Buscar:havin

Svart Records is proud to present the original soundtrack to the supernatural thriller series Requiem! Debuted by BBC One in the UK and NETFLIX globally, psychological horror series Requiem became an instant hit, not least because of it’s haunting, spine-tingling score. Conjured by award-winning composers Dominik Scherrer (The Missing, Ripper Street & Marple), and Natasha Khan of Bat For Lashes, Requiem is an eerie landscape of sharp, scraping cello, soothing harps and tense string sections. From the urban uncanny to folk horror, there is a distinct atmosphere in the fresh collaborative dynamic between the British-Swiss decorated grandmaster of unique television series soundtracks Scherrer, and the rising enigma of alt-pop, twice Mercury Music Prize-nominated singer/songwriter Khan. Of their alchemical and otherworldly creative chemistry, composer Dominik Scherrer recalls: “Natasha Khan and I spent some weeks in my studio in Brick Lane, coming up with themes and recording outlandish vocals and terrifying sounds. There is a cheeky element to the show, as well as a genuinely scary one. Together with a pastoral spookiness of the cello and strings themes started to give Requiem its own unique atmosphere. We experimented with deviant playing techniques and unconventional recording approaches, to complete a moody air of retro horror and pastoral spook.” Available for the first time on CD and LP, this highly celebrated “spooksome” score harkens back to the 1970s lo-fi soundtracks from BBC’s Radiophonic Workshop or 1970s horror soundtracks. Winning an Ivor Novello award for the “Best TV Soundtrack” in 2019, Requiem is a one of a kind treasure, now rightfully preserved and beautifully presented on lush vinyl and CD format by Svart Records. “Requiem promises much, not least in way of sound. Nominally just another spooksome BBC tingler – old castle in Wales, birds flying into windows, locked room, pagan symbols, creepy locals – it is rendered a whole cut above by not having the heroine’s every move into peril foreshadowed by dissonant eek-eek string” (The Guardian)

2xLP: Gatefold, pressed on Gold Nugget vinyl


“I wanna thank me,” Snoop Dogg said as he accepted his star on the Hollywood Walk of Fame, “I wanna thank me for believing in me. I wanna thank me for doing all this hard work. I wanna thank me for having no days off.”

An Entertainment Icon, Snoop Dogg has reigned for more than two decades as an unparalleled force who has raised the bar as an entertainer and globally recognized innovator.  Snoop has released 19 studio albums, sold over 40-million albums worldwide, reached No. 1 countless times on Billboard charts internationally and received 20 GRAMMY® nominations. Snoop Dogg most recently released his highly praised and award-winning Gospel album, Bible of Love. He is currently working on his next studio album, I Wanna Thank Me, releasing this summer through EMPIRE.

In addition to his extensive work in music, Snoop Dogg has made his mark in the television and film space, including an Emmy Award nomination for his role as Executive Producer and Co-host of VH1’s hit show, Martha & Snoop’s Potluck Dinner, Executive Producer of MTV’s Mary + Jane, Executive Producer and Host of TNT’s game show, Joker’s Wild and Executive Producer of acclaimed Netflix’s show, Coach Snoop.

“Owl Parade” is the result of solo work of Przemysław Adach, having 15 years of experience in sound production, which resulted in a wide range of projects and singles in cooperation with many vocalists, rappers and musicians in the country and outside. This album combines everything at once – ambient, trip-hop, chillout with a large admixture of electronics, while mixing flavors with a cello, electric guitar or dynamic drums

Nas has had a career of generally consistent excellence, punctuated with a few lulls. He’s an incredibly skilled rapper sometimes accused of having a tin ear when it comes to choosing beats – especially on albums (and the entirety of ‘Illmatic’ aside, obviously).

‘Made You Look’ was a shot in the arm for Nas at a time when he’d shed some of his core, street fanbase. After the unfocussed ‘Nastradamus’ and ‘I Am…’ albums he’d had a return to some kind of form with ‘Stillmatic’, but many felt he came off second best in the ensuing battle with Jay-Z.

This single, a club and street classic almost from the moment it dropped, is exactly what he needed to reconnect with his fans and to show he could still throw down. Lyrically, it’s hardcore bragging 101, delivered with panache and numerous quotables that themselves would go on to be sampled.

Key to it all, however, is that beat. Salaam Remi was no stranger to resurrections, having almost single-handedly turned The Fugees from forgettable also-rans to major-players. The beat here is deceptively simple, one of hundreds of records to chop up Incredible Bongo Band’s ‘Apache’ but doing so in a way that felt instantly fresh. Nearly 20 years later it still has the power to get a stationary crowd moving, an empty dancefloor to fill, a still head to nod.

This original version has never been on 7” before. It’s presented with full artwork.

Two hot property New Zealanders under the guise Manuel Darquart take the WOLF reigns for their debut on the label. Drawing influence from classic Italian house labels such as Irma, Antima and Palmares (alongside having that South Pacific sea breeze ingrained in their souls), the duo let loose on a three track EP that could have easily been plucked straight out of a ‘90s Key Tronics Ensemble stash. WOLF mainstay Medlar completes the package with a percussive workout remix of ‘Parkour!’, dubbed, rerubbed and full of that timbale goodness.

With a string of releases on the likes of Coastal Haze, Childsplay and Infinite Pleasure, Manuel Darquart transport you to a distant island life where corona’s claws have yet to cause chaos. Opener ‘Keep It DXy’, sees sweeping pads caress the shores as bumping basslines mix with punchy stabs and dreamy toplines.

From the beach to the jungle, ‘Miranda’ is a stomp through the undergrowth, the tropical landscape calling out at every turn, as synth melodies dance around steamy bass arps and streams of percussive hits.

