. Each track pulls a different musical muscle, whether it’s »One Pitch« with its unsettling yodel-like quivering drones or »Gurgle«, sounding like a close mic-ed recording of a small pot gently simmering.

As the meteoric rise of reggae began to captivate listeners around the globe in the 1970s, innovative artist Augustus Pablo emerged as vital creative force pushing the genre forward. An important figure in the Jamaican music scene during this remarkable era, Pablo was not only a skilled musician but an influential producer who shaped the sound of countless classic recordings. While his instrumental work and legendary dubs remain essential, Pablo was also responsible for iconic vocal tracks from a wide range of local talent, many of which were released on his own label Rockers. Now, Nature Sounds is proud to present Rockers United!, a collection of classic and rare vocal selections from the Rockers archives, all produced by Augustus Pablo. Deeply rooted in hypnotic, bass-heavy instrumentation, the album features remastered audio transferred from the original master tapes, with vocals by Jacob Miller, Delroy Williams, Hugh Mundell, Tetrak, Junior Delgado, Earl Sixteen, Spliffy Dan and more.

Nur wenige Alben haben eine Ära und eine Generation von Popmusik so sehr geprägt wie "Faith", George Michaels bahnbrechendes Solo-Debütalbum von 1987. Fast vollständig von George selbst geschrieben, arrangiert, produziert und interpretiert, enthält es die Hitsingles "Faith", "Father Figure", "One More Try" und "Monkey". Diese Neun-Track-Version ist nun erstmals seit über einem Jahrzehnt wieder auf Vinyl erhältlich und eine originalgetreue Nachbildung des Albums.

'Cuéntame cosas tuyas' is perfect pop with flawless arrangements; it's crossed over into the international soul scene, made its way into playlists by DJs like Gilles Peterson, and was even covered in the early 2000s by La Costa Brava-proof of its appeal among an ever-broader audience. On the B-side you'll find the superb '¡Yeah!', packed with soul and funk flair. Two irresistible tracks that, after years out of print, we're putting back into circulation with the reissue of this essential record-one that's practically impossible to find in its original pressing. Few late-'60s Spanish pop songs have reached the status that 'Cuéntame cosas tuyas' has earned decades after its original 1969 release. The single, put out by Barcelona label Belter, has become one of the most coveted gems for collectors of '60s sounds. 'Cuéntame cosas tuyas' is perfect pop with flawless arrangements-a sure-fire dance-floor killer, right up there with Elia y Elizabeth's 'Alegría' in any imaginary ranking of Spanish-language pop anthems. Although originally from Valencia, Los Ros (formerly Los 4 Ros) built their career in Palma de Mallorca and released nearly twenty singles on Belter. Between 1968 and 1970, their friendly, commercial pop started weaving in bolder elements drawn from soul, funk, and even psychedelia-something you can also hear on the B-side of this very single, featuring the superb '¡Yeah!'

Uno Loop presents the first-ever licensed reissue of Phil Yost's Bent City (1967), a rare Takoma Records title and a landmark of jazz-folk-psych experimentation. Long out of print and previously unavailable digitally, Bent City has gained strong early support with airplay on BBC Radio, Worldwide FM, KCRW, and WFMU, alongside praise from Bandcamp Daily and Aquarium Drunkard. Yost's cult following - particularly within spiritual jazz, American Primitive, and experimental ambient and folk communities -positions this reissue as a high-interest archival title with strong cross-genre appeal.

This edition is fully authorized by the Phil Yost Estate and Concord Records and pressed in a limited run, packaged with an 8-page archival booklet featuring previously unseen photographs, biographical notes, and original research on the enigmatic Bay Area musician. Bent City is the first release in a broader, multi-title restoration of Yost's catalog, with three additional albums to follow (at minimum), including Fog-Hat Ramble (1968), Touchwood's Dream (1970) and Yost's unreleased Sunflower Sojourn - creating a sustained narrative for continued retail engagement. With growing press attention, renewed visibility among collectors, and its unique place in Takoma and outsider jazz-adjacent history, Bent City is a standout catalog builder for stores specializing in jazz, experimental, ambient, and private-press reissues.

Minority Records is releasing a unique boxset Politique du silence with three early albums from Sylvain Chauveau, French composer of minimalist neoclassical music.
“When I made my first albums as a composer, I was obsessed with minimalism, and this quote from the film director Robert Bresson summed up my state of mind. I set myself three principles: 1) Use silence as a starting point, 2) Only add sound when it's absolutely essential, 3) Don't imitate the Anglo-Saxon musicians I admired, but draw on the musical culture of my country, France which lead me to listen intensively to Satie, Debussy and Ravel.” Chauveau explains the background to his work.

