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Hooveriii - Water For The Frogs Having originally been born as a solo drum machine project by Bert Hoover, Hooveriii (pronounced "Hoover Three") has now evolved into it's true final form - a six member band adept at creating their own brand of psychedelic space rock. And after almost a decade in, the band is set to release their sophomore album and debut for The Reverberation Appreciation Society, Water For The Frogs. Influenced by Iggy’s The Idiot, Bowie’s Berlin records, and Soft Machine, the LP sees the band creating their own version of prog rock, circa 2021. In 2019, Hooveriii took their live show to Europe for the first time. Bert Hoover shares, “seeing all the old cities and beautiful landscapes while becoming closer as a band had a huge impact on this album. A lot of our favorite music came from the Krautrock scene in Germany from the late 60's-70's, and when we had a day off in Furth, Germany, we spent most of it writing the record,” he continues, “we were able to rehearse in an old German bunker that has been converted to rehearsal space. It definitely had a strange energy that helped give this album light.”

“A good piece of rocking jazz, miles away from an academic approach but with a good shot of euphoric guitar and down-to-earth energy instead.
Here the band “”Tini Thomsen MaxSax”” brings its own nuanced,
powerfully stylistic sophistication.
”Just moving up a gear,” says Tini Thomsen. One woman and one saxophone - a match made in heaven! In the hands of Katharina ”Tini” Thomsen, the baritone saxophone - a rather massive, heavy instrument, after all - attains a sonic beauty definitely worth listening to.
The spectrum ranges from robust, resounding rhythms to versatile melody parts and fast-paced, earthy solos and - occasionally! - on to excursions into the more tender and balladesque. Considering that the instrument is a rarity among male musicians, the combination, Thomsen & ”Bari” holds membership - both nationally and internationally - to a small and exclusive group of such ”duos”.
It is even more fortunate that, in Nigel Hitchcock on alto saxophone, she has found the perfect counterpart not only musically, but privately as well.”

Captivating, ethereal and majestic, Mammal Hands (saxophonist Jordan Smart, pianist Nick Smart and drummer and percussionist Jesse Barrett) has carved out a refreshingly original sound from a disparate array of influences: drawing on spiritual jazz, north Indian, folk and classical music to create something inimitably their own. Hailing from Norwich, one of Britain's most isolated and most easterly cities, they have forged their own path away from the musical mainstream and their unique sound grew out of long improvised rehearsals. All three members contibute equally to the writing process: one that favours the creation of a powerful group dynamic over individual solos. Their records are entrancing and beautiful affairs, while their hypnotic live shows have seen them hailed as one of the most exciting bands in Europe as they push their unique line-up to the outer limits of its possibilities.

Shadow Work is their third album and the first they have self-produced. Recorded at 80 Hertz Studios, Gondwana Records home from home in Manchester, it is the result of 18 months of intensive touring and mammoth writing sessions. The energy from their exhilarating live performances has fed into the writing process and yet there is a quiet reflective side to this album, giving it an expanded emotional range that draws the listener deep into Mammal Hand's sound world. One that builds on the sound of their previous recordings, Animalia and the beautiful Floa, but is wider than ever, with the use of prepared piano strings, more prominent effects and field recordings all adding to the band's most ambitious and accomplished album to date. The striking artwork is by Daniel Halsall and reflects the organic, natural influences underpinning the band's music alongside a darker, modern minimalism.

Real Real World is the first collaborative effort from Nantes-based Australian drummer/percussionist Will Guthrie and Australian keyboardist/composer James Rushford. Primarily recorded in a fluid, spontaneous studio session in Nantes, with overdubs added later in Melbourne and Nantes, Real Real World presents five spacious, unhurried pieces that inhabit a unique sound world characterised by wheezing, half-voiced organ chords, chiming metal percussion, and eruptions of small sounds. Beginning with the eerily beautiful, shakuhachi-esque sound of Rushford performing on detuned portative organ, the opening title track is abruptly transformed by the entry of Guthrie’s sizzling cymbals, deep gong strikes, and rustling hand percussion. On the epic ‘Lumbering’, which occupies the majority of the record’s first side, organ chords define a space in which a kaleidoscopic succession of amplified thuds, chiming bells, rustled and dragged objects, and abruptly silenced clusters advance and recede in an oneiric blur, eventually making way for a passage of Guthrie’s virtuosic polyrhythms, itself unexpectedly overtaken by waves of melting fairground organ. The record reaches an energetic climax mid-way through the second side with the stunning ‘Slakes’, where lugubrious chords in the organ’s lowest register are joined by Guthrie’s skittering rhythms, which somehow manage to call to mind both the most chaotic moments of Balinese Gamelan and the stochastic breakbeats of late-90s Autechre. On this piece, Guthrie and Rushford are joined by Melbourne saxophone maverick Scott McConnachie, who contributes an alto sax solo of burning precision, working with a single-minded palette of piercing long tones and wild intervallic leaps. Though it makes extensive use of overdubbing, Real Real World retains a strong sense of having been performed, rather than constructed: while at times the fleeting succession of events can recall electroacoustic music, its primarily acoustic nature and unhurried pace is also reminiscent of the music of AACM affiliates or Marion Brown’s classic Afternoon of a Georgia Faun. Immediately engaging while also hiding countless details in the folds of its polychrome fabric, Real Real World is a relaxed and joyous document of collaborative musical invention.

Artwork by Patrizia Bach. Layout by Lasse Marhaug. Mixed and mastered by Joe Talia at Good Mixture, Berlin.

