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First released in January 2017, this popular soundtrack has been out of stock for several years and is now back by popular demand on a new colour.
Winner of the Grand Jury Prize at the 2016 Venice International Film Festival, Nocturnal Animals, Tom Ford’s haunting romantic thriller has been hailed as “a tour de force” (The Independent). Nocturnal Animals marks the second film from writer/director Ford, and his second collaboration with composer Korzeniowski. Their first collaboration, A Single Man, earned Korzeniowski his first Golden Globe nomination for Best Score. The score was a breakout for the composer, earning him the prestigious Discovery Award at the 2010 Gent Film Festival’s World Soundtrack Awards.
Korzeniowski has described his score to Nocturnal Animals as “embracing two extremes, but switching their traditional genre characterization. The crime plot is scored as an intimate, personal story, while the psychological drama is treated as a thriller. The cold and detached intertwines with poignant and excruciating, the simple and intimate becomes grand and bold."

Taavi Suisalu is an Estonian media artist particularly interested into complex and adventurous sounds, field recordings and harsh audio emergencies, organized under the form of symphony or as a result of performative interactions.

In 2014 Suisalu received the Young Estonian Artist Prize as curator of Project of In-existent Villages, an articulate exhibition full of installations and site-specific sound performances. The use of peripheral spaces and the crossovers, sometimes extremely creative, of human interactions, data, sounds and technologies, are recurring in the works of Suisalu, whose subjective perspective unconventionally investigates different social and cultural phenomena. He is always attracted by the different forms of technologies. It can be an old seismograph he reconstructs to record the underground vibrations of a volcano, or, it can be some 3D models he uses to analyze a grain of soil coming from the ancient Pompei. The results of the researches would lead to the installations. The whole set of data is often the premise of a narration, a datafiction, as in the case of the signals recorded from some abandoned satellites, who are later presented with a speed set by the position of other satellites gravitating above the gallery hosting the event.

“Noisephony of Lawn Mowers" was originally composed in 2013, but it was unreleased until now, when Staalplaat, a fundamental label for its unusual experimental connections and for the sound events performed in unconventional spaces, decided to publish it. It's a score for lawnmowers, whose making is given to a conductor and executed by a group of artists. Suisalu reminds us that historically, lawn has been a symbol of power and wealth as it required substantial upkeep and unused land. Today, it still indicates wealth, but is mainly maintained by the owners themselves. This puts us in a schizophrenic situation where we strive to be privileged by taking the role of the servants.

“Silver Meets Ted” is the other track included in the selection. It's a recording of over ten minutes, whose trend cryptically moves on and with some unsettling minimal tolls, always more metallic. Some deaf beats follow, and then we have a splash of water and some slightly hinted neighs, chirps, different spills of liquid, more intense and measured, clackings and vibrations, some hardly identifiable frequencies and again a series of punctuated metal bells. The work by Taavi Suisalu stands out as a calibrated combination of mathematical coherence and elements of surprise, automatized and causal processes, some small oblique utopias, that work well together by improving highly subjective resources and create some slightly unsettling final results.

Inspired by the original Industrial Records release of William S. Burroughs’s Nothing Here Now but the Recordings, Belgian record label Sub Rosa worked with Burroughs to release another album: Break Through In Grey Room. Originally compiled in 1986 by producer Bill Rich, the album features Burroughs's experimental recordings from 1961 to 1976, featuring field recordings by Burroughs of the Master Musicians of Jajouka, experimental collaborations with mathematician Ian Sommerville and painter/cut-up originator Brion Gysin.
Break Through In Grey Room documents William S. Burroughs during his time in Europe and England, working with Ian Sommerville on recording with the 'cut-up' technique. Sommerville's technical background enabled him to contribute to the early development of sound-and-light shows in London, leading to work with gear provided by Paul McCartney in an apartment owned by Ringo Starr. Experimental in nature, the record is as much an exhibition of studio and composition technique as it is a document of underground culture at that time.



For the 2023 reissue, Dais Records has collaborated with the Estate of William S. Burroughs on reissuing the album on vinyl and compact disc, fully remastered by mastering engineer Josh Bonati.

Inspired by the original Industrial Records release of William S. Burroughs's Nothing Here Now but the Recordings Belgian record label Sub Rosa worked with Burroughs to release another album: Break Through In Grey Room. Originally compiled in 1986 by producer Bill Rich, the album features Burroughs's experimental recordings from 1961 to 1976, featuring field recordings by Burroughs of the Master Musicians of Jajouka, experimental collaborations with mathematician Ian Sommerville and painter/cut-up originator Brion Gysin. Break Through In Grey Room documents William S. Burroughs during his time in Europe and England, working with Ian Sommerville on recording with the 'cut -up' technique. Sommerville's technical background enabled him to contribute to the early development of sound - and - light shows in London, leading to work with gear provided by Paul McCartney in an apartment owned by Ringo Starr. Experimental in nature, the record is as much an exhibition of studio and composition technique as it is a document of underground culture at that time. For the 2023 reissue, Dais Records has collaborated with the Estate of William S. Burroughs on reissuing the album on vinyl and compact disc, fully remastered by mastering engineer Josh Bonati.

Visceral yet inherently soulful, 'Hardly The Same Snake' is the sound of the Johannesburg-born, Doncaster-raised artist Doya Beardmore finally finding his voice – both literally and figuratively. In practical terms, that involved finding the courage to foreground his gravelly baritone in these gloriously genre-agnostic productions. But it also meant branching out beyond his safety net to figure out the artist he truly wanted to be. As Skinny puts it today, “This album is what I would have created the first time round had I rated my own voice.” The idea of forging your own path – and shedding skin, so to speak – is integral to 'Hardly The Same Snake'. Begun pre-pandemic and completed in the spring of 2021, it’s a defiantly outward-looking record contemplating family, religion and major life milestones, from parenthood to death. Where previously Skinny relied on dream diaries as his primary lyrical resource, this time he took notes at design exhibitions, using these unfiltered observations as a jumping off point for songs. If this superb second album proves anything, it’s that it doesn’t matter how much Skinny errs on the side of self-deprecation – he remains one of the UK’s most fearlessly original voices. Skinny Pelembe's second album 'Hardly The Same Snake' is out on April 28th on Partisan Records.

"The Concert" is the first discographic collaboration between percussionist Alexandre Babel and visual artist Latifa Echakhch. The record is intimately linked to the eponymous exhibition presented at the Swiss Pavilion during the 59th Venice Art Bienniale.

For her exhibition in the Swiss Pavilion, Latifa Echakhch created an orchestrated and enveloping experience, a rhythmic and spatial proposal that allowed the visitor a complete perception of time and of his own body. What is the origin of rhythm? How does the body perceive time? How does the mind rearrange it? Can we substitute one perception for another, the visual for the sound? Can fragments of memory go back in time and recreate a different story?

Her proposal entered a dialogue with the building around it, designed by Bruno Giacometti. The artist revisited its architectural programme as well as the prototypical progression of these exhibition spaces, originally defined for the display of classical art. She appropriated the entirety of the spaces, simultaneously exploring continuity, movement and sequence. Their relationship to light, and the different sounds that emerge from them. Yet the exhibition was entirely silent and the musical composition "The Concert" functions as its sound rendering, by following a similar path.

This one-sided vinyl is a complementary and inseparable partner piece to the exhibition and its eponymous catalogue, the latter having been published in April 2022 by Sternberg Press. The music features field recordings made at the Swiss Pavilion itself as well as pre-recorded percussion sounds and significant contributions by the Berlin-based musicians Jon Heilbronn, Rebecca Lenton, Theo Nabicht, Nikolaus Schlierf.

The record, available only after the closing of Latifa Echakhch’s exhibition offers a concluding phase to the project. The resonance of its sensory score. It reactivates the experience of the physical journey of the installation, without imposing itself as a transcription or an illustration. Through texture, temporality and its totality, the record stands as a resonance of the rhythms that have structured the pavilion, the harmonies that have composed it and the sounds that have inhabited it.

Latifa Echakhch Lives and works in Vevey, Switzerland. She graduated from the École nationale supérieure d’arts in Cergy-Pontoise and the École nationale des beaux-arts in Lyon. Galleries representing her include kamel mennour (Paris and London), kaufmann repetto (Milan and New York), Dvir Gallery (Tel Aviv/Brussels) and Pace (New York). She took part in the main exhibition of the Venice Biennale Arte in 2011 and was awarded the prix Marcel-Duchamp in 2013 and the Zurich Art Prize in 2015. Through her interdisciplinary installations, Latifa Echakhch is recognized for the fine balance between forcefulness and fragility of her visual language, inserting surrealist and conceptual elements, and her use of symbols that–in her own words–are both "political and poetic".

Alexandre Babel Lives and works in Berlin. He is a drummer, composer, and curator. His projects redefine the boundaries of musical convention, confounding listener expectations in the conquest of new contexts. Babel has been the artistic director of the contemporary percussion group Eklekto 2013–2022. In 2020, the monographic Festival Les Amplitudes in La Chaux-de-Fonds focused on Babel’s compositional and curatorial work. He is a laureate of the Swiss Music Prize from the Federal Office of Culture 2021.

Multidisciplinary artists Lex Rütten and Jana Kerima Stolzer alias A2iCE & BO3 are the faces behind Paryìa records’ fourth release – further manifesting Paryìa's role as a genre-bending entity while also expanding the artist’s respective portfolio. The debut EP Extracted Soil unites four enthralling tracks with broken beats and evocative percussions as the common denominator, including a remix by Mor Elian. With this release Paryìa brings together sound, art and physical elements, conceptually working around the artist's exhibitions, combining different formats and creating space to break out of conventions and experiment freely.

Akhira Sano was born in 1992 in Niigata, Japan. Focusing on the imperfections and irregularities of form and sound, he creates, observes, records, and extends them secondarily through drawing, graphics, installation, videography, and music composition.
His major works include "Penetrating, For Filtration" (Important Records, 2019), "Particle Dialogue - Observation and Recording" (The Trilogy Tapes, Inc. 2022), and major solo exhibitions include "Perspectives of Possibility" (FAITH, 2021) and "mē on - Seeing the Absent" (TOH, 2022).

From 1985, the beginning of their collaboration in Amsterdam, Peter Bosch and Simone Simons have been involved in performances, concerts and theatre productions. Since 1990, however, they have focused in particular on the development of autonomous music machines.

All these machines are dynamic: Sound and movement are constantly evolving. »Krachtgever« is their best-known piece for its Golden Nica, received at Prix Ars Electronica, Linz, 1998. The other projects on the LP are »Cantan un Huevo«, commissioned by the Ives Ensemble in 2000 and awarded in 2002 at the 29th edition of the International Competition of Electroacoustic Music and Sonic Art, Bourges, France, and one of their first installations, »Was der Wind zum Klingen bringt«, from 1989/90, shown in the Stedelijk Museum, Amsterdam, 1990, as part of the exhibition »Energieën«, and in 1991 at the Multimediale 2, Z.K.M., Karlsruhe. The LP demonstrates that sound produced by the Bosch & Simons music machines can also be listened to as autonomous »music«.

Extra Muros is an annual itinerant artistic residency initiated in 2017. The third edition was co-organised during the winter 2021-2022 by the FLEE art collective in collaboration with the Music Department of the Museum of Ethnography, Geneva (MEG). Five artists participated in this residency including: Prins Emanuel, Nabihah Iqbal, Jaakko Eino Kalevi, Cosmic Neman, and Maria Spivak.The residency was held at the MEG in two phases. The first part of the residency and encounter represented an opportunity for the artists to explore the museum’s archives, collections, and exhibition spaces. The second phase was dedicated to the composition and production of original musical content in an ephemeral studio set up in the auditorium of the Genevan institution.

In this context, the pieces presented in this album were all conceived during this residency. Having never worked together, the five artists and musicians, each with their own distinct musical path, discovered a variety of sound resources at the Museum. These included eleven traditional instruments from the African continent, Asia and Oceania from the MEG collections, as well as synthetisers, audio effects units, amplifiers and several other vintage emblematic analog electronic devices from the collection of the Swiss Museum and Center for Electronic Music Instruments (SMEM) in Fribourg. In addition, recordings of traditional music from the five continents belonging to the museum’s International Archive of Folk Music (IAFM) were also made available to the artists.

In pairs, the residency’s participants were able to combine their respective creative worlds with the museum’s historical instruments as well as sound archives. This compilation is the result of this rich dialogue.

Wil Bolton is a London-based artist whose work uses synthesizers, guitars, acoustic instruments and effects to create warm and emotive melodies, fragmented and submerged among beds of droning ambient textures and environmental sounds.