The collection Politique du silence contains the recordings of Des plumes dans la tête (2004), Un autre Décembre (2003) and Nocturne impalpable (2001) on coloured 180 gram vinyls. The cover features artwork by French photographer Valéry Lorenzo.

“When I discovered the simple and powerful black and white pictures by Valéry Lorenzo, in the 90s, I immediately fell in love with them. We became good friends and since then I ask him to let me use one of his photos for most of my album covers, or to make my portrait for press shots. It has become a real collaboration, music and images, for more than 25 years. It was then logical to ask him again for the cover of this boxset, like a gentle reflection on my piano and strings era. It's a true honour for me to see my early music recollected, repackaged, remastered after all this time. Which gives me hope that this music, in which I've put all my soul and heart during the years 2001 to 2003, is maybe not forgotten yet.” Chauveau himself adds of his collaboration with Valéry Lorenzo.
Nocturne impalpable and Un autre Décembre were re-issued by Minority Records in 2014 and 2015 and both titles completely sold out. This year’s release also includes the album Des plumes dans la tête in its world premiere on vinyl.

Nocturne Impalpable is a world of minimalism, abstraction, and contemporary rendition of classical music with variations for the piano, clarinet, strings, and accordion which are often compared to the compositions of composers Harold Budd and Claude Debussy. Here, Chauveau partially reveals his versatility as a composer by connecting electronic elements, noises, and ambient planes with monumental strings and piano preludes. The
album of piano variations Un autre Décembre is interspersed with field recordings and electronic noises. The inspiration for the recording of the album and for its name was the song Jaurès by the Belgian singer and composer Jacques Brel. This song tells the story of the grandparents’ generation who toiled in the mines. “Comfort and health won’t protect our generation from sadness and discontent. We also live through winter times, even if these are slightly warmer due to the current climate.” An album of 20 short instrumental sketches with several delicate intermezzos for the piano, string quartet, and the clarinet, Des plumes dans la tête, was composed for the eponymous film by director Thomas de Thier.
Sylvain Chauveau was born in 1971 in the French town of Bayonne and currently lives in Barcelona. His extensive discography of mainly meditative neo-classical recordings for the music labels FatCat, Sub Rosa, Sonic Pieces, and Flau is enriched by several collaborations and his participation in the Ensemble 0, Arca, and On projects. Chauveau has also composed many film soundtracks as well as music for the theatre. He has presented his works in Prague several times, most recently in the spring of 2024 at the Spectaculare festival. His compositions get tens of millions of streams on streaming services, and he’s been called the French king of minimalism.

For their very first offering, Hanna & Robbie unveils a 5-track album making an ever possible encounter between psychedelic fractured grooves and mellow sci-fi haze in a divergent electronic shell. Planet42 carves a slow-burning path through severance and trance, a trip back to the subconscious like an escape or a sin, guiding both body and mind into unfamiliar exploration

Taking a fey look on electronic performance, where dubby-inspired and fractured rhythms tend to unveil ethereal ambiances, HR was born and raised in the emergent underground electronic French scene and started being moving targets in 2023 with a first live show at the Supercamp Festival happy few’s gathering.
With a mosaic of gritty textures, clubby breaks and otherworldly echoes in the lead-off project Planet42, Hanna & Robbie dives deep in this restless esoteric tension their identity is all about : an spunky early signal sculpting precise and intricate yet atypical tones revealing this crawling need of delivering unsettled arrangements and dreamscaped lines. Already in the move for their next in order work, it is settled in their experimentation lab that new doses of psychedelia and delusive resonances were written as an incipit to a future alternative live act.

Toronto-based musician and producer David Psutka’s long dormant Egyptrixx alias returns, with How Tidal. A compendium of sorts, which retells the story so far, reworks of highlights from his catalogue sit alongside brand new tracks, serving as a bridge between the past and the future, preceding more fresh music in 2026.
With the originals still sounding remarkably current, a straight best-of wouldn’t have been out of question, but ever the tinkering student of sound, Psutka thought he’d break them apart, just to see how he could put them back together again.

The music on is How Tidal is cutting-edge and futuristic, but never difficult, instead offering accessible gems where multiple strains of bass music are infused with a zingy, techno-pop bounce, whilst ambient moments gift sonic lozenges for maximum contentment. Psutka creates optimistically welcoming environments, where synthetic birds chirrup in cyan skies over babbling rainbow brooks, as 15 inch subwoofers boom by.

Egyptrixx gained renown across the 2010s with his hard hitting yet tranquil experimental dance music dubbed ‘celestial jeep music for a Saturn moon’. Colourful sound design was braided with dancefloor structures, creating an exhilarating tension between melodic and dissonant, euphoric and inward. The debut album Bible Eyes was released in March of 2011 to critical acclaim.