Sun Milk was recorded in two months, a much quicker process than the three years spent on their previous release, Flowers. The band recorded the album at the Pharmacy, Vroom’s home studio in Toronto, located above an actual pharmacy. It was the first album to be recorded after Little Kid solidified their live lineup, with Boothby, Vroom, and Germain having played together for over two years. Every song except “Like a Movie” began as a full-band live take, with overdubs performed democratically, with both Boothby and Germain layering guitars. It was also the first record to feature Lunn’s vocals, who joined the band shortly after the album’s release.

The result is a deeply affecting document of personal crisis, mirroring the dramatic changes in Boothby’s life—a breakup, living alone for the first time, beginning a new career. The lyrics have less Christian content and more personal overtones than other Little Kid records. “It was a relief when these songs came out,” says Boothby, “processing recent changes in my life, trying to take ownership of my identity and choices.” This lends a confessional warmth to the songs, a feeling of reconnecting with an old friend, sharing stories. Highlights include the off-kilter opening track “The Fourth” and the lovely, meandering “Ugly Moon.” The centerpiece of the album is “Slow Death in a Warm Bed.” A meditation on why people stay in flawed relationships, the song builds in calming repetitions until the guitars explode in the last minute, climaxing in a full-fledged distorted freakout. It’s one of the most beautiful and harrowing songs in Little Kid’s catalog.

The drifting, gentle “Dim Light Coming Down” features some of Boothby’s best lyrics. The narrator describes a person seeing “the likeness” of their own dead father “floating high above the road,” a mystical encounter rendered in the most plainspoken of terms. But Boothby quickly undercuts the moment: “But you'd been drinking when you saw him/And your mind was moving slow/Like your ears were full of cotton/So what he said you'll never know.” It’s a thwarted encounter that becomes more powerful for that very fact. Just before the song reaches its slow-building climax, Boothby sings, “Coming down/There’s a bright light/A gentle sound/Opening wide.” The transcendence does finally arrive, but it’s in the coming down, the hangover, the regular life that comes after the big moment. There's little wonder why it's become a live staple for the band.

The record is a high point in a remarkably consistent career. Looking back at Sun Milk, Boothby believes it’s one of the strongest in Little Kid’s oeuvre. “It’s probably my favorite,” says Boothby. “In general, I love slow songs, and this album is full of them. I like the structure of seven long songs—can’t think of too many albums with only seven songs. It gives the album an interesting flow.”

Hannah Peel’s latest work "Fir Wave" contains re-interpretations of the original music of the 1972 KPM series featuring Delia Derbyshire and the Radiophonic Workshop.



The new album, a sonic shimmer of textures and pulses that switches between raw atmospheric edges and environments, arrives with a fascinating history. As Peel explains, “The specialist library label KPM, gave me permission to reinterpret the original music of the celebrated 1972 KPM 1000 series: Electrosonic, the music of Delia Derbyshire and the Radiophonic Workshop.” This process of re-generation and finding fresh inspiration in pioneering, experimental electronics from the early 1970s is at the core of the album. Peel has made connections and new patterns that mirror the Earth’s ecological cycles through music. Peel explains, “I’m drawn to the patterns around us and the cycles in life that will keep on evolving and transforming forever. Fir Wave is defined by its continuous environmental changes and there are so many connections to those patterns echoed in electronic music - it’s always an organic discovery of old and new.” As Delia Derbyshire revealed in 2000 to BBC sound engineer, journalist and academic Jo Hutton: “I like new things that don’t seem new . . . as though they’ve always been there.” Known more recently for curating and presenting on BBC Radio 3’s Night Tracks, the Northern Irish Emmy-nominated composer and producer’s work is ambitious and forward-looking, adapting and re-inventing new genres and hybrid musical forms.



Recent albums include the solo electronic and pop work of Awake But Always Dreaming, which became an ode to her grandmother’s mind as she lived with dementia; the electronic ruralism of Chalk Hill Blue, an album recorded with the poet Will Burns; and the space and the unparalleled vastness of Mary Casio: Journey to Cassiopeia, scored for synthesisers and a 30 piece colliery brass band. In 2019 she composed and recorded the soundtrack for Game of Thrones: The Last Watch which earned her an Emmy nomination for ‘Outstanding Music Composition For A Documentary Series Or Special (Original Dramatic Score)’.

Re-issue of a soul masterpiece from 1974, 'I Love You More and More' by Tom Brock was Tom's only solo album release, but what a beautiful classic it is. For some, it is up there in the pantheon alongside their all-time treasured soul favourites such as Marvin Gaye's 'What's Going On'.

Produced by the legend Barry White and released on 20th Century Records in 1974, it features the lush hallmark orchestration, heartfelt songs, and funky yet slick playing you’d expect from a White production. Like a dusting of sugar onto the top of the cake, the record also features the stunning arrangements of the great pianist, arranger, composer, and producer Gene Page, whose musical career left an impressive and prolific legacy.

'I Love You More and More' received another lease of life when it was resurrected for a new audience after having been sampled by Jay-Z, Mos Def, C.L. Smooth, and others. The record is solid throughout, but the song 'There's Nothing in This World That Can Stop Me From Loving You’ proved to be an extra-bright star in the sky and it formed the base to Jay-Z's 2001 hit 'Girls, Girls, Girls'. The sampling of Tom’s work triggered the collectors, diggers and DJs to explore his record and to transfer their passion for it onto their followers too.

Tom Brock passed away in 2002, but left behind his sensational soulful voice on a handful of amazing dusty 7" singles, several assorted productions recorded by other artists, and this absolute winner of an album, which will be cherished for years to come.

• Half-speed vinyl cut at Abbey Road Studios

• Sampled by Jay-Z, Mos Def, C.L. Smooth…

• Produced by Barry White, arranged by Gene Page.

