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“an aggressively modern merger of Rush’s arena art rock, U.K. prog
classicism especially Pink Floyd and King Crimson and the post-grunge
vengeance of Tool” Rolling Stone
Having recently announced that Snapper Music will be representing Porcupine
Tree’s Transmission label worldwide, new CD and LP reissues of the band’s extensive catalogue will roll out throughout 2021.
Originally released in 2007, ‘Fear Of A Blank Planet’ was Porcupine Tree’s ninth
studio album. It was the band’s biggest selling album at the time, was their first
album to break into the Billboard top 100 in the USA as well as charting across
Europe, earned the band a Grammy nomination and has been featured in Rolling Stone Magazine’s Greatest Prog Albums Of All Time.
‘Fear Of A Blank Planet’ was an ambitious 50-minute piece of music made of
6 tracks that flow together to create a cohesive whole, the British art-rockers
Porcupine Tree created a concept album based on the Bret Easton Ellis novel
‘Lunar Park’, with lyrics that addressed how the adolescent protagonist battled
his bipolar and attention-deficit disorders with a regimen of prescription drugs
and Internet overstimulation.
The music used sprawling vocal melodies, atmospheric guitars and drums that
tumbled through chaotic passages to echo the main character’s manic-depressive states. ‘Fear Of A Blank Planet’ features guest appearances from Robert
Fripp (King Crimson) & Rush guitarist Alex Lifeson.
Porcupine Tree released their last album, ‘The Incident’, in 2009, marking another step forward in the incredible journey of the band that began as a solo
studio project created by Steven Wilson in the late eighties to a multi grammy
nominated act and one of the world’s most revered live bands, selling out arenas across the globe and wowing fans with their incredible performances.
This new Transmission version of ‘Fear Of A Blank Planet’ will be released as a
2LP gatefold 140gm edition.
“a dramatic, wide-screen, expertly executed, genuinely thrilling rock record” Q
Magazine

Motown Collected brings together the biggest names in the rich history of this legendary label. From very early singles to the artists that made Motown a household name for decades to come and the cross-over pop success of the late 70’s and 80’s. Featuring legendary artists like Marvin Gaye, Stevie Wonder, The Supremes, Jackson Five, Smokey Robinson and The Commodores, as well as gems from the likes of Marv Johnson, Barrett Strong, The Marvelettes and Tom Clay and pop superstars Rick James, Michael Jackson, Diana Ross, Lionel Richie and Debarge: just a selection of the 33 incredible tracks featured on Motown Collected.

The documentary Hitsville: The Making Of Motown’, featuring Motown founder Berry Gordy and many of this artists, will premiere in cinemas across Europe this summer as well.






RELEASE: 23-7-2021

MOV proudly presents new Collected compilation albums in collaboration with Universal Music. Motown Collected is the first one, available as a limited edition of 3000 numbered copies on white vinyl. It includes an insert with photos and credits.

Matveï is a one’s to watch of the new generation. Brought up on Electronic and Rap music, the French producer makes up an exciting cocktail of international house and urban club sounds. Spotted by Kitsuné while just turning 18, his first releases quickly raised his profile on international tastemakers radar – with support from Martin Garrix and official remixes for the likes of and Future Classic, Liv Dawson and Crystal Fighters.

This maxi is a limited edition specially created for the 2021 Record Day Store in Europe. You’ll find the original version of the track followed by an instrumental version and a club edit.

DNA Records is proud to present a Cambodian reggae 7” release to showcase some of the talent from this wonderful country and the power that Jamaican music has around the globe.

DUB ADDICTION - Founded in the tropical heat of Cambodia's capital Phnom Penh in 2011 by Sebastien Adnot and Jan Mueller (AKA Professor Kinski), Dub Addiction features a combination of
Cambodian, French, German and Nigerian members. They quickly captured the hearts of local Cambodians and Western expats in a beat.

Cambodian national and vocalist, toaster DJ Khla, is a political activist and is now living in exile in Europe after having fled his country because of military pressure on him and his family. He was able
to escape Cambodia while on tour with Dub Addiction in Denmark.
Their fusion of reggae combined with traditional Cambodian instruments like tro (violin), chapey (traditional Cambodian string instrument) and Roneat (xylophone), along with the toasting of
Cambodian vocalists DJ Khla (Nhem Palla), MC Curly (Kosal Dang) and a variety of traditional female vocalists and international MCs creates a very unique blend.

After all, though South-East Asia and The Caribbean might be far apart on the map, they both get light from one sun.
VIBRATONE - Also a multinational reggae band with members from Cambodia, France, The Philippines, and Brazil, Vibratone formed in Phnom Penh in 2013 with one aim: No cover songs, strictly original creations. With insightful lyrics, they embracing true roots to new roots reggae…with a touch of blues and soul thrown inna di mix! Text edited by Brian Offenther.

The first thing that strikes you when hearing 'Nosso' is its feeling of intimacy and warmth. The title, which means 'Ours' in Portuguese, is apt since he sees the record as the result of letting a wild variety of people into his world. João notes that 'I didn't know most of the collaborators before meeting up with them in a studio somewhere in the world, so most of these songs are coming from a very immediate and honest sense of collaboration where you spend an afternoon with someone learning about each other at the same time as you're making music. It's a shared experience, a moment where two or more people came up with ideas together, that they probably wouldn't have had if they were in their comfort zone.' These meetings were turned into songs at home in Lisbon once the main ideas were created collaboratively elsewhere. 'On this album, like in everything else I did so far, the focus on the instrumental side of things was experimenting with rhythmic patterns and genres from the Portuguese-speaking universe while applying them to songs created with other artists from completely different backgrounds and places.' There's something in this process that has left the album sounding super fresh as this is a sound without borders that pulls you in. It's music everyone can be a part of, where even the most rugged up-tempo cut sounds welcoming. It's an overwhelmingly positive and joyous experience to immerse yourself in 'Nosso.' It's no wonder that the central motif of the album artwork shows a less common view of Lisbon, one where instead of looking at the historic city centre we face the suburbs, where these musical and cultural experiments have been and still are occurring, undeniably shaping the musical and cultural landscape of Lisbon in the process. As much a soul record as it is a record infused with the beats of the Portuguese-speaking world, 'Nosso' is a reflection of Branko's ongoing musical explorations and his vision of Lisbon as a privileged cultural hub for the Portuguese-speaking world and beyond. Branko fuses local rhythms from kizomba to baile funk and afrohouse through European electronic genres with a clear accessible pop sensibility and the aim of creating a unified sound that puts all these individual musical expressions in perspective as part of a greater whole. For João, this is the logical next step in his musical evolution.

Emerging from the frostbitten, dark and brooding woods of Siberia, NYTT LAND ascends as one of the most captivating and haunting musical forces in folk music. On their new album, Ritual, out August 6 via Napalm Records, NYTT LAND effortlessly pulls listeners into a world of ancient percussive instrumentation and vocal tradition: eight songs on Ritual tell tales of gods and heroes, born centuries ago and preserved in traditions, expressed in a unique sonic experience that can best be described by the duo itself as Shamanic Dark Folk. Blurb IG#1: NYTT LAND wear their shamanic Siberian influences on their sleeve on “Ritual” – haunting percussive instrumentation and unique, meditative vocal chants display their Shamanic Dark Folk in its full splendour. With millions of streams and views across all platforms, NYTT LAND is a force to be reckoned with in dark and ambient folk music! Blurb IG#2: Based on the tale of the ancient Siberian tribe known as Khanty, NYTT LAND transform their culture into a musical journey through their spiritual traditions. The dark, ambient atmosphere makes NYTT LAND a truly unique duo in folk, and has earned them multiple millions of streams across all platforms! Blurb IG#3: Right when NYTT LAND starts off “Svartravn” with mysterious whispers, the listener is being pulled into the melancholic atmosphere of the song – a true display of NYTT LAND’s Shamanic Dark Folk. Experimental vocal technique meets deep, stomping percussive instrumentation, inspired by ancient Siberian and Northern European culture. NYTT LAND are a truly unique duo and rightfully earned multiple millions of streams across all streaming platforms with their authentic, traditional take on folk music.

**LONG OVERDUE REPRESS - CLEAR VINYL 300 COPIES ONLY** “With Ela’s music I feel emotional, engaged… I can’t help but feel she’s always looking for a sense of belonging and it
seems to inform all the music that she makes. Glasgow must have more of that belonging feeling than most
cities because she’s spent the most time here, an exotic bird in a rainy city she maybe finds a lttle bit of comfort in. It’s
a pleasure to have her here, in this awful time to be living in Britain, her illuminations feel important and hopeful. A
stubborn light; someone making great timeless music out of the humdrum of the everyday.” - Stephen Pastel
Movies For Ears is a retrospective collection of works by Polish-born, Glasgow-based artist Ela Orleans which
navigates almost two decades of songwriting in the heart of the global pop underground. This remastered collection casts
an ear over what Orleans might call the ‘pop sensibility’ within her back catalogue. Released previously on a number of
small DIY labels, Orleans’ music coincided with the explosion of auto-didactic musicians finding their voice in the age of
the blogosphere, artists emboldened by the democratisation of music-making afforded by the internet. From the outset,
Orleans’ childhood studying formal music mixed with cut-up techniques, sampling, sound-art and experimentation to
create a distinctive signature cloaked in an innate melancholy and playfulness. Fully remastered by James Plotkin,
featuring extensive sleeve-notes and rare photos from Orleans’ archive, Movies For Ears presents an appraisal of the
musician’s work, painting a portrait of an artist with an uncanny ability to evoke emotions and ghosts of memories in the
listener.
Each song pulls sunshine from its surroundings, moments of pleasure plucked from eulogies. The Season employs a
hypnotic loop with Orleans’s prophetic voice heralding the season we’re doomed to repeat. In fact the singer is often cast
as the changing protagonist in her songs: on Walkingman, a hazy ballad heavy with ennui, the narrator is laden with the
world’s weight, forever pacing a groundhog day world blank, a pissed-off actor in a Kafka-esque melodrama. On Light At
Dawn we’re in a seedy kitsch bar-room go-go scene, a ghostly rock’roll romance with shimmering percussion, poledancing
in a Lynchian half-dream. Movies For Ears’ moods straddle memory and fantasy: scratchily invoking halfremembered
exotica, the flickering shadows of europhile cinemas screens, a delicately woven world anchored in Orleans
existential meditations on longing, intimacy, solitude and the search for love. These rich textures in every song don’t
overpower some crystalised moments of emotion however: on In Spring Orleans sings simply “I have been happy two
weeks together,” summarizing that feeling of elation when emerging from a depression, a long winter. It’s a moment that
perfectly illustrates the lightness of touch and clarity in the singer’s voice.
The power of the loop and Orleans’ weaving songwriting that breaks its spell is illustrated perfectly by I Know. Over an
aching chord progression, the vocal takes flight into bittersweet loneliness, Pachelbel’s Canon played at a wedding where
only one person shows up. The repeated refrain “I know, I know” ascends to the heavens as the chords descend to the
dumps and the listener is left in the middle, happy but not knowing why, maybe a little changed, two weeks together. On
Movies For Ears, Ela Orleans lets us into a secret: the rare moments of joy to be found in the joins of the loop, the spaces
between things, the spring after the winter are the moments that last after the day has faded.

The original Rio beach boy returns in style, with a new record of unabashedly feel-good Brazilian party music. Featuring Azymuth bassist Alex Malheiros (responsible for some of Brazil’s all-time funkiest low-end licks), a horn section including Valle’s go-to high-trumpeter Jesse Sadoc, and percussion master Armando Marcal, Sempre has all the masterful composition, exceptional musicality, and forward-thinking ideas you’d expect from the Brazilian titan, and it’s fresher than a fruity caipirinha in the Copacabana sunshine.

Updating Marcos Valle’s seminal boogie-era sound, Sempre spans ecstatic disco, cosmic samba, and late-night jazz-funk, drawing obvious comparisons to some of Valle’s late-seventies and early-eighties output. ‘Estrelar’ (1983), for example, an ode to the joy of exercise, has become one of the biggest Brazilian disco hits of all time. But lyrically the new album is more closely reminiscent of Valle’s progressive early seventies’ releases. Heralding love, tolerance and living in the present, while satirising political corruption, the new release recalls a time in which Valle, together with his brother Paulo Sergio, was writing subtly subversive lyrics in order to bypass the censorship imposed by the military dictatorship, which ruled over Brazil between 1964 and 1985.
The album marries compositional genius with pure pop perfection. From the blistering brass arrangements on up-tempo disco hit ‘Olha Quem ta Chegando’ and the infinitely classy ‘Vou Amanhã Saber’, to the nine-minute synth heavy instrumental funk stepper ‘Odisséia’, which gradually morphs into an interplanetary samba jam, the songs are tightened and given an extra coat of gloss, by London based producer Daniel Maunick (son of Incognito frontman Bluey). More moments of boogie delight come in the form of ‘Minha Roma’ (a musical nod to the famed ‘Estrelar’), and the sunshine anthem title-track ‘Sempre’.

Translating as ‘Ever’, Sempre is a testament to the continual drive for development and reinvention that has defined Marcos Valle’s astounding six-decade career. Ever changing, ever moving forward, he began as one of the second-wave of early bossa nova composers in the sixties, writing the world famous bossa standard ‘Summer Samba (So Nice)’ for his sophomore album ‘Samba 68’. After a brief stint in the States, Valle returned to Brazil, and the early ’70s saw the release of four ground-breaking Valle albums which incorporated progressive rock, psychedelic influences, pop, jazz, soul and cinematic arrangements. These albums would see Valle work alongside a number of hugely influential Brazilian bands, including Milton Nascimento’s backing band Som Imaginaro, the prog-rock band O Terco and jazz funk legends Azymuth. Returning back to the US in ‘75, Valle resided in LA, writing music for the likes of Eumir Deodato, Airto Moreira, Chicago, Sarah Vaughn and Leon Ware, before returning to Brazil once more, where after releasing a handful of hit pop records, he took a hiatus from recording.

Since the mid-nineties, Marcos Valle has been experiencing a renaissance with London based label Far Out Recordings, where his approach to music has remained, as always; decidedly open to new influences, possibilities and technologies. Sempre is Marcos Valle’s fifth album for the label, following 2010’s critically acclaimed Estatica.

Just in time for summer, Sempre is out on Vinyl LP/ CD on 28th June 2019 on Far Out Recordings, and Marcos Valle and band will be touring Europe in May /June (see below for dates).

This LP is extracted from the CD “Cello” box set which received rave
reviews. Awarded the first prize at the Conservatoire de Paris by
unanimous decision of the jury when he was only 13, Andre Navarra was
barely 20 years old when his soloist career began, taking him across Europe
as he performed with the finest orchestras to play all the concertos
of the repertoire.
Navarra took first prize at the Vienna International Competition in 1937. But
the war put a temporary obstacle in the way of his ascension. Unlike some of
his fellow musicians, he refused to collaborate with the occupiers and he took
refuge behind his music stand, playing as an ordinary member of the Paris Opera orchestra. From 1945 onwards, he could again be heard in the capitals of
Europe, conducted by the likes of Munch, Paray and Barbirolli, and later Mehta,
Ristenpart and Ancerl.
A parallel career opened up for him: teaching. He taught in Paris, Sienna, SaintJean-de-Luz, Nice, London, Vienna, Sion and Detmold. His mastery of the bow
was unique: he borrowed the technique used by violinists. It revolutionized
the method of cello playing, bringing roundedness, sensitivity and strength. He
pursued his two callings with equal intensity, one career enriching the other, as
this collection shows so clearly.
He approached every repertory with the same passion: contemporaries such
as Jolivet and Schmitt; classics such as Bach, Boccherini and Haydn; romantics
such as Dvorak, Brahms, Schumann, Bruch and Bloch; and early 20th century
composers such as Prokofiev, Kodaly and Martin.
Navarra died under the Tuscan sun that was so dear to him, his legacy a school
of cello playing that is unique in the world and whose technique and phrasing can still be recognized in the playing of those who use it, from Heinrich
Schiff, Frederic Lodeon, Philippe Muller, Roland Pidoux, Marcel Bardon, Rene
Benedetti, Anne Gastinel, Valentin Erben, Dominique de Williencourt, Marcio
Carneiro, Yvan Chiffoleau and Christophe Coin to Gautier Capu on, Yan Levionnois, Xavier Phillips, Taeguk Mun, Victor Julien-Laferriere and Bruno Philippe.
His perpetual, intense energy notwithstanding, Navarra leaves us with the image of a warm-hearted, unassuming man, who could, after a day alone with his
cello, invite his students on the spur of the moment to fun-filled spaghetti parties. Pablo Casals, who admired Navarra’s free spirit, said to him at a competition in Mexico City, “Ah, there you are, Andre. The man who never comes when
I invite him. I thought you were afraid of me. But no, the cello is your only love.”