As Egyptrixx, Psutka has released four studio albums, collaborated, remixed, and toured with some of the biggest names in electronic music.
The widely acclaimed moniker is foundational to Psutka’s complex body of work that encompasses multiple solo projects, plus a diverse range of collaborative work. He has performed live at Sonar Festival, Roskilde, Mutek, MOMA PS1 Warm-UP and CTM Festival, and presented sound installations at Galeria Civica Commune di Modena and Art Gallery of Ontario (AGO).

In 2015, Psutka launched Halocline Trance as a home for his various sound projects, events and collaborations. In recent years, the label has quietly established itself as a platform that facilitates many of Canada’s most exciting creative music projects.

Vinylneuauflage von Mobys "Ambient" Album von 1993, seine erste Exkursion in die Ambient-Musik, die seitdem zu einem seiner Markenzeichen wurde. Mit Ausnahme einer limitierten Clear-Vinyl-Ausgabe 2022 gab es dieses Album nur als CD, nie flächendeckend auf Vinyl. Moby hat die Techno/Electronic-Szene massgeblich beeinflusst, später den Popmarkt erobert und Acts wie David Bowie, Public Enemy, Ozzy Osbourne, die Beastie Boys und Daft Punk produziert und geremixt.

DINTE's partnership with Philadelphia store/distro World Gone Mad yields three more essential cassette-only mixtapes exploring the global proliferation of the punk spirit - this time exploring 1980s French language post-punk and new wave in France, Belgium and Switzerland across the decade. This is part 2 of 3, focusing on 1984 to 1987.

In 1999, on December 23 to be precise, the electronic music landscape changed forever. On that day, the now legendary Icelandic band múm released their debut album “Yesterday Was Dramatic – Today Is OK”. The thing is though, back in the day, hardly anybody realized. It was Christmas after all, people were busy with potentially more important things and didn’t pay attention to some kids selling records on Reykjavík’s high street. Little did those shoppers know.

Thankfully, those 10 tracks weren’t overlooked for long. On the contrary: the album went on to become one of the most influential building blocks of what back then was called electronica and today is considered an art form playing a crucial and important role in shaping and defining the rich electronic music culture of the 21st century. Now, 20 years after the record dropped onto planet Earth, Morr Music is re-issuing the remastered album with its original artwork, adding newly commissioned re-works: A note-for-note representation of “Smell Memory“ by Kronos Quartet (with additional drums by múm’s Samuli Kosminen), a gentle reinterpretation of “Random Summer” by acclaimed pianist and composer Hauschka and an otherworldly new version of “Ballad Of The Broken String” recorded by label mate Sóley. Additionally, four remixes produced in the early 2000s are made available for the first time ever on vinyl here.

In 1999, electronic music was in full bloom. The dance floors were thriving worldwide.Yet the concept of using electronic sounds in acoustic-based productions (or vice versa) was still in its infancy. Many producers were trying, most of them failed. The results felt often forced, fabricated, unimaginative, random and forgettable. New ideas require new mindsets after all. With “Yesterday Was Dramatic – Today Is OK”, múm established a new approach in music production. Instead of setting a fixed agenda and working with a distinct hierarchy for their sonic palette, Gyða Valtýsdóttir, Kristín Anna Valtýsdóttir, Gunnar Örn Tynes and Örvar Smárason let each instrument and sound source be true to itself, creating an ever-evolving universe of sonic bliss. Listening to the album in 2019 still makes every music lover’s heart jump. Combining Drill-and-Bass-inspired beat-chopping, future-informed DSP-programming, ethereal vocal work, indie rock’s boominess, folk music’s soulful brittleness and a lofty feeling for melody and arrangement, the album is a rare example of musical transcendence and remains impossible to categorize.

Many of the ideas formulated and recorded for the album quickly became an integral part of the canonical self-conception musicians around the world were and still are aspiring to. How these ideas really came about, though, is not known – the dynamics, the struggles, the qualms, the sudden realization of having achieved something which might actually stick. Maybe that is a good thing. Örvar Smárason remembers that most of the album “was recorded in a tiny, sweaty room in the summer of 1999 with carpenters banging nails around us, but sometimes we put on headphones so we couldn’t hear them.” It is a good thing they did. As is often the case with classics, all one can do is listen closely and let the magic sink in – again and again.

»Ka ora te awa. Ka ora te iwi. The river is well, so the people are well«, says artist and writer Hana Pera Aoake. »In a Māori worldview, everything is connected and contains mauri, the life spark or essence inherent in all things, as they contain the residue of ancestors through whakapapa, or genealogy. Within Western environmental histories, there is a gap in knowledge around what we can learn through an act of listening.«

Hana Pera Aoake’s words resonated with Hinako Omori when they were invited by the Serpentine Gallery to write a piece of music for their »Serpentine Reader« publication on the theme of circulation. Aoake’s essay about listening to the river and other bodies of water parallels Omori’s own Japanese cultural view of water as a sacred source.