Wil has released albums on labels including Home Normal, Hidden Vibes, Krysalisound, Audiobulb, Hibernate, Eilean Rec., Dronarivm and Sound In Silence. He has also shown his sound and video works in exhibitions at ICA, Incheon Art Platform, Liverpool Biennial and others, and has performed at venues including Cafe Oto, Tate Liverpool and Iklectik.

‘Like Floating Leaves’ was recorded January - July 2022 in East London, using modular synthesizers, Mellotron, Yamaha PSR-6, Waldorf Micro Q, Modal Argon8, OP-1, iPhone, glockenspiel, chimes, effects and field recordings from Venice, Stockholm, New York and Tokyo.

Run by Gabriele and Paolo, Italy based newborn label Sunny Crypt's first output is a reissue of the sought-after "Random Rooms" album by Danish poets and multidisciplinary artists Niels Lyngsø and Morten Søndergaard. Both attending the Literature university in Copenhagen, they were linked at first by a mutual passion and fascination towards music - or rather "sound" - even before unveiling each other that they were writing poems. Niels and Morten started bringing their solo homemade DIY sound experiments together, giving birth to a wide genre-spanning album that ranges from slow tempo mutant disco to folk inspired synth-pop to sound collages and more musical compositions that is fairly complex to put in a precise musical genre box.
First released in 1992 on the same day as their debut poetry collections, Random Rooms should be a house or a flat or an exhibition space that you could walk through and in each room you would come across something new. A fusion of genre and bits and pieces of culture and play.
A kaleidoscope of past, present, and future.

Berlin based sound artist Sa Pa delivers AI-33, titled ‘Atmospheric Fragments’. Originally intended as a soundtrack to accompany ten short experimental films as part of a physical exhibition in 2020 curated by Manon Bernard, Atmospheric Fragments was alternatively premiered online as a digital showroom - with its music performed and recorded both live and independently in 2021. 

Atmospheric Fragments was conceived as a collaborative audio-visual project, positing the viewer inside a sonic boom of introspective parenthesis and offering a place for internal dialogues under the circumstances of a largely unknown and rapidly changing modern world. 

Sa Pa’s work presents a fresh sonic reinterpretation of urban landscapes, skylines and modern environments, procuring from its source material a whole new kaleidoscopic world of its own. The record consists of two mixes - ‘Studio’ and ‘Live’ - which demonstrate a deep explorational study of our everyday surroundings, plunging the listener into a realm of heightened sense experience and microscopic detail. Where the ‘Studio’ mix embodies the precision and management of the studio workspace and is more ambient in nature, such intricacies are exchanged for a larger, livelier sound stage and alternative sonic material in the ‘Live’ mix. 

A nebulous ocean of shifting spaces and effervescent textures, Sa Pa augments and modulates field recordings into a fluid and ever-evolving narrative. Seen through a viewfinder of deep and immersive observation, new transients, momentary artefacts and poetry in motion begin to reveal itself. In a world caught in momentary stasis, Atmospheric Fragments is a forensic inquiry into our perceptive environment, with its augmented lens placing us on the cusp of the ungraspable.

Ellen Allien and the We Are Not Alone collective are back with a second edition of the We Are Not Alone series. A 36-track compilation split into 3 parts, each consisting of 12 cuts, dedicated to the infamous We Are Not Alone event series and the best of Berlin’s underground techno talent.

Ellen Allien's innovative party series We Are Not Alone was launched in 2016 and remains committed to inviting an exciting crew of artists to perform at the 36 hour events, now in a new home at RSO.BERLIN, where they returned with bang over 36 hours and 3 floors in May.

The We Are Not Alone compilation features artists that have played at the parties, as well as those who will join the line-up for future events. The 4th, 5th and 6th parts include music by Ellen and established names names such as Thomas P. Heckmann, Dollkraut & DJ Europarking, Francois X, Phase Fatale and Etapp Kyle. Rising stars Nene H, Nur Jaber, Stephanie Sykes, Wallis and Métaraph. BPitch signings including Rosa Anschütz, Shaleen, Matasism and Uncrat.
For this installment of the series, Ellen Allien collaborates with esteemed director and photographer Stini Roehrs for the multidisciplinary project ‘’AFTER DARK – Emotional States of Techno’’, consisting of a virtual rave film, book and exhibition produced by AKKURAT Studios, and the We Are Not Alone VA, which is to be released physically and digitally via BPitch.

The next We Are Not Alone parties take place at RSO, Berlin in July, August and October of this year. 22nd July, CSD weekend, is set to be a single night event on two floors. 20th August a We Are Not Alone floor during the RSO Club Festival and then we’ll be back for over 30 hours on 15th & 16th October. Watch this space.

Lisa Decker is back with her new single and two songs of her upcoming album which will appear around May 2023.

After her debut album "Serendipity" in 2021 with Japanese Jazz trio Nautilus from Tokyo and a superb single remix of "Everytime" by Pat Van Dyke featuring rapper John Robinson this will be another step forward in her career and conceptually a bit different.

It gets the "Oonops Drops" FLIP SERIES treatment which means: Side A of Lisas songs are arranged by Nautilus and Side B by producer SaturnVybz (Jazzanova/Slick Walk/The Ruffcats).

To get a first impression please have a listen to this upfront single-release and get one of these limited 45s.

Lisa is careful about the artwork and after working together with renowned artist Lindsey Kustusch from San Francisco on her first album she collaborates with local artist Sebastian Maria Otto now who is known for his signature art style and exhibitions from Germany to Japan.

Stay excited for the really astonishing full release very soon.

Florence Cats is a poet, visual artist, sound composer, performer and acupuncturist. Born in Vilvoorde (Belgium) in 1985, she is currently living and working where Brussels merges with the Sonian forest.

Florence Cats’ working process involves things about to appear or disappear, and echo one another : air, light, wind, tone, print, voice, water, color, dust, junk, rumor… She creates eclectic pieces related to travel, porosity, natural energies and celestial events. Each proposal is in tune to a context, a space, an environment.

Ys is a generous debut. Raw, courageous.

Sunken Cathedral is Florence interpreting Claude Debussy’s La Cathédrale Engloutie (trans. the Sunken Cathedral). The track reminds me of one of those fabled Charles Ives home recordings. Where he records himself on Speak-O-Phone - an old brand of recordable aluminium phonograph discs - while practicing and composing his music. But unlike Charles Ives treating these home recordings as personal sketches, Florence Cats shares her captured moments as compositions for the public.

Similar to the Speak-O-Phone recordings, we now meet the piano as a physical expression - not as an archetype. We are together with Florence in a room. The pedal. The keys. The hiss of the room. Learn, repeat.

Trough Florence’s hands and feet, La Cathédrale Engloutie is brought out of its pupa stage to become a presence. Instead of being grounded in luxurious concert halls or on high end recordings, the piece is now natural. Sunken Cathedral is a template, an affirmation for amateurs.

The piece was originally created for the group exhibition "Here Comes the Wave” at Project(ion) room, Brussels, February 2020.

In Fall Call, we find ourselves at QO2, a sound art initiative in Brussels. This piece was captured during a residency Florence took over the summer of 2022. We listen to the moment when a summer storm just washed the city.

Fall Call is a testament to Florence’s magical - humanistic way of playing her custom-made theremin. By pushing the controls of the instruments so high, her whole body starts to control the instrument - instead of just her hands. So when she walks around in the room, the instrument answers in full color.

And then, a phone-call. Giving it a bit of a Poulenc vibe.

For the last piece, Drop Out, we find ourselves in Florence’s apartment. When Florence opens the windows, the ambience of the surrounding Sonian Forest seeps in. This is an adorable moment. It predicts new beginnings. The smell of wet dirt and dripping leaves in the air. The poetry of rain.

This second-hand record is available through our collaboration with Parisian shop Dizonord, all items are in NM condition. Just add them to your order as you'll add any other releases. Limited quantities!
Dizonord met Jean-Jacques Birgé from Un Drame Musical Instantané and GRRR label before Dizonord was created. Jean-Jacques is still a very active musician working for exhibitions sound designs and always fond of new technologies projects. These LPs are a paradise for samplers and Thurston Moore has always been a huge fan of Birgé who could be found on the famous NWW list !

This second-hand record is available through our collaboration with Parisian shop Dizonord, all items are in NM condition. Just add them to your order as you'll add any other releases. Limited quantities!
Dizonord met Jean-Jacques Birgé from Un Drame Musical Instantané and GRRR label before Dizonord was created. Jean-Jacques is still a very active musician working for exhibitions sound designs and always fond of new technologies projects. These LPs are a paradise for samplers and Thurston Moore has always been a huge fan of Birgé who could be found on the famous NWW list !

This second-hand record is available through our collaboration with Parisian shop Dizonord, all items are in NM condition. Just add them to your order as you'll add any other releases. Limited quantities!
Dizonord met Jean-Jacques Birgé from Un Drame Musical Instantané and GRRR label before Dizonord was created. Jean-Jacques is still a very active musician working for exhibitions sound designs and always fond of new technologies projects. These LPs are a paradise for samplers and Thurston Moore has always been a huge fan of Birgé who could be found on the famous NWW list !

Repress of the 2010 classic “The Jazz Files” by Dexter from the legendary Hi-Hat Club series. Jazz is the subject!

Dexter is taking an new look at the long going love affair between hip-hop and jazz. From Stetsasonic to Gang Starr to Madlib, it is not an easy path to follow, but the 26 year old producer is adding a new and fresh style to it. The sound design of Dexter's "Jazz Files" is dusty but with an unmistakable 2010 twist. As much inspired by Wes Montgomery and Ramsey Lewis as by Sun Ra and Dave Pike, Dexter's tracks are never just "jazzy". They live and breathe jazz by combining the freedom and artisty of jazz with the craft of a free-thinking beatsmith.

And the "Jazz Files" are fun too. By implanting quotes an samples from interviews and tv shows such as the classic NBC program "The Subject Is Jazz", Dexter is telling his own little story of jazz. One that had it's starting point in the massive record collection of his father and grew into shape during a long hot summer blasting nothing but Ahmad Jamal and Sun Ra.

About Dexter: The 26 year old producer, DJ and MC is part of the Wortsport collective from Heilbronn. He has made beats for Morlock Dilemma, Damion Davis, Jaques Shure, Audio 88 & Yassin and Retrogott. He likes Flylo, Madlib and Oh-No as much as libary music, psych rock and Amiga Schlager. Dexter is one of the founding member of the Generation Tapedeck blog and has just started a new project with Suff Daddy.

About the Hi-Hat Club: MPM have teamed up with photographer Robert Winter to take a look behind the beat, into the bedrooms and makeshift studios of today's beat generation. Every Hi-Hat Club volume consits of an LP packaged with Rob's photos and accompanied by more pics on the Hi-Hat Club blog plus additional infos, free beats and drinks. Exhibitions in records stores and galleries are in the making too. Hi-Hat Club parties have been taken place in Cologne and Berlin so far. Watch out for more nights in 2010.

Musically the Hi-Hat Club promotes total artistic freedom. We are not bound to any sound or school. A Hi-Hat Club record can be anything from boom-bap to aqua crunk or whatever is fresh and dope.

Sound: An Exhibition of Sound Sculpture, Instrument Building and Acoustically Tuned Spaces opened at the Los Angeles Institute of Contemporary Art in the summer of 1979 (and was also on view later that year at PS1 in New York). Curated by Bob Wilhiteand Robert Smith, the exhibition surveyed the field of sound art. The forty-four participants were painters pivoted toward performance, conceptual artists attracted to time-based mediums, self-styled creators of environments, and musicians (formally trained and otherwise) fashioning new instruments from household items and consumer electronics. They were more or less object-oriented and, at the same time, more or less music-oriented. What brought them all together, as the exhibition catalog gamely asserted, was sculpting in three-dimensional space.

The Sound exhibit included installations, recordings played in the exhibition space and a series of live performances, demonstrating instruments that otherwise rested inert in the gallery. For a broader sense of the show than a single visit provided, the curators also produced a compilation album featuring short pieces, or excerpts from longer works, by many of the participants. (Artists in the exhibition, but not on the LP include Alvin Lucier and Mike Kelley.) Selections from bright lights of the 20th century avant-garde – such as composers Bill Fontana, Yoshi Wada and Paul DeMarinis; conceptual artists and performance artists Terry Fox, Tom Marioni and Jim Pomeroy; experimental vocalist Joan La Barbara; and Los Angeles Free Music Society members Tom Recchion and John Duncan – feature alongside the sounds of Jim Hobart's tuned jars, Ivor Darreg's fretless banjo, Doug Hollis' aeolian harp and Richard Dunlap's rubber bands.

This first-time reissue is limited to 500 numbered copies. Comes with poster.