Flip it to the B for ‘Parkour’, a proto-house gem that captures that ‘80s feel with gated snares, thumping kicks and synths galore, before Medlar closes out the EP with a ripping whirlwind of percussion for his remix of ‘Parkour’.

Infernal Sounds welcome back the heavyweight Von D, as he delivers the gargantuan three-track Hunedoara EP, fresh off the back of his debut release on Deep Medi. Spanning way back to 004 on the label in which he made his debut on Infernal Sounds with two tracks 'Cross Of Hendaye' & 'Finis Gloriae Mundi', he drives a different style and reflection on this endeavour. The title-track 'Hunedoara' is the crowd pleaser - hitting you with the heavyweight stomping war chant, whereas both 'Akasha' and the textural 'Layers' on the B-side are melody centered and display the more playful side to the French producers repertoire. Having already received the backing from the likes of Truth, DJ Squarewave, and many other reputable artists in the scene, this is a plate that's armed for the dance or for playing at home.

Notes From The Forest Floor was originally premiered in a different form in July 2015 at The ICA as part of an evenings event dedicated to the work of Italian composer Giacinto Scelsi. Played in almost pitch dark the hour long piece was played prior to a concert of work by and inspired by Scelsi. Chris responded to Scelsi's microtonal works using recording of insects and other wildlife/environmental sounds from La Selva tropical rain forest reserve in Costa Rica. An edited shorter piece from this installation was on the Scelsi Ep titled Invertebrate Harmonics which gathered great reviews from the Quietus to the Vinyl Factory. Whilst working with Chris again this year having had the stereo ICA installation version sitting on his hard drive for 5 years Adrian Corker asked Chris if he would be interested in releasing it.Chris was soon after heading back to Costa Rica working with David Attenborough and offered to make new recordings and develop the original piece.

Georgia Rodgers Line Of Parts was originally premiered at Huddersfield Contemporary Music Festival in 2019 as part of the Huddersfield Professional Development Programme for Female Composers of Electronic Music project. Originally having trained a an acoustician Rodgers work is concerned with" timbral detail". She has had work performed by ensembles such as Apartment House and The Riot Ensemble but for Line of Parts worked with the Huddersfield Immersive Sound System(HISS) using its network of 48 channels and 66 speakers.The piece and stereo mix down of this work is composed of field recordings made in the Cairngorms and North London, sine waves and voice.

Songs for dancing, having fun, and vibing out, B. Bravo's latest project, the "Cosmic Mind" EP, brings listeners to the dancefloor by way of a healthy dose of talk-box, retro synths and irresistable boogie grooves.

Los Angeles producer, talk-boxer, remixer, DJ & instrumentalist, B. Bravo, has been flipping interstellar references and laying down galactic beats for over a decade. From 2009's Analog Starship to 2020's Cosmic Mind EP, the funk in him is alive and well. Born in California with roots in Japan, Bravo combines his love for jazz, soul, hip hop and electronics into his own signature sound of swinging grooves, melodic synths and bouncing analog basslines.

2024 Repress

KMRU is the moniker of Joseph Kamaru, a sound artist, and producer based in Nairobi. One of the leading exponents of the burgeoning experimental music scene in Nairobi and beyond he was listed by Resident Advisor as one of '15 East African Artists You Need To Hear' in 2018 and is a regular performer at the fabled Nyegenyege Festival having also presented live performances at CTM festival and Gamma Festival. Peel is KMRU's first release for Editions Mego. exquisite mix of field recordings and electronics unravelling at a repetitive and leisurely pace to expose a rich tapestry of sound that has been revered for it's ability to cross bordear with the sheer undertow of emotional content. The subtle calming atmosphere within Peel belies the compositional prowess as layers of delicate sounds wrap around each other creating a hybrid new form ambient musics both captivating through it's textural depth and kaleidoscopic patterns. The track titles lend themselves to the themes and mood set within: Why are you here, Well, Solace, Klang, Insubstantial and the title track. This is a deep heartfelt journey with a new strong voice being expressed through the means of organically presented electronic ambient sounds, one which reveals further layers on repeat listens.

This classic album, released in July 1972 on the back of three chart-topping T.Rex LPs – provides a perfect snapshot of the era the press dubbed ‘T. Rextasy’ and is proof of Bolan’s extraordinary and enduring appeal across the generations.

The Slider contained two UK Number 1 hit singles, Telegram Sam and Metal Guru and the first to bear the T. Rex Wax Co imprint, a seal of approval from EMI Records, who felt Bolan sufficiently important to warrant having his own record label. This edition features the complete album remastered by producer Tony Visconti and Ted Jensen.

Ltd. Purple Edition

Out 18th September, ‘What It Is’ is the second LP from Brooklyn- based multi-instrumentalist, composer, arranger and producer Sly5thAve; his first new music since the critically acclaimed project ‘The Invisible Man: An Orchestral Tribute to Dr. Dre’. The recording had been first devised as a benefit concert in LA which was attended by Dr. Dre who took to the stage to express thanks for Sly5thAve’s arrangements. Having spent the past three years performing the project with orchestras around the world, ‘What It Is’ sees Sly5thAve retain the high-quality that fans and critics alike have come to expect from him while stepping out with something considerably different, delving deeper into the worlds of hip hop, jazz and soul. Celebrating not only his own versatile musicianship but that of his collaborators and friends, ‘What It Is’ is a collection of tracks showcasing the best of the multi-faceted musician. A sought-after collaborator himself, Sly5thAve has attained much respect from his work with a host of highly fêted musicians including; Prince (as a member of the New Power Generation Band), Stevie Wonder, Gladys Knight, The Dave Brubeck Quartet, Taylor Swift, Janelle Monáe, Freddie Gibbs and Quantic.

When