»studies on a river« places these two notions side by side, with Omori’s recordings of water sources and elegant 3/4 synth compositions matched to extracts from Aoake’s writing. The first side presents the music alone, while the second is where the project really clicks, with Aoake’s themes and Omori’s gentle, washing sounds completely in sync.

Explicit isolation is the third album by the international collective E/I, led by composer and percussionist Szymon Pimpon Gąsiorek. The group’s seven core members came together while studying at Copenhagen’s Rhythmic Music Conservatory and the Royal Danish Academy of Music. For this latest release, they are joined by Slovenian musicians Samo Kutin (hurdy-gurdy) and Kaja Draksler (organ), alongside Danish tuba player Rasmus Svale.

The three compositions distill sound down to its essential elements, drifting freely through space. The material is minimal, moving in the geological rhythm of endless cycles of tension and release, formation and dissolution, density and lightness. Pimpon acts here more as a guide than a creator with a master plan. He is a navigator, leading us to the most crucial moments where sonic emissions merge into vibrating drones, building to an inevitable leap—an explosion after which the particles rearrange themselves once again. It feels like futuristic temple music infused with intergalactic spiritual jazz, the extensions of drone music, and acoustic ambient textures, all highlighted by the jolly grin of the navigator.

“I wrote the scores and asked each of the musicians to record their parts individually. What’s interesting for me about doing it this way is that it removes the element of immediate interaction and introduces a factor of randomness. I then edited and mixed it myself, also adding my own parts. Previously, it was strictly acoustic music, and the recordings were ‘live,’ meaning they were captured in one room at the same time, with no subsequent edits.” Pimpon has also incorporated electronics, which make the album even more airy and organically complement the sounds of the hurdy-gurdy and organ, recorded in Trboje, the small Slovenian village.

Melbourne / Naarm strongholdButter Sessionsclock 15 years in the game with a trilogy of 12"s, sustaining their uncompromising streak of peak-form electronics. The family-style V/A binds friends, collaborators, former studio neighbours and DJ booth allies, capturing a label that exists as community as much as catalogue.



A new chapter in Butter Sessions' ongoing Japanese exchange sees Sapporo sound sculptor Kuniyukire-opening a 2015 tour collaboration with label heads Sleep D- a deep, spatial beatdown powered by dub pressure and percussive hypnosis. Shadow-lurking prodigy Mosam Howiesondrops in with his trademark scatterbrain techno, while Hasvat Informantlocks into joint-consciousness big-room radioactivity.


Opening the B-side, Fader Capfuses Balearic psy-ence with Mike Dunn-esque utilitarian jack, hovering somewhere between '80s memory and future vision. Tokyo's Mayurashkafollows with Survival Guide, big beat colliding with drug chug, before Albrecht La'Brooyreunite for a divine chill-out tent slowdown, magnifying sample detail with exacting flow. We're adrift until Sunju Hargunlights the beacon with スカイサーファ(Sky Surfer), Thailand's emissary of ritualistic minimal trance.


Whether taken alone or folded into the three-disc triptych, each instalment stands as a bag-ready constant, charged with Butter Sessions' curatorial finesse.

A house is something that is so deeply temporary, yet it can hold so much energy. How do we carry or leave behind those energies while transitioning into new spaces? How does each space we occupy for some time shape us and how do we tear ourselves away from it and its influence once it’s time to go? These are some of the core questions behind CC Sorensen’s new album for mappa, ‘Phantom Rooms’ – it’s a record about movement, change, transformation, family, juxtapositions… but most of all, home.

CC Sorensen was reflecting a lot on their childhood home in rural Kansas, USA while working on this music. The album could be characterised by a familial, chamber feel and both of CC Sorensen’s brothers, Ryan and Nyal Ruehlen, make an appearance on ‘Phantom Rooms’, among other instrumentalists. Using a wide palette of sounds – CC Sorensen alone in charge of keyboards, software instruments, voice, electronics, percussion, trumpet, guitar and field recordings, in addition to guests on pedal steel, voice, chimes, saxophone and drumset – the American musician crafts music as mysterious as it is inviting. The idea behind it would be almost surrealist – ghostly rooms in houses where we live – if we all didn’t know exactly what CC Sorensen means. Home isn’t something concrete, but it’s also not just an abstract concept. It’s a space beyond space; home in itself is a phantom room we enter. And what enables us to enter is the object of exploration here.

CC Sorensen’s approach is playful – tracks like “Beat Bot” and “Plastic Portals” are almost fun – but also contemplative. They make thoughtful, meandering chamber music intertwined with field recordings and electronics. Reeds, strings and percussion often set the atmosphere – sometimes airy, gentle, at other points more insistent – as the music grapples with departure, instability, deep reflection and imagined future spaces. Especially in the closing “Bexar” there’s a tangible yearning for a stable home, a longing to rekindle and keep ablaze this beautiful familial connection to a physical place. It’s both music that invites to reflect and music that in itself reflects; desires, hopes and dreams.