”A Cross The Universe” ist ein Dokumentarfilm aus dem Jahr 2008 über das französische ElektronikmusikDuo Justice unter der Regie von Romain Gavras, So Me und Justice selbst. Es ist die erste Veröffentlichung
von diesem auf Vinyl und enthält ein stürmisches Set, das im Concourse Exhibition Center in San Francisco
aufgenommen wurde. Im Verlauf von 18 Tracks, darunter Teile von Soulwax, Franz Ferdinand, Klaxons und
Metallica, enthält es Justice-Klassiker wie ”We Are Your Friends”, ”D.A.N.C.E.” und ”Waters of Nazareth”.
Kurz nach der Veröffentlichung ihres ersten Albums ”†” komponierten Justice 2008 für eine Modenschau
von Dior den Titel ”Planisphere”, ein kultiges und episches Stück, das ganze 18 Minuten lang ist. Nun
ist der Track zum ersten Mal in einer physischen Ausgabe in kompletter Länge, bestehend aus 4 Teilen,
erhältlich.

”A Cross The Universe” ist ein Dokumentarfilm aus dem Jahr 2008 über das französische ElektronikmusikDuo Justice unter der Regie von Romain Gavras, So Me und Justice selbst. Es ist die erste Veröffentlichung von diesem auf Vinyl und enthält ein stürmisches Set, das im Concourse Exhibition Center in San Francisco aufgenommen wurde. Im Verlauf von 18 Tracks, darunter Teile von Soulwax, Franz Ferdinand, Klaxons und Metallica, enthält es Justice-Klassiker wie ”We Are Your Friends”, ”D.A.N.C.E.” und ”Waters of Nazareth”.

Kurz nach der Veröffentlichung ihres ersten Albums ”†” komponierten Justice 2008 für eine Modenschau von Dior den Titel ”Planisphere”, ein kultiges und episches Stück, das ganze 18 Minuten lang ist. Nun ist der Track zum ersten Mal in einer physischen Ausgabe in kompletter Länge, bestehend aus 4 Teilen, erhältlich.

Felix Laband’s The Soft White Hand is the masterwork of an artist who expresses himself through musical and artistic collage acting together to reinterpret his sources and to express significant elements of his own personal story.

Released by Munich-based Compost Records, the 14-track album is Laband’s first full-length offering since the critically acclaimed Deaf Safari in 2015. It is heralded by the single “Derek and Me”, and is being pressed on vinyl for distribution globally.

In The Soft White Hand Laband works with source materials that will be familiar to those who know his previous four records – Thin Shoes in June (2001), 4/4 Down the Stairs (2002), Dark Days Exit (2005) and especially Deaf Safari which reached deep into the South Africa scene and its political culture to inspire its vocal and music sampling. However, the disengagement he felt from his homeland during his latest album’s creation – an abiding sense of untethered-ness to place and space, exquisitely rendered in tracks like “Death of a Migrant” – is perceptible in Laband’s desire to illuminate instead aspects of his own life.

“For this album, my source material became almost autobiographical as opposed to African statements I’ve worked with previously,” says the artist. “I have sampled a lot from documentaries from the 80s crack epidemic in impoverished African American communities and believe my work speaks unapologetically for the lost and marginalised, for those who are the forgotten casualties of the war on drugs. In the past, I have had my issues with substance abuse, and I know first-hand about the nightmares and fears, what it feels like to be isolated and abandoned.”

Few artists have managed to air these intimate aspects of their life so luminously as Laband does in tracks like “5 Seconds Ago”, “They Call Me Shorty” and in the strange and meditative “Dreams of Loneliness”. “I’ve been building this weird, autobiographical story using other people talking. It’s kind of humorous but it is also sad and beautiful,” says Laband.

Yet, as in all of Laband’s recorded output, the delineations between emotions are never starkly drawn and The Soft White Hand is also shot through with beauty. Nature appears in recordings made in his garden in the intimate early morning hours, whether as in the calls of the Hadada Ibis and other birdsong in “Prelude” or of the vertical-tail-cocking bird in “Derek and Me”. The last is a wonderful track with Derek Gripper, the South African experimental classical guitarist of international renown, whose 2020 song “Fanta and Felix” imagines a meeting between Fanta Sacko and Laband.

Laband’s eloquence in reinterpreting classical composers such as Beethoven in “We Know Major Tom’s a Junkie” is another thrilling aspect of the new record. “I’ve been properly exploring classical music on this album,” explains Laband, “taking melodies from classical compositions and reinterpreting them”. A fresh quality comes to his work through this sonic adventuring: the tender manipulation of the mundaneness of the computer’s AI voice to reimagine and reinvent iconic lyrics and melodies in strange and unexpected configurations.

The Soft White Hand is Laband’s most cohesive body of work to date. Yet it remains, in its sheer artistic scope, impossible to describe fully. Darkness abuts the gossamer light. A song that summons the sunrise and all the hope of a new day could also be about the final dipping down of the sun that portends a troubled night ahead. Interludes are invitations to expand outwards or shift inwards. Mistakes and “weird fuckups” in the sound are cherished as convincing statements against what Laband calls the “grossness” of perfect sound in modern music.

For this world-leading electronic artist, the boundaries are unfixed. He is inspired by the German Dada artist, Hannah Höch, who memorably declared: “I wish to blur the firm boundaries which we self-certain people tend to delineate around all we can achieve.” His music consequently reflects a primal artistic impulse that is also visible in Laband’s considerable visual art output as seen recently in several solo exhibitions such as that held in the No End Gallery in Johannesburg in 2019 and in the works he produced during his 2018 Nirox Foundation Artists Residency. “My music is always about collage, as is my art,’’ he affirms. “Everything I do is collage. It is a medium I find very interesting because you are taking history and distorting it and changing its meaning and turning it upside down and back to front.” In her book Recollections of My Non-Existence, Rebecca Solnit calls collage “literally a border art”; it is “an art of what happens when two things confront each other or spill onto each other”.

With The Soft White Hand, Laband is confirming his singular ability to achieve this in both art and music, melting the divisions between the two creative disciplines until they become one. He is also affirming his belief that an album of music should be more than a collection of unrelated tracks, but should unfold a fully integrated, cohesive story as in the song cycles of the great classical composers. In doing so, he claims his position as one of the most significant artists working today.

Artist Statement – Felix Laband – August 2022

When the Khmer Rouge took their captives for processing, they identified their class enemies by looking at their hands. If they were sunburned, rough and calloused, they were those of a peasant, a proletarian to be spared. But if they were soft and white, then they were those of a city-dweller, an intellectual or bourgeois, an adversary to be liquidated.

In calling this album The Soft White Hand, I was reflecting on the Cambodian genocide and how it resonates in contemporary South Africa. The apartheid era is over, and gone with it is white political domination. Yet economic and social privilege is still held in soft white hands. But those who grasp it know just how tenuous is their hold, how it singles them out, and my music reflects their subconscious fears, the stress and guilt of clinging on to what others envy and desire.

The soft white hand of the title suggests to me a further image, one that relates to all of postcolonial Africa. In my mind’s eye, I see the soft, duplicitous handshake of the smooth representatives of the superpowers making deals and promising gifts that benefit only them, and not their African dupes.
Yet, soaring above the wailing of sirens sampled from the first day of the invasion of Ukraine, my music is also about love gained and passion lost. It is about the tender caress of a soft white hand that conducts you into a place of dreams to be enfolded by nocturnal melodies.

Available from Blank Forms for the first time since its original 1980 release on ALM-Uranoia, New Sense of Hearing documents a collaboration between Takehisa Kosugi and Akio Suzuki, two luminaries of Japanese experimental music in the lineage of Fluxus. Blank Forms's high-quality reissue of the sought-after, long out of print LP, is produced by musician-artist Aki Onda and mastered from the original tapes recorded on April 2, 1979, at Tokyo's Aeolian Hall. Described by Suzuki as the "culmination" of their sound,New Sense of Hearing features the two musicians improvising together in that empty Tokyo theater, Kosugi on vocals, violin, and radio transmitter and Suzuki on the Analapos, his namesake glass harmonica, spring cong, and kikkokikiriki, all apparatuses of his own invention. Suzuki and Kosugi first met at the city's Minami Gallery in 1976 on the occasion of "Sound Objects and Sound Tools," an exhibition of Suzuki's homemade instruments. Two years later, at the Festival d'Automne in Paris, Suzuki invited Kosugi to join him for a suite of performances as part of the exhibition "MA: Espace - Temps au Japon," organized by architect Arata Isozaki and composer-writer Toru Takemitsu. Suzuki and Kosugi performed together at the Musée des Arts Décoratifs, Paris, nearly fifty times, honing their approach to mutual improvisation, before traveling with the exhibition to Stockholm and New York_critic Tom Johnson wrote in the Village Voice that he had "seldom seen two performers so completely tuned in on the same types of sounds, the same performance attitude, the same philosophy, the same sense of what music ought to be."For New Sense of Hearing, the duo reunited in Japan and produced an extraordinary dispatch from their collaboration of arioso violin, echoing vocals and bangs, and metallic twangs. As Johnson observed in 1979, Kosugi and Suzuki are "in a very subtle artistic world where there can be no direct relationships. . . . Only coincidence." Takehisa Kosugi (1938-2018) was a composer, artist, and violinist from Tokyo. In 1960, Kosugi founded Group Ongaku, the country's first improvisational performance collective dedicated to Happenings, with Mieko Shiomi and Yasunao Tone. Four years later, Fluxus leader George Maciunas published Events, an eighteen-piece set of his text compositions. Between 1971 and '74, his band the Taj Mahal Travelers produced four live albums. In 1977, the Merce Cunningham Dance Company invited Kosugi to be their resident musician; from 1995 to 2011 he served as the company's musical director. The Whitney Museum of American Art presented "Takehisa Kosugi: Music Expanded," a two-day retrospective of Kosugi's work, in 2015. Akio Suzuki (b. 1941) was born in Pyongyang, North Korea, to Japanese parents. For the artist-musician's first Fluxus-style work Kaidan ni Mono wo Nageru (Throwing Things at the Stairs), 1963, Suzuki tossed a bucket of miscellaneous objects down a flight of stairs in Nagoya Station and listened to the sounds it produced. During the next decade, he would create original instruments including the Suzuki-type glass harmonica and the echo instrument Analapos. In 1976, Tokyo's Minami gallery hosted his first exhibition, "Akio Suzuki's World: Sound Objects and Sound Tools." For his 1988 performance piece Space in the Sun, Suzuki spent twenty-four hours listening to his surroundings on the meridian line which runs through Amino, Kyoto. Suzuki has performed and exhibited at many venues and music festivals, including Documenta 8 (Germany, 1987), the British Museum (2003), Musée Zadkine (France, 2004), Kunstmuseum Bonn (Germany, 2018), and the Museum of Contemporary Art Tokyo (2019).

Blue Vinyl

Throughout his productive career, Carl Oesterhelt has proven to be an artist who finds it easy to move between musical genres and concepts. Much of his work has been within classical and chamber music, but he has also scored museum exhibitions and he is sometimes part of The Notwist crew as an angular figure on the Munich scene.

In Umor Rex we have been lucky enough to publish an array of Oesterhelt's universes. In Eleven Pieces for Synthesizer (Umor Rex 2019) we heard his kosmische side, where the connections with Harmonia or Klaus Schulze were amalgamated with ecclesiastical organ pieces and intense semi-automatic rhythms. A deeply melodic, fresh album. Pure syntax of the modern synthesizer. Further, in The Aporias of Futurism (Umor Rex 2021), in collaboration with Andreas Gerth (Driftmachine, Tied & Tickled Trio), Oesterhelt showed what is perhaps his darkest side —a work full of nuances within concrete music and midnight atmospheres. As deep and cerebral an album as it is surprising and catatonic.

Yet it seems that Carl Oesterhelt has another ace up his sleeve. Now he surprises us with The Dualistic Principle, a fantastic album full of weird but charming electronic melodies, rhythms that push the body to movement, sometimes syncopated and abstract, others permanent and fluid. In this work, Oesterhelt invited Johan Simons to give voice to the lyrics. The Dualistic Principle is a sort of rendition of a philosophical review or a nostalgic memory of the glamorous years. There is also underlying humor in the Post / Space-pop / Munich-disc assortment. The Dualistic Principle is the score to an imaginary film of contemporary hedonism.

All music & lyrics by Carl Oesterhelt. Voice by Johan Simons. Additional strings played by the Ensemble für synkretische Musik. Recorded in Munich & Bochum, Germany. Mastered by John Tejada in Sherman Oaks, USA. Artwork by Daniel Castrejón in Mexico City.