Absolute Body Control was formed by Dirk Ivens in 1980 influenced by the sound produced by the likes of Suicide, D.A.F. and the UK electronic scene. Eric Van Wonterghem joined the project next year just after the release of the debut 7" "Is There An Exit?". They released together just some cassettes during its brief initial run, but this was enough to gain a following in and outside Belgium. A compilation of tracks entitled "Eat This" was eventually done in 1993 and a first edition of the collection "Lost / Found" was issued on CD in 2005.

Dirk and Eric took the project back on stage in 2006 and decided to re-activate it. They first re-recorded some of their classic songs for the album "WindReWind" and then continued releasing new material and touring all Europe and beyond.

"Lost / Found" is the definitive collection of this minimal-synth-wave act and is now available for the first time on vinyl record with a total of 52 songs including 8 previously unreleased.

Limited edition of 1,000 copies with 4 records on individual sleeves, insert and numbered certificate.

Cindytalk is the mercurial, expressionist outlet of Scottish artist Cinder. An evolution of her early 1980's Edinburgh-based punk band The Freeze, she launched the project upon moving to London, inspired by the crossroads of exploratory UK post-punk and early European industrial. Her work thrives on chance and transformation, collaging elements of noise, balladry, soundtrack, catharsis, and improvisation. After a series of celebrated albums for the Midnight Music label as well as collaborations with This Mortal Coil and Cocteau Twins, Cinder migrated to the United States, becoming involved with various underground techno collectives around the Midwest and West Coast. Subsequent relocations to Hong Kong and Japan further expanded Cindytalk's horizons, resulting in a fruitful partnership with Viennese experimental institution Editions Mego, for whom she released five full-lengths of swooning, granular atmosphere. 2021 finds her as engaged as ever, at the precipice of long-awaited back catalog reissues alongside multiple new works, guided by her lasting love of discovery and deviation: “new pathways always being uncovered.”

The 3rd album by Scottish industrial enigma Cinder aka Cindytalk began life as the soundtrack to an experimental film by English director Ivan Unnwin entitled Eclipse (The Amateur Enthusiast's Guide To Virus Deployment), and was originally slated for release via Factory Records' video division, Ikon. Inspired heavily by Alan Splet's eerily disembodied sound design in David Lynch's Eraserhead, the collection's 15 pieces seethe between field recordings, wistful piano vignettes, and lurking metallic haze – a hybrid palette Cinder characterized at the time as “ambi-dustrial.” Unfortunately Ikon collapsed on the eve of the project's completion so the film was never distributed, but the Midnight Music imprint repackaged Cindytalk's score as an LP in 1990 under the name The Wind Is Strong... (full title: The Wind Is Strong - A Sparrow Dances, Piercing Holes in Our Sky).

Cindytalk is the mercurial, expressionist outlet of Scottish artist Cinder. An evolution of her early 1980's Edinburgh-based punk band The Freeze, she launched the project upon moving to London, inspired by the crossroads of exploratory UK post-punk and early European industrial. Her work thrives on chance and transformation, collaging elements of noise, balladry, soundtrack, catharsis, and improvisation. After a series of celebrated albums for the Midnight Music label as well as collaborations with This Mortal Coil and Cocteau Twins, Cinder migrated to the United States, becoming involved with various underground techno collectives around the Midwest and West Coast. Subsequent relocations to Hong Kong and Japan further expanded Cindytalk's horizons, resulting in a fruitful partnership with Viennese experimental institution Editions Mego, for whom she released five full-lengths of swooning, granular atmosphere. 2021 finds her as engaged as ever, at the precipice of long-awaited back catalog reissues alongside multiple new works, guided by her lasting love of discovery and deviation: “new pathways always being uncovered.”

The 3rd album by Scottish industrial enigma Cinder aka Cindytalk began life as the soundtrack to an experimental film by English director Ivan Unnwin entitled Eclipse (The Amateur Enthusiast's Guide To Virus Deployment), and was originally slated for release via Factory Records' video division, Ikon. Inspired heavily by Alan Splet's eerily disembodied sound design in David Lynch's Eraserhead, the collection's 15 pieces seethe between field recordings, wistful piano vignettes, and lurking metallic haze – a hybrid palette Cinder characterized at the time as “ambi-dustrial.” Unfortunately Ikon collapsed on the eve of the project's completion so the film was never distributed, but the Midnight Music imprint repackaged Cindytalk's score as an LP in 1990 under the name The Wind Is Strong... (full title: The Wind Is Strong - A Sparrow Dances, Piercing Holes in Our Sky).

Cindytalk is the mercurial, expressionist outlet of Scottish artist Cinder. An evolution of her early 1980's Edinburgh-based punk band The Freeze, she launched the project upon moving to London, inspired by the crossroads of exploratory UK post-punk and early European industrial. Her work thrives on chance and transformation, collaging elements of noise, balladry, soundtrack, catharsis, and improvisation. After a series of celebrated albums for the Midnight Music label as well as collaborations with This Mortal Coil and Cocteau Twins, Cinder migrated to the United States, becoming involved with various underground techno collectives around the Midwest and West Coast. Subsequent relocations to Hong Kong and Japan further expanded Cindytalk's horizons, resulting in a fruitful partnership with Viennese experimental institution Editions Mego, for whom she released five albums of swooning, granular atmosphere. 2021 finds her as engaged as ever, at the precipice of long-awaited back catalog reissues alongside multiple new works, guided by her lasting love of discovery and deviation: “new pathways always being uncovered.”

Across decades of activity Cinder’s body of work has forever followed its own elusive muse but nowhere is this restless spirit more apparent and ambitious than the 4th Cindytalk LP, Wappinschaw. Conceived as “a call to arms” inspired by Scotland and its struggle for independence, the title refers to an archaic Scottish battle inspection during which clan chieftains surveyed their group's weapons to ensure they were combat ready. A mindset of reflective preparation threads throughout the record, manifested in forms both naked and noisy, ancient and anguished.

Opening with an aching solo vocal rendition of the British folk standard “The First Time Ever (I Saw Your Face),” the album then surges into the Cindytalk classic, “A Song Of Changes,” sparkling and spiraling in strange waves of sorrow and joy. From there the mood fragments, tracing asymmetrical paths of feverish dirge, pensive spirituals, noir abstraction, spoken word (landmark Glaswegian writer Alasdair Gray guests on “Wheesht”), bagpipe drone, and apocalyptic post-punk. Given its aggressive eclecticism, it's not surprising that Cinder describes the creation of Wappinschaw as a “precarious” process, composed from “scraps” with abruptly shifting personnel – a situation only compounded by the impending dissolution of their label at the time, Midnight Music.

Cindytalk is the mercurial, expressionist outlet of Scottish artist Cinder. An evolution of her early 1980's Edinburgh-based punk band The Freeze, she launched the project upon moving to London, inspired by the crossroads of exploratory UK post-punk and early European industrial. Her work thrives on chance and transformation, collaging elements of noise, balladry, soundtrack, catharsis, and improvisation. After a series of celebrated albums for the Midnight Music label as well as collaborations with This Mortal Coil and Cocteau Twins, Cinder migrated to the United States, becoming involved with various underground techno collectives around the Midwest and West Coast. Subsequent relocations to Hong Kong and Japan further expanded Cindytalk's horizons, resulting in a fruitful partnership with Viennese experimental institution Editions Mego, for whom she released five albums of swooning, granular atmosphere. 2021 finds her as engaged as ever, at the precipice of long-awaited back catalog reissues alongside multiple new works, guided by her lasting love of discovery and deviation: “new pathways always being uncovered.”

Across decades of activity Cinder’s body of work has forever followed its own elusive muse but nowhere is this restless spirit more apparent and ambitious than the 4th Cindytalk LP, Wappinschaw. Conceived as “a call to arms” inspired by Scotland and its struggle for independence, the title refers to an archaic Scottish battle inspection during which clan chieftains surveyed their group's weapons to ensure they were combat ready. A mindset of reflective preparation threads throughout the record, manifested in forms both naked and noisy, ancient and anguished.

Opening with an aching solo vocal rendition of the British folk standard “The First Time Ever (I Saw Your Face),” the album then surges into the Cindytalk classic, “A Song Of Changes,” sparkling and spiraling in strange waves of sorrow and joy. From there the mood fragments, tracing asymmetrical paths of feverish dirge, pensive spirituals, noir abstraction, spoken word (landmark Glaswegian writer Alasdair Gray guests on “Wheesht”), bagpipe drone, and apocalyptic post-punk. Given its aggressive eclecticism, it's not surprising that Cinder describes the creation of Wappinschaw as a “precarious” process, composed from “scraps” with abruptly shifting personnel – a situation only compounded by the impending dissolution of their label at the time, Midnight Music.

»Dog Mountain« is the second release by the Zurich-based producer and composer Laurin Huber on Hallow Ground. After last year’s »Juncture« saw the Edipo Re co-founder work mostly with synthesizers and programmed rhythms, the four tracks are much more restrained, drawing on tape loops and feedback, recordings of acoustic guitar and synthesizers such as the Korg MS-10 as well as field recordings that relate to the overarching topic that informed the making of the record. While »Juncture« had previously aimed at deconstructing the binaries and dualities that shape our lives and thinking, »Dog Mountain« is dedicated to geographical divisions that result from political processes and social constructions. »›Here‹ means one nation, ›there‹ another,« writes Huber in a literary piece that accompanies the record. »Being in sound, such a separation seems odd.«

While treating the metaphor of the border as a »membrane, registering and translating the vibrations of its surroundings« and thus as something that is constantly (re-)defined, maintained and defended however, the artist also takes into consideration that »one cannot escape one’s standpoint,« as he puts it. The music on »Dog Mountain« may transcend and overcome certain borders, but it does not deny the realities that they impose on each and every one of us – whether in our political lives or in the realm of sound. This is mirrored in Huber’s engaging in the structural and sonic interplay of repetition and difference. Working with slowly evolving and modulating elements that are exposed to slight shifts, »Dog Mountain« puts a focus on the interaction between small elements that together form a bigger whole which is marked by constant evolution and change.

Opener »Raja« (»border« in Northern Sami and Finnish) starts off with a two-note melody played on an out-of-tune guitar. Different field recordings and synthesizer sounds drop in and out of the mix until the dynamic shifts and Huber starts playing more notes on his instrument, thus increasing the tension. It’s a meditation on minimalism, but also a piece that mediates between notions of what constitutes the difference between noise and music or referentiality and abstraction in sound. After »Nickel« (named after a Russian monotown near the border to Norway) dedicates itself to explore the friction between hissing white noise and melancholic tape loops, »A Town Is Not a Town« (a phrase taken from the documentary »Kiruna – Rymdvägen«) structurally mirrors the experiment of »Raja« with very different sonic means.

Closing the record, »Storskog-Borisoglebsk« (the title refers to the northernmost land border between Schengen-Europe and Russia) is the longest and most challenging piece, working with both long-form drones and musique concrète elements. It proposes a synthesis of the opposites that are explored patiently and with much attention to detail throughout this record.

Tape

"Precision ambient might be a suitable genre description for metra.vestlud's work. Every element has a clearly delineated meaning and purpose, and the precise interaction between these elements makes the musical pieces seem more like songs rather than Eno-style ambiences. From flowing water, to nervous birds and rich emotional textures, ∞ sends us onto a deep and thoughtful sonic journey about the flow of life and the many springs therin."

Artem Dultsev was born in 1993, in Revda, Russia. In 2010 he started to write music and later released under different aliases: Artem Dultsev, Moon Rabbit, Virusmoto. In 2017 he founded with a friend Daniil the label Faktura, where they began to release records from the Urals region. The history of metra.vestlud began In 2019 with the release of the album - Hydrogen Lifeforms (Faktura).

metra.vestlud began as a protest against the standard principles of sound recording and musical theory. All the rules and boundaries were shifted towards the unconscious - that something unique would emerge. But on the album ∞ - the other side of this sub-personality showed itself, the sensual side. The music of metra.vestlud is inspired by the eco-futurism and new age of the 80's-90's.

“The album is dedicated to my wife. In April 2021 we had a son.”

"Two days before the birth of our first child, I was sitting at home alone while my partner was already in the hospital. I wasn't able to visit due to Covid restrictions. Anxiously waiting for any updates, while Germany being in complete lockdown, searching for distraction, I did something I rarely do: look into the public-facing email account of my previous label. Normally, I only find spam in there, but this time there was an email that looked different, it was a demo I was supposed to consider for release. I could tell this person had listened to previous music I had been involved with and deliberately chose to send this to me. I could also tell right away that something special was being sent to me. I downloaded the music, listened to it, and to my surprise, was moved to tears. This was on a Friday night in Leipzig, around 32 hours before our child was born.

Sometimes this world can be incredibly strange but in the most beautiful way. For some reason, someone from Yekaterinburg in Russia, close to where the European and Asian continental plates meet, decided to send me an unspeakably beautiful album for release on my new label (which I technically hadn't even founded yet). The album is centered around love and birth, and it sounds like emotion-fueled beginnings, like a meta-version of spring you can visit any season you like. And I received it less than two days before the birth of our child and a couple of months before the birth of their child - what are the odds? And not just that, I had visited Yekaterinburg many years ago with my parents due to a somewhat mysterious obsession my father had with the place and it had left quite an impression on me. There are some moments in life where you think: "please just pinch me". I am just not sure anymore how much of all of this can be attributed to chance. Probably a lot, but if so, it also means incredibly unlikely and beautiful things do happen even if they probably shouldn't.

In any case, I am grateful metra.vestlud reached out to me at this very special moment in time and I am grateful we have created something that will forever document a very special time in our lives. And we are incredibly happy that we are able to share this document with the world." - kofla tapes

∞ is dedicated to metra.vestlud's wife, In April 2021 they had a son.

Great follow up album! Led by Derya Yıldırım’s hypnotizing bağlama and vocals, the group draw a meaningful continuity from the Turkish folk repertoire to their original songwriting, with a strong sound identity and a dancefloor - friendly energy.

Grup Şimşek is a fresh and modern pop - group which combines Anatolian Folk and contemporary grooves, often contaminated by Psychedelia and progressive rock flavours.
Turkish singer and saz player Derya Yıldırım has been burning the candle for Turkish folk and psychedelia since her infamous performance at the New Hamburg Festival back in 2015. Soon after, Grup Şimşek was born and there started a ri ch journey of musical feast, exploring and rendering new versions of Anatolian classics as well as building a songbook of original compositions, with references to the music of The Doors, west coast US psych, Turkish musical activist and hero Selda Bagçan and many heroes of musical Anatolia.Grup Şimşek are itinerant by nature. They live apart across various European homes and span Turkish, German, French and English heritage with Derya living in Berlin. Despite this spatial incongruence, the group's harmo ny oozes through their music with a rich stew of funk - noir groove, organ energy, hypnotic saz (Turkish stringed instrument) and synths all layered beneath Derya's warm sometimes heartfelt vocal, singing verse and poetry, borrowed, evolved and new.