It’s nearly a decade since William Doyle handed a CD-R demo to the Quietus co-founder John Doran at a gig, who loved it so much he set up a label to release Doyle’s debut EP (as East India Youth). Doyle’s debut album, Total Strife Forever, followed in 2014, as did a nomination for the Mercury Music Prize. A year later, he was signed to XL, touring the world and about to release his second album – all by the age of 25.

After self-releasing four ambient and instrumental albums, Doyle’s third full-length record – and the first under his own name – Your Wilderness Revisited arrived to ecstatic reviews in 2019: Line of Best Fit described it as “a dazzlingly beautiful triumph of intention” and Metro declared it an album not only of the year, but “of the century”. Just over a year later, as he turns 30, Doyle is back with Great Spans of Muddy Time.

Born from accident but driven forward by instinct, Great Spans was built from the remnants of a catastrophic hard-drive failure. With his work saved only to cassette tape, Doyle was forced to accept the recordings as they were – a sharp departure from his process on Your Wilderness Revisited, which took four long years to craft toward perfection. “Instead of feeling a loss that I could no longer craft these pieces into flawless ‘Works of Art’, I felt intensely liberated that they had been set free from my ceaseless tinkering,” Doyle says.

“The album this turned out to be – and that I’ve wanted to make for ages – is a kind of Englishman-gone-mad, scrambling around the verdancy of the country’s pastures looking for some sense,” says Doyle. “It has its seeds in Robert Wyatt, early Eno, Robyn Hitchcock, and Syd Barrett.” Doyle credits Bowie’s ever-influential Berlin trilogy, but also highlights a much less expected muse: Monty Don, presenter of the BBC programme Gardener’s World, Doyle’s lockdown addiction.

“I became obsessed with Monty Don. I like his manner and there's something about him I relate to. He once described periods of depression in his life as consisting of ‘nothing but great spans of muddy time’. When I read that quote I knew it would be the title of this record,” Doyle says. “Something about the sludgy mulch of the album’s darker moments, and its feel of perpetual autumnal evening, seemed to fit so well with those words. I would also be lying if I said it didn’t chime with my mental health experiences as well.”

Lead single “And Everything Changed (But I Feel Alright)” is representative of the album as a whole: eclectic and unpredictable, but also playful and properly danceable. On top of the gently pulsing electronics, soothing harmonies and glowing melodies, there’s a ripping guitar solo that ricochets around the song like a pinball. “I wanted to get back into the craft of writing individual songs rather than being concerned with overarching concepts,” Doyle says. Elsewhere there’s the synth pop strut of “Nothing At All”, pulsating static on “Semi-Bionic”, incandescent synths and enveloping soundscapes in “Who Cares”, and the ambient glitch groove of “New Uncertainties”.

Great Spans of Muddy Time is a beautiful ode to the power of accident, instinct and intuition. The result, however, is far from an anomaly: this celebration of the imperfect album is one that required years of honed craft and dedicated focus to achieve, “For the first time in my career, the distance between what I hear and what the listener hears is paper-thin,” Doyle says. “Perhaps therein reveals a deeper truth that the perfectionist brain can often dissolve.”













m 13. [a sea of thoughts behind it]

Nils Petter Molvær and Mino Cinelu had both come a long way in their careers before they met. Cinelu gained international renown on Miles Davis’ albums We Want Miles and Amandla, also noted for his playing with the likes of Weather Report, Gong, Herbie Hancock, Pat Metheny, Sting, Santana, Lou Reed and Laurie Anderson, to name just a few. He has also released 3 solo records and collaborated with Dave Holland and Kevin Eubanks on the World Trio album. Nils Petter Molvær, meanwhile, is one of the most outstanding figures in European jazz. In 1997, he made his debut on ECM Records with the album Khmer, combining the Nordic feeling of nature with the Southeast Asian philosophy of sound. His journey into the uncharted areas of music spans almost a dozen records, on which he explores various combinations of acoustic and electrical sounds. He collaborated with Berlin’s electronic producer Moritz von Oswald in 2013, with the reggae philosophers Sly & Robbie in 2018 and with Bill Laswell on several occasions.

Cinelu and Molvær in some senses represent two worlds, which – at first glance – could hardly be more different. Their musical home is the entire planet, but while Molvær's hoarse and cloudy trumpet sound evokes boreal cold, Cinelu stands for the rhythmic fire of Latin America and Africa. On ‘SulaMadiana’, they’ve found their common playground - the album’s title itself a tribute to the two musicians’ heritage. Sula is the Norwegian island from where Molvær grew up, and Madiana is a synonym for Martinique, from where Cinelu's father hails.

SulaMadiana is a cornucopia, spilling out reverberations of Miles Davis, Gong, and previous works of Molvær, and yet Molvær and Cinelu open up doors to entirely new worlds. Cinelu becomes a singer on his percussion, while Molvær's electronically distorted sounds create a driving pulse. Cinelu plays acoustic guitar, Molvær conjures up drones on the electric guitar. The interplay between the two musicians is key, Molvær observing; “We are different, but what we have in common is that we like to give some space to things. I create space for him, he creates space for me, and we both create space for music.” Cinelu adds: “It doesn't matter who has what share in music. We both know each other’s cultures, we find bridges and crossings, and often we walk these paths that lead in the same direction. We wrote everything together and followed our feelings. There are no limits or barriers.”

They Say: “New directions in contemporary scoring”.

We say: Contempo is one of the best full album listens in the KPM 1000 library. Succinct smoking soul, super tight breaks and string-drenched sleaze composed by the library master, Keith Mansfield.

The creator of the romping tunes that became the iconic themes to the BBC’s Grandstand programme and their televised Wimbledon Tennis Championship coverage, Keith Mansfield was perhaps KPM’s most prolific artist from the mid 1960s right the way through the 1980s. As well as the sort of pop orchestral sound that is all over these classic library records, he could also turn his hand to raw, edgy rock and funk. Quentin Tarantino is a big fan, going as far as including some of Keith’s work on the soundtracks to Kill Bill and Grindhouse.