Library Music: Volume One is a sixteen track double LP collecting the North London drone pop band’s 7” singles, one-offs and compilation tracks spanning the first 14 years of the group’s existence. It includes synth pop, indie fuzz and moody motorik workouts, alongside pastoral folk sketches, dubby electronics and the occasional drone experiment. More immediate than their stretched out and slow-burning recent album tracks, the music here is taken from limited vinyl releases, album bonus tracks and music for compilations on labels as diverse as Bezirk Tapes, Second Language, Modern Aviation, and Concrete Tapes as well as the band’s current home, Where It’s At Is Where You Are. The compilation is a happily cohesive document of an inventive band that rarely stand still for long. The band says, “We wanted to gather all our early, scattered work before we move on to our next album, to remind ourselves (and others) of some of the poppier and less characteristic things we’ve done. We’ve always felt a lot more relaxed and freer making one off things for people – it’s a chance to try things that might otherwise be daunting on a full record”. Always a prolific group this is by no means an exhaustive collection, the title giving a clue to how much more they have left to share. “We have been introduced to loads of bands that we love initially through non-album compilations – Broadcast, The Chills, Stereolab, Piano Magic, Flying Saucer Attack amongst others – we wanted to add our own to that (admittedly slightly daunting) lineage.” The Leaf Library are formed around the core group of singer Kate Gibson, former Saloon and Singing Adams guitarist Matt Ashton, guitarist SJ Nelson, drummer Lewis Young and bass player Gareth Jones. They have released three studio albums (Daylight Versions, About Minerals and The World Is A Bell) as well a number of electronic and experimental albums and EPs, remix compilations and long form tracks. They have also released five Monument CDRs; an on-going series of experimental solo and side projects on their Objects Forever imprint. The band have collaborated with musicians as diverse as Alasdair MacLean of The Clientele, singer Ed Dowie, noise group Far Rainbow and string collective Iskra Strings, and have provided music for a number of exhibitions, films and performances. A collaborative album with Japanese artist Teruyuki Kurihara is due in late 2022 on the Mille Plateaux label. Tracklisting: 01 Agnes In The Square 02 Goodbye Four Walls 03 City In Reverse 04 Walking Backwards 05 Soundings 06 Diagram Loop 07 The Greater Good 08 Losing Places (ISAN Remix) 09 A Stone In Water 10 Architect Of The Moon 11 Tired Ghost 12 The Still Point 13 Wave Of Translation 14 Badminton House 15 Tranquility Bass 16 A Gap In The Trees

Promise & Illusion is the first LP from Ecka Mordecai, following the release of her solo Critique + Prosper on Takuroku in 2020. Cello, voice, horsehair harp, violin and field recordings combine to spin narrative melody, rich intimacy and melancholic landscapes. Composed around an exploration of la charnière (from the French ‘hinge’), Promise & Illusion begins with the sound of footsteps and a door opening and closing repeatedly, unsure whether to let us into the mysterious interior beyond. We are reminded of the house of Penny Slinger in An Exorcism, an abandoned mansion of gothic hallways and inky corridors. “woe are we” twists violin and voice together into the sort of tension and high drama heard in “The Executioner” - Henning Christiansen’s soundtracks made for the films of his partner Ursula Reuter Christiansen in the 1970’s. Then things begin to soften, almost despite themselves. Distortion on ‘a unit has no unity’ can’t quite smother a rising tune on warped harp. The cello on ‘indigos’ - its voice pizzicato with a velvety sustain - brings comfort and clarity. Mordecai hums a line, feeling out the edges of a song in an intimate release of tension. We are across the threshold - into a romantic sort of nocturnal gloom that feels somewhat out of place in London’s experimental music scene. Trained on viola da gamba as part of a renaissance youth group in the historic midland town of Stafford, Mordecai went on to study performance art in Brighton, later graduating in sound art in London. She performed with David Toop and Rie Nakajima as part of Allan Kaprow’s Yard at the Hepworth Gallery, as well as performing scores by Yoko Ono and George Brecht solo at White Cube Gallery as part of Christian Marclay’s Liquids exhibition. Later, various moves across the north of England found her working with Andrew Chalk and Tom James Scott (forming the trio CIRCÆA), Miles Whittaker (of Demdike Stare) and performing alongside free improvisers. A myriad of influences have crossed her path, her work slowly taking shape across music concrète, improvisation and performance art. A more recent recording with Valerio Tricoli as ‘Mordecoli’ made during the development of Promise & Illusion found its final form as a cassette - a collage of sustained tones, ominous atmospheres and brief 4th wall dissolving vocal interaction. With both CIRCÆA and Mordecoli, Mordecai deals with landscapes - playing with the imaginary over the real and using improvisation as a useful way to dream. On Promise & Illusion, Mordecai sharpens her focus and pivots toward the interior over the exterior - the landscape becoming a personal, psychological one - both comforting and strange. Tracks 4, 5, 7 & 10 recorded and mixed by Adam Matschulat in December 2020. All others recorded and mixed by Ecka Mordecai. Mastered by Shaun Crook at Lockdown Studios, London. Artwork by Ecka Mordecai. Layout by Zofia Sobota.

Track list: 1 la charnière I 2 woe are we 3 a unit has no unity 4 indigos 5 study of a flame 6 la charnière II 7 promise & illusion 8 hush now you say 9 tempera 10 mistakes & continue

Today, internationally acclaimed interdisciplinary artist Hyd, nee Hayden Dunham, announces her first solo musical project, along with the announcement of her self-titled EP that arrives November 5th via PC Music. More disclosure than debut, Hyd’s four-track offering lets us feel the heat that’s been building underneath, calling us back down to earth. Written on an island formed from underground volcanic eruptions 15 million years ago, the EP is produced by A. G. Cook, Caroline Polachek & umru. The EP follows Hyd’s robust career as a sculptor and conceptual artist. Deeply enmeshed in the art world and music communities, she has dedicated her practice to reinventing systems - systems of communicating, systems of sexuality, systems of interacting with our environments. Her large-scale sculptural practice, where she creates fluid, transformative art installations, has been exhibited in museums and galleries across America, Asia and Europe. Past works include GEL, a vapor that travelled through the air vents of Andrea Rosen Gallery in NYC, and 7 Sisters, a seven-act performance at MoMA PS1 that incorporated dance, music, poetry, video and scents, with additional exhibitions and performances at Fondation Louis Vuitton, Paris, the Irish Museum of Modern Art, Dublin, etc. Apart from appearances on A. G. Cook's recent Apple LP, "No Shadow" marks the first time we've seen Hayden step out musically since Hey QT, the enigmatic and controversial project she created in collaboration with A. G. Cook and SOPHIE. The EP cover and singles’ artworks were photographed by renowned artist, Torbjørn Rødland, whose images are saturated with symbolism, lyricism and eroticism. The graphic design identity is by Bureau Borsche, celebrated for their work with clients including Balenciaga, Supreme and The Face, among others. Creative direction by Hyd and Jordan Richman.

When IANNIS XENAKIS (1922-2001), who had fought against the occupation as part of the communist Resistance, moved to Paris in 1947 it was the start of a highly creative and impressive career. XENAKIS not only studied composition with MESSIAEN and became one of the most innovative composers of the 20thcentury, he also worked as assistant to LE CORBUSIER and realized a.o. the Philips Pavilion for the World Exhibition in Brussels 1958. His compositions often are based on mathematical principles (in 1966 he founded the CEMAMu - Centre d'Etudes de Mathematique et Automatique Musicales), which give his music an unprecedented aesthetic and "shocking otherness" (The Guardian). The most famous works of XENAKIS, who won the Polar Music Prize (considered the unofficial Nobel Prize for music) in 1999, are his compositions for orchestra Metastasis, Pithoprakta and Terretektorh (where the 88 musicians are spread within the audience) and the electroacoustic compositions Persepolis (to be re-released later on as part of the PERIHEL series), Concret PH, Bohor and La Legende d'Eer where XENAKIS integrated his stochastic synthesis sounds for the first time. As legendary as this piece itself is the impenetrable thicket of versions and stories around La Legende d'Eer - it exists in different releases, wrong sample rates, digitized backwards ..., this now is a new version, using the 8-track-version that XENAKIS himself presented at Darmstädter Ferienkurse in august 1978. As the automatic spatialization is lost, this became the only original version of this composition and is presented here (mixed down to stereo by MARTIN WURMNEST who tried to preserve the spatial movements as perceptible as possible - mastered by RASHAD BECKER at D&M) for the very first time. La Legende d'Eer not only became a milestone of electroacoustic music but is also an important reference for noise and industrial musicians up to the present day!

What Are People For? make the perfect kind of dystopic dance music for our times. Born from a collaboration between artist Anna McCarthy and musician/producer Manuela Rzytki, the band could be the illicit lovechild of Tom Tom Club and Throbbing Gristle, displaying the ideal balance of hip shaking vibes and dark provocative content.

On their collaborative debut, McCarthy and Rzytki share songwriting duties. The album was produced by Rzytki herself. They are joined by Paulina Nolte on backing vocals and Tom Wu on drums, while Keith Tenniswood mastered the record.

The whole project stems from a publication and exhibition by McCarthy laying the foundations for the content and lyrics of the album, which is humorous, poetic and political. As a lyricist, McCarthy uses her storytelling ability to explore anxieties and desires, digging into free surreal word associations reminiscent of Su Tissues’ tongue in cheek experiments with Suburban Lawns, but also explosive and gripping like a Kae Tempest rap.
Rzytki’s precise sonic palette and talent at penning structured bangers perfectly complement McCarthy’s playful and subversive language manipulations. Rzytki's beats are rooted in old school Hiphop loop principles and an authentic love for the analog. Her use of an array of synthesizers and other "real" instruments adds to WAPF's depth, soul and sincerity.

The album opens with a joyful anthem, full of energy and melodic hooks. The audience is confronted with the quintessential titular question What Are People For? and told that they are just a mere disposable commodity. Throughout the album, lyrical themes revolve around underground aspects of society, violence, political ideologies, sexuality and mysticism. The content is deep but the album is as danceable as it is biting.

73, with its drum machine hysteria and hypnotic synth basses is a a text collage written on the 73 bus through London, consisting of situations and conversation snippets encountered along the way. Drones indulges in the narrator’s paranoia as they feel they are being watched by cigarette machines, whilst the haunting choir is half spoken, half sung, ending on the orgasmic chanting of the word “mummy”. Nursery Rhyme brings more soothing incantations. There is definitely an affinity for fairytales, albeit adult ones and especially the anarchistic ones such as The Moomins, who were a consistent influence on the band. The artwork for the record, created by McCarthy, is a beautiful children's book-style painting of the group in a forest, seemingly about to engage in a magical encounter to which we are invited.

WAPF? have absorbed and digested a variety of influences. Trip hop, Punk and Techno are rubbing shoulders on Party Time. 1977 was coined “Summer of Hate” in the UK and unsurprisingly in WAPF?’s Summer of War, ethereal singing alternates with a powerful marching Garage/Grime chorus reminiscent of street protests and UK culture.

Mz. Lazy starts like an invitation to meditation and references Gertrude Stein’s book Ida in which she develops the idea that publicity is a new religion and people are now famous for being famous. Repressed anger explodes into violence and freedom at the end of the song as our heroine eventually grabs an axe to destroy her oppressors.
Fantasize, on its part, is raw, sexual and liberating while the closing track Bring Back the Dirt is a welcome hymn into a world that is becoming more and more sanitised.

While exploring deep subject matters throughout their album, WAPF? manage to remain satirical, exciting and funny. Each and everyone of their songs have a cathartic quality.

The visual identity of the band is intrinsic to their appeal. Live, they are eccentric, wild and unapologetic, wearing see-through costumes, bright miniskirts and intricate headpieces while delivering their songs with sharp intensity. Their performances radiate queer sexiness and transcend B52's thrift store aesthetics, creating a space for collective dreaming.

WAPF? is a rare combination of contemporary punk energy, irresistible groove, absurdist dry humour and astounding depth of field. They have the mighty power to create a party with their music and soon you will find yourself lifting your arms as if controlled by an external force, to chant: WAPF? WAPF? WAPF?

– Marie Merlet (Malphino, Little Trouble Girls, London)

Blue Vinyl

Das GRAMMY-nominierte Trio PVA veröffentlicht ihr mit Spannung erwartetes Debütalbum, „BLUSH“ Mitte Oktober auf Ninja Tune. Das Album der Südlondoner Band, das kurz nach ihrer 2020 beim Ninja Tune-Sublabel Big Dada (u.a. Yaya Bey, Young Fathers oder Diplo) veröffentlichten EP, „Toner“, erscheint, verbindet den Pulsschlag elektronischer Musik mit der rohen Energie eines lebensbejahenden Konzerts und offenbart mehr über das Trio, als sie bisher je preisgegeben haben. Die elf mitreißenden Tracks der Gruppe, bestehend aus Ella Harris und Josh Baxter (die sich Leadgesang sowie Synthesizer-, Gitarren- und Produktionsarbeit teilen) sowie Schlagzeuger und Perkussionist Louis Satchell, basieren auf einer Formel aus Acid, Disco, knallenden Synthesizern, der Befreiung des Dancefloors und kathartischem Spoken Word-Post-Punk.