Der in Berlin lebende syrische Musiker Khaled Kurbeh gibt sein Debüt bei Research Records mit Likulli Fadain Eqaéh Jedem Raum seinen eigenen Rhythmus, einem Klangteppich aus Sounds, die er über vier Jahre im Rahmen seiner Praxis muhawalat Versuche, Variationen und hawamesh Ränder geschrieben, aufgeführt und aufgenommen hat: ein Ausdruck von Gesten, klanglichen Fußnoten und Beobachtungen aus dem Alltag.

Kurbehs erste Veröffentlichung seit sieben Jahren weicht von seinem weitgehend akustischen Debüt "Aphorisms" ab, einer Zusammenarbeit mit dem Oud-Spieler Raman Khalaf und einem Ensemble mit Elementen aus Maqam und Jazz.

Likulli Fadain Eqaéh Jedem Raum seinen eigenen Rhythmus präsentiert eine Sammlung zehn elektroakustischer Kompositionen – grübelnd und experimentell mit Anklängen an Musique concrète. Die Trackliste impliziert eine Reisebeschreibung. Feldaufnahmen von Schwalben und dem Knacken und Entschalen von Sonnenblumenkernen im Zwischenspiel Nuzha I Exkursion I werden durch eine spärliche Komposition aus Low-End-Synth, Harmonium, Klavier und präpariertem Fender Rhodes, gespielt mit Schlägeln, auf Darb I–II Pfad I–II kontrastiert. Beckenmuster und bewegte Glockenklänge erklingen auf Jauqét Ajras Chor der Glocken, während Streichinstrumente auf al-Ajraf [Die Klippen] zittern und stottern. Die Veröffentlichung fängt vier Jahre sich überschneidender Klangwanderungen ein und balanciert fein die Spannungen von Harmonie und Dissonanz, Stille und Resonanz, Textur und Rhythmus – aufgenommen im Innen- und Außenbereich.

Das Gatefold-Cover zeigt Kunstwerke von Ida Lawrence und enthält ein Booklet mit zehn gemalten Variationen einer Szene. Auf der Außenseite erstrecken sich Wege unter einem dramatisch akzentuierten und lebendigen Himmel; im Inneren erscheint dieselbe Landschaft immer wieder in unterschiedlichem Licht.

Likulli Fadain Eqaéh [Jedem Raum seinen eigenen Rhythmus] erscheint im Sommer 2025 bei Research Records, Naarm/Melbourne. Ein weiteres Solo-Klavieralbum von Kurbeh, aufgenommen in seinem Studio in Berlin-Kreuzberg, erscheint noch in diesem Jahr.

Introducing Self Portrait, the latest chapter from the endlessly inventive one-man force Ryan Adams — a brand‐new, 24-track album that brings together fresh, unheard originals alongside spellbinding reinterpretations of classics by R.E.M., New Order and more.Capturing restless creativity and emotional depth across the two dozen songs, this bold collection once again proves why Ryan Adams is one of the most distinctive voices in modern music. Self Portrait shows Adams at his finest – poignant, unpredictable and sonically rich. For long-time fans, it’s another essential chapter in a prolific career, for newcomers, it is the perfect entry point into the world of Ryan Adams. This project isn’t just another album from Ryan Adams—it’s a dual‐mission: hear where he’s been, and where he’s going.

After the success of Soda Stereo’s three albums and their impressive Signos tour, the band released their first live album,
Ruido Blanco - En Vivo. This live album was recorded in Argentina, Chile, Peru, Venezuela and Mexico.

This shows how the band's already has a substantial fanbase across Latin America after just three studio albums.

The album features some of their biggest early hits, such as "Prófugos", "Persiana Americana", and "Signos",
and these live recordings give the songs really an extra kick.

Ruido Blanco - En Vivo is one of the most iconic live albums in Latin rock history, celebrating Soda Stereo’s status as pioneers of the Rock en Español movement and their enduring legacy.

When you listen to birds, they usually talk about food, sex/family, or anxiety. If they knew about the true nature of humanity's cruel and exploitative relationship with birds, they would be discussing rebellion. Humanity's current trajectory about birds is to cause the extinction of one-third of all bird species by the end of this century.

This record crystallises the borders between memory, beauty, and anxiety. At the core is an amalgam of all the birds we have met and heard, their sounds synthesised from a blend of memories. Esthetically it simulates the qualities of bird sounds, hitting similar frequential sweet spots. There is a great variety of birds captured here, from high to low frequencies, from solo voices to groups, from birds standing on their own to complex world-building, where the bird voices are part of an ecosystem, becoming one of the instruments.