Many library records are a game of two halves and Contempo is certainly one of those. The first side cooks on a high funk breaks flame whilst the flip is something altogether more tranquil, yet no less groovy. It lays back with dreamier, post-coital grooves.

Rugged funk opener “The Fix” confidently displays its low slung languid grooves with heavy drums, horns and bass. Smokin’ in slow motion. The punchy “What’s Cooking” follows and has a lighter, more whimsical touch. But the drums still roll and the clavs wiggle in fascinating opposition to those horns. The dark and moody intro to “Cut To Music” gives way to a more inclusive, relaxed funk that’s all irresistible bass and stabbing horns. The mid-tempo “Man Alive” signals the time to really get down. A percussive monster jam. If you can’t strut to this then we really can’t help you! Closing out the A side, fresh guitar licks drip all over the slick drums of “Funky Footage”, with a New Orleans piano vibe coming on to really light a fire.

Whilst the dramatic crime funk of the A side is enough on its own to have earned this record its place in the great library record canon, it’s undoubtedly the more smoothed out B side for which Contempo is rightfully adored and celebrated. It’s so chilled and mellow, with beautifully arranged, sweeping strings, sax solos aplenty and a real 70s soundtrack feel. Think Love Boat, CTI label, Bob James, Grover Washington Jr.-type jams.

The super sleek and sexy jazz funk of “Breezin’” is as light and magical as you’d hope. An open-air masterpiece, its indulgent sound is just a taster of the sophisticated funk to follow. The elegant, romantic feels of “Good Vibrations” (used brilliantly by Odd Future’s Mike G for “Swiss Army”) is a string-drenched, wah-wah fuelled ode to living your best life. Nonchalantly. Whilst it keeps a very West Coast feel, the blaxploitation strut is certainly more Blackbyrds than Brian Wilson. “Sun Goddess” will blow your mind with the sensuous sound of glorious horns and beautiful keys. The luxurious “Love De Luxe” and its horizontal grooves have been much sampled, but here it proves that it doesn’t need any help to get you in an intimate mood. Closer “Snake Hips” is a cool mid-pace slouch. Just divine.

Originally released in 1976 but, like the very best KPM records, wonderfully timeless, Contempo is also no mere LP-length collection of loosely related tracks. This is a rare example of a library record that is a genuinely great listen from start to finish.

As with all of our KPM re-issues, the audio for Contempo comes from the original analogue tapes and has been remastered for vinyl by Be With regular Simon Francis. And as usual, the sleeve reproduction duties were handed over to Richard Robinson, the current custodian of KPM’s brand identity.
: Contempo (KPM) (LP)

Lingering at the remains of a campfire before dawn, with the politics of the personal burnt into ash, running his stick through what’s left, Wand singer/guitarist Cory Hanson is reflecting on a series of moments in which he steps farther into himself, finding the ultimate big sky country on the inside of his skull. It’s a combination of songs and sounds that journey
through bleak and broken territory and places of sweet, lush remove and it adds up to the best record he’s been involved in yet: his second solo album, ‘Pale Horse Rider’.

 Cory’s first solo, ‘The Unborn Capitalist From Limbo’, was an intense affair, a grand experiment that produced inspiring,
nconventional music - but this time around, he wanted to breathe a bit easier, to feel that breath in the music as well. So he and his band drove out to the desert to record in a lowstress environment: Brian Harris’ Cactopia, a house surrounded by 6ft tall sculptural psychotropic cacti. They built a studio inside and then they made music and lived off pots of coffee and chili and cases of Miller High Life as they played guitars, bass, keyboards and drums in what seemed increasingly like a living biomech, their tech made out of fungal networks and cacti needles.

 It was loose and flowed onto tape well. Recorded by Robbie Cody and Zac Hernandez (who assisted on Wand’s ‘Laughing Matter’), the sounds were great from the get-go. First takes were mostly best takes. Fuelled with DNA lifted from country-rock cut with native psych and prog strands, Cory guided his craft toward the cosmic side of the highway, a benevolent alien in ambient fields hazy with heat and synths, early morning fog and space echo spreading the harmonies wide.

 ‘Pale Horse Rider’’s got a lot to get out of its mind, looking around and seeing that, on the surface, things don’t always look like much. A lifelong Californian, Cory’s naturally found himself standing to the left of most of the
country. The west may be only what you make it; these days, the roadside view looks exceptionally sunbleached and left behind. ‘Pale Horse Rider’ eyes the city, the country and the fragile environment that holds them both in its hands - a record as much about Los Angeles as it can be with its back to the town and the sun in its eyes; as much about
ostalgia as new music can be with the apocalypse over the next rise.

 On ‘Pale Horse Rider’, Cory Hanson moves ceaselessly forward. The old myths weave and waft, the shadows of tombstones flickering in the mirages and the light that lies dead ahead.

Lingering at the remains of a campfire before dawn, with the politics of the personal burnt into ash, running his stick through what’s left, Wand singer/guitarist Cory Hanson is reflecting on a series of moments in which he steps farther into himself, finding the ultimate big sky country on the inside of his skull. It’s a combination of songs and sounds that journey
through bleak and broken territory and places of sweet, lush remove and it adds up to the best record he’s been involved in yet: his second solo album, ‘Pale Horse Rider’.