PVA begann, als Harris und Baxter 2018 begannen, gemeinsam etwas zu machen, das sie als „Country-Friend-Techno“ bezeichneten. Ihre erste Show, eine Nacht namens „Narcissistic Exhibitionism“ im The Five Bells Pub in New Cross, fand nur zwei Wochen nach ihrem Kennenlernen statt. Der Abend wurde von Harris kuratiert und bot im Obergeschoss Malerei, Bildhauerei und Fotografie, während im Erdgeschoss Bands auftraten. Sie buchte PVA als Headliner. Einer ihrer ersten Songs, „Divine Intervention“, entstand, als Harris ihrer neuen Bandkollegin ihre Träume diktierte. Auf ihrem Debütalbum nehmen PVA die gleiche Energie aus der Live-Szene mit, während sie gleichzeitig eine ganzheitliche Welt voller Textur und Herz aufbauen. „BLUSH“ ist reich an schwergewichtigen Industrial-Beats, zerklüftetem Punk-Spirit und Momenten stiller Kontemplation durch Harris' poetische Lyrics. Das Album rennt unermüdlich vorwärts und verbindet Einflüsse wie Portishead, PC Music, Laurie Anderson und das kultige Rave-Pop-Duo The Pom-Poms mit Leichtigkeit. „BLUSH“ wurde während der verschiedenen Lockdowns geschrieben, eine Leidenszeit für eine Band, die es eigentlich gewohnt ist, die Grenzen ihres Sounds live auf der Bühne auszuloten. Diese Einschränkungen machten PVA aber nicht zu schaffen. Wenn überhaupt, fühlten sie sich durch die erzwungene Distanz in ihrem Songwriting gestärkt. Harris schrieb Gedichte und lernte, Musik zu produzieren, Baxter arbeitete mit anderen Künstler*innen als Produzent, und Satchell setzte sein Musikstudium an der City University fort und studierte unter anderem alte afrikanische Polyrhythmen.

Christian Naujoks' work has been heard and seen in a wide range of contexts, from nightclubs to concert halls, art venues and the theatre. He released three solo albums on Berlin-based label Dial Records. After his critically-acclaimed album "Wave" (2016), which has been praised as a contemporary masterpiece of ambient romance and "the most exquisitely melancholy thing he's done yet" (Pitchfork), followed by numerous collaborative projects with performance artist Ei Arakawa, filmmaker Loretta Fahrenholz and composer Ari Benjamin Meyers, among others, Christian Naujoks is back with a new record produced during his exhibition "Soft Mouth Data Service" at Galerie Max Mayer in Düsseldorf.

Big AC Records and renowned music photographer, Dean Chalkley, present ‘So Pure’, an astonishing soulful single written and recorded in just 48 hours by six musicians working together for the first time.

The collective, named Phono 48, features neo-soul singer Laville, Kitty and Lewis Durham (of Kitty, Daisy and Lewis), Amané Suganami (Maisha), Solomon Douglas and Nick Corbin, all of whom entered the studio with no preconceived ideas of what they would create.

The result is a beautifully crafted, contemporary-sounding song; Laville’s positive lyrics and smooth, laid-back vocal are soundtracked by an infectious piece of music, with all participants blending seamlessly to create a track at the intersection of soul, funk and jazz.

‘So Pure’ anchors the multi-media ‘New Perspectives’ project devised by Dean Chalkey, who captured the magic of the two days’ studio time in a vast series of documentary style images.

Additionally Chalkley and art director Ciaran O’Shea created a short experimental film with different abstract elements reflecting this brilliant creative journey, inspired by Jean Luc Godard’s ‘Sympathy For The Devil’, where the director shot the Rolling Stones as they made their famous record.

The multi-faceted ‘New Perspectives’ project also includes a one-off journal written by music journalist Andy Thomas. The project will launch on 17th February at The Museum of Youth Culture with a photography exhibition and film screening.

Clear Vinyl + DL Code

Yiannis Iliakis is a multi instrumentalist and composer from Athens. He is mainly known as a drummer. As such he is a member of the free jazz band Outward Bound as well as a member of the successful Greek progressive rock band Ciccada. However, that's only one side of Iliakis' creative efforts. In April 2021, he released his first full length electronic album entitled Vertical Horizon on the Submersion Records, which mostly is an ambient work. Now, with Mountainmouth he opens another chapter for his musical talents.

The EP is one of the most thrilling and adventurous takes on what the IDM term usually would suggest. The key song might be the title track "Mountainmouth" - an extremely energetic composition which won't leave you unaffected. As per most of Iliakis' songs it is based on originally recorded drums that were heavily edited. In the next step, these were combined with chords, melodies, bass and harmonies on top. The musical result is simply breathtaking - one might even call this track electronica for prog-rock heads. Surely a perfect opener for the release.

The next song is Carbonated Soap on which Iliakis is going straight forward. The catchy melody and a fresh uptempo beat are offering something that could even fit well into a club-friendly DJ set. Next up, comes "Infected Walkman". According to Iliakis, it was the first one he made for this project when he participated in an art exhibition. This track, as well as the following "Sad Plants", are both down tempo and chilled, yet keeping an experimental vibe without loosing a soulful and human touch. Coming closer to the end, "Exodus Denied" is a brilliant experimental ambient piece, more similar to the works on the Vertical Horizon LP. Finally, the EP ends with a short edit of "Carbonated Soap" that jumps right to the more energetic parts after the first break.

Mountainmouth may not be an easy listen at start - but we are sure the music has the power to be another classic release from our catalogue. The EP will be released in July 2022 on a very limited 12" vinyl as well as digitally. The cover artwork was done by Iliakis himself. We are very excited to present a new artist to you on Equinox with so many different talents.

Violet Vinyl + DL Code

Yiannis Iliakis is a multi instrumentalist and composer from Athens. He is mainly known as a drummer. As such he is a member of the free jazz band Outward Bound as well as a member of the successful Greek progressive rock band Ciccada. However, that's only one side of Iliakis' creative efforts. In April 2021, he released his first full length electronic album entitled Vertical Horizon on the Submersion Records, which mostly is an ambient work. Now, with Mountainmouth he opens another chapter for his musical talents.

The EP is one of the most thrilling and adventurous takes on what the IDM term usually would suggest. The key song might be the title track "Mountainmouth" - an extremely energetic composition which won't leave you unaffected. As per most of Iliakis' songs it is based on originally recorded drums that were heavily edited. In the next step, these were combined with chords, melodies, bass and harmonies on top. The musical result is simply breathtaking - one might even call this track electronica for prog-rock heads. Surely a perfect opener for the release.

The next song is Carbonated Soap on which Iliakis is going straight forward. The catchy melody and a fresh uptempo beat are offering something that could even fit well into a club-friendly DJ set. Next up, comes "Infected Walkman". According to Iliakis, it was the first one he made for this project when he participated in an art exhibition. This track, as well as the following "Sad Plants", are both down tempo and chilled, yet keeping an experimental vibe without loosing a soulful and human touch. Coming closer to the end, "Exodus Denied" is a brilliant experimental ambient piece, more similar to the works on the Vertical Horizon LP. Finally, the EP ends with a short edit of "Carbonated Soap" that jumps right to the more energetic parts after the first break.

Mountainmouth may not be an easy listen at start - but we are sure the music has the power to be another classic release from our catalogue. The EP will be released in July 2022 on a very limited 12" vinyl as well as digitally. The cover artwork was done by Iliakis himself. We are very excited to present a new artist to you on Equinox with so many different talents.

The hotly tipped rising producer ED1999 is releasing his fifth 12" on his own label Porpax. On "Body Fluid", the Belgium-based artist unleashes four slices of high octane big room techno. "Indigo Blood", the second track, after the EP's bitter-sweet Carl Craig circa "Landcruising" reminiscent ambient opener "Blurry Blue Eyes", primes you for "Body Fluid"'s overall energy level. Balls-to-the wall techno with more than a hint of ED1999's love for Detroit techno. How deep this influences run in ED1999 is nowhere more audible than in "Abyssal Terror" with its jubilant chords and arpeggios. Another fast-paced whirlwind of a track is "Deep Sea Hunter", which has a loopy vibe to it, that is trance-inducing in the best possible way. The bleepy "Azura Sequence" rounds the EP off with another perfectly balanced execution of tracky forward drive and deepness. Visually, the collaboration with Berlin-based graphic artist Oliver Sperl continues. The cover of "Body Fluid" is one of Sperl's artworks that the Porpax team purchased at an exhibition in Berlin a while back.

(Cargo Collective Title) RIYL: Silver Mt Zion, Rachel’s, Grails & Do Make Say Think. 180g LP, custom window-cut letterpress jacket with artworked 300gsm inner + DL. Esmerine presents Everything Was Forever Until It Was No More, its first album in five years, following a celebrated run of Juno Award winning and nominated records throughout the preceding decade. Founded by ex-Godspeed You! Black Emperor percussionist Bruce Cawdron and cellist Rebecca Foon (Saltland, Silver Mt Zion, Set Fire To Flames), the acclaimed instrumental music ensemble and has long embroidered emotive chamber works using threads of post-classical, post-rock, Minimalism, neo-Baroque, jazz, pop and a wide array of folk traditions. Esmerine conjures a distinctive and immediately identifiable sound that consistently defies the trappings of “fusion”, forging emotive cinematic soundtracks under the overriding sonic sensibilities of postpunk grit, Wall-of-Sound, drone and dark ambient. Recorded by longtime co-producer Jace Lasek (The Besnard Lakes), the new album manifestly carries on in this fine tradition. Everything Was Forever Until It Was No More completes Esmerine’s “Anthropocene” triptych: a series of album-length meditations that began in 2015. The album title itself has minor meme status in eco-artistic circles, appropriated from its original context Alex Yurchak’s 2005 book about the collapse of Soviet Russia by several exhibitions and works interrogating artistic production in the age of environmental crisis. (Foon is also well-known for her climate activism as co-founder of Pathway To Paris.) The album grapples with existential tensions between atmosphere and airlessness, seclusion and claustrophobia, forbearance and satiation, scarcity and abundance; it is one of Esmerine’s most restrained and wistful works. Instrumental densities ebb and flow, melding into each other with gauzy timbral warmth, sometimes tracing fleeting tendrils outwards, but always rotating around the saturnine gravitational force of a darkly glowing sonic center. Everything Was Forever Until It Was No More is like a somber forest lit by a closely-orbiting opalescent planet; it could be the alternate score to Von Trier’s Melancholia or Cormac McCarthy’s The Road.Esmerine planted these compositional seeds before pandemic rooted everyone in place, under the auspices of a grant from the Canada Council for the Arts and a 2019 residency at Le Château de Monthelon in France. Lasek then began documenting the band between lockdowns in various stripped-down configurations with spartan remote equipment at the rural Québec homesteads of Cawdron and Foon, culminating in final sessions at Foon’s converted barn in summer/fall 2021, notably with extensive use of the barn’s resonant acoustic piano. Brian Sanderson appears on his fourth Esmerine album since joining in 2012, continuing to expand the ensemble’s ethnomusicological sensibility and melodic sound palette with guitars, ngoni, ekonting, hulusi, and brass horns of all sorts. Everything Was Forever… also signals the full integration of bassist Philippe Charbonneau, who joined Esmerine as a touring member pre-pandemic and plays throughout the new album, along with sound design contributions via synth, tape echo and other processing. Everything Was Forever Until It Was No More features the pandemic collage artwork of Maciek Sczcerbowksi, in a second Esmerine album art collaboration following their Juno award for Album Package of the Year for Lost Voices in 2015.

Having kicked off in Galway and then quickly on to Brisbane, we travel across the pond to Durham, to pick the brains of one dance music’s freshest minds and most exciting talents, Tommy 2000, for the all-encompassing GTOWN 003 - ‘2K Musik’.

5 tracks that will travel the length and breadth of your brain; from the epic opener and lead single, ‘Whales’, to the algebraic break sequences of ‘T-2000’, Tommy’s follow up to his debut EP on DJ Haus’ Dance Trax is about as mature a sound you could expect from any artist, let alone an 18 year old just dipping his toes in the water.