You could stop there, enjoying this record on a musical level, but it invites us to do one step further, to consider reconfiguring our relationship with the Earth and its inhabitants. To question our impact, and to ask why we need synthetic bird music. Is it just a visionary endeavour or is it because we are failing at fostering a world in which organic birds and other creatures can thrive?

32 artists from the whole world, including our favourite artists from Eastern Europe, have contributed to this compilation both with new and previously released music. Their music is ordered from dawn to dusk and into the night. For many of the artists it's their first time on mappa, but some have previously released an album with us.

DINTE's partnership with Philadelphia store/distro World Gone Mad yields three more essential cassette-only mixtapes exploring the global proliferation of the punk spirit - this time exploring 1980s French language post-punk and new wave in France, Belgium and Switzerland across the decade. This is part 1 of 3, focusing on 1988 to 1990.

From the Guts of Essaira claims space in body and time. It follows the path announced with the single ‘Dramla / Xirxe’, expanding its tensions and guiding them towards a more layered, conscious expressive form. It is an album to be listened to without respite, allowing the sonic material to dilate.

The tracks move across a punkstrial terrain rich in synths held in constant tension; sharp guitars and industrial rhythms alternate drive with suspension. The vocals, multiple and layered, do not seek centrality but co‑presence: they enter, disappear, pursue one another, dig deep and steer the listening through zones of friction and release.

The album is released during a period of widespread instability and reflects that mood. The ten pieces construct a compact journey, with darkness and urgency alternating with more rarefied, introspective moments. Nothing is accidental: every segment is functional, every tension is permitted to resonate until the end. From the Guts of Essaira is a physical, visceral record; it works by accumulation and subtraction, strengthened by the fracture between control and abandonment. It breathes, listens, spreads.

Gemastert und restauriert von den Original-Master-Transfers durch Patrick W. Engel bei TEMPLE OF DISHARMONY im Dezember 2021. Geschnitten von SST Germany auf Neumann-Maschinen für optimale Qualität auf allen Ebenen. Die ultimative audiophile Neuauflage dieses zeitlosen Thrash-Klassikers! Infernäl Mäjesty aus Toronto, Kanada, formierten sich 1986 zunächst unter dem Namen Overlord; ihr erstes Demo brachte ihnen im Underground und bei der einschlägigen Presse gleich genug Bekanntheit ein, um einen Deal mit Roadrunner Records an Land zu ziehen. Das selbstproduzierte Debüt „None Shall Defy“ wurde 1987 veröffentlicht und hat sich seitdem zu einem veritablen Kultklassiker gemausert. Thrasher in der ganzen Welt betrachten „None Shall Defy“ als eines der besten Thrash-Alben überhaupt, und als die beste Kanadische Scheibe auf ihrem Gebiet – sengend, aggressiv und ultra-heavy; trotzdem hat der Infernäl Mäjesty-Erstling bisher nie die gebührende Aufmerksamkeit erfahren. Das muss sich ändern, und dank des Re-release auf High Roller Records gibt es nun die Chance, dieses Stück Thrash-Geschichte (wieder) zu entdecken. Wenn man sich vor Augen hält, dass Infernäl Mäjesty sich nur ein Jahr vor Erscheinen des Albums gegründet hatten, werden seine hohe Qualität, das große musikalische Können und die extrem durchdachten Songstrukturen noch ein Stück beeindruckender. Während der Sound das Albums vielleicht schon auf vorbildliche Weise das Harte, das Klare und das Finstere ausbalanciert, wurde es von Patrick W. Engel (Temple of Disharmony) noch einmal sorgfältig remastered, um das Beste aus “None Shall Defy” herauszuholen. Was Reviewer niemals zu erwähnen vergessen ist, wie unglaublich evil das Album ist; nicht nur was den Sound angeht, sondern auch in der Art und Weise, wie die Band ihre Songs rüberbringt – es ist technisch, aber die Technik ist stets songdienlich; die Riffs werden ohne Ende variiert, es herrscht definitiv kein Mangel an brillanten Ideen, an komplexen Tempiwechseln und an starken Soli.

Darüber hinaus sind die Lyrics schön finster und streckenweise extrem blasphemisch – was will man mehr?