Bella Union announce the release of Piroshka’s stunning second album,
‘Love Drips And Gathers’. The album builds on the acclaim of the band’s
2018 debut LP ‘Brickbat’ and the reputations of former members of Lush,
Moose, Elastica and Modern English.
Piroshka emerged in 2018, four individuals with distinct musical identities but
also overlapping histories - a combination that might have unsettled, or even
overwhelmed, some bands. But in their case, the bond only got stronger.
After ‘Brickbat’ explored social and political divisions by way of what MOJO
described as “Forceful, driving garage songs and dream-pop epics,” ‘Love
Drips And Gathers’ follows a more introspective line - the ties that bind us, as
lovers, parents, children, friends - to a suitably subtler, more ethereal sound,
whilst still revelling in energy and drama.
“If ‘Brickbat’ was our Britpop album, then ‘Love Drips And Gathers’ is
shoegaze!” reckons vocalist/guitarist Miki Berenyi, formerly of Lush, a band
that effortlessly bridged the two genres like no other. “It wasn’t intentional; we
just wanted a different focus. I’ve always seen debut albums as capturing a
band’s first moments, when you really have momentum, and then the second
album is the chance for a more thoughtful approach.”
Bassist Mick Conroy (Modern English) agrees. “‘Brickbat’ was a classic first
album; noisy and raucous. On ‘Love Drips And Gathers’, we’ve calmed down
and explored sounds, and space.”
The way ‘Love Drips And Gathers’ changes shape and dynamic is less a
reprise of Nineties Brit indie than a transformation into a more shivery, Euromantic version with glistening electronic filigrees. The opening ‘Hastings’ sets
the tone. Luminous drops of guitar underpin Miki’s becalmed vocal before
drums, bass and a Mellotron add pace while the decorative coda features
their old pal Terry Edwards on flugelhorn.
‘Love Drips And Gathers’ - named after a line in a Dylan Thomas poem - was
inspired by love, family, belonging, memory. Miki and Moose split the eight
lyrics, with some poignant overlaps here too. Miki’s ‘Loveable’ looks to
Moose; Moose’s ‘The Knife-Thrower’s Daughter’ looks to Miki but also their
daughter Stella and his sister Anna; an empathic, touching embrace of the
women in his life.
Staying within the family, Moose eulogises his late mother (the idyllic
childhood seaside trip of ‘Hastings 1973’) and father (the more conflicted
‘Scratching At The Lid’). On ‘V.O.’, Miki pays fond tribute to Vaughan Oliver,
4AD’s legendary in-house art director who died suddenly in December 2019
and who had a particularly close relationship with Lush during their time on
the label (like ‘Brickbat’, ‘Love Drips And Gathers’’ beautiful and enigmatic
artwork is by Vaughan’s former design partner Chris Bigg).
LP pressed on clear vinyl.

Originally released onPrivilege, a sub-label of Polydor, this soundtrack by free jazz saxophonist Marion Brown is almost impossible to find in its original pressing. Nowmore than fifty years later it is finally reissued, to the delight of free jazz enthusiasts and film music collectors.

By 1967, Brown, then aged 36, already had a very successful career in the United States, appearing on John Coltrane’s ‘Ascension’, Archie Shepp’s ‘Fire Music’, performing with Sun Ra and Pharoah Sanders and recorded several records under his name for renowned avant-gade jazz label ESP Disk.

That year, he however decided to move to Europe where he met with German saxophonist and vibraphonist Gunter Hamphel. Accompanied by Steve Mc-Call (drums and percussions), Barre Phillips (double bass), Alain Corneau (Cowbells) and Ambrose Jackson (trumpet), they recorded in 1969 in the legendary Parisian studio Davout, the soundtrack of the movie by Marcel Camus entitled

“Le temps fou”.

This film, which starred Nino Ferrer, was released in 1970 under the title “Un été sauvage” and unfortunately it did not make history in cinema. Fallen into oblivion, only his two original soundtracks (there is also a 7’’ with titles composed by Richard de Bordeaux and Daniel Beretta) are spreading the word.

Whispers And Sighs is the final studio album by the late David Olney,
beloved folk songwriter’s songwriter, in collaboration with Anana Kaye, a
young Eastern European powerhouse taking Americana by storm.
If the futile longing to reach back through memory and grasp what is in the
past could be set to music, it would sound like Whispers and Sighs. Over the
course of 13 tracks, David Olney and Anana Kaye manage to craft a journey that
amounts to far more than just another Americana album.
And while it’s hard to escape the seeming cosmic significance of the album as
posthumous Olney release, at no point does this create the air of morbidity;
rather, it lends the project a bittersweet ambiance. Within Whispers And Sighs
is an undeniable reminder that David Olney’s extraordinary legacy can never
fade, while Anana Kaye’s star grows deservedly brighter by the day.

Having already unearthed three collections of archival ‘70s recordings by Catherine Christer Hennix, Blank Forms continues their annual illumination of the visionary Swedish composer’s music by turning to more recent work with this first-time vinyl edition of Hennix’s “Blues Alif Lam Mim in the Mode of Rag Infinity/Rag Cosmosis,” a 2014 piece first released as a CD in 2016 (Important Records).

The double album captures the April 22, 2014 premiere of Hennix’s composition by by the Chora(s)san Time-Court Mirage, her expanded just intonation ensemble, featuring a brass section of Amir ElSaffar, Paul Schwingenschlögl, Hilary Jeffery, Elena Kakaliagou, and Robin Hayward; live electronics by Stefan Tiedje and Marcus Pal; and voice by Amirtha Kidambi, Imam Ahmet Muhsin Tüzer, and Hennix herself. Intended to reveal the blues’ origins in the eastern musical traditions of raga and makam, “Blues Alif Lam Mim in the Mode of Rag Infinity/Rag Cosmosis” has its roots in Hennix’s 2013 realization of an “Illuminatory Sound Environment,” a concept developed in 1978 by anti-artist Henry Flynt on the basis of Hennix’s own “The Electric Harpsichord.”

As Hennix explains in Other Matters, Blank Forms’ 2019 collection of her writings:

“Rag Infinity/Rag Cosmosis presents fragments of ‘raga-like’ frequency constellations following distinct cycles and permuting their order, creating a simultaneity of ‘multi-universes.’ When two such ‘universes’ come in proximity of each other and begin unfolding simultaneously along distinct cycles, there is a kaleidoscopic exfoliation of frequencies as one universe is becoming two, but not separated—the effect of cosmosis is entrained, binding two or more frequency universes into proximity where their modal properties interact and blend, creating in the process entirely new microtonal constellations in an omnidirectional simultaneous cosmic order with phenomenologically ‘transfinite’ Poincaré cycles (cyclic returns to initial conditions).”

As with Hennix’s best work, the organic unfolding of this quivering drone belies a precision that opens onto the infinitesimal. Upon its mesmerizing ebb and flow, the vocalists incant a devotional poem written in Arabic by Hennix and featuring quotations from the Quran. Also reproduced on the album’s gatefold jacket, Hennix’s reduction of the sacred text to its most elegant formulation invites the contemplator to bring their inner knowledge to the composition for use as a prompt for meditation. Yet the piece offers depth to even the most secular listener willing to immerse themselves in music brimming with such serene intensity.

Catherine Christer Hennix (b. 1948) started her creative life playing drums with her older brother Peter, growing up in Sweden where she heard jazz luminaries, such as John Coltrane, Eric Dolphy, Dexter Gordon, Archie Shepp, and Cecil Taylor perform from 1960 to 1967. Directly after high school, Hennix went to work at Stockholm’s pioneering Elektronmusikstudion (EMS), where she developed early tape music, incorporating computer generated speech done at the Royal Technological University (KTH), where she was an undergraduate student. After traveling to New York In 1968, she met artists Dick Higgins and Alison Knowles who invited her to stay at the Something Else Press Town House where she had the opportunity to meet, among others, composers John Cage, James Tenney, and Phil Corner. During the following years she developed fruitful collaborative relationships with many composers in the burgeoning American avant-garde, including, most significantly, Henry Flynt and La Monte Young. Young introduced Hennix to Hindustani raga master Pandit Pran Nath and she would later study intensively under him as his first European disciple. While Hennix continued to make music performing alongside Arthur Russell, Marc Johnson, Henry Flynt, and Arthur Rhames, she also served as a professor of Mathematics and Computer Science at SUNY New Paltz and as a visiting Professor of Logic (at Marvin Minsky’s invitation) at MIT’s Artificial Intelligence Laboratory. In recent years Hennix has led the just-intonation ensemble the Chora(s)san Time-Court Mirage, which has featured musicians Amelia Cuni, Amirtha Kidambi, Chiyoku Szlavnics, Hilary Jeffrey, Amir El-Saffar, Benjamin Duboc and Rozemarie Heggen. She currently resides in Istanbul, Turkey pursuing studies in classical Arabic and Turkish makam.

The DISCO REGGAE LOVERS series reaches a zenith with the first ever reissue of Dambala and their beautiful reggae roots song Lorraine. Long a diggers secret, it seemed only apt to ask the DJ who brought it to the attention of many, with a wonderful dub by label stalwart, Lexx.

Born in Lagos, Nigera but growing up in the Harrow Road area of West London, Augustus "Gus" Anyia immersed himself in the music of area during the vibrant 60s awakening of African and Caribbean cultures. Learning drums as a boy, he quickly progressed to classical guitar and would perform at school and beyond.

Jamming with guitarist Alvin Christie led to them forming Dambala in 1975. Their first releases set them on their way, produced by Jimmy Lindsey, mixed by Dennis Bovell and cut by Porky. From there more singles followed, repeatedly touring Europe and recording for a TV documentary, before pressures took hold and following a change in line up, the band recorded their sole album, Azania.

Lorraine was the stand out, a wonderful love song of youth's forlorn love, it's warm drum and bass encompassing the yearning lyric. A small masterpiece of UK roots in it's own right, this special 7" comes with a simple, but perfect dub mix from Lexx and will be followed by a comprehensive reissue of Dambala by the label.

"Gaspard Auge is releasing his Debut Album “Escapades”, out in June 25th
He is best known as one half of Justice, the duo that united rock and rave and whose dancefloor smashes defined a generation.
Gaspard made an instrumental album whose sound will be familiar to Justice ’s fanbase , echoing some previous works & inspirations of the cult duet.
Escapades sounds like a UFO landing from another galaxy, or time, a baroque masterpiece that reimagines European classical music for this century. OFFICIAL BBC THEME FOR THEIR COVERAGE OF THE EUROS."

The third highly anticipated full-length album by WORMWOOD, follow-up to the praised in the media album
“Nattarvet”
Wormwood are one of the leading bands on the Swedish metal scene!
Contains 3 bonus tracks, “Shipwrecked & Northbound – Redux”, “The Weeping Song” (Nick Cave cover),
”Caravanserai” (Loreena McKennitt cover).
Vinyl version includes the novel for “The Archive”, book written by Swedish author Mikael Strömberg in a
32 page 12” booklet. Both in Swedish and English.
BOTH ON CD AND DOUBLE TRANSPARENT WHITE LP FOR RSD
Mixed and Mastered by Jonathan Ojeda, Break the Norm Productions. Well known engineer in the
mainstream pop genres (Molly Sandén, Mohombi, Jay Sean, Wyclef and more).
The concept of the album is based on humans' destructiveness and inability to adapt to nature and how we
in the end deserve to die.
Alongside the album release, a cinematic music video "The White Archive" follows the desperation after an
unprecedented catastrophe in Sweden.
WORWOOD has a very strong and dedicated fan base that’s growing rapidly, especially in Europe
(Germany, France, Netherlands etc), UK and the US.

Uruguayan groove and multicultural sophistication - 40th anniversary special edition, 500 copies, including 20 page booklet

With a unique mix of music roots and cosmopolitan sounds Jaime Roos would become one of the most successful and significant artists of Uruguayan music.
Aquello, his third album, recorded in France in 1980 with an impressive cast of international musicians, reflects Europe’s multicultural landscape during the late seventies. Psychedelic folk, afro-candombe, murga, rock, new tango and jazz-fusion are combined in a surprising way in a one-off album that exudes strangeness and sophistication.

Kuniyuki´s "Earth Beats" from 2012 (MM 151) is available again!
This Track Is Still One Of Our Favorite Releases And Maybe The Best Work Of Kuniyuki.
Great DJ Support by Kevorkian, Laurent Garnier, Luciano And More.
This More Dance Floor Oriented Live Version Is Recorded For His European Tour In 2011.
We Added Legendary Larry Heard Remixes To The Package. All Versions Are Excellent.

Schmer brought these two together to battle it out for Schmer019: Snazelle vs Loveland : Get this special 6 track maxi EP of pure techno and YOU will be the winner.




Brooklyn based techno producer and Snazzy Fx boss. Much of the hardware Dan uses in his productions and live sets was designed and built by him. His focus as an artist is on electronic music as a vehicle for achieving transcendent states. This comes out in his sets as a respect for both the funky and hypnotic aspects of dance music. As a DJ and live act, Dan has performed throughout Europe and is a regular fixture in NYC.

2018 saw Dan release the "Exposure to a Steady Stream Ep" on Jacktone records. Fact Magazine included the track " Broken Saucers" in their best of September round-up.

In early 2019 Nina Kraviz and Dan released their collaboration "u ludei est pravo"on the trip compilation "Happy New Year! We Wish You Happiness".

In August, Schmer released his newest EP, "Swarm Draze".


Jasen Loveland is a mercurial force about whom little is known with any certainty. Much of Loveland’s life and exploits are shrouded in an opaque and often contradictory mythology that includes many other characters who may or may not be Loveland himself. Born sometime around 1950, Loveland seems to have been operational within the dance music community for decades, allegedly interning for Giorgio Moroder in Munich after finishing a medical degree in the 1970s. It is rumored he was the individual who did the actual synth programming on “I Feel Love”, however this was never confirmed. Documentation of Loveland’s past was further obscured by a “studio fire” while operating out of Chicago in the mid-1990s that destroyed all of Loveland’s memorabilia from the past, except for a handful of lo-resolution, poorly-scanned photographs Loveland (an early user of Hyperreal.org and the #mw.raves listserv) had emailed to a friend. Fortunately, Loveland was able to save his two favorite synthesizers, a battered Roland TB-303 and it’s demented sibbling, the MC-202, but the rest of Loveland’s equipment, and the documentation of his past, was lost in the blaze, leaving Loveland homeless for several months. Regardless of the veracity of his tales, Loveland’s music speaks for itself; the intense, maniacial vibes that pervade the ouvre are undeniably suited for the most far-out, dancefloor head trips, thus making it only a matter of time before he joined the Interdimensional Transmissions family.



Most recently, Loveland has been presenting DJ-style musical performances under the name “Loveland & Friends”, which has become an umbrella term for all projects related to his work, including JL-303, DJ Curtis Chipp, Chip Curtis, MIDI Master, Remote Perception, The Limit, Acid Musik Department, The Gaze, Ace of Fades, East German Chemistry, The Universal Vision, Clonus, Gamma Polaris, R.O.M. and DJ Kline, and Da House Band. Many of these, such as the DJ Kline project (with Prof. Dr. Alice B. Kline, a self-described “unremarkable scientist” and researcher at CERN), seem to be collaborations or ghost productions, although even this is not clear. In fact, the only confirmed Loveland collaborations are LW Productions (with Clay Wilson) and Pervocet (with Patrick Russell), the latter presented as a 12” by Interdimensional Transmissions, Detroit.