‘Whales’ leads the way as an almost orchestral breakbeat builder-style track that reaches its peak gradually and really takes us for a ride as we step into the world of 2K Musik. Following on from that, is the most classically-conventional track of the lot, ‘Baff’. The four to the floor backbone lulls the listener to be sucked into what is an entirely unique club track they’ve never even come close to hearing before. That is then spun on its head entirely when Tommy’s almost bookmark sound comes into play on the title track, ‘2K Musik’. Hammering us with breaks and unapologetic bass, this marriage of old school sounds with entirely dynamic arrangement and all around ingenuity tells us exactly what 2K Musik is all about.

We swap over to the B side then, without much of a break for air, and kick off with the ever-nautically themed ‘Tuna’. At this point, it’s more than evident that Tommy 2000 is entirely worthy of his placement as an artist that’s here to stay, as if he’s pulled us underwater to listen to what the sea creatures have to say to us. Totally transforming even more modern sounding breakbeat drum patterns and bending them to his will, GTOWN003 is almost like a portal into the mind of a music genius, not just an EP you sit down and listen to; this is an immersive exhibition into the world of Tommy 2000. The final stop on the line is ‘T-2000’. You want to stop and get off, but you can’t. Everytime you think you’ve got this track figured out, you haven’t. Snares coming crashing down and attacking the breaks just as you’ve began to comprehend the synthlines and pads that eb and flow off of each other as this crescendo takes us home and back to reality, as the needle lifts on what is only the beginning for one of dance music’s brightest stars on one of its realest labels.

GTOWN003 - 2K MusiK by Tommy 2000 lands on G TOWN RECORDS on June 24th. Are you Ready?

12" LP (300) 'Nostalgia Por Mesozoica' is an exploration of "experimental exotica" consisted of synthesized tropical attributes — an artificial landscape isolated behind the glass frame.Reminiscent of recording techniques and sonorities ubiquitous in the 60’s and 70’s, it could conceivably have been intended as a soundtrack for the Mesozoic Era exhibition at your favorite Natural History museum.

Pan Daijing's exhibition-performance Tissues premiered in the Tanks at the Tate Modern in autumn 2019. A five-act immersion in performance, sound, movement, space, and most of all emotion in its most distilled and conflicted states, Tissues engaged with the conventions of opera and tragedy to present a searing representation of the embattled human psyche in space and time. While the ambitious multi-sensory artwork made use of the range of Daijing's artistic capabilities, music, particularly the voice, was at its formal and emotional core. The vinyl and digital release of Tissues on PAN serves as a record of that work, in the form of an hour-long audio excerpt: an invaluable archival document from Daijing's expansive live practice. Tissues is both a solitary work and a formal study in relation. Composed, directed, designed, written, and performed by Daijing (alongside a cast of twelve dancers and opera singers), the work_its libretto written in a mixture of old and modern Chinese_lingers inside a single human perspective. Daijing conjures states that are by turns delicate and severe, the tension between opposing modes animating the work as it unfolds. And yet, for all its interiority, Tissues foregrounds an intimate relationship with its audience through details like its engulfing visual landscape and its rattling, confrontational narrative arcs. Daijing uses the opera form as a prism through which to question the boundaries of music itself: perhaps, she proposes, music is much more than simply what is heard. It is in the relationship between voice and electronics that this limit is most clearly breached. Across the four acts gathered in this documentation, a counter-tenor, a soprano, a mezzo-soprano, and the artist herself voice a mixture of stunning laments and cries over an instrumental landscape, built out from industrial texture. Meant to be heard in a single listen, rather than track by track, the work unfolds through tender hollows and agitated peaks. At its crescendo, the operatic vocals melt away and the synthesizers themselves seem to howl with grief. Daijing uncovers an essential, sometimes painful, music in all that surrounds us, inviting something like catharsis but also a greater understanding of the thing she and her cast conjure and draw close. A tissue, after all, is both a disposable object one uses to wipe away a tear, and the building block of our fleshy human forms. Daijing reaches and excavates the roiling core of what it is to be alive and full of feeling. Music from Tissues, an opera of five acts at Tate Modern, London on Oct 2nd, 4th and 5th, 2019 Composed, written, produced and directed by Pan Daijing. Performed by Anna Davidson, soprano ; Marie Gailey, mezzo soprano, Steve Katona, countertenor and Pan Daijing, additional vocals. The recording is mixed by James Ginzburg , Jan Urbiks and Pan Daijing, mastered by Rashad Becker. *2xLP comes in a gatefold cover, and includes an obi strip and a booklet containing images from the performance & liner notes, as well as a postcard granting access to exclusive video documentation*

2022 Repress

Apichatpong Weerasethakul is recognised as one of the most original voices in contemporary cinema today. His seven feature films, short films and installations have won him widespread international recognition and numerous awards, including the Cannes Palme d'Or in 2010 with Uncle Boonmee Who Can Recall His Past Lives.

This compilation album 'Metaphors' contains 14 soundworks carefully selected from his past cinema and other visual works since 2003, which includes Uncle Boonmee Who Can Recall His Past Lives, Syndromes and a Century, Fever Room and more.

Apichatpong has regularly worked with the same sound designers since 2003 and has always given importance to the personality of on-location sounds giving his films a sense of continuity. In post-production, he's fascinated by the manipulation of these 'live' sounds in order to express 'reality'. This reality doesn't necessary represent the actual sound of the places, but more a representation of the world in layered memories. Similar to the way he treats images, Apichatpong sometimes calls attention to the physicality and the fragility of the audio (and its apparatus) and to the process of audio manipulation itself. In his cinema, Apichatpong prefers natural sound sources over music. Nevertheless, he often boldly incorporates popular songs that were persistent during the shooting. He doesn't shy away from using tunes that relate to his own personal memories. In this sense, Apichatpong values the spirit of authenticity much more than rigid manipulation of audio and weaves a complex and dreamlike soundscape in his cinematic repertoire.

Born in Bangkok, Apichatpong grew up in Khon Kaen in north-eastern Thailand. He began making films and video shorts in 1994 and completed his first feature in 2000. He has also mounted exhibitions and installations in many countries since 1998 and is now recognised as a major international visual artist. His art prizes include the Sharjah Biennial Prize (2013) and the prestigious Prince Claus Award (2016), the Netherlands. Lyrical and often fascinatingly mysterious, his film works are non-linear, dealing with memory and in subtle ways invoking personal politics and social issues.

AOW is a new collaborative project from Dan Ghenacia and Tolga Fidan emerging from a new period of creativity and inspiration for the Lisbon-based artists.

Long time friends and fellow lynchpins of the European house and techno scene, Ghenacia and Fidan started working closely together through 2020 and 2021 while sharing studio space at Boa Lab. They found themselves at the heart of an artistic community of musicians, designers and engineers, which took shape around Ghenacia’s experiments with alpha wave generation, inspired by Bryon Gysin’s Dream Machine.

Ghenacia and engineer Anine Kirsten developed a modern update on Gysin’s 1950s design, which has been installed at exhibitions in London, Lisbon and Paris. At its heart, the project explores the natural hallucinatory effects of alpha wave projections on the eyelids, and the therapeutic benefits of the experience. Out of this spirit of psychedelically-charged experimentation, Ghenacia and Fidan have been working beyond the confines of their typical club-oriented material, creating ambient soundtracks to artist exhibitions in Boa and auditory backdrops to Alpha Wave Experience installations.

AOW bridges the gap between this new period of creativity and Ghenacia and Fidan’s life-long passion for electronic dance music. Compared to the strictures of house and techno they’re best known for, the three tracks on Hear the Light explore a more open, inquisitive sound with roots in UK electronica and West Coast psychedelic breaks (a seminal scene when Ghenacia was in the Bay Area in the 90s). Crucially though, it’s not a pointedly retro sound, but rather a result of rich streams of inspiration meeting and passing through crisp, modernist production techniques to offer something
genuinely fresh on the ears.

Working outside of their comfort zones and guided by creative philosophies springing from research, shared experience and community, Hear the Light marks a new step forward for Ghenacia and Fidan, with many more developments promised for the future.

Thomas Leer and Robert Rental’s ‘The Bridge’ is re-issued on vinyl for the first time since its original release in 1979, and on CD for the first time since 1992. With Robert unfortunately passing away in 2000, this record, Leer and Rental’s one and only album together, stands alone in capturing the duo’s pioneering capabilities.

 ‘The Bridge’ was originally released on Throbbing Gristle’s Industrial Records label in 1979 and is considered to be an early electronic avant-garde synth-pop masterpiece, seeing the likes of John Foxx, Propaganda, Art of Noise and ABC citing the pair as key influences.

 The release of this album aligns with the longawaited London debut of the exhibition ‘From The Port To The Bridge’ which will be held at The Horse Hospital in central London from 21st January until 10th February 2022. The exhibition, which was previously shown in Greenock in 2018, shares the story behind Thomas Leer and Robert Rental and the making of the album.

White vinyl LP includes sleeve notes and high definition audio download code.

When it comes to floor-filling tracks that balances smart drum programming with pure melodic bliss, you can always rely on John Beltran to deliver. The five track EP contains masterful ambient pieces with a Detroit/Chicago analog house vibe brining a warm and psychedelic feel. He joins the label’s third release with a brilliant chill-out EP entitled ‘The Peninsula’, united by another Detroit legend Luke Hess, bringing his traditional 303 upbeat sound remixing ‘Begin Again’. Visual artist Alona Rodeh also joins the release showcasing her stunning High-Vis (Future, Black) which featured in her first solo exhibition at the Christine König Galerie in Vienna last year.

A survey of the modern jazz & hard-bop scenes that emerged in the new cultural melting pot of post war London, with recordings from the end of the 1940s through to the early 1960s.

Featuring representations from players whose roots lay in the East-End's jewish community, such as Ronnie Scott, Vic Ash & Harry Klein, alongside a wealth of talent of Caribbean and African descent playing and recording in post war London during this period, incl. Dizzy Reece, Wilton Gaynair, Joe Harriott, Shake Keane & Ginger Johnson.

Made in partnership with the Barbican to coincide with the exhibition Postwar Modern: New Art in Britain 1945-1965.

Kinshasa, Democratic Republic of Congo - a group of street children gathered around the artist Lova Lova to form the Atelier Kamikazi and record the album "Mokili na poche" in cooperation with Oyo Projects. They are "shégués", sons of soldiers, orphans or accused of being "child sorcerers". They talk in a funny and provocative tone about the difficulties encountered in their daily lives, about rivalry, politics, sexuality, and survival. These kids know they are fucked - and they fuck back.

About Seismographic Records:

Seismographic Records is a label for global hybrid music, run by Martin Georgi (Quiet Elegance Records). «Seismo» deals with connections of local and international sounds, of cultures and epochs far apart. It wants to break through the boundaries of Western music history and focus on the unheard. On currents that have so far been excluded from algorithms and streaming services due to their lack of market relevance. This is about the localization of new trend-setting centers in the Global South. In this way «Seismo» wants to make visible the potential of a decolonized music development. Music takes on the function of a seismograph. It is a sensitive instrument to register social transformations.

The focus of the label is on the production of vinyls and their distribution on the global market. The pressing makes the projects materially tangible. The productions are preceded by a close collaboration with artists, researchers, designers, and journalists in order to explore the cultural and historical contexts of musical trends and to make them audiovisually accessible. Texts, graphics, and videos are used to illustrate the background and contextualize the music. Seismographic Records also collaborates with cultural institutions in order to provide a platform for the projects in the form of exhibitions, concerts, radio broadcasts and to anchor them in cultural discourse.

Marta Sanchez's creative voice is strikingly original - circling rhythms,
elaborate forms and criss-crossing counterpoint distinguishes her sonic signature on the crowded New York contemporary music scene

Following three critically acclaimed quintet releases, the Madrid- born pianistcomposer presents 'SAAM (Spanish American Art Museum)' on Whirlwind Recordings, an album driven by emotional candour and boundary- pushing compositions. A talented cast realises her knotty, technical writing - frontline partners Alex Lore and Roman Filiu meet Sanchez, Rashaan Carter and Allan Mednard on backline duties.'SAAM' riffs on the Smithsonian American Art Museum, on an album that's an exhibition of Sanchez's life in musical form: "It's made up of all the elements of society from both countries Spain and America that impact my life and make me who I am." Matters internal and external are realised in musical expositions of complex feelings. The pieces took shape in lockdown, as Sanchez exchanged fortnightly composition tasks with a pen- pal.

"Those compositions express all the phases I was going through at that time. I was reflecting super deeply on what's important, and how we might give some sense to life."