In einer Zeit, wo alles immer mehr Digital und von KI dominiert wird, setzt Angelo Kelly auf Authentizität
und zwar auf allen Ebenen
Die Songs auf dem neuen Album „ALIVE“ wurden komplett von ihm geschrieben, arrangiert und produziert. Wer sich die Texte der Lieder anschaut wird schnell merken, dass sich einiges in seinem Leben
verändert hat. Er öffnet sich in seinen Songs mehr, als er es jemals in einem Interview tun würde.
Die Art, wie dieses Album produziert wurde, könnte auch nicht authentischer sein!
AK: „Mir war es wichtig das Album komplett analog auf einer Bandmaschine aufzunehmen ganz ohne
Computer. Meine Band und ich waren dabei alle im gleichen Aufnahmeraum und haben meine neuen
Songs gemeinsam in „One Takes” aufgenommen. Nichts wurde korrigiert und es gab auch keine Overdubs
/ Zusatzaufnahmen! So sind die Aufnahmen sicherlich nicht perfekt, und im Radio werden sie höchstwahrscheinlich nicht laufen, aber das ist die einzige Art Musik zu machen, die mich heute noch reizt und
interessiert.“
Das Album wurde dann auch komplett analog auf Band gemischt.
Und für alle, die sich dieses Werk auf Vinyl holen: Das Mastering wurde im letzten Schritt von Chris
Bellman analog vollendet.

In einer Zeit, wo alles immer mehr Digital und von KI dominiert wird, setzt Angelo Kelly auf Authentizität
und zwar auf allen Ebenen
Die Songs auf dem neuen Album „ALIVE“ wurden komplett von ihm geschrieben, arrangiert und produziert. Wer sich die Texte der Lieder anschaut wird schnell merken, dass sich einiges in seinem Leben
verändert hat. Er öffnet sich in seinen Songs mehr, als er es jemals in einem Interview tun würde.
Die Art, wie dieses Album produziert wurde, könnte auch nicht authentischer sein!
AK: „Mir war es wichtig das Album komplett analog auf einer Bandmaschine aufzunehmen ganz ohne
Computer. Meine Band und ich waren dabei alle im gleichen Aufnahmeraum und haben meine neuen
Songs gemeinsam in „One Takes” aufgenommen. Nichts wurde korrigiert und es gab auch keine Overdubs
/ Zusatzaufnahmen! So sind die Aufnahmen sicherlich nicht perfekt, und im Radio werden sie höchstwahrscheinlich nicht laufen, aber das ist die einzige Art Musik zu machen, die mich heute noch reizt und
interessiert.“
Das Album wurde dann auch komplett analog auf Band gemischt.
Und für alle, die sich dieses Werk auf Vinyl holen: Das Mastering wurde im letzten Schritt von Chris
Bellman analog vollendet.

ince its opening in spring 2021, JUBG, a still young Cologne gallery for contemporary art, has specialized in the broad field of artists and collaborations working along artistic interfaces, especially those between visual art and experimental and/or electronic music. For example, JUBG has already hosted exhibitions by Markus Oehlen, Kim Gordon, Wolfgang Voigt, Matthias and Aksel "Superpitcher" Schaufler, Sven-Åke Johansson, and Emil Schult. Albert Oehlen, who is a kind of mentor and supporter of the gallery, was also a guest at Albertusstraße this summer, where he presented the exhibition D-I-E ORPHEUSMASCHINE together with Michael Wertmüller, Thomas Stammer and the poet Rainald Goetz.

It is only logical that the gallery now expands its sphere of activity to include its own label, on which music appears that comes from similar contexts as the artists listed above already suggest.

As catalog number 1, JUBG is now releasing the official soundtrack to "The Painter" from 2021. The film, German title "Der Maler", is a mixture of feature film and documentary and a collaboration between German director Oliver Hirschbiegel, best known for his Oscar-nominated film "Downfall", and Albert Oehlen, with whom Hirschbiegel has a long friendship, as they both once studied together at the Hochschule der Bildenden Künste in Hamburg.

The docu-fiction shows Oehlen struggling with a painting and pondering the meaning of his work. Oehlen is played by German actor and musician Ben Becker, accompanied by the off-screen voice of Charlotte Rampling. In the film, Becker makes a painting that Oehlen himself creates step by step behind the camera, while the actor improvises the process in front of the camera.

The wonderful music for this film comes from no less than two outstanding personalities whose individual biographies and musical signatures could hardly be better suited to this project. On the A-side it is Gudrun Gut, icon not only of the German electronic music scene since at least the 90's, singer, composer, DJ, label owner (Monika Enterprise) and of course founding member of the legendary 80's New Wave band Malaria. On the B-side it’s the world famous and award winning US avant-garde trumpeter and improvisational musician Nathan "Nate" Wooley, who has played with Fred Frith and John Zorn among others.

Gudrun Gut's tracks bear such beautiful titles as "Bewegung", "Küste" or "Weinen" and she once again pulls out all the stops of her great skills and decades of experience as a producer of the most diverse electronic music genres. These are unusual and much more experimental musical paintings that she creates here than on her recent solo works. Edgy, angular, raw and unpolished, yet always elegant and clever, she subverts the male artist madness depicted extensively in the film in her own unique way.