 Cory’s first solo, ‘The Unborn Capitalist From Limbo’, was an intense affair, a grand experiment that produced inspiring,
nconventional music - but this time around, he wanted to breathe a bit easier, to feel that breath in the music as well. So he and his band drove out to the desert to record in a lowstress environment: Brian Harris’ Cactopia, a house surrounded by 6ft tall sculptural psychotropic cacti. They built a studio inside and then they made music and lived off pots of coffee and chili and cases of Miller High Life as they played guitars, bass, keyboards and drums in what seemed increasingly like a living biomech, their tech made out of fungal networks and cacti needles.

 It was loose and flowed onto tape well. Recorded by Robbie Cody and Zac Hernandez (who assisted on Wand’s ‘Laughing Matter’), the sounds were great from the get-go. First takes were mostly best takes. Fuelled with DNA lifted from country-rock cut with native psych and prog strands, Cory guided his craft toward the cosmic side of the highway, a benevolent alien in ambient fields hazy with heat and synths, early morning fog and space echo spreading the harmonies wide.

 ‘Pale Horse Rider’’s got a lot to get out of its mind, looking around and seeing that, on the surface, things don’t always look like much. A lifelong Californian, Cory’s naturally found himself standing to the left of most of the
country. The west may be only what you make it; these days, the roadside view looks exceptionally sunbleached and left behind. ‘Pale Horse Rider’ eyes the city, the country and the fragile environment that holds them both in its hands - a record as much about Los Angeles as it can be with its back to the town and the sun in its eyes; as much about
ostalgia as new music can be with the apocalypse over the next rise.

 On ‘Pale Horse Rider’, Cory Hanson moves ceaselessly forward. The old myths weave and waft, the shadows of tombstones flickering in the mirages and the light that lies dead ahead.

Los ingenieros oníricos se sirven de los artefactos para poder manipular su conciencia y diseñar mundos oníricos por los que viajar. De origen incierto, los artefactos se encuentran dispersos entre planos y han intentado ser rediseñados en nuestro mundo mediante el uso de frecuencias, convirtiéndose en elementos de estudio plenamente funcionales para el ingeniero onírico del plano físico. La correcta correlación de uso entre artefactos permite al onironauta saltar entre los diferentes estados de la experiencia para la formación de universos.

El artefacto ​Onirógeno ​es capaz de inducir al sueño. Sirve de puerta de enlace al mundo onírico y está presente en un estado de semi-consciencia. Dicho artefacto esférico, de naturaleza cromada, reproduce de manera cíclica el proceso de encendido de la máquina de sueños por un operador en un espacio ilusorio. El ingeniero sucumbe a un estado aletargado que permite el vínculo con otros artefactos al ser testigo de una de estas reproducciones.

El artefacto ​Hipnagogia ​es capaz de provocar alucinaciones visuales de intensidad creciente. Permite formar protomundos inconexos. Es un artefacto propio del plano semi-consciente. Debido a lo efímero de los protomundos formados, el ingeniero es incapaz de controlarlos y dotarlos de sentido.

El artefacto ​Efialtes ​es uno de los más inestables y volátiles. Este ente del plano semiconsciente provoca la incapacidad transitoria para realizar movimientos voluntarios durante la transición entre el sueño y la vigilia. Permite al ingeniero crear un canal al plano transitorio. Su presencia o interacción puede darse en los primeros o últimos estadíos. Está muy presente en el mundo semi-consciente y puede ser atraído por el uso de otros artefactos. Emite un zumbido muy característico cuando interacciona.

El artefacto ​Proyector,​ ​toroide derivado de Efialtes, solo presente en el plano transitorio. Crea un canal y permite al ingeniero ingresar, precediendo a la separación física, y materializar la consciencia en el nuevo plano.

Extracorpóreo ​es un derivado del artefacto Proyector, presente en el plano transitorio y con influencia en el plano físico. Permite a la conciencia materializada del ingeniero comunicarse con los impulsos básicos motrices y órdenes cerebrales del plano físico, traduciendo los diferentes protocolos implicados.

El artefacto ​Vacío ​es un espacio unidimensional que interconecta el plano transitorio con el plano onírico.

El artefacto ​Arquitecto,​ presente en el plano onírico, forma y diseña espacios acorde con las órdenes del ingeniero onírico en el caso de que el canal de comunicación sea lo suficientemente consciente. Es una pequeña recreación esférica del universo elevado a infinito en forma de fractal.

El artefacto ​Escultor,​ de hormigón y presente en el plano onírico, crea las diferentes imágenes e inteligencias que habitan el mundo onírico en construcción. Aunque puede ser controlado, a menudo actúa con un mayor libre albedrío, creando imágenes recurrentes.

El artefacto ​Programador,​ de código en cascada y presente en el plano onírico, es la inteligencia encargada de dotar a los mundos oníricos de acontecimientos.

El artefacto ​Devoramundos ​es el artefacto más inestable conocido y con mayor rango de influencia entre planos. Destruye el mundo creado como un agujero negro engulle todo a su paso.

El artefacto ​Cordón​, de plata y presente en todos los planos, sirve como nexo entre el cuerpo físico y la consciencia materializada. A menudo, debido al influjo de otro artefacto, o a la inestabilidad en el canal creado por correlación, es capaz de obligar a la regresión, clausurando el canal de comunicación. Existe un artefacto Cordón que une cada una de las conciencias proyectadas con sus correspondientes cuerpos así como del cuerpo físico. Se desconoce que ocurre en caso de fisión.

El artefacto ​Regreso,​ presente en el plano transitorio-semiconsciente permite al ingeniero recuperar la consciencia y restablecer sus signos vitales.

No other pairing in the history of Darkwave ever matched the unfettered creativity, resolve, and DIY attitude from the collaboration between the two creative minds that compromise Lebanon Hanover.