"Long hailed as the audiophile's label, Mercury Living Presence represents an important milestone in the history of classical recording. Since they were first released, Mercury Living Presence LP records have been collected and coveted and 70 years after the label’s first release — Mussorgsky’s Pictures at an Exhibition, with Rafael Kubelík conducting the Chicago Symphony Orchestra — Mercury continues to be admired for the quality of its artistry and recordings: all celebrated for their sheer vividness of sound. This audiophile series sources the original first-generation master tapes. New HD transfers were made at Abbey Road Studios. Master files, including new 3-to-2 mixes for stereo titles, were produced by Thomas Fine, son of the original producer and recording engineer for the majority of Mercury Living Presence titles.
Long considered a benchmark performance and recording, the Mercury Living Presence technique perfectly suits the rich, complex musical textures of Saint-Saens' masterwork. Recorded in Ford Auditorium, Detroit, October 12, 1957, with a Schoeps M201 microphone in the center and Neumann KM-56's on the left and right sides."

"Long hailed as the audiophile's label, Mercury Living Presence represents an important milestone in the history of classical recording. Since they were first released, Mercury Living Presence LP records have been collected and coveted and 70 years after the label’s first release — Mussorgsky’s Pictures at an Exhibition, with Rafael Kubelík conducting the Chicago Symphony Orchestra — Mercury continues to be admired for the quality of its artistry and recordings: all celebrated for their sheer vividness of sound. This audiophile series sources the original first-generation master tapes. New HD transfers were made at Abbey Road Studios. Master files, including new 3-to-2 mixes for stereo titles, were produced by Thomas Fine, son of the original producer and recording engineer for the majority of Mercury Living Presence titles.
An early favorite with audiophiles, this delightful and passionate album of Spanish and Latin American themed compositions will test the best modern-day playback systems. Recorded in the Eastman Theater, Rochester NY, March 25, 1957 with a Schoeps M201 microphone in the center and Neumann KM-56's on the left and right sides."

"Long hailed as the audiophile's label, Mercury Living Presence represents an important milestone in the history of classical recording. Since they were first released, Mercury Living Presence LP records have been collected and coveted and 70 years after the label’s first release — Mussorgsky’s Pictures at an Exhibition, with Rafael Kubelík conducting the Chicago Symphony Orchestra — Mercury continues to be admired for the quality of its artistry and recordings: all celebrated for their sheer vividness of sound. This audiophile series sources the original first-generation master tapes. New HD transfers were made at Abbey Road Studios. Master files, including new 3-to-2 mixes for stereo titles, were produced by Thomas Fine, son of the original producer and recording engineer for the majority of Mercury Living Presence titles.
Mid-century Modern music, rich in dynamics and orchestral textures. The Wayne Peterson piece was commissioned and received its performance and recording debut by Dorati's Minneapolis band. Bloch recorded April 17, 1960; Peterson recorded April 21, 1959. Both recordings were made in Northrop Auditorium, Minneapolis MN, using three Schoeps M201 microphones."

"Long hailed as the audiophile's label, Mercury Living Presence represents an important milestone in the history of classical recording. Since they were first released, Mercury Living Presence LP records have been collected and coveted and 70 years after the label’s first release — Mussorgsky’s Pictures at an Exhibition, with Rafael Kubelík conducting the Chicago Symphony Orchestra — Mercury continues to be admired for the quality of its artistry and recordings: all celebrated for their sheer vividness of sound. This audiophile series sources the original first-generation master tapes. New HD transfers were made at Abbey Road Studios. Master files, including new 3-to-2 mixes for stereo titles, were produced by Thomas Fine, son of the original producer and recording engineer for the majority of Mercury Living Presence titles.
Originally released in 1964, this first LP of Starker's legendary Bach Suites recordings for Mercury met immediate acclaim and encouraged Starker and the recording team to wax the other four Suites. All six Suites were released together in a 1966 box set. Recorded April 15 and 17, 1963, in Fine Recording Ballroom Studio A, New York City, using three Schoeps M201 microphones.."

Les Disques du Crepuscule presents a new double vinyl remaster of two seminal albums by German synth wave pioneers Gina X Performance, whose groundbreaking singles Nice Mover, No G.D.M. and Kaddish remain enduring electroclash staples after four decades of club supremacy.

Remastered for vinyl in 2021 by Zeus B. Held and Lars Lafeyette Fassbender, the double album set is housed in a gatefold sleeve with new artwork and pressed on clear and green vinyl + digital copy. This pressing is limited to 1000 copies only worldwide. The inner sleeve features a brand new interview with Zeus.


Formed in Cologne in 1978, the core of Gina X Performance composed vocalist Gina Kikoine and producer/keyboard/vocoder wizard Zeus B. Held. ‘I had in mind science fiction-inspired tracks,’ explains Zeus.‘Really cold sounding music, with no blues-ey chords or melodies, no guitar and nothing rocky.’

Originally issued on German imprint Crystal 1979, icy, noirish debut album Nice Mover spawned two radical Eurodisco hits, with gender-bending single No G.D.M. becoming a firm favourite at the legendary Blitz Club in London’s Soho. At the same time Zeus B. Held also became an in-demandproducer, working with John Foxx, Fashion, Rockets and Dead or Alive.

The third GXP long player, Voyeur, from 1981, followed a brief spell on EMI and saw the duo return to their experimental, avant-gardist roots, the material by turns seductive, provocative and confrontational. Since then countless electronic artists have acknowledged or betrayed the influence of Gina X Performance, including Depeche Mode, Propaganda, Ladytron and Peaches.
Critical praise for Gina X Performance: “Pioneering electro-pop from 1979 with hints of Kraftwerk, Nico and Studio 54-era Grace Jones” (Mojo); “Like an artier Moroder” (Uncut); “No G.D.M. is one of the most influential songs to come out of the Continent” (Q); “Disco for the intellect” (NME)

clear silver vinyl

Releasing as Gianluca Caiati for the first time, the K S R owner is back on the imprint with a pure and classy break-beat techno EP including the remixes of Mike Parker and Substance.

Ghédalia Tazartès left us in February 2021 when we had just finalized the editing and the cover art of his new album with him. Unfortunately he will never see the finished object. This record is therefore particularly important for us. He opened his archives to us so that we could select unpublished pieces with him and organize them in two long suites (indexes have been made on the CD for a more convenient listening) . This work took almost two years (finding the pieces among dozens of sometimes very old CD-Rs, checking that these pieces had not already been published, processing the sound to obtain an aesthetic unity and a coherent order, etc). This record is therefore a melting pot of unreleased tracks which cover a large part of his career. You can hear a few guests perform on some of the tracks (mostly vocals parts). As for the lyrics, apart from Ghédalia's own personal poetry, he wrote music for two texts by different poets, that he performs himself in a more or less comical way or on the contrary very intense (the final on a text by Antonin Artaud)!

During an art exhibition in 2018, Ghédalia really loved a series of photographs by Isabelle Magnon and immediately asked to use them for the cover of a future album. It is therefore these three photos (two for the LP version) which illustrate Ghédalia Tazartès' final album.

Multi-instrumentalist UMUT ÇAĞLAR (KONSTRUKT, KARKHANA), former BABA ZULA-drummer FAHRETTIN AYKUT and the Finnish saxophone player / shakuhachi specialist JONE TAKAMAKI join forces in a stunning improvised live set that blends Free Jazz with East-Asian ZEN-sounds.

The idea for "Myth Of The Drum. Urban Transformation" dates from an art exhibition in Istanbul 2017 where FAHRETTIN AYKUT exhibited an installation called "Urvban Transformation" that combined painting and music, dealing with the relation of humankind and earth which is symbolized through a tree put upside-down.. AYKUT, former drummer in the Turkish group BABA ZULA and these days a well-known architect in Turkey, asked his longtime friend UMUT CAGLAR, multi-instrumentalist in KONSTRUKT and KARKHANA, to join for an actual performance … CAGLAR on his side was in touch with JONE TAKAMAKI who has been a central figure of the Finnish Free Jazz / Avantgarde scene since the 1970s. His album "Universal Mind" (1982) is a sought-after collector's item of European Spiritual Jazz, he was a member of the group ROOMMUSHKLAHN (with RAOUL BJÖRKENHEIM a.o.) and in 1991 he joined the ECM signed Finnish jazz/rock/improv collective KRAKATAU, founded and run by RAOUL BJÖRKENHEIM, and last but not least TAKAMAKI received the first ever Pekka Pöyry Award. Besides being deeply rooted in jazz, he is also a specialist in Japanese shakuhachi and hocchiku flute playing which makes this adhoc-trio so extraordinary: repetitive drumming, shamanistic throat sounds and plenty of string and reed instruments, a constant ebb and flow of sounds and energy … neither pure jazz nor world music but a blend of both, forming a fascinating third! Meditative in its continuously pulsating rhythm, cathartic in the moments of sonic outbursts …

A few months after the Istanbul art fair performance, the trio (augmented to a quartet by ALAN WILKINSON) played 2 showsatLondon's Cafe OTO and gossip has it saying that THURSTON MOORE who attended the show confessed afterwards that he was very touched emotionally.

Credits:

All Music by Fahrettin Aykut/Umut Çağlar/Jone Takamäki.

A Konstrukt Joint.

Jone Takamäki: tenor saxophone, ney, shakuhachi, clarinet.

Umut Çağlar: guimbri, kalimba, gralla, zurna, mey, flutes.

Fahrettin Aykut: electronic percussion; drums, cymbals.

Recorded live at BantMag. Havuz/Bina in Istanbul (October 3rd, 2017) through a Tascam portable recorder.

Produced by Umut Çağlar.

Mastered & cut by Anne Traegert at D&M, Berlin

Forenzics is an exciting new project from former Split Enz members Eddie Rayner and Tim Finn. The project saw two artistic endeavours meet in the middle and started like when Eddie and Tim had been revisiting some of their favorite sections from lesser-known Split Enz works, using them as inspiration and the basis for new songs.

Along with Tim Finn and Eddie Rayner, there are musical contributions from Noel Crombie of Split Enz, Phil Manzanera of Roxy Music, Harper Finn and Elliot Finn. (the latter 2 being Tim’s children). Noel Crombie and Phil Manzanera; both dialled their parts in during Covid lockdown. And even though Eddie and Tim live in the same city they followed the same process. Tim says: “I love working this way, sharing files. You work when you want to, and my singing has an unforced intimacy that is very hard to achieve when there is someone else in the room.”

The Forenzics repertoire, like paintings in an exhibition, is an album of individual works that together form an immersive and cohesive whole. It is a genuine sabbatical journey into the artistic unknown, mapped out by two artists at the height of their creative powers.

Soul Jazz Records new ‘Life Between Islands’ collection coincides with the launch of Tate Britain’s exhibition of the same name. This landmark exhibition explores the links between Caribbean and British art and culture from the 1950s to now.

Soul Jazz Records album, sub-titled “Soundsystem Culture – Black Musical Expression 1973-2006,” focuses on the most important Black British musical styles to emerge out of the distinctly Caribbean world of sound systems. The album features an all-star line-up including Dennis Bovell, Shut Up and Dance, Cymande, Digital Mystikz, Brown Sugar, Funk Masters, Janet Kay, Ragga Twins and more.

The album is a lightning-rod journey across Roots Reggae, Jungle/Drum & Bass, Jazz-Funk, Lovers Rock, Jazz, Dubstep and more. Much of Soul Jazz Records’ catalogue comes out of these genres and this album is partly an overview of some of Soul Jazz’s earlier releases (including Digital Mystikz’ long-deleted groundbreaking and now highly-collectible single, ‘Misty Winter’) alongside some choice rare and classic tunes that span over 30 years of sound system culture.

Many of the tracks represent how Black British artists defined their own identity with songs such as Brown Sugar’s righteous ‘Black Pride’, ‘I’m In Love with A Dreadlocks’ and Tabby Cat Kelly’s powerful ‘Don’t Call Us Immigrants’. Aside from being musically rooted in the distinctly Jamaican-born phenomenon of the sound system, much of this identity is also shaped by the triangular relationship of being British-born, of Caribbean heritage, and with an equal love of African-American Jazz, Funk and Soul, as evidenced with many Lovers Rock tunes reggae covers of American soul tunes (such as those of Jean Carn, William de Vaughan and Rose Royce featured here). This stateside influence can also be heard in groups such as the Funk Masters, a group formed by reggae radio DJ Tony Williams, whose jazz-funk music successfully crossed over into New York’s clubland, as well as the great Cymande, whose unique street-funk became staple material for numerous US hip-hop artists in the years that followed.

In the early 1990s, jungle and drum and bass artists took the essence of reggae’s soundsystem culture – MCs, dubplates, crews – and applied them to their own music, applying heavy reggae bass lines to intense double-speed drum breakbeats. At the forefront of this new movement were the duo Shut Up and Dance, working closely with The Ragga Twins, aka Deman Rocker and Flinty Badman, both MCs for North London’s infamous Unity reggae soundsytem. In the early 2000s, dubstep, spearheaded by Digital Mystikz, became the latest instalment in this ever-evolving soundsystem culture.