Nathan Wooley answers with the instrument he has been familiar with since childhood, the trumpet, with which he is able to create a ravishingly virtuosic noise. His pieces are more like sketches, often only 90 seconds or a few minutes long, but in all their abstractness underpin the narrative of the film almost perfectly.

A limited edition of 20 copies in total, painted and signed by Ben Becker, can be purchased directly through JUBG.

JUBG, eine noch junge Kölner Galerie für zeitgenössische Kunst, hat sich seit ihrer Eröffnung im Frühjahr 2021 auf das weite Feld von Künstler:innen und Kollaborationen spezialisiert, die entlang künstlerischer Schnittstellen tätig sind, insbesondere an denen zwischen bildender Kunst und experimenteller und/oder elektronischer Musik. So hat JUBG bereits Ausstellungen von Markus Oehlen, Kim Gordon, Wolfgang Voigt, Matthias und Aksel "Superpitcher" Schaufler, Sven-Åke Johansson und Emil Schult gezeigt. Auch Albert Oehlen, der eine Art Mentor und stiller Unterstützer der Galerie ist, war im Sommer dieses Jahres zu Gast in der Albertusstraße, wo er zusammen mit Michael Wertmüller, Thomas Stammer und dem Dichter Rainald Goetz die Ausstellung D•I•E ORPHEUSMASCHINE präsentierte.

Es ist nur logisch und folgerichtig, dass die Galerie ihren Wirkungskreis nun um ein eigenes Label erweitert, auf dem Musik erscheint, die aus ähnlichen Zusammenhängen und Sphären stammt, wie es die oben aufgezählten Künstler:innen bereits vermuten lassen.

Als Katalog-Nummer 1 veröffentlicht JUBG nun den offiziellen Soundtrack zu "The Painter" aus dem Jahr 2021. Der Film, deutscher Titel “Der Maler”, ist eine Mischung aus Spiel- und Dokumentarfilm und eine Zusammenarbeit zwischen dem deutschen Regisseur Oliver Hirschbiegel, vor allem bekannt für seinen Oscar-nominierten Film "Der Untergang", und Albert Oehlen, mit dem Hirschbiegel eine lange Freundschaft verbindet, studierten sie doch beide zusammen einst an der Hochschule der Bildenden Künste in Hamburg.

Die Doku-Fiktion zeigt Oehlen, wie er mit einem Gemälde kämpft und über die Bedeutung seines Werks nachdenkt. Oehlen wird vom deutschen Schauspieler und Musiker Ben Becker gespielt und von der Stimme von Charlotte Rampling aus dem Off begleitet. Im Film erstellt Becker ein Gemälde, das Oehlen selbst hinter der Kamera Schritt für Schritt anfertigt, während der Schauspieler den Prozess wiederum vor der Kamera improvisiert.

Die wunderbare Musik zu diesem Film kommt von gleich zwei herausragenden Persönlichkeiten, die mit ihren individuellen Biographien und musikalischen Handschriften kaum besser zu diesem Projekt passen könnten. Auf der A-Seite ist dies Gudrun Gut, Ikone nicht nur der deutschen elektronischen Musikszene seit mindestens den 90er Jahren, Sängerin, Komponistin, DJ, Label-Betreiberin (Monika Enterprise) und natürlich Gründungsmitglied der legendären 80er Jahre New Wave-Band Malaria, auf der B-Seite der weltberühmte und Preisgekrönte US-amerikanische Avantgarde-Trompeter und Improvisationsmusiker Nathan “Nate” Wooley, der u.a. mit Fred Frith und John Zorn zusammengespielt hat.

Gudrun Gut’s Tracks tragen so schöne Titeln wie “Bewegung”, “Küste” oder “Weinen” und sie zieht hier einmal alle Register ihres großen Könnens und ihrer jahrzehntelangen Erfahrung als Produzentin der verschiedensten elektronischen Musikspielarten. Es sind ungewöhnliche und sehr viel experimentellere musikalische Gemälde, die sie hier entwirft als auf ihren jüngsten Solo-Werken. Kantig, eckig, roh und ungeschliffen und dabei immer elegant und schlau, unterläuft sie den im Film ausgiebig dargestellten männlichen Künstlerwahnsinn auf ihre ganz eigene Art und Weise.

Nathan Wooley antwortet mit dem ihm seit Kindesbeinen vertrauten Instrument, der Trompete, mit der er in der Lage ist, einen hinreißend virtuosen Lärm zu erzeugen. Seine Stücke sind eher Skizzen, oft nur 90 Sekunden oder ein paar wenige Minuten lang, die in all ihrer Abstraktheit das Narrativ des Films nahezu perfekt untermalen.

Eine auf insgesamt 20 Exemplare limitierte Edition, bemalt und signiert von Ben Becker, ist direkt über die JUBG zu erwerben.