A deep dive into the one of most collectable jazz catalogues in the world, a selection of some of the rarest and most sought-after recordings from the 60s and 70s, a time when British jazz began to find its own identity. Drawn from the iconic labels of Decca, Deram, Argo, EMI Columbia/Lansdowne Series, Fontana, Mercury, & Philips. A figure in British modern jazz for over half a century, Don Rendell was both active protagonist and key witness to the main developments in the music from its rise out of tiny clubs and back rooms on up to the most prestigious national stages. From his earliest performances in London’s West End and his work of the 50s and 60s — most not ably with the Don Rendell-Ian Carr Quintet — to the lower profile work of the 70s and 80s, his quite assurance and consistent performance marked him out as a highly respected figure among his peers. He is one of a handful of British artists to feature on Blue Note Records and appeared on some of the most distinctive and characterful British jazz albums by the likes of Michael Garrick, Stan Tracey, Amancio D’Silva, and Neil Ardley. Even though Rendell eschewed much of the free and electric fusion styles that came to the fore in the late 60s, in the main sticking to an acoustic sound with melody and rhythm at its heart, he similarly bridled at any notion that he was merely a ‘bopper’, a description he positively hated. In many ways, Space Walk was as much a valedictory as transitionary album for Rendell. It was his last for Denis Preston, the fabled producer behind Lansdowne Studios, described by Neil Ardley as a ‘rare Diaghilev like figure’ who steered many of the key figures of the British jazz scene into the studio when nobody else would record them. It was also Rendell’s final project for EMI Columbia and his last as a leader for a major record label. After Space Walk, Rendell would record for smaller, independent labels like Spotlite. But as much as the album is a farewell to one chapter, it also marked the way forward to the next..

The twenty-fourth - and final - issue in FatCat’s long-running and much-loved Split 12” Series features acclaimed Canadian singer/composer Ian William Craig alongside the brilliant but little-known Estonian Kago - two artists each using their voice as a central element of their craft, mediated through technology to conjur startlingly singular sound-worlds.

Neither side here will sound quite like anything you’ve previously heard. Ian William Craig provides a 19-minute-long immersive tape piece, with Kago delivering a warped, acid-tinged slice of Eastern European freak-folk.

Hand-drilled + numbered sleeves with full printed inner sleeve.

Tonnon produced the album with longtime collaborator, and The Beths’ guitarist and producer, Jonathan Pearce. Tonnon wrote the bulk of the songs during an extensive period of touring after the release of Successor - a period where Tonnon performed with Nadia Reid in Europe, The Veils in the USA, and The Chills, The Phoenix Foundation and Don McGlashan in New Zealand. The pair workshopped songs between tours, often recording new parts as the live versions developed.

Tonnon and Pearce recorded between 2017 and 2020, and in that time, Tonnon’s practise evolved heavily. He incorporated new technology into his set, including the Wellington-designed Synthstrom Deluge, which allowed him to adapt his set for new performance environments;Art Galleries, Museums, even New Zealand Fashion Week. He took that technology further when he collaborated with the Otago Museum on the immersive show for Planetariums, A Synthesized Universe, which travelled to Arts Festivals around New Zealand in 2019.

Creating a music video for ‘Old Images,’ which explored a lost passenger train network, Tonnon came to the idea for a new experience-based show called Rail Land. It took audiences on railways to reach distant community halls around Aotearoa. The show saw Tonnon combine historical research and spoken word narrative, with the immersive lighting and musical technology he developed for A Synthesized Universe. In March, Rail Land finished a three-night run at Auckland Arts Festival, cementing Tonnon’s move to the concept show.

Over time, Tonnon and Pearce’s production moved further from the traditional rhythm sections that powered songs like Successor’s ‘Water Underground.’ In their place came off kilter electronic rhythms, like the beat in ‘Two Free Hands,’ and textures that blur lines between organic and synthesized sound. Guitars are set against synthesizers, and drums against drum machines in ‘Entertainment’ and ‘Peacetime Orders,’ which Tonnon also used in his soundtrack for RNZ’s 80s spy-themed podcast The Service. In ‘Leave Love Out Of This,’ a ballad starts with a piano and a string quartet, but ends in a wall of electronic sound.

The constant has been Tonnon’s lyrics. Whether singing about evolution and the future of work in ‘Two Free Hands,’ the television industry in ‘Entertainment,’ or environmental disaster and regulatory failure in ‘Mataura Paper Mill,’ Tonnon has followed a distinct approach to subject matter, description and phrasing that have seen him longlisted for the APRA Silver Scroll three times.

Tonnon’s explorations of local government and civic infrastructure in his work - an unusual preoccupation for a songwriter, have taken new meaning in his adopted home of Whanganui, where last year, he was elected by councillors as Whanganui District Council’s representative for public transport.

After Tonnon moved to Whanganui, and Pearce toured almost constantly after the success of The Beths’ first album, the pair conducted their collaboration over distance, but with key sessions at Pearce’s Karangahape Road studio, including drums and bass with long time band members Stuart Harwood and David Flyger, a string quartet led by Charmian Keay and arranged by Matthew Bodman, and additional drums with The Beths’ Tristan Deck.

As Leave Love Out Of This is released, Tonnon and Pearce find themselves in very different places to where they started, working on Auckland’s Karangahape Road, close to the venues like Wine Cellar and Whammy Bar where they regularly performed. Back in New Zealand since Covid, Pearce has had to adjust to being in one of Aotearoa’s best-known bands, while Tonnon, when not working on conceptual shows, wrestles with how to restore civic infrastructure to a post industrial city in the regions.

Created over a life-altering period of, Leave Love Out Of This is the culmination of years of experimentation and development - with new technology, new sounds, and new ways of creating, and performing music.

The career defining 4th album from New Jersey Tech Death Metallers COGNITIVE. Fusing all the best elements of Death Metal - Groove, speed, brutality, technical prowess and forward thinking songwriting; this is an album with one foot planted firmly in the future and the other equally in the old school realm. Have toured the US, Canada and Europe in the support of previous album 'Matricide' including the Bloodletting North America Tour 2019!

The career defining 4th album from New Jersey Tech Death Metallers COGNITIVE. Fusing all the best elements of Death Metal - Groove, speed, brutality, technical prowess and forward thinking songwriting; this is an album with one foot planted firmly in the future and the other equally in the old school realm. Have toured the US, Canada and Europe in the support of previous album 'Matricide' including the Bloodletting North America Tour 2019!

Das Phänomen POWERWOLF: Innerhalb der deutschen Heavy-Metal-Szene findet sich wohl kaum eine
andere zeitgenössische Band, deren Erfolgskurve seit vergleichbar langer Zeit derart steil nach oben zeigt,
was mithilfe der im vergangenen Jahr veröffentlichten opulenten Werkschau „Best Of The Blessed“ zum
15-jährigen Bestehen deutlich sicht- und hörbar unter Beweis gestellt wurde. Nun, nur rund 12 Monate
später, steht das achte Studio-Album unter dem Titel „Call Of The Wild“ in den Startlöchern, von dem
mit Fug und Recht behauptet werden darf, dass es neue Maßstäbe setzt!
Zeitsprung ins Jahr 2005. Bereits auf seinem Debüt „Return In Bloodred“ etabliert das Quintett um den
Lead-Gitarristen und Haupt-Songwriter Matthew Greywolf einen in dieser Form nie dagewesenen Stil, der
klassischen Metal melodischer Spielart mit erhabenen Orgelklängen und orchestralem Bombast vereint.
Alles an POWERWOLF, von den elaborierten Texten - die mal augenzwinkernd humorvoll, mal bitterböszynisch von Phantastischem und Historischem handeln - bis zur omnipräsenten sakralen Symbolik, nährt
die mystische Aura des Fünfergespanns, die über die folgenden Jahre mit jedem weiteren Werk an
Bedeutung gewinnen und auf unzähligen Touren in eine einmalige, nicht von ungefähr als
„Metal-Messe“ bezeichnete Liveshow übersetzt werden soll. Die süßen Früchte der eisernen Treue zu den
traditionellen musikalischen Wurzeln, bei gleichzeitiger konsequenter Weiterentwicklung ihres ureigenen Sounds, ernten POWERWOLF aber nicht nur von den Bühnen ausverkaufter Konzertsäle aus, sondern
auch an der hart umkämpften Chart-Front. Dreimal gelang in den letzten Jahren der Sprung aufs
Treppchen der offiziellen deutschen Albencharts - zweimal davon auf die Pole-Position - und im
europäischen Ausland wurden die jüngeren Veröffentlichungen „Blessed & Possessed“ und „The
Sacrament Of Sin“ mit Gold, die Hit-Single „Demons Are A Girl' Best Friend“ gar mit Platin
ausgezeichnet.
Warum außer Frage steht, dass das am 16. Juli 2021 erscheinende Opus „Call of The Wild“ in Sachen
Popularität einen weiteren Quantensprung bedeuten wird, erklärt sich sowohl langjährigen als auch frisch
gewonnenen Fans schon im ersten Hördurchlauf wie von selbst: Gerahmt vom Eröffnungs-Titel ”Faster
Than The Flame”, der sich pointiert als „POWERWOLF in Reinkultur“ beschreiben lässt, und dem
großen Finale ”Reverent Of Rats” verströmen die elf enthaltenen Songs zwar stets Vertrautes, wagen aber
auf jedem Schritt des Wegs Weiterentwicklung in vielerlei Hinsicht. So mutet etwa das
unverschämt-eingängige ”Dancing With The Dead” regelrecht tanzbar an, während ”Alive Or Undead”
als Power-Ballade allererster Güte den Ruf des Frontmanns Attila Dorn als absolutem Ausnahme-Sänger
endgültig zementiert. „Call Of The Wild“, das sich einmal mehr als heißer Anwärter auf den
Chartstürmer-Titel ins Rennen stürzt, ragt anno 2021 als turmhohes Ausrufezeichen aus der
Musiklandschaft hervor und vermittelt wie kein anderes Werk das leidenschaftliche Credo
POWERWOLFs: Metal is religion!

The European/UK vinyl release of Hokus Bonus: a vinyl-only compilation of ‘bonus tracks’ from special editions of the band’s previous albums, many of which have never been available on vinyl before. The LP, limited to 6K numbered copies, features cover art from long-time Volbeat illustrator Karsten Sand and will be pressed on yellow smoke vinyl. Hokus Bonus brings several songs such as “Slaytan,” “Under The Influence,” and “Immortal But Destructable” to the vinyl format for the first time, and also includes early versions of fan-favorites “Evelyn,” “Black Rose,” and “Die To Live.” “We all spend a lot of time in record stores both at home and on tour,” said the band, “and bringing these songs to vinyl, some of them for the first time ever, brings us great joy.” Hokus Bonus will be available on Friday, July 16th' on Transparent Yellow W/ Black Smoke Vinyl

“Riding On The Tide Of Love” is the companion album to Deacon Blue’s recent hit record “City of Love”. Recorded during the ongoing pandemic, the companion album features 8 brand new tracks, all previously unheard, unreleased and individually recorded by the band members. “Riding On The Tide Of Love”, also the album’s focus track, presents a mix of newly written songs and previously unheard material from the “City of Love” writing sessions. UK & Europe Tour 2021 - starting November 08th in Newcastle - 30 shows - special guest: Jamie Lawson more information: https://deaconblue Now available as a Limited edition of only x500 on blue vinyl.

guccihighwaters is the artistic persona of 21 year -old artist/producer Morgan Murphy. Since his debut single in 2017, Murphy has exploded in the cloud rap community and his music has been streamed over 200 Million times. His new album, joke's on you, is his debut for Epitaph Records and will be his first available on vinyl. guccihighwaters is the keystone to the label's dedication to this sound that we feel is the future of Alternative music. Spending his formative years growing up in rural Ireland, Murphy was shy and when his family returned to their native New York, that shy 15 year-old turned to bedroom production and starting making his own beats. He began to indulge his musical vision by exploring community on the internet, finding a place to belong that he had not found prior. As a singer, Murphy was a bit of an outsider to the Soundcloud rap world he'd begun to orbit. "I was grouped in because of the time and place and platform," he says. His use of original piano with a classic touch and his angelic singing gave him an original voice with?in the scene's crowded world. Even if he wanted to blend in, he didn't know how. With Jokes On You, he says, "basically my goal was to make it sound like me." Some members of that community, like Powfu and nothing,nowhere, feature on the album, adding their voices to Murphy's signature sound. guccihighwaters is a top digital artist in the Indie Pop/Cloud Rap space, releasing his music on vinyl for the first time. Album features include lo-fi sensation powfu, top emo-rapper Convolk and popular alt-hip-hop artist nothing, nowhere. For Fans of powfu, Lil Peep, nothing, nowhere and Lund.

Cold crushed electronics and tape noise by iDEAL faithful, Altar of Flies, returning to his native Swedish label with a 3rd album of possessed and unsettling tonal abstraction and psychoacoustic isolationism.

Known to the reaper as Mattias Gustafsson, Alter of Flies is the Mjölby-based sound artist’s most prolific alias, responsible for dozens of tapes and LPs for Chondritic Sound and White centipede Noise beside his trio of turns for iDEAL since the mid ‘00s. ‘Bortom Reven’ sticks closely to what he does best, conjuring bleakly depressive atmospheres ripe for inhabitation by the harder-to-please followers of North European ambient and industrial musicks, with an alchemic application of field recordings, tape loops, and primitive oscillators that vividly brings his thoughts into the dark light.

‘Bottom Reven’ is perhaps reflective of a certain, ascetic and isolated Swedish characteristic, enacting solitary rituals that better connect Altar of Flies with his environment, or simply entertain him during long, cold, dark nights. With hints of CMvH’s EVP and John Duncan’s searching shortwave radio textures to ‘Hur regn uppstår,’ and more ruptured reception of scrambled ether voices in ‘Terapimusik,’ alongside the title track’s worn-out nub of intrigue, and the damp basement clangour of ‘Under vår livstid’; its not one for those who get shook by the sight of their own shadow, but a real treat for listeners of a lonelier disposition who get off on the sound of the house creaking at night.