In 1958 the painter Isson Tanaka (22 July 1908 – 11 September 1977) moved to Amami Ōshima, an island in the Ryukyus. There, in self-chosen isolation, he committed himself exclusively to his art until his sudden passing in 1977. In 2018 Seiha Kurosawa, Kanako Azuma and Hideki Umezawa visited Amami Ōshima to create a video installation about Tanaka’s insular life. The work, entitled “Dokkyaku” (tr. The Lone Visitor), shifts between the texture and materiality of Tanaka’s paintings in relation to the natural world of Amami Ōshima and its people. The video invites viewers to understand—poetically—the artist’s sensitivity to nature and the expressivity of his works.

During his stay on Amami Ōshima, Hideki Umezawa recorded a lot of natural sounds to recreate a sort of simulated ecology of Tanaka’s mind – or: of the painter’s mind. On this long playing record these recordings are blended with electronically generated sounds. Next, Andrew Pekler, who has never actually visited Amami Ōshima, upon hearing Umezawa’s field recordings creates - in the spirit of Isson Tanaka - a complementary dreamscape of the island’s phenomena. Of what could be.

This is a work that doubts between site specific and creative imagination. With sounds echoing between the anecdotic and the imaginary. It is a sensitive and highly stylized interpretation of a world that Isson Tanaka had also carefully studied. A painter at work; a way of seeing. So, after Christophe Piette’s ‘Six Tableaux de Quelpaert’, released by Edições CN in 2019, we again moore an island in the nautical footsteps of a painter. While Piette drew a story through – among other things - recording dialogues at his island home, at the restaurant table, et al. Pekler and Umezawa paint their pictures in a more musical fashion. Where natural sounds evaporate into electronic clouds of imagination.

Hideki Umezawa (b.1986, Gunma) is Japanese artist / composer. He won 1st prize at Luc Ferrari’s international competition – Presque Rien Prize 2015 (France), and the Contemporary Computer Music Concert 2015 (Japan). “Dokkyaku” was originally created for "Fukami – Une plongée dans l'esthétique japonaise", an exhibition at Hôtel Salomon de Rothschild in Paris, France as part of ‘Japanismes 2018’.

Andrew Pekler (b. 1973, Samarkand) works with techniques of digital sampling and analog synthesis to re– contextualize found sounds and archival musical materials. In addition to numerous album releases, Pekler has also produced a number of video, installation and web-based works, as well as music for theater, dance, and film.

UK label Wisdom Teeth returns with its third long-form offering - Sculpturegardening: a new LP by Mexico City-based artist and producer, Tristan Arp. Incorporating elements of ambient, glitch, microhouse and downtempo, it’s an otherworldly record populated by knotty modular textures, blossoming floral melodies, tight pointillist rhythms and glossy acoustic instrumentation. The record was born from a process of “collaborating with machines”: using modular synthesisers to generate probabilistic melodies and rhythms, with the artist taking on the role of sculptor and curator. Throughout, the boundaries between the organic and digital are playfully blurred: we hear synthesisers played by guitars; emotive and distinctly human melodies generated by modular circuits; digital percussion drummed by hand; and live cello processed with a digital finish. The results sometimes recall Roman Flügel at his most colourful, or Benge’s meandering synth workouts, and even at times echo the dubbed-out cello experiments of Arthur Russell.But really sculpturegardening occupies a sonic world of its own, born from a unique web of happy accidents and incidental arrangements. The record’s bright colours and subtle rhythms make it a fitting follow-up to K-LONE’s 2020 LP Cape Cira and Facta’s 2021 LP Blush, and place it neatly alongside the work of label mates Duckett, Benoit B, Steevio and Iglew.
“With sculpturegardening, my concept was to approach music like gardening. I collaborated with machines inspired by the way a gardener collaborates with the earth. A gardener creates the conditions for the plants to come to life and develop on their own. In a similar way, I created a set of conditions and probabilities for the music to make itself. Who is making the music here? “A sculpture garden to me can be a really beautiful environment of balance between randomness and order––between nature and human interaction. Things that are either extremely organized or completely random tend to not resonate with us. On the other hand, something very interesting happens when a balance between the randomness and organization is struck. I invented this verb sculpturegardening to represent creating with the aim of this balance, and the with the aim of building a world in which each piece is a zone, or a sculpture in a garden.” The record will be twinned with a physical iteration - a sound installation at an exhibition curated by Tristan Arp titled Nada Se Pierde; Todo Se Transforma. The show opens on 9th October in Mexico City at Avant.dev. The physical sculpture garden will be a collaboration with Mexican sculptor Pablo Arellano. The sound installation will centre around a 4-channel audio system that gives voice to different sculptures and allows visitors to create a mix of the sounds depending on their position in the garden.

xe m1 Karn Evil 9 1st Impression, Pt. 2 (Live at the Albert Hall) [2017 - Remaster]
[xf] m2 Tarkus (I. Eruption II. Stones of Years III. Iconoclast) [Live at the Albert Hall] [2017 - Remaster]
[xg] m3 Knife Edge (Live at the Albert Hall) [2017 - Remaster]
[xh] n1 Paper Blood (Live at the Albert Hall) [2017 - Remaster]
[xi] n2 Romeo and Juliet (Live at the Albert Hall) [2017 - Remaster]
[xj] n3 Creole Dance (Live at the Albert Hall) [2017 - Remaster]
[xk] n4 Still... You Turn Me on (Live at the Albert Hall) [2017 - Remaster]
[xl] n5 Lucky Man (Live at the Albert Hall) [2017 - Remaster]
[xm] o1 Black Moon (Live at the Albert Hall) [2017 - Remaster]
[xn] o2 Pirates (Live at the Albert Hall) [2017 - Remaster]
[xo] p1 Finale (Medley) [I. Fanfare for the Common Man II. America III. Rondo] [Live at the Albert Hall] [20

This career-spanning 3CD & 4LP collection (1970-1998), showcases the immense musical talents of Keith Emerson, Greg Lake and Carl Palmer.

The Anthology was produced in association with all three band members and the booklet contains extensive liner notes with new band interviews by legendary rock journalist Chris Welch.

The audio was mastered by world renowned rock studio engineer Andy Pearce.

Featuring tracks from all of their original albums: Emerson, Lake & Palmer, Pictures At An Exhibition, Tarkus, Trilogy, Brain Salad Surgery, Welcome Back My Friends To The Show That Never Ends, Works Volume 1, Works Volume 2, Works Live, Love Beach, Live At Nassau Coliseum ‘78, Black Moon, In The Hot Seat, Live At The Royal Albert Hall, Then & Now. Includes their global hit singles ‘Fanfare For The Common Man’ and ‘Lucky Man’.

M_SESSIONS - THE PROCESS

"M_Sessions" is offering a contemporary version of Mania D., Malaria and Matador’s music for the 40th anniversary plus the rare originals. Bringing the past into the now and into the future.
Monika Werkstatt seemed the perfect choice for new interpretations. Founded in 2015, comprising female electronic musicians and producers from the entourage of Monika Enterprise and Moabit Musik. The loose collective played dozens of improvised concerts around Europe and released a studio album and live recordings in everchanging artist constellations.

The M_Sessions involved Pilocka Krach, Beate Bartel, Midori Hirano, Mommo G, Lucrecia Dalt, Antye Greie-Ripatti, Natalie Beridze, Annika Henderson and myself. Here the form of interpretation is focussing on keeping the freedom of their improvised work and adapting it to the collective appropriation of songs. I cannot imagine a better reinterpretation of the material with its real life ups and downs and with its enthusiasm.
The original core team of Beate Bartel, Bettina Köster, Manon P. Duursma and myself selected "Rare Originals" from the repertoire of the 3 bands where we saw special relevance and beauty - these tracks are on LP2. We rediscovered live tracks, living room recordings and demo versions from our times long gone. (G.Gut)

M_DOKUMENTE // THE BOOK - THE RECORDS - THE EXHIBITION

The project M_Dokumente focuses on the All Female bands Mania D., Malaria! and Matador in the West Berlin music and art scene of the late 1970s and 1980s. We celebrate this 40 years retrospetive with a big festival weekend from 21.-24.10.2021 at Silent Green from a explicitly female perspective.
The three bands around their members Beate Bartel, Bettina Köster and Gudrun Gut played concerts in different formations from 1979 on, released records and toured around the world. The self-determined appearance of the musicians was new, raised some eyebrows and was reflected both in the music and the lyrics, but also in their unique style and the genre-crossing approach of "more art in the music, more music in the art". To this day, the bands are considered visionary, they shaped a new image of women in pop culture and are pioneers and role models for the still important and necessary emancipatory movement in the music industry. Far beyond the borders of Berlin.

3Ms

The three, reunited: Malaria, Matador and Mania D, unter einem Dach, but gutted, replaced with electronic hearts, new beats, new beasts, the time has changed, yet the politics, the problems, the heartache remains the same. 2021 sees the anniversary of the 3 M’s and therewith the production of an album of songs, covering a selection of the bands’ finest output, this time assembled by a new set of feminist misfits; producers, fangirls, instrumentalists, under the strict guidance of original members Gudrun Gut and Beate Bartel. M-Sessions features: AGF, Lucrecia Dalt, Sonae, Midori Hirano, Islaja, Natalie Beridze, Pilocka Krach, Annika Henderson (Anika), Lupe, Gudrun Gut and Beate Bartel. Beginning in West Berlin, in 1979, with the inception of Mania D, spawning Malaria! and later Matador; in a time when music was essential to movement, to escape, to space, to the scene and to the rebellion of the people; three bands stood for trial and error, trial and terror, anti- conformity, and anti-consumerism, for girl power and sticking it to the man, and for just doing whatever the hell they wanted. The three, their existence slightly staggered, with different members, different grudges, different heartbreaks, different instrumental expressions, were joined by a string of barbed wire, piecing pigeon hearts, within the playground that was the desolate ex-capital, now again capital, Berlin; a place where artists and freaks could run free amongst the wrinklies and army dodgers; no microscopes, no rules, no property developers. (ANNIKA HENDERSON)

Ross Sinclair is a drummer, guitarist and founding member of The Soup
Dragons. In the early 1990s Sinclair left the group to complete his studies at
the Glasgow School Of Art.
Ross Sinclair is best known for his Real Life project, initiated in 1994 when he
had the words ‘Real Life’ tattooed across his back. Since then Real Life has become a 23-year performance project, taking form in a wide range of exhibitions, public art and publication contexts. Over the two decades of the Real Life
project, Sinclair’s work has employed various mediums including performance,
painting and music, often at the same time.
Through installation and audience participation Real Life has sought to challenge the conventional exhibition practice and connect with the public. These
projects have been exhibited worldwide. Throughout the course of the project,
a consistent thread of Sinclair’s work has sought to address the nature of the
individual, collective and national identities of Scotland.
During August 2015, Sinclair exhibited his work in 20 Years of Real Life at Edinburgh’s Collective Gallery which celebrated 20 years of his Real Life project.
Sinclair worked with teenagers to create 5 bands and produce an LP titled Free
Instruments for Teenagers. Real Life is Dead/Long Live Real Life The most recent incarnation of the Real Life project came as part of a two-week residency
Ross Sinclair undertook at the Shanghai Himalayas Museum in China, ahead of
his solo exhibition titled Real Life is Dead/Long Live Real Life.
This exhibition served to herald a new phase of Sinclair’s on-going Real Life project. For the exhibition Sinclair added the text ‘Is Dead’ to the ‘Real Life’ tattoo.
The residency focused on the consistent themes of participation, performance
and collaboration, coupled with Sinclair’s use of music in his art throughout his
career. Sinclair worked with students at the GSOA over a period of two years to
develop and record two songs (Real Life is Dead and Long Live Real Life) which
lay at the core of the exhibition. The songs were recorded in both English and
Chinese.
In Shanghai, Sinclair worked with local musicians, artists and singers to create the Chinese-Scottish Real Life Orchestra - a musical dialogue between the
Chinese audience and Sinclair’s Real Life Project. The group came together in
a collective voice, in English and Chinese, to share experiences through music.
The orchestra presented a live performance at the opening reception of the
Phase Three exhibition of CURRENT: Contemporary Art from Scotland, which
provided the soundtrack to Sinclair’s installation consisting of multiple editions
of banners and videos representing the 23-years of the Real Life project. Participants were also invited to respond to the themes of Real Life is Dead/Long
Live Real Life with words and pictures which were displayed on banners and
placards.