The meeting of the Swiss musician Larissa Georgiou, aka Larissa Iceglass and British artist William Maybelline a decade ago in the latter’s hometown of Sunderland in the UK, was a monumental occasion, reverberating throughout the European music scene and even across the Atlantic.

Lebanon Hanover would emerge from the peak of the world-wide minimal wave revival, with their 2011 split 7-inch record with La Fete Triste issued as the catalog debut of Europe’s most ubiquitous Techno-Industrial EBM labels, Aufnahme + Wiedergabe

With Berlin as their new physical home, William and Larissa would soon, however, join the Fabrika Records family. From here, they would go on to release two full-length albums through the Athens based label, starting in early 2012 with their winter debut LP The World Is Getting Colder, and it’s All Hallows Eve follow up Why Not Just Be Solo.

It was Lebanon Hanover’s 2013 third studio outing Tomb for Two that would go on to cement the duo’s legacy, with the album’s single “Gallow Dance” becoming a post-punk anthem for the times, with artwork became the band’s defacto logo. Not only that, the song “Sadness is Rebellion”, also featured on the album, became the band’s official Mantra.

Two years would pass before the release of 2015’s critically acclaimed fourth record, “Besides the Abyss”. In the intervening years, William and Larissa, initially a couple, would find other partners, and relocate to Athens.

Meanwhile, Lebanon Hanover as a live act would expand rapidly in popularity, exceeding capacity during their performances at Wave Gotik Treffen in Leipzig, and performing sold-out shows across Europe and the UK.

With the playful Babes of the 80s maxi-single released in the interim, three years would pass before the next record from Lebanon Hanover, with 2018’s Let Them Be Alien, the band’s fifth studio album.

At the dawn of the global pandemic, where dystopian nightmares that were only ever seen before within the pages of books and flashes of silver screen celluloid, has become a daily reality, a new kind of darkness envelops the world. It was at this Lebanon Hanover returned, sharing a glimmer of hope with the single “The Last Thing,” the duo’s first song from their forthcoming sixth studio album Sci-Fi Sky.

Spanning an epic journey across ten tracks that wander through industrial landscapes, and ascend beyond the atmospheric aether, Sci Fi Sky is Lebanon Hanover’s most cohesive artistic statement to date. With their icy hearts on their sleeves, this is the culmination of a decade’s worth of musical creativity radiating from the minds of both Iceglass and Maybelline, and altogether an otherworldly beacon of hope in a time of sheer darkness.

Nino Lepore hails from South Italy, and is best known for his self-titled LP from 1986, as well as for his uncredited work on Dancer Record. The 'Chok Musik' 12" from Best Record Italy focuses on two productions from his sole LP, and in the titular track, sexualized funk basslines join a disco drum strut, as guitar riffs shimmer and brass and string orchestrations swirl deliriously between filmic romance and symphonic madness. And after a breakdown into percussive chaos, smooth piano solos alternate with passages of sizzling sax. As for "Bad Time," an introduction of decaying gongs leads to a broken beat groove, with strings evoking atmospheres of exotic noir and horns soloing softly over subdued funk bass motions and distant flashes of guitar. There are jazz rock breakdowns into liquid riffing and flamboyant brass, and during handclap climaxes, horns swell towards the sky.

The music on Dance Nos. 1-5 was originally conceived as a three-way collaboration between composer Philip Glass, choreographer Lucinda Childs and artist Sol LeWitt. Dance received its world premiere in Amsterdam on October 19, 1979 and its New York premiere at the Brooklyn Academy of Music on November 29, 1979.

Post-dating Einstein on the Beach - Glass’s 1975-76 collaboration with director Robert Wilson - Dance was another Glass collaboration, this time with choreographer Lucinda Childs, known for her austere, athematically exact dances, and artist Sol LeWitt, who provided a ghostly, gigantic black- and-white film for several of the piece’s five sections.














RELEASE: 5-3-2021





• 180 GRAM AUDIOPHILE VINYL
• DELUXE HEAVYWEIGHT SLEEVE WITH GLOSS LAMINATE
• PVC JACKET
• THE COMPLETE ALBUM, AVAILABLE ON VINYL FOR THE FIRST TIME IN ITS ENTIRETY ON A 3LP-SET
WITH FIVE SIDES OF MUSIC
• INCLUDES PHILIP GLASS CATALOGUE WITH INFO ON THE PHILIP GLASS SERIES ON MOV


SIDE A

Dance has an abstract purity that easily earned it the label “minimalist,” a term that Glass himself disavows but that seems appropriate, at least in this case. After Dance, Glass’s music took several turns, not so much in style as in the various new contexts in which it was presented: major opera commissions and film scores led him to write for forces other than those of the Philip Glass Ensemble. At the same time, an attempt to reach a wide audience resulted in some shorter, perhaps more accessible, narrative pieces. Dance marked the blossoming of the composer’s experimental work. Here, though, the music - particularly Dance Nos. “1”, “3” and “5”, all written for the Ensemble— has an unforgettable exuberance that somehow speaks all at once of joyful innocence, intense erotic desire, tenderness, regret and, finally, acceptance. On the other hand, Dance Nos. “2” and “4” see Glass composing several large-scale works for solo organ; for instance, Dance No. 2 originated as a 1978 work entitled Fourth Series Part Two. This piece, later incorporated into Dance, and Dance No. “4” as well, have a more subdued, more darkly romantic quality than the work’s other sections and are quite unlike anything Glass had previously written. Still, they too, with their mysterious tilts of time and key signatures, continue the exploration of polyrhythms and harmonic complexities within the context of Glass’s repetitive, “minimalist” style.

The complete Dance Nos. 1-5 album is now available on vinyl for the first time in its entirety on a 3LP-set with five sides of music. The 3 LP’s are housed in a heavyweight sleeve.