This is one of the evergreen albums of 80’s style hair band rock that transcends the years and 2021 is the 30th anniversary of the release. evoXS is releasing Lean into It - The Singles 7” box set, which includes four 7” coloured vinyl singles with their European picture sleeves: ‘Just Take My Heart (edit)’, ‘Daddy, Brother, Lover, Little Boy (The Electric Drill Song)’, ‘To Be With You’, ‘Green Tinted Sixties Mind’, plus the bonus single ‘Strike Like Lightning’ from the movie Navy Seals, which has never previously been released on 7” vinyl.

wojtek the bear were formed in Glasgow in early 2016 and have been featured by Lauren Laverne, Tom Robinson (BBC 6Music), Huw Stephens (BBC Radio 1), Vic Galloway, Roddy Hart, The Afternoon Show (BBC Radio Scotland), John Kennedy & Gordon Smart (Radio X), KEXP. They have featured at numerous festivals across the UK and Europe and appeared at Belle & Sebastian’s Boaty Weekender festival in Barcelona in 2019 alongside the likes of Teenage Fanclub, Mogwai, Yo La Tengo & Camera Obscura

After spending nearly a decade recording and touring with the collaborative psych rock band Quilt, Anna Fox Rochinski has completed her first solo record, Cherry. Though this is her first solo outing, Quilt released three full length records on Mexican Summer between 2011-2016 and toured North America and Europe extensively via High Road Touring and Paper and Iron Booking, respectively. Quilt completed several headlining tours in both continents, as well as opening on tour for bands such as The War On Drugs, Luna, and Woods. Anna’s songs have been licensed and used for sync placement extensively, most recently in Netflix’s “You”, and Quilt signed a publishing deal with Third Side Music in 2016. Their music was featured in many press outlets including NPR and Pitchfork, and was performed live on KEXP, Late Night with Carson Daly, and NPR’s Tiny Desk. Initial pressing on limited edition opaque red vinyl

“Montreal’s genre-defying post-rock combo BIG|BRAVE could very well be the most noteworthy recent heavy curiosity to come out of the city in recent years.” - NOISEY

“…combines elements of Björk, Neurosis and Sunn O))) into a cohesive whole; but this whole is an ever evolving and challenging sonic mass.
- THE QUIETUS

Minimalism and instinct, structure/freedom and meticulous timing form the cornerstones of their precise, rhythmical sound.
Lyrically, the album explores the weight of race and gender, endurance and navigating other people’s behaviours, observation and protest. The band further comment “this album involves what it means navigating the outside world in a racialized body and what it does to the psyche as a whole while finding individual worth within this reality.”
This time featuring the core trio Robin Wattie, Mathieu Ball and Tasy Hudson, for their most collaborative record they’ve made so far. The band elaborate “having cut our teeth in very different musical backgrounds respectively, our intuitions vary, which has an interesting effect on our individual approaches and ears.”
For this record, BIG | BRAVE once again made the trek down to Rhode Island to record with Seth Manchester at Machines with Magnets. They remark “we fully trust his instinct as an engineer and his creative output, getting to experiment with textures, concepts, layers, and with pretty much every single recorded sound, the process of making records with Seth is an absolute journey and pleasure.”
With the initial seeds planted in 2012, with no other goal than simply experimenting with the instruments in their possession, Robin Wattie and Mathieu Ball started writing subtle ambient/minimalistic folk songs together. When long time friend Louis Alexandre Beauregard joined on drums, the goal still remained to play as tranquil as possible. After an incident where Wattie’s acoustic guitar broke, and having borrowed a friend’s electric as a replacement, larger amps that Ball had in storage from previous bands started to get incorporated to the outfit. Now with amplitude as a compositional tool, BB never lost interest in the power of minimalism and fragility. It became clear that loud volume would become just as effective as the lowest possible ones and the juxtaposition of both would become something BB still uses as their main MO to this day.
After self-releasing Feral Verdure in 2014, the band had the opportunity to open for Thee Silver Mt Zion in Montreal QC. After which, Efrim Manuel Menuck found something meaningful in the members and the band and invited them to open on future shows with Mt Zion and with Godspeed! You Black Emperor.
In 2015, the band entered the studio with Menuck and recorded “Au De La”. With no home for the record, they decided to take a chance in writing to Southern Lord. As luck would have it, Greg Anderson happened upon their email among hundreds and responded. Since then, the band has had a home with Southern Lord Records. (Along with Au De La, Southern Lord has released Ardor in 2017, A Gaze Among Them in 2019 and VITAL in 2021).
After Beauregard’s departure in 2018, the band traveled down to Rhode Island with Loel Campbell on drums to make a first record with Seth Manchester at Machines with Magnets. After the album’s release, with Campbell unable to tour, Tasy Hudson joined the ranks and the band spent most of the year touring their 2019 album “A Gaze Among Them”.
In 2020, the core trio of Ball, Wattie and Hudson once again made the trek down to Machines with Magnets to record their 5th LP “VITAL”.
Since their inception, the band has had many honours and privileges of touring a number of times in North America and Europe with bands such as Sunn O))), MY DISCO, The Body, Thou, Primitive Man and Thee Silver Mt Zion.

The Montreux Album was released in 1978 as the fifth studio album by English rock band Smokie. It was named after Mountain Studios in Montreux, Switzerland, where the album was primarily recorded. Recorded at the hight of the band’s popularity, this is the last album made in partnership with Nicky Chinn and Mike Chapman. Three singles were released: “For a Few Dollars More”, “Oh Carol”, and “Mexican Girl”, all of which charted well across Europe.

This limited edition of 1000 numbered copies is released on solid pink vinyl. It includes 4 bonus tracks including the #1 hit-single “Stumblin’ In” by Chris Norman & Suzi Quatro, “Roll On Baby”, “Love’s A Riot” & “A Stranger With You” by Chris Norman & Suzi Quatro. Also included: liner notes in the gatefold sleeve and a beautifully etched d-side.

Saxophonist and composer Julian Siegel's fourth release on Whirlwind and his most ambitious musical feat to date, sees him assemble the Julian Siegel Jazz Orchestra. Following the acclaimed quartet release 'Vista' and the influential co-led Partisans album 'Nit de Nit', Siegel solidifies his reputation as one of Europe's most celebrated artists working across jazz and improvised music. Siegel has appeared as a member of some of the great large ensembles - he lists Hermeto Pascoal, Mike Gibbs, Kenny Wheeler, Django Bates and NDR Bigband amongst extensive performing credits. Now, the instrumentalist turns leader: 'Tales from the Jacquard 'is Siegel's first record at the helm of a large ensemble.

In the Italian panorama of the '70s, Chrisma (Christina Moser and Maurizio Arcieri) skirted the common rules of Italian pop (the aura of progressive rock or the first wave of prolific folk singers); in fact, they created Italian new wave from scratch. After the release of their 1977 debut album Chinese Restaurant (SPITTLE 051LP) -- so far from the punk revolution and so deep into the algid dynamics of the Mittel-European sound -- came Hibernation, their creative peak on which they embrace the revelation of the man-machine and venture into the realms of incomparable robots Kraftwerk. Again the album was produced by Niko Papathanassiou (brother of the Greek legend Vangelis), and it features very sophisticated cover artwork created by famous photographer Mario Convertino. Chrisma, so far ahead of their time, crafted an opus that should be considered at the same emotional level as the most famous synth-pop bands from the UK and Germany. Highlights include "Vetra Platz," a long digital ride worthy of the most famous Kraftwerk singles; "Calling" and "Gott Gott Electron," a primeval couplet of furious post-punk numbers; and the lush "Lover," with Miss Moser still in top form. This reissue includes the original artwork with a silver background. RIYL: T. Rex, Nico, Kraftwerk.

Continuing our ambitious People Like Us vinyl reissue program with Welcome Aboard – a strangely relevant 10-year-old album (originally released in May 2011) when People Like Us aka Vicki Bennett became stranded in the US after the Icelandic Eyjafjallajökull volcano eruption closed much of northern Europe’s airspace.

Volcanically marooned in Baltimore and NYC, Bennett utilized some of her “free” time to work on the album and even gained audio contributions from fellow experimental musicians Jason Willett (of Half Japanese) and M.C. Schmidt (of Matmos) via her extended stay

Bennett derived thematic material of displacement, travel, and a longing for elsewhere from the natural disaster that caused her own predicament. Now strangely echoed by the Covid-19 outbreak and the various grounding of planes and stay at home policies worldwide.

While the general mashup culture often centres on the instant gratification of seamlessly juxtaposing hooks, People Like Us tracks transform the source material into collages that are equal parts dissonance and pleasure, making artful commentaries on our culture and Bennett’s own existential amusement within such a wondrous world. No one could have predicted how relevant this album would have been 10 years later.

Volcanoes or Viruses, Welcome Abroad is what happens when you’re stranded due to a freak natural occurrence trapping people all over the world and causing mass plane cancellations.

• With more than 60 MILLION STREAMS across his catalogue listened to by fans all around the world, ‘…TO BE CONTINUED’
is the best ‘greatest hits’ album that you’ve never heard!
• This 12-track Limited Edition Vinyl LP collection, with a brand new floorfiller, features his most popular tracks and fans’
favourites, and this is his first Physical release album to celebrate, LE FLEX has signed 500 prints for this Limited Edition.
• Although LE FLEX clearly states that “I just make Pop music”, his 6 EPs and 6 Studio albums are nothing short of serious and
brilliantly creative blends of nudisco, poolside vibes and slow-jams but retaining the essence of his familiar ‘80s
synthpop/dance-based infusions. The accompanying videos are purely tongue-in-cheek, with more than a smattering of
self-deprecation, as you will see on his dedicated YouTube channel.
• Judging by the comments from long-established fans and music lovers from South America to Australia, via the UK, through
Europe and the Far East, discovering LE FLEX for the first time, they are quick to state that his vocal inflections share more
than a passing resemblance to George Michael, an icon about whom LE FLEX modestly says, “I’m not fit to shine his shoes”.
• LE FLEX is a renowned Producer with his popularity rising, having worked with Jaki Graham, Lemar and Ben Macklin and
was commissioned to produce new Donna Summer remixes in 2020.
• Released on heavyweight 180g Clear Vinyl, if you fancy summery escapism, there aren’t many better ways than doing so
than with LE FLEX

8-Infinities represents Discos Transgénero’s first contemporary release after several reissues and archival projects. Stepping away from customary North-American guitar traditions, Ameel Brecht (core member of Razen) presents an utterly singular take on early European music with an album which evokes the inner conflicts of growing up and their connection to the concerns of fatherhood.

A classically trained musician, Brecht resorts once again to the use of resophonic guitars and mandolins as a way of finding a middle ground between the virtues of being a schooled musician and the ability to escape pre-established tendencies in pursuit of what he has referred to as ‘metaphysical freeform string music’.

Additionally, the album features a series of fascinating and subtly merged contributions by label associates Marnie Weber and Jabir, along with Bob Rutman’s distinguished steel cello and Walter Hus’ automated glockenspiel. Echoing the likes of Renaissance and Baroque music on plucked instruments, Brecht assembles here a collection of timeless compositions.

Los Angeles based Alt-rock quartet THE INTERRUPTERS are releasing their first-ever live album "Live In Tokyo!" with a set list that captures the live power that made them one of the busiest touring bands in the world, with fan favorite songs from each of the bands three albums including hit tracks such as "She's Kerosene," "Gave You Everything," "Take Back The Power" and "Bad Guy." Their greatest hits performed in the greatest way you can see THE INTERRUPTERS: LIVE! The past three years have been pivotal for THE INTERRUPTERS. The band toured the world in support of their Fight the Good Fight (2018) album, including their first ever tour stop in Japan, where they captured this energetic live performance for their first live album "Live In Tokyo!" This recording captures the band that is known for their powerful live performances which features the band's most popular tracks from their three Hellcat Records albums. Not to mention, an onslaught of successful touring worldwide including many sold out headlining dates as well as appearances at Download Festival, Slam Dunk and support runs with Green Day and Rancid throughout Europe and the UK. The band shows no signs of slowing down and have recently announced tour dates next year with the Dropkick Murphys across Europe and the UK.

Re-mastering by: Cicely Baston at Alchemy/Air Mastering, London

Electric blues guitarist Melvin Taylor had been sporadically recording solo albums for 20 years when Dirty Pool arrived — and was somehow just beginning to find fame. Already a hit in Europe, it had taken a steady run of performing in Chicago’s famed blues clubs to slowly earn Taylor a well-deserved reputation as an equal talent among the giants before him, such as Otis Rush, Albert King and Stevie Ray Vaughan.

While early records like Melvin Taylor Plays the Blues For You show off an equally amazing jazz side, Taylor traded away his Wes Montgomery-inspired runs for more Luther Allison/Jimi Hendrix attacks with the formation of the trio Melvin Taylor and the Slack Band in the mid ’90’s.

The title song of the second album by that outfit, “Dirty Pool,” is actually more the balls-to-the-wall, no-compromise, hard-rockin’ electric Texas blues of Vaughan and Johnny Winter than the sweet Chicago soul of Buddy Guy.

Indeed, three tracks on this 1997 release, including “Dirty Pool,” were SRV tunes. Other standards, like “Kansas City” and “Floodin’ in California” also have more of a Lone Star State approach to them. But the Jackson, Miss.-born Taylor’s guitar is cleaner than his forebears and technically, he even surpasses them, yet the anger and sorrow of the blues is readily evident in his playing.

This rare combination of qualities really comes out in a slow blues tune like his solo in “Dirty Pool,” which after repeated listens, still makes me head shake in disbelief when I hear it.

“Too Sorry” is a good example of how well Taylor fares when he treads in Jimi Hendrix territory, whereas his rhythm work is the best I’ve heard from a lead guitarist since Vaughan; listen to “I Ain’t Superstitious,” “Born Under A Bad Sign” and the funky “Telephone Song” for your proof.

It also helps that Taylor’s drummer James Knowles is well in synch with him, while Ethan Farmer completely owns the low end of the sound. Farmer’s peppering bass lines in and “Floodin’ in California” is the textbook way electric blues bass should be. Overall, a tight little band.

Taylor’s vocals certainly won’t draw any comparisons to the Wide-Brimmed–Hatted One but he holds his own just fine until it’s cuttin’ time. This is right at the top of my list of best blues guitar playing on record over the last couple of decades. If you decide to give this one a listen, prepare to be blown away.

7" on photoluminescent vinyl. In 1981 Walter Verdin recorded the demos for two songs of Lennon's Plastic Ono Band before he formed the group Pas De Deux, the Belgian entry for the Eurovision Song Contest 1983.The artwork of this 7" is inspired by the artwork of the original record sleeves.

Omar Khorshid (9-Oct-1945 – 29-May-1981) is an Egyptian musician, composer, accompanist, and actor.

Born in Cairo, Omar Khorshid was a well-known guitarist who accompanied many Arabic singers, including Farid Al Atrach, Oum Koulsoum, Mohammed Abdel Wahab, and Abdel Halim Hafez.

From 1973 to 1977, Khorshid moved to Lebanon and began recording albums under his own name, working with sound engineer Nabil Moumtaz at Polysound Studios in Beirut.

Khorshid's musicality in orchestra performances, original songs, and film scores was considered revolutionary at the time in the Middle East. His extensive theoretical knowledge, fusion of Western sounds with Eastern sounds, and incorporation of different, more modern instruments (e.g. the electric guitar, electric keyboard, and synthesizer) in Arabic music was previously unheard of.

Khorshid's unique style sparked inspiration from many aspiring musicians not only in the Middle East, but in Europe and the Americas as well. His mixing of "modern" instruments with older Arabic tunes spawned a new, more modern sound of Arabic music that many use for belly-dancing today.

Limited coloured marbled vinyl edition of this album
Spencer Davis was born in Wales in 1939. He studied languages and spoke fluent German, French and
Spanish. This was one of the reasons why he was later called „Professor“ in music circles. While studying
in Birmingham, he began performing as a musician and was together with Christine Perfect, who later
became a world star with Fleetwood Mac. Together with Steve and Muff Winwood and Pete York, he
formed his first Spencer Davis Group, with which he had numerous hits in Europe and the United States.
At the end of the 1960s, the four musical geniuses parted ways and each went his own way. Spencer
Davis continued as a solo artist, founded several new bands, including other Spencer Davis Groups with
different lineups, reworked old and new songs and released numerous other records. In the meantime, he
taught at the University of California. He also hosted a talk show and was in the management of Island
Records. He collaborated with Bob Marley, Robert Palmer and Eddie and the Hot Rods, and also
promoted the solo career of former Spencer Davis Group member Steve Winwood. On October 19, 2020,
Spencer Davis died of pneumonia in Los Angeles at the age of 81.

Vinyl kommt in blau, Klappcover und bedruckter Innenhülle! Die meisten Dinge im Leben entstehen zufällig. Die große Liebe, eine schicksalhafte Begegnung und manchmal auch eine zweite Karriere. Oliver Perau alias Juliano Rossi hätte 1996 sicherlich nicht damit gerechnet, dass er 2021 immer noch als Rossi unterwegs sein würde. Damals hatte sich gerade die alternative Rockband Terry Hoax, die Perau 1988 mit einem Freund gegründet hatte, nach acht europaweit erfolgreichen Jahren aufgelöst. Doch Perau wollte sein Versprechen, bei der ersten Ausstellung des befreundeten Fotografen Olaf Heine zu singen, halten. Also fragte er den Jazzpianisten Lutz Krajenski, ob man zusammen alte Swing-Klassiker präsentieren könnte. Schließlich war Perau seit frühster Kindheit begeistert von Sammy Davis jr., Dean Martin, Burt Bacharach, Barbra Streisand, Tom Jones und Frank Sinatra. So stand Perau im Sommer '96 mit dem eilig ironisch hinzugefügten Künstlername Juliano Rossi vor Galeriebesuchern und Terry-Hoax-Fans und sang entrückt What the world needs now von Bacharach. "So viele entsetzte Gesichter habe ich selten gesehen" sagt Perau lachend und ergänzt nach kurzer Pause "aber für mich war es wie eine Offenbarung". 25 Jahre später veröffentlicht Juliano Rossi sein fünftes Album, Terry Hoax gibt es auch wieder und zusätzlich tourt Perau seit 9 Jahren durch Pflegeheime und macht Musik für Menschen mit Demenz. Ein sehr ungewöhnliches und in dieser dreigleisigen Konsequenz sicherlich einzigartiges Sängerleben, dass offensichtlich glücklich macht. So jedenfalls wirkt Herr Rossi und sein neues Album "Drunk On Love". Aus der Zeit gefallene glamouröse Songs irgendwo zwischen The Doors, Burt Bacharach und Dean Martin.

678 records are proud to present an historical concert recording of the legendary ethnic kraut-jazz formation Pork Pie. It is difficult to define the music of Pork Pie. It ranges from rhythmic Jazz-rock and meditative Indian sounds to Brazilian songs, and from acoustic improvisations to electric “space” sounds. Paris, December 1973: Pork Pie was founded by piano player Jasper van 't Hof (then 27 years old) and guitarist Philip Catherine (then 31 years old). They had met up with Charlie Mariano, who was 51 years old then, and whom they knew from his playing with Charles Mingus in the fifties and sixties. He had left America, lived in India for some years and founded his new home in Europe. Jasper and Philip were nervous to ask him if he would like to start a band with them but he immediately accepted the invitation. After some concerts in Holland, Germany and France the group recorded their debut album Transitory in May 1974 in the studio of the legendary engineer Conny Plank for MPS-BASF. It became an immediate success and Pork Pie were subsequently booked for many European jazz festivals. Their legendary concert on the first of November 1974 in the Berliner Philharmonie during the Berliner Jazztage was a milestone in the bands existence. The concert hall was packed to the rafters with 2500 over enthusiastic people who were totally overwhelmed by the amazing live sound of Pork Pie in which each of the five individual musicians took his own part, but never once lost the unique togetherness.

In the past 44 years Jasper van 't Hof always retained fond memories about this special concert. Fortunately, in his personal archive (which was for a while stored under a tarpaulin in his garden!) a master tape was discovered & had survived intact. P-Dog & Zembie (a.k.a. Sander Huibers & Frank Jochemsen) dug it up, played it on a tape machine, were totally blown away by the music and initiated this limited vinyl only release. It comes in a hand silkscreened cover designed by Piet Schreuders.

line up

Robert Schwarz’s background lies in both architecture and computer music. Across a handful of labels, he’s presented field recordings and experimental works, and he’s participated in exhibitions with some of Europe’s most prominent institutions for adventurous art practices. He is also the co-founder and curator of the Viennese festival ”PARKEN; Or, Live in the Park”, which aims to mediate experimental forms of music in public spaces and co-author of the works ”Los Bar”, ”Strookoffer” and ”Lax Bar”, a series of artist run spaces in Los Angeles, Brussels and Vienna.

Recently he presented a row of debut releases with new side projects like She Was A Visitor, Privat and Ausgsburger Messer.

With his ongoing commitment to like-minded archivist label Finders Keepers Records, industrial music pioneer Steven Stapleton further entrusts us to lift the veil and expose “the right tracks” from his uber-legendary and oft misinterpreted psych/prog/punk peculiarity shopping list known as The Nurse With Wound List.
Following the critically lauded first instalment and it’s exclusively French tracklisting both parties now combine their vinyl-vulturous penchants to bring you the next ‘Strain Crack & Break’ edition which consists of twelve lesser-known German records that played a hugely important part in the initial foundations of the list which began to unfold when Stapleton was just thirteen years old.
From the perspective of a schoolboy Amon Düül (ONE) victim, at the start of a journey that commenced before phrases like kosmische and the xeno-ignant Krautrock tag had become mag hack currency, this compendium is devoid of the tropes that united what many would accurately argue to be the greatest progressive pop bands in Europe
(namely CAN, Neu! and Kraftwerk) and rather shatters the ingredients across a ground zero landscape for both inquisitive fans and socially rehabbing musos to begin to assemble a unique self-styled identity. If Krautrock was the music that journalist told us lurked behind schlager (German pop) in the 1970s, then this record includes the music that skulked behind Krautrock and perhaps refused to polish its backhanded name belt.
Including lesser-known artists like the late Wolfgang Dauner, whose career proceeded and outlived the kosmische movement while consistently informing and outsmarting them whenever they got stuck in their metronomic ruts, or how about Fritz Müller, the man who
was to Kraftwerk what Stuart Sutcliffe was to The Beatles but had more in common with Yoko and quite rightly couldn’t give a stuff about the Fab Four’s Hamburg roots.
Elsewhere we have a plethora of German bands made for German audiences as they try and shed secondhand flower power Americanisms and feel the benefits of much harder drugs and the realisations of difficult second album budgets while Kommune 1
newsflashes wipe smiles from everybody’s faces and replace them with opioid chic or acid-sarcastic grins. Bonzo Cockettes show us their Big Muffs and drummers ask for extra mics while Conny Plank goes for parliamentary office and gives babies good firm handshakes for the camera.
‘Strain Crack & Break: Volume Two’ is the sound of Steve Stapleton’s sponge-like mind and the dividends of anyone who was brave enough to even peek inside those brick-thick gatefold covers never mind drop the needle.
Over forty years since Nurse With Wound’s first album was released, Finders Keepers Records and Steve Stapleton take connoisseurs of our kind of music back to the disused elevator shaft towards ground zero. Arriving at the same checkout from different departments, Finders Keepers and Nurse With Wound continue to sing from the same hymnal with this ongoing collaborative attempt to officially, authentically and legally compile the best tracks from Steve’s list, where many overzealous erds have faltered (or simply, got the wrong end of the stick).
After ‘Strain Crack & Break: Volume One’ merely scratched the surface of this DIY dossier of elongated punk-prog peculiarities, this second lavish metallic gatefold double vinyl compendium drives a much deeper groove which, in accordance with Steve’s wishes, focusses exclusively on individual tracks of German origin - the country whose music forged the prototype of the NWW inventory in the form of his secondary school vinyl wantlist in the early 1970s, comprised of disassembled free jazz, unshowered stoner psych, hypnotic prog, deranged monk funk and fuzzed out Deutschmark bin bonzo beats.

Over the past decade, Egyptian-born, Barcelona-based DJ and techno producer Raxon, known to friends and family as Ahmed Raxon, has popped out a steady stream of twelve-inch singles, precision-tooled, for labels like Cocoon, Drumcode, Diynamic, Truesoul, and Ellum Audio. An alumni of Kompakt’s Speicher series – check the insistent, vibrating pulses of “The Ancient” and “Dark Light” on 2019’s Speicher 107 – with Sound Of Mind, Raxon has produced a long-awaited debut album that’s ready and aching both for the dancefloor and the boudoir, traversing the heat of the club and the warmth of the home.

“The idea of an album has always floated around in my head for the past few years,” Raxon confirms, “but it was never the right moment in my mind.” Instead, he’s been insistently pursuing his vision of deep, elegant techno, taking him from early DJ gigs in Dubai, including the legendary audio tonic night, then relocating to Europe on the recommendation of Herman Cattaneo, all the while allowing his experiences to inform and transmute his producer’s thumbprint. He’s an architect by training (though he gave architecture up for electronic music), which might explain why Raxon productions are so sturdy and well-designed; but remember also that architecture is a field filled with brave experimentation, something Raxon definitely draws on throughout Sound Of Mind.

Like many albums from the past twelve months, Raxon’s debut developed partly thanks to the unique social situation the planet has found itself caught within. “In the beginning of 2020 I started working on a few tracks with the album in mind,” he recalls, “with no idea of what’s to come in the next few months. As catastrophic as the situation was/is, I found myself in the studio; in a way the lockdown gave me that creative freedom in the studio, to try to tell my story through sound.” And indeed, there is something in the way of ‘life writing’ about Sound Of Mind, particularly in the way Raxon’s productions pay subtle homage, perhaps, to his formative listening experiences in the late nineties.

It’s no retro trip, but there’s plenty of variety here, and a few moments that’ll tickle the collective memory – see the prowling pulsations of the opening “Majestic”, the alien breakbeat action of “Vice” and “Journey Mode”, where the interstellar tones feel like Foul Play or Steve Gurley, the leaking gas and woozy keys that make “Droid Solo” so subtly destabilising, or the strobelight drones that sputter and flare throughout “El Multiverse”, where dappled organ tones fight it out with interdimensional transmissions, all sucked into the vortex of a late-night techno mantra. Beautifully sculpted, Sound Of Mind feels consummate, an elegant set that pulls Raxon’s vision into its sharpest focus. Alive with possibilities, it’s a fever dream of creativity.

In den letzten zehn Jahren hat der in Ägypten geborene und in Barcelona lebende DJ und Techno-Produzent Raxon, der Freunden und Familie auch als Ahmed Raxon bekannt ist, eine ganze Reihe von 12inch-Singles auf Labels wie Cocoon, Drumcode, Diynamic, Truesoul und Ellum Audio veröffentlicht. Wir kennen Raxon außerdem durch seinen Beitrag zur Kompakt Extra/Speicher-Reihe – man höre sich nur mal "The Ancient" und "Dark Light" auf dem 2019 erschienenen Speicher 107 an. Nun hat Raxon mit “Sound Of Mind“ sein lang erwartetes Debütalbum produziert, das sowohl für den Dancefloor als auch für die eigenen vier Wände geeignet ist und dabei sowohl die Hitze des Clubs als auch die Wärme des eigenen Zuhauses durchmisst.

"Die Idee eines Albums schwebte in den letzten Jahren immer in meinem Kopf herum", bestätigt Raxon, "aber es gab nie den richtige Moment." Stattdessen verfolgte er leidenschaftlich seine Vision von tiefem, elegantem Techno, die ihn von frühen DJ-Gigs in Dubai, einschließlich der legendären Audio-Tonic-Nacht, dann auf Empfehlung von Hernan Cattaneo nach Europa führte. Im Laufe dieser Zeit sammelte er unzählige Erfahrungen, die es ihm erlaubten, seinen Stil als Produzent mehr und mehr zu transformieren. Raxon ist gelernter Architekt (obwohl er die Architektur für die elektronische Musik aufgegeben hat), was vielleicht erklärt, warum seine Produktionen so robust und gut durchdacht sind; aber man sollte auch nicht vergessen, dass Architektur bestenfalls immer ein Feld mutiger Experimente ist, etwas, worauf Raxon in “Sound Of Mind“ definitiv zurückgreift.

Wie viele andere Alben der letzten zwölf Monate auch wurde Raxon’s Debüt von der einzigartigen gesellschaftlichen Situation, in der sich der Planet momentan befindet, beeinflusst. "Anfang 2020 habe ich angefangen, an ein paar Tracks für das Album zu arbeiten", erinnert er sich, "ohne zu wissen, was in den nächsten Monaten auf uns zukommen würde. So katastrophal die Situation auch war/ist, ich fand mich im Studio wieder; in gewisser Weise gab mir der Lockdown auch eine kreative Freiheit im Studio, um zu versuchen, eine Geschichte durch meinen Sound zu erzählen." Und in der Tat gibt es auf “Sound Of Mind“ so etwas wie eine "Lebensgeschichte", besonders in der Art und Weise, wie Raxon’s Produktionen eine subtile Hommage an seine prägenden musikalischen Erfahrungen in den späten Neunzigern darstellen.

Es ist fürwahr kein Retro-Trip, aber es gibt hier viel Abwechslung und ein paar Momente, die das kollektive Gedächtnis kitzeln werden - zum Beispiel der sich langsam heran pirschende Pulsschlag im Eröffnungstrack "Majestic", oder die außerirdischen Breakbeats von "Vice" und "Journey Mode", in denen sich die interstellaren Sounds ein wenig wie Foul Play oder Steve Gurley anfühlen. Dann das ausströmende Gas und die wummernden Tasten, die "Droid Solo" subtil destabilisieren, oder die Strobo-Drones, die in "El Multiverse" herum sprudeln und flackern, wo einzelne Töne einer Orgel mit interdimensionalen Transmittern um die Wette strahlen und schließlich in den Strudel eines nächtlichen Techno-Mantras gesogen werden. “Sound Of Mind“ fühlt sich formvollendet an, wie ein elegantes Set, das Raxon’s Vision verstärkt in den Fokus rückt. Ein Fiebertraum voller Kreativität und Möglichkeiten.

RIYL MELVINS/GOATSNAKE/NEUROSIS/ASCEND

Asclepius comprises two long-form tracks, “Healing The Ouroboros” and ‘Dahlia Rides the Firebird’, the latter is based on an old traditional Greek tune. With some members majoring in classics/philosophy, music/composition and studying ethnomusicology - classic mythology has always been a key reference point for the themes of their music. That the new record is named after the god of healing and medicine and arriving at this moment in time is coincidence, as the band comments, “It felt like we needed healing even before this pandemic hit.”

The line-up on Asclepius represents the core of Iceburn through the early formative years. Iceburn, later the Iceburn Collective, initially existed from 1990 to 2001. Later reuniting in 2007 with this current lineup again at the core. The band's initial output slowly evolved from hardcore and metal to free improvisation and noise, The 10 year arc saw the band following their own path and becoming more and more obscure as they got deeper into unknown musical worlds. By 2000 the cycle seemed complete and Iceburn did their final tour in Europe 2001. In 2007 this early core crew reunited to play a local anniversary show focused on the earliest material. Every few years since they would get together for another 'reunion' until that word became more of a joke, it was clear the band was back, getting together every week, and working on new material.

ICEBURN LINE UP:

Joseph 'Chubba' Smith - drums, founding member of Iceburn from 1990-'93 then 2007-present
James Holder - guitar, was also a founding member from '90-'95 and '07 to present
Cache Tolman - bass, '91-97 off and on, and '07 to present
Gentry Densley - guitar and vocals, 1990 to present

Asclepius was recorded and engineered by Andy Patterson (SubRosa, INVDRS, Insect Ark, and The Otolith) a collaborator also for Gentry's other band's Eagle Twin and Ascend.

Classic black LPs housed in gatefold w/ special canvas cardboard stock and silver hot foil! Nordic pop diva KARIN PARK of ÅRABROT adds her ethereal, mournful voice and keys to the primordial sound of legendary electronic pioneer LUSTMORD for this sublime and poignant collaboration. ALTER is a ritual of our times. On the pair's frst collaborative work, the nine tracks that make up ALTER are every bit as heart-wrenching as they are terrifying, mining new sonic territory, it is a fascinating study of light and shade that delves deep into vast uncharted darkness. Their ability to create atmosphere on the album opener "Hiraeth" is second to none, perfectly assembling a harrowing backdrop for Park's lilting sound of longing. From there, Park's vocals add all of the emotional depth and power found in names like Kate Bush, Maynard J Keenan and Elizabeth Frasier, perfectly playing against Lustmord's waves of dark drama and creating a wholly unique record that recalls Dead Can Dance, Massive Attack and Portishead at their greatest. Considering Park's credentials, it might be surprising that a collaboration with Lustmord would ft so seamlessly. Utilizing a sound comprised of elements of industrial, synth pop and more, the celebrated Swedish solo artist and member of Norwegian rock band Årabrot utilizes experimentation in her work, blazing trails and bringing to mind the work of her peers The Knife, Scott Walker, Robyn, Depeche Mode and Burial with her darkly-rich compositions. Multiple winner of Norway's Spellemann award, Park co-wrote the Norwegian entry for the 2013 Eurovision, fnishing fourth overall. But it is the sensibility of the sacred music of her youth that Park adds to ALTER, contributing a powerful vocal that guides the listener through the cavernous, mystical depth of their collaborative work. "Lustmord is the Gustave Doré of music", Karin Park ofers pensively. "Painting magical pictures with a sound that is so vast, it gives space for your own imagination." Brian Williams grew up in North Wales, beginning his musical career as Lustmord in 1980 and becoming a pivotal fgure and pioneer in the early industrial music scene in the UK. A former member of SPK during arguably their most crucial era, Williams went on to work with Throbbing Gristle members Chris & Cosey and appeared on early albums by Current 93 and Nurse With Wound amongst others. After relocating to Los Angeles in 1993, Williams worked on dozens of motion picture soundtracks including The Crow, Underworld and Paul Schrader's First Reformed, as well as on several video game, television scores and solo albums. Williams has also contributed to and collaborated with artists as varied as the Melvins, Clock DVA, Jarboe, John Balance of Coil, Clock DVA, Paul Haslinger (Tangerine Dream), Wes Borland (Limp Bizkit), Puscifer and more, including Grammy Award-winners Tool from their much acclaimed eforts 10,000 Days and Fear Inoculum. FOR FANS OF Lustmord, Årabrot, Dead Can Dance, Hans Zimmer, Sunn O))), Fever Ray, Chelsea Wolfe, Boards of Canada, Heilung, Zola Jesus, Swans.

Limited coloured LPs housed in gatefold w/ special canvas cardboard stock and silver hot foil! Nordic pop diva KARIN PARK of ÅRABROT adds her ethereal, mournful voice and keys to the primordial sound of legendary electronic pioneer LUSTMORD for this sublime and poignant collaboration. ALTER is a ritual of our times. On the pair's frst collaborative work, the nine tracks that make up ALTER are every bit as heart-wrenching as they are terrifying, mining new sonic territory, it is a fascinating study of light and shade that delves deep into vast uncharted darkness. Their ability to create atmosphere on the album opener "Hiraeth" is second to none, perfectly assembling a harrowing backdrop for Park's lilting sound of longing. From there, Park's vocals add all of the emotional depth and power found in names like Kate Bush, Maynard J Keenan and Elizabeth Frasier, perfectly playing against Lustmord's waves of dark drama and creating a wholly unique record that recalls Dead Can Dance, Massive Attack and Portishead at their greatest. Considering Park's credentials, it might be surprising that a collaboration with Lustmord would ft so seamlessly. Utilizing a sound comprised of elements of industrial, synth pop and more, the celebrated Swedish solo artist and member of Norwegian rock band Årabrot utilizes experimentation in her work, blazing trails and bringing to mind the work of her peers The Knife, Scott Walker, Robyn, Depeche Mode and Burial with her darkly-rich compositions. Multiple winner of Norway's Spellemann award, Park co-wrote the Norwegian entry for the 2013 Eurovision, fnishing fourth overall. But it is the sensibility of the sacred music of her youth that Park adds to ALTER, contributing a powerful vocal that guides the listener through the cavernous, mystical depth of their collaborative work. "Lustmord is the Gustave Doré of music", Karin Park ofers pensively. "Painting magical pictures with a sound that is so vast, it gives space for your own imagination." Brian Williams grew up in North Wales, beginning his musical career as Lustmord in 1980 and becoming a pivotal fgure and pioneer in the early industrial music scene in the UK. A former member of SPK during arguably their most crucial era, Williams went on to work with Throbbing Gristle members Chris & Cosey and appeared on early albums by Current 93 and Nurse With Wound amongst others. After relocating to Los Angeles in 1993, Williams worked on dozens of motion picture soundtracks including The Crow, Underworld and Paul Schrader's First Reformed, as well as on several video game, television scores and solo albums. Williams has also contributed to and collaborated with artists as varied as the Melvins, Clock DVA, Jarboe, John Balance of Coil, Clock DVA, Paul Haslinger (Tangerine Dream), Wes Borland (Limp Bizkit), Puscifer and more, including Grammy Award-winners Tool from their much acclaimed eforts 10,000 Days and Fear Inoculum.

Etta James: The Montreux Years is released as part of a brand new Montreux Jazz Festival and BMG collection series “The Montreux Years”. The collections will uncover legendary performances by the world’s most iconic artists alongside rare and never-before-released recordings from the festival’s rich 55-year history, remastered in superlative audio. Each collection will be accompanied by exclusive liner notes and previously unseen photography.

‘Etta James: The Montreux Years’ is a treasure trove of timeless classics, powerful and electrifying performances and raw, soaring vocals by one of the greatest ever female vocalists. The collection, featuring recordings from James’ Montreux Jazz Festival concerts in 1977, 1978, 1989 1990 and 1993, encapsulates and reflects Etta’s dynamic artistry and long-lasting impact. Spanning performances from across three decades, ‘Etta James: The Montreux Years’ offers deeply personal and intimate snapshots into James’ acclaimed musical journey, highlights and her phenomenal career.

From one of Etta James’ earliest successes, the infectious and endlessly elegant Something’s Got A Hold On Me, a medley that consist of At Last, Trust In Me and Sunday Kind of Love, which is a fusion of highlights from the early 60s, to the raw and emotional I’d Rather Go Blind and soulful horn-driven Tell Mama. The collection closes with Baby What You Want Me To Do, James’ homage to Jimmy Reed and the encore of her 1979 concert.

In 1975, Montreux Jazz Festival captured a significant moment of musical history – Etta James’ very first concert in Europe, performing at the festival’s 9th edition. The CD edition of ‘Etta James: The Montreux Years’ will include this special landmark concert, held at Montreux Casino on 11 July 1975.

Jack Savoretti will mark the launch of his new album campaign next Thursday, May 6th, 8.30am, when first single ‘Who’s Hurting Who’ featuring Nile Rodgers is released. The single is the first taste of the highly anticipated upcoming new album ‘Europiana’, which is released on June 25th. The new album was recorded at the iconic Abbey Road Studios in London with producers including Cam Blackwood (George Ezra, Florence & The Machine) and Mark Ralph (Jess Glynne, Years & Years) Jack has sold over 550,000 albums in the UK alone and amassed over 65 million streams. He has enjoyed 3 consecutive Top 10 Gold albums in the UK, including No.1 ‘Singing To Strangers’. The album launch will coincide with the announcement of a full UK and Europe tour in Spring 2022. The summer of Europiana is on its way… Jack has been teasing the release of new music on his socials, with clips from studio sessions at Abbey Road Studios.

Gaspard Augé hat schon immer brillant reißerische, musikalische Welten geschaffen, in denen man sich
verlieren kann. Am bekanntesten ist er als eine Hälfte von Justice, dem Duo, das Mitte der 2000er Jahre
Rock und Rave vereinte und dessen Dancefloor-Smashes eine ganze Generation definierten. Sein diesjähriges
Solo-Debütalbum „Escapades“ besiegelt seinen Ruf als Meister des Maximalismus, ein elektronischer Autor,
dessen imaginäre Soundtracks ein erfrischender Ruck aus der Realität sind. Seine köstlich massiven Traumlandschaften beschwört Bilder von progressiven, heidnischen Ritualen im Orbit oder Spaghetti-Western auf
einer Raumstation herauf. Seien wir ehrlich, der Zappa-artige Produzent hatte nie vor, eine introspektive
Platte zu schreiben: „Ich war schon immer davon besessen, überlebensgroße Musik zu machen“, sagt er.
„Vor allem, weil es mehr Spaß macht“.
Das letzte Mal hörten wir von Augé, als er und Xavier De Rosnay von Justice einen Grammy 2019 für ihr
Album ”Woman Worldwide” gewannen, ein Überarbeitungspaket ihres Katalogs aus dem letzten Jahrzehnt.
”Das Tolle an den Grammys ist, dass man im Voraus nicht weiß, ob man gewonnen hat oder nicht, also kam
es völlig überraschend”, sagt Augé. Es war eine verdiente Anerkennung für ihre gemeinsame, bahnbrechende
Arbeit. ”Wir haben uns einfach gefreut und dachten: ’Wir müssen etwas richtig gemacht haben’”, sagt
Augé. ”Und wir dachten: ’Okay, jetzt können wir dieses Kapitel abschließen’.”

Ohne Übertreibung kann man SKYEYE aus Slowenien als DAS Heavy-Metal-Wunderkind bezeichnen.
Gegründet im Jahr 2014 von Gitarrist Grega Stalowsky, Bassist Primož Lovšin und Sänger Jan Leščanec
überzeugt die Band durch einzigartiger und kraftvoller Gesang, kombiniert mit rauen und melodischen
Gitarrenriffs, die der Band ihren charakteristischen Heavy-Metal-Sound verleihen. Damit müssen sie sich
vor den großen Vertretern des Genres, wie Iron Maiden, Saxon oder Judas Priest, nicht verstecken. Die
Band hatte ihren ersten Auftritt im Juni 2017 und brachte nur vier Monate später ihre erste EP unter
dem Titel ”Run for Your Life” heraus. Die überwältigend positive Resonanz und der starke Support bei
ihren Auftritten trieb SkyEye zurück ins Studio, um ihr Debütalbum ”Digital God” aufzunehmen, das am
9. November 2018 veröffentlicht wurde.
Durch den Auftritt beim EMFA-Streaming-Festival im Sommer 2020 sorgte die Band erstmals auf internationaler Bühne für Aufsehen und galt für viele Besucher als DIE Entdeckung des Festivals. Daraus
resultierte der erste Plattenvertrag mit Reaper Entertainment und die nun weltweite Veröffentlichung ihres
zweiten Studioalbums ”Soldiers Of Light”. Das Album steckt voller wahrer Heavy Metal Hymnen, nach
denen man sich bereits jahrelang gesehnt hatte

Transmeridian is the first album from Departure Lounge (ex-Bella Union) in 19 years. It features all four original members plus a guest appearance from legendary REM guitarist, Peter Buck, one of many long-standing admirers of a band that embodied a lost age of reflective, experimental pop music coming to the fore at the turn of the Millennium alongside The Beta Band, Tunng, Boards Of Canada and Gorky’s Zygotic Mynci.

The surprise new album, named after the defunct ‘golden age of aviation’ cargo airline for which singer/guitarist Tim Keegan’s dad was chief pilot, is released on Violette Records (formed by Michael Head (Shack, The Pale Fountains) and Matt Lockett ) on digital and vinyl formats on Fri 26 March 2021.
Originally scooped up by Simon Raymonde’s Bella Union label (labelmates with John Grant’s Czars) following the self-funded release of their debut album Out Of Here (1999), Departure Lounge’s sophomore outing, Too Late To Die Young (2002) was equally acclaimed and was honoured as the first ever Album Of The Week on the emergent BBC 6 Music. The band toured extensively in the UK, Europe and the US, including outings with The Go-Betweens, Morcheeba, Paul Heaton and Robyn Hitchcock, peers whose stylistic contrasts reflect the eclectic nature of Departure Lounge themselves.

Calling a halt in late 2002, citing family and geographical reasons (drummer Lindsay lives in Nashville, where their second album Jetlag Dreams (2001) was recorded), the four members remained firm friends and occasional collaborators, before reuniting in late 2019 for shows at The Green Door Store, Brighton and The Lexington, London, ostensibly to support the digital reissues of their first three cult-classic albums. With no plans other than to make some new music, the next day they set off for Middle Farm Studios, Devon.
Tim Keegan (vocals/guitar), Chris Anderson (lead guitars/keyboards/bass), Lindsay Jamieson(drums/keyboards) and Jake Kyle (bass/guitar/drums) channelled their evident joy at being back together into a complete 13-track album, largely conceived and recorded in just one 24-hour session in the company of studio owner and co-producer, Peter Miles. Ranging from soulful Americana to piano and mellotron-fuelled melancholia via pastoral musings on the nature of post-youth and eerie Spaghetti Western-tinged instrumentals, the next leg on the Departure Lounge journey is a multi-mood expression of pure artistic freedom.
The ‘leak’ of instrumental track Al Aire Libre (remixed by Parisian groovemeister Kid Loco) in October 2020 gave little away as to what fans could expect from a new Departure Lounge record, the track going gracefully everywhere and nowhere on a whistled Latino breeze. First single proper, Mercury In Retrograde, covered in the twinkling lights of a music box Casio CZ101 melody, turned the clock back - this was an old live favourite that never got past the studio door. Unfinished business brought to a happy conclusion, the single returned Keegan’s honest and distinctive lyrical voice back to British music at just the time listeners needed it.
It was an emotional thread, rather than one musical style, which gave the first three Departure Lounge albums their coherence. The songs told the story of the band. Transmeridian has the same sense of deeply connected musical energy. The purring, campfire acoustica of Timber and So Long bear no obvious resemblance to the ethereal, end-of-the-evening, piano-led interlude Paging Marco Polo, whilst the quasi-glam stomp of Mr Friendly would normally have no business sharing space with the strange, spacey Gurnard Pines (named after an abandoned holiday camp on the Isle Of Wight). Yet the journey’s ebb and flow, accelerations and pauses make for compelling, grown-up listening. Australia, showcasing the chiming Rickenbacker 12-string of Athens, GA’s finest guitar slinger, leaves no doubt that Departure Lounge’s pop sensibilities also remain solidly intact.
These four friends from different musical backgrounds came together originally with the stated aim of ‘creating music to soothe the troubled soul’. Citing their love of (and placing on record their debt to) influences including Robert Wyatt, Nick Drake, Talk Talk, Lou Reed, Arvo Pärt and Cocteau Twins, the band’s diversity of taste is reflected in the music they create.
Transmeridian is only the second full-length LP released by Violette Records, formed by Michael Head (Shack, The Pale Fountains) and Matt Lockett as a platform for Head’s work and developing into a respected independent label as well as multi-disciplinary event organiser, drawing in outsiders working in music, literature, art and design. The label continues to host live events whenever possible and recently initiated an ELP (halfway between and EP and an LP) vinyl series, putting out acclaimed releases by The Pistachio Kid and Studio Electrophonique.

Orange Vinyl

Soul Jazz Records new ‘Cold Wave’ is a new collection of current electronic artists who have all been shaped by the early European cold wave artists of the late 70s and early 80s. This is the first release of Soul Jazz Records’ new Cold Wave overview and a second volume will be released just four weeks later. These first artists created new electronic musical landscapes as well as pursuing a stubborn D-I-Y aesthetic, often releasing material on cassette and pioneering use of lo-fi technology, primitive drum machines and home-recording
techniques. As part of this continued evolution today many of the artists featured here also self-release their own material, run labels, publish fanzines, or are part of wider musical collectives. Aside from the first electronic, no wave, and post-punk artists cited as influences – Suicide, Patrick Cowley, The Normal, Martin Hannett, Laurie Anderson, Public Image – this new generation of artists also show an exquisitely open source of electronic and disparate influences, everything from Underground Resistance to Purcell, from Scientist to New Beat and more besides. Most of the featured artists are based in Europe and include Krikor, Dissemblance and VQOA from France, De
Ambassade from the Netherlands, Moisture from Sweden, Kreidler from Germany, Celine Gillian and Carcass Identity from Belgium. One exception is FIT Siegel out of Detroit, connecting the electronic pathways of Europe to the Motor City.

Soul Jazz Records new 'Two Synths, A Guitar (and) A Drum Machine' is a new collection of current D-I-Y post-punk bands shaped by the mutant sounds of no wave, punk funk and New York Noise bands from the late 70s and early 80s that collided with the world of underground dance music found at the Paradise Garage, Mudd Club in New York City (ESG, Arthur Russell, Bush Tetras, Talking Heads, Suicide, Liquid Liquid). Other influences cited here include Manchester and Sheffield's industrial post-punk sounds of the 1980s (Joy Division, Cabaret Voltaire, Gang of Four) as well as the 1970s German electronic experimentalism of Cluster, Neu!, Harmonia and Can. Featured artists from around the globe include Los Angeles D-I-Y band Automatic, New Fries from Toronto, artist/music collaborators Toresch from Germany, Susumu Makai from Japan/UK, VexRuffin from the Philippines/California and Madmadmad, Gramme, Tom of England and other UK groups. That all the bands featured here manage to make distinctive contemporary music out of these 80s roots is testament to the wide range of other musics that are seamlessly absorbed into a modern melting pot of sound - hip-hop, the electronic European avant-garde, rave culture, and more.