File Under: Jazz / Contemporary Jazz - For fans of Ryuichi Sakamoto, Boards of Canada, Linda May Han Oh, Supersilent, Nels Cline, Makaya McCraven, and Haruka Nakamura! Born in Pinsk, Belarus in 1984 and immigrating to Canada in 1992 with the collapse of the USSR; Alexei Orechin has been actively shaping musical environments with his current projects No Seas, a solo project for guitar and tape, and leading his own ensemble incorporating jazz, chamber, and experimental elements into his compositional work. A diverse talent that is reflected in the company he has shared the stage with: Nas, Akae Beka, Rana Mansour, Shad, Yaadcore, and Sina Bathaie. He has played in USA, Mexico, Europe, and Russia. Performances include the TD and Montreal Jazz Festivals, Caribana, Irie Music Festival, Tirgan Festival, and Pride Toronto. His music for film has been featured at TIFF, CFC, NFB and the Warsaw Jewish Film Festival. He has been featured on CBC, Noisey, Global News, The Star, Dub Rockers, Huffpost, Afropunk, and Relix magazine. 2020 saw the premier of '1992 Ambient', a 45-minute long composition that is a 'therapeutic experiment in slowly melting sound and colour; representing the acculturation and restructuring oneself through emigrating from Russia to Canada in 1992'. 2021 will also see the release of his debut full length album Mirages; an album that showcases his diverse and ever evolving style of composition, ranging from moments of melodic solitude to fractal experimentalism.

Corvair is what happens when you trap two Scorpio songwriters in a house together. Comprised of a Portland-based husband / wife duo of two seasoned musicians (Brian Naubert and Heather Larimer), Corvair’s debut album charts a starcrossed love story over three decades, five cities, and six continents. Spanning from atmospheric pop to jangly confessional, 70s AM to 90s FM, this work is laden with stunning turns of phrase and prodigious melodies, two voices leaping to meet in the ether. Corvair’s debut album was largely created during the COVID pandemic shut-down of Spring 2020. It includes work with drummer Eric Eagle (Jesse Sykes, Wayne Horvitz) and Engineer Martin Feveyear (Brandi Carlile, Mark Lanegan, Mudhoney), who also mixed the record. Larimer explains, “Being stuck in a house together with very little outside influence made us more emotionally raw, definitely weirder, and also more patient and intricate in developing the songs. And because we were in a bubble, cooking dinners from paranoidly-disinfected groceries and listening to old records, really disparate references from some of our favorite music ended up colliding in odd ways--an emotional Judas Priest bridge, an anthemic Pixies outro, a spacey keyboard sound from Steve Miller, Jeff Lynne's acoustic guitar tone, a Carpenters-style lush harmony. I think it's a wonderfully weird record, but also very in-your-face pop because what else are you going to do when the world feels like it's ending?" Separately, Naubert and Larimer have created or appeared on more than 20 records. Heather’s musical mainstay was the garage pop band Eux Autres, broadly hailed as a “veritable cult classic” band, radio-debuted by the legendary John Peel, and featured in many shows, movies and commercials. Brian is a longtime fixture of the Northwest rock community, having played in vital bands such as Tube Top, Pop Sickle, and the critically-lauded Ruston Mire, since 1993. More recently, Brian released his first solo record, Hoffabus and a record with the NW Supergroup, The Service Providers. Naubert and Larimer’s decades of separate music making have finally combined, culminating in this tour de force from two formidable songwriters. Corvair sounds like nothing you’ve ever heard and everything you’ve always loved.
Press quotes: “Smart, infectious, jangly pop.” Everett True // “An irresistible set of bouncy indie-pop tinged with surf music and ‘60s girl groups, contrasted with the band’s often-biting lyrics.” KEXP.org // “One of the more exciting independent releases of the year...a veritable cult classic.” Under The Radar // “Three chord garage pop that hangs on a raunchy guitar line and crisp production from Janet Weiss (Sleater-Kinney, Quasi).” MAGNET Magazine // Brian Naubert - vocals, guitars, bass, keyboards, percussion. Heather Larimer - vocals, keyboards, percussion.

No other pairing in the history of Darkwave ever matched the unfettered creativity, resolve, and DIY attitude from the collaboration between the two creative minds that compromise Lebanon Hanover.

The meeting of the Swiss musician Larissa Georgiou, aka Larissa Iceglass and British artist William Maybelline a decade ago in the latter’s hometown of Sunderland in the UK, was a monumental occasion, reverberating throughout the European music scene and even across the Atlantic.

Lebanon Hanover would emerge from the peak of the world-wide minimal wave revival, with their 2011 split 7-inch record with La Fete Triste issued as the catalog debut of Europe’s most ubiquitous Techno-Industrial EBM labels, Aufnahme + Wiedergabe

With Berlin as their new physical home, William and Larissa would soon, however, join the Fabrika Records family. From here, they would go on to release two full-length albums through the Athens based label, starting in early 2012 with their winter debut LP The World Is Getting Colder, and it’s All Hallows Eve follow up Why Not Just Be Solo.

It was Lebanon Hanover’s 2013 third studio outing Tomb for Two that would go on to cement the duo’s legacy, with the album’s single “Gallow Dance” becoming a post-punk anthem for the times, with artwork became the band’s defacto logo. Not only that, the song “Sadness is Rebellion”, also featured on the album, became the band’s official Mantra.

Two years would pass before the release of 2015’s critically acclaimed fourth record, “Besides the Abyss”. In the intervening years, William and Larissa, initially a couple, would find other partners, and relocate to Athens.

Meanwhile, Lebanon Hanover as a live act would expand rapidly in popularity, exceeding capacity during their performances at Wave Gotik Treffen in Leipzig, and performing sold-out shows across Europe and the UK.