Those who pay close attention to DJ Harvey’s sets should already be familiar with NuNorthern Soul’s next single, a fully licensed reissue of a sought-after 1980 promotional seven-inch from legendary Spanish Flamenco singer Manuel Mancheño Peña, better known as El Turronero (‘The Nougat’).

Both ‘Las Penas’ and ‘Si Yo Volviera A Nacer’ have long been secret weapons in the sets of dusty-fingered Balearic DJs, with Harvey regularly dropping the tracks during his sessions at Pikes Hotel on the White Isle.

Both tracks first appeared on Pena’s 1980 album New Hondo, a set that updated the then veteran Flamenco artist’s sound for the disco era. Whereas most of his previous albums were more traditional Flamenco affairs, New Hondo combined his throaty, effervescent Flamenco singing style with the driving grooves, swooping orchestration and spacey synthesizer sounds of European disco.

To promote the album, Spanish label DB Belter pressed up a promotional “45” featuring two of the most club-friendly cuts on the album. It’s this release that is being reissued for the very first time by NuNorthern Soul.

A-side ‘Las Penas’ is undoubtedly an off-kilter, late-night disco classic. Built around a flanged, action-packed disco-funk bassline, metronomic beats. soaring and layered female backing vocals, intergalactic synth sounds and stirring strings, the track steps up a level when ‘El Turronero’ takes to the microphone to belt out an infectious, energetic vocal in his trademark Flamenco style. It’s the kind of cut that’s as haunting and intoxicating as it is funky and floor friendly.

Flipside ‘Si You Volviera A Nacer’, another of New Hendo’s most sought-after tracks, is another unique and righteous concoction. Looser, groovier and warmer in tone, it sees another sublime, Flamenco style lead vocal from Pena accompanied by even funkier bass, spiralling ’70s synthesizer sounds, sweaty drums and some seriously exotic instrumental flourishes (think sitar and kalimba). It’s every bit as alluring as the more driving A-side, and equally as playable.

Both tracks may be unusual in comparison to the artist’s other releases, but they expertly capture a moment in time, when disco dominated dancefloors all over the world and inspired even the most traditional and historic of European musical styles. Quite a number of flamenco-disco records were made in Spain during the late ’70s and early ’80s, but very few are quite as magical as these.

‘Several Others’ marks Whispering Sons’ first full-length release
since their 2018 debut ‘Image’, which has notched up over
20,000 sales locally in Belgium as well as tallying up millions of
streams for their dark and unique blend of experimental and
frenetic post-punk.
Similarly, prior to lockdown, their ferocious live shows had also
seen them begin to firmly cement themselves as a must-see
live band, playing alongside the likes of The Murder Capital,
Patti Smith, The Soft Moon and Croatian Amor, as well as
touring across the UK and Europe with Editors in 2019 and
2020.
The new album sees the band distil the ferocious post-punk
aesthetics from which their sound first emerged and pushes
them to the absolute limit. The tracks toy with the delicate
balance between moments of fragility and their capability for
relentless and driving intensity, experimenting at the point in
which no wave, industrial and avant-punk converge.
The anxious and propulsive instrumentation is eerily abstracted,
whilst Fenne Kuppens’ words, sung in a dramatic and utterly
distinctive low register, inject that extra central tension and
darkness.
What the critics said about first single ‘Surface’:
“The first sign that they're fast outstripping the genre-trappings
of their post-punk roots, and an ample showcase for Fenne
Kuppens’ magnetic presence on lead vocals.” - The Quietus
“Bold, dark, and immersive” - CLASH
“A confounding, confusing and continually climaxing song of
dead-ends, narrowing avenues and night-time awareness” - The
Line Of Best Fit

Bertrand Burgalat's new album, RÊVE CAPITAL, will be released on Friday June 11, 2021 by Tricatel.

How many of Burgalat's songs have accompanied difficult afternoons, happy evenings and lonely mornings? The list is long. And it gets longer with this album, each track of which widens the rift between the plates of space and time.
Jean-Pierre Montal

Burgalat makes crackle what we like most in his universe: the reality of things and their discrepancy, the intimate and the universal.
Stéphane Lerouge

First Word Records is extremely proud to welcome back Children of Zeus with their sophomore album, 'Balance'.

Following the release of their debut album 'Travel Light' in 2018 (which featured in numerous 'Album of the Year' lists), Tyler Daley and Konny Kon spent the next two years extensively touring the UK, Europe, Australia and South Africa.

With shows on ice over the last 12 months, Children of Zeus took the time to mature their sound; 'Balance' is 50 minutes of future-classic British soul music encompassing hip hop, neo-soul, gospel and r&b. Konny's laidback flow once again merges with Tyler's unmistakable buttery vocals across a set of bass-heavy backdrops and smoothed-out keys, taking the blueprint from their debut and evolving it into a deeper, more-refined sound.

As with previous material, the album is largely produced by the duo themselves, though we also see the return of Grammy-winner Beat Butcha, whose previous production credits include Jay Z, Beyonce, Nipsey Hussle, & Griselda (one of Butcha's productions graces first single 'No Love Song'). Title track 'Balance' comes from upcoming producer & Soulection regular, cay caleb and also features the only vocal feature on the album, from rising UK soul talents Akemi Fox and Georgie Sweet.

The Children of Zeus journey began with a mutual love of 90s Manchester pirate radio; consuming hip hop and beats, r&b and street soul, lovers rock and dancehall, garage and bass music. Then followed decades of performing, creating and collaborating in different guises. Over the past few years, the hip hop soul duo have garnered props far and wide; from Jazzie B to Jazzy Jeff. They've done performances for the likes of Soulection and BBC, in addition to hosting their monthly NTS Radio show and collaborating with artists like Black Milk and Goldie.

From travelling light, to travelling nowhere, it's been a time where we've all had to reflect on the lives we lead. This album is about equilibrium; walking the thin line of life and striving to keep your footing firm at all times, ever pushing forward. Balancing the rough with the smooth and the work with the play.

The Children of Zeus sound is now fully grown. It's time to bring 'Balance' into the universe. This is unashamedly big people music to be played out of big speakers. The definitive sound of UK street soul in 2021. The story continues..

'Sugar Free' by Afrodisia is often regarded as soul connoisseurs as being one of the finest songs to come out of Europe in the 1980s, which has only ever been available on the Afrodisia album 'Elephant Sunrise.' That is until now when 'Sugar Free' is available on 7" vinyl. On the flip side we're treated to a uptempo fusion jam called 'Malcolm X' which is previously un-issued.

Phonica White is back with a special four track EP from up and coming London-based producer Keisuke titled ‘At Last’.

Hailing from Manchester, Keisuke (aka Christopher Iwatsu) has a long and varied background in music. From an early age he learned and performed orchestral percussion, touring the UK and Europe. Then, while studying in Glasgow he became immersed in the city’s fertile club scene and began to fuse his percussive experience with dancefloor production, slowly honing his craft over the past decade.

For a debut 12”, the record is therefore a refreshingly refined statement of intent. The four tracks range from uplifting rolling rhythms (‘At Last’) to serpentine melodies (‘For Petre’) and bumping introspection (‘Going Nowhere’) to lighthearted complexity (‘Hatsu’). Every piece is carefully considered and executed, primed for the floor and the mind.

Artwork as always is supplied by the talented Pedro Carvalho de Almeida.

Since 1994, when "Eins Zwei Polizei" climbed to the top of the European charts, if you happen to type the keyword "polizei" within Google search engine you will see on top of the ranking Mo-Do's first video.

If we consider that thousands of videos were inspired by this song viewed everyday on Youtube, we understand that almost thirty years later its popularity has not diminished at all.

To the young generations who discover this evergreen today we dedicate the reissue of the Picture Disc of "Was Ist Das?" the only album by this unforgettable artist.

In 2013, Anouk was the Netherlands’ representative in the Eurovision Song Contest. The day before competing in the first semi-final, she released Sad Singalong Songs, her eighth album. The album marked a change in sound for Anouk, containing more introspective, symphonic oriented rock ballads. Lead single “Birds” was the song she performed at Eurovision, ultimately placing
9th in the final; the best result for the Netherlands since 1999. The album showcases Anouk’s versatility as an artist. The album reached the number 1 position in the Dutch album charts and already went platinum on its release day. The album also charted in Belgium and Germany.

Now Sad Singalong Songs is released on coloured vinyl for the first time. It is a limited edition of 1000 individually numbered copies on clear vinyl. It is housed in a sleeve containing a printed innersleeve with song lyrics.

Cardinal Fuzz (Europe) and Feeding Tube Records (N.America) present to you - A vinyl issue of the killer CD comp that SS Records released way back in 2004 with a couple of added treats. Brace yourself for some steller hair singeing full throttle wipe outs across 4 slabs of heavy black vinyl. Comes with a folded A3 double sided insert.

Monoshock was one of THE best bands of the 90s and if they were from Seattle and not Illa Vista & Oakland, California you would already know that. During their six years they released a handful of 7"s, served as a backing band for Von Lmo, and created one of the classic psych albums of all time, Walk to the Fire. In the last few years they received praise from around the globe, raved up by Julian Cope as one of the great unknown bands of the 90s and cited as an influence by current heavy faves, Comets on Fire, as well as a whole slew of Japanese psych bands. Monoshock is fuzz-fuel, wah-wah damaged, riff-crazed punk rock which draws in Hawkwind, the Stooges, Simply Saucer, and other psych-punk gods. This double LP collects all their 7"s and comp tracks together with 7 previously unreleased tunes and two songs from their ultra-rare 1989 demo tape and 2 added digi bonus Live tracks from their reunion shows. Fans will be overjoyed. Virgins will become fans.
The band's stellar Walk to the Fire has been acknowledged as one of the classic psych albums of all time.

Shura announces a deluxe version of her acclaimed 2019 album
‘forevher’, released via Secretly Canadian.
‘forevher: Deluxe Edition’ is released on cassette and features the
eleven original album tracks with nine extras. These include acoustic
versions of five album tracks recorded and produced with Sam Evian
and featuring Hannah Cohen on backing vocals, previous Bandcamp
single ‘magazine launch (demo)’, last year’s collaborative single
‘elevator girl’ featuring Ivy Sole and two unreleased tracks including
‘obsession’.
On ‘obsession’, Shura explains: “‘obsession’ was one of the songs I
wrote whilst I was writing ‘forevher’. I always wanted it to be a duet
between two women but it never came to fruition during the recording
process. Then, when I toured ‘forevher’ in Europe, Rosie Lowe came
with us and we’d always spoken about wanting to collaborate on
something together and I suddenly remembered this song, which I loved
but had somehow never finished. I sent the track across to Ro and when
she sent back her rough take I was like ‘YES. this is it.’”
With ‘forevher’, Shura’s immediately identifiable way with love, touch and
how we talk about it reached even greater creative heights. Having
moved from West London to New York following her adored 2016 debut,
,Nothing’s Real,, it’s all mirrored in a lyrical journey from rejection and
loss to desire, long-distance love and the prospect of how we make
something real actually work.
In 2020, Shura emerged as one of contemporary pop’s accidental
trailblazers. A frank, funny voice in the LGBTQ+ community whose
contribution to the paradigm-shift in the cultural landscape cannot be
underestimated.
Written primarily about Shura’s relationship with her girlfriend and their
long-distance conception, ‘forevher’ traces everything from the initial pull
of desire to that first real life meeting (‘the stage’), before recognising
when the connection develops into something scarily meaningful. It’s a
classic NYC-to-London love story but one told through the totally modern
filter of dating apps, unanswered texts, Skype chats and MUNA gigs.
And whilst how to live - and love - as a queer woman has always been
integral to Shura, it’s remarkable to hear these stories twisted through
such a gorgeous amalgam of influences: Joni Mitchell and Minnie
Riperton, Bon Iver and Frank Ocean, Prince and Ariel Pink. Through
these inspirations, Shura’s own modern, outlier perspective found a
newer, more daring approach to sound and song.

Repress

clear blue + black marbled vinyl

For its seventh release, Rave Or Die proudly welcomes Irish superstar Sunil Sharpe. Hailing from Dublin, this producer and DJ has gain within a few years a solid reputation of merciless techno purveyor in Europe with uncompromising re-leases on structures such like On The Hoof, Sheworks, Black Sun Records, Trensmat, Mord, Inner Surface Music, Komisch, Bastardo Electrico, and many more.

Half of the Tinfoil duo along with DeFekt offers to the French Rave label a great slab of bastard-heavy material in his typical signature: hard and fast Loose (Burn Down)' supported by metallic sorities and ruff modulations over a pounding bass line in a pure, raw style.

On the flipside, ROD mastermind Umwelt (Boidae, Shipwrec, New Flesh Records) serves up another milestone of a cabalistic anthem dedicated to industrial ware-houses: mechanic Slave To The Rave' signs an ode to the dancefloor thanks to its implacable and hammering beat. Harder, faster, higher seems to be the motto of Rave Or Die seventh chapter! Rush on it.

Electroacoustic music composed in 1991 by Michèle Bokanowski for Patrick Bokanowski short film "La Plage" (4parts)

Limited edition of 300 copies. Unconventional 4 different cover artwork (75 copies each) on embossed cardboard (2 colours version : Lavanda and Tabacco), one credit sheet inside. All on high quality recycled paper.

Invisibilia - the new Canti Magnetici serie curated by Andrea Penso - is proud to introduce for the first time on vinyl a composition of Michèle Bokanowski, one of the most poetic composers in the avantgarde european music scene.

Remained unpublished until today, this composition is made as soundtrack for the short film "La Plage" (1992) created by the experimental filmmaker Patrick Bokanowski (husband of Michèle Bokanowski).

"La Plage" is probably the less "concrete" composition made by Michèle Bokanowski. It is pure liquid abstraction in sounds. It is one of those rare compositions really out of time and space. As expressed by Pip Chodorov, editor of 4 DVDs that contain all the films directed by Patrick Bokanowski, we can feel the works created by Michèle Bokanowski and Patrick Bokanowski are a sort of "spiritual search for the overrunning of perception, and thereby oneself. Searches into abstraction in the real, mysterious blanks that recover the daily".

The group Magizter formed in Malmö, Sweden in the early 90s, and mainly consisted of former members of the Hungarian industrial band Das Kapital, of which some managed to flee to Sweden from the communist regime before the fall of the Soviet Union.

Gyula Szilagyi, who was the first to make his escape via train through Berlin in 1987, recalls: “it was a few weeks before mandatory military service would begin, and our passports should have been turned over to the authorities”. Risking deportation and prison, he was granted asylum in Sweden after some months in Stockholm.

Szilagyi and the rest of the band were all part of the underground scene in Budapest, of which some had been under surveillance by the secret police since their teens. It was a tight knit community where anti-communist and illegal literature was distributed, and many bands shared mutual members.

The track “Das Kapital” was produced in Malmö in 1993 by Szilagyi and fellow Magizter member Zoltan Lengyel, in a home studio overlooking the Möllevång Square, were Szilagyi had moved after some years working at the glass factory in Orrefors. He had managed to save a few performances by Das Kapital recorded on cassette, of which one served as sample material for the Magizter track; an homage of sorts to a group involuntarily disbanded.

The cassette sampled here was recorded in 1986 during a live concert at the university-affiliated venue Ráday Klub, where Das Kapital performed alongside the British industrial act Left Hand Right Hand (who had formed from the Sheffield band Zahgurim).

On the eve in question, Szilagyi remarks: “we used a guitar that we had made ourselves to resemble a Kalachnikov rifle. During the concert at Ráday Klub the guitar was destroyed using a drill machine. It made a powerful sound effect”

A remix of the remix is offered by Vienna-based Heap, who with his own productions as well as his work with the Neubau label is building a bridge towards the new era of European industrial music.