With the playful Babes of the 80s maxi-single released in the interim, three years would pass before the next record from Lebanon Hanover, with 2018’s Let Them Be Alien, the band’s fifth studio album.

At the dawn of the global pandemic, where dystopian nightmares that were only ever seen before within the pages of books and flashes of silver screen celluloid, has become a daily reality, a new kind of darkness envelops the world. It was at this Lebanon Hanover returned, sharing a glimmer of hope with the single “The Last Thing,” the duo’s first song from their forthcoming sixth studio album Sci-Fi Sky.

Spanning an epic journey across ten tracks that wander through industrial landscapes, and ascend beyond the atmospheric aether, Sci Fi Sky is Lebanon Hanover’s most cohesive artistic statement to date. With their icy hearts on their sleeves, this is the culmination of a decade’s worth of musical creativity radiating from the minds of both Iceglass and Maybelline, and altogether an otherworldly beacon of hope in a time of sheer darkness.

Born in Newtownards, County Down, Northern Ireland, singer/songwriter/guitarist Ricky Warwick was cut from the cloth of a mill workers’ jacket. Raised on a diet of Patsy Cline, Johnny Cash, Thin Lizzy, Stiff Little Fingers, Motown and everything in between. Saving his money from a newspaper round and a little help from his father, Ricky got his first electric guitar at age 13. “That cheap electric guitar changed my life....it saved me, it was more than just notes on a fretboard, it was the deepest breath of life I ever experienced.“ explains Warwick.
At age 14 Ricky and his family relocated to Strathaven, Scotland. It was here that Warwick fully immersed himself in the sonic seas of Rock n Roll. Writing and practicing every free moment he wasn’t working on his father’s farm, Ricky got a call to join acclaimed U.K. Punk/Folk band New Model Army as rhythm guitarist on their 1987 ‘Ghost Of Cain‘ World Tour. Following New Model Army, Ricky went on to form The Almighty in Glasgow who enjoyed ten top forty singles and four top twenty albums in the U.K. during the late 80’s/early 90’s, touring worldwide with such iconic bands as The Ramones, Motorhead, Megadeth and Iron Maiden.
In 2002, after relocating back to Ireland, Ricky recorded his first solo album ‘Tattoos & Alibis‘ in Joe Elliott of Def Leppard’s studio in Dublin with Joe also handling production duties. It marked a shift in direction “I realized that I didn’t need to yell over a wall of sound to make my point...less is more, stripped back instrumentation could achieve the same goal just as effectively. I learned so much making that record, primarily about myself”. Warwick would go on to release two more solo albums between 2002 -2010 and tour globally opening for the likes of Def Leppard, Cheap Trick, Bryan Adams and Lynyrd Skynyrd.
In January 2010 Ricky received a call from his old friend Scott Gorham who was spearheading a reformation of Ireland’s favourite sons Thin Lizzy and wanted Ricky to front the new line up. ”I was shocked, terrified, excited and extremely humbled when I got that call. Phil Lynott was my hero and Thin Lizzy were the soundtrack of my life. I realized that I could never hope or even dare to try and stand in Phil’s shoes. All I could do was try and stand beside them and sing his songs with as much heart, soul and passion possible. In late 2012, with a necessity to write and perform new material, out of respect for the Thin Lizzy name, Black Star Riders were born. Warwick is the frontman and main songwriter for the band and 2013 saw the release of Black Star Riders acclaimed debut album


‘All Hell Breaks Loose‘.

Black Star Riders have now released four critically-acclaimed and commercially successful albums, the most recent being 2019’s ‘Another State Of Grace‘. They have achieved two U.K. top 15 albums and one U.K. top 10 album as well as mainstream radio play which includes claiming two “singles of the week” on BBC Radio 2.
Following 2016’s lauded ‘When Patsy Cline Was Crazy... And Guy Mitchell Sang The Blues’, Warwick is getting ready to unleash his 5th solo album in 2021. Titled ‘When Life Was Hard And Fast‘, it was recorded in Los Angeles and produced by Keith Nelson (ex-Buckcherry), who also co-wrote the majority of the songs on the record with Warwick. “Keith Nelson and I share a passion for good, honest, rock ‘n’ soul. Making the album with Keith who shares a similar outlook and work ethic as myself was a no brainer ....also the fact that he has a killer collection of vintage guitars contributed greatly”
“I wanted to create an album that had the simplistic melodies of Tom Petty and the Heartbreakers charged with the electric hedonistic fury of Johnny Thunders And The Heartbreakers. Recording the album as live as possible with a full band was requisite to achieving the desired effect”. Xavier Muriel (Ex-Buckcherry) on drums and Robert Crane (Black Star Riders) on bass completed the core band and turned in stellar performances, giving the songs a real lease of life.
Also, once again, Warwick tapped some of his closest friends for guest appearances on the record, including Andy Taylor (Duran Duran & Power Station) Luke Morley (Thunder), Joe Elliott (Def Leppard), Dizzy Reed (Guns n Roses). Ricky also duets with his daughter Pepper on the song ‘Time Don’t Seem To Matter‘. “I can’t wait for people to hear this album and to hit the road touring it whether it’s with my band The Fighting Hearts or just myself and my acoustic - it will be amazing. I’m grateful that after 30 years of making records my appetite for writing and playing is the same as it was that day all those years ago when I got my first electric guitar”
For those intrigued by the album cover, it depicts a crash scene from the famous Ards TT Motor Car Race in County Down Northern Ireland. The race ran from 1928 until 1936 was watched by over 250,000 spectators annually. The embankment in the photograph that the spectators are on is actually a field belonging to Ricky’s Great Grandfather’s Farm, which he grew up on for the first fourteen years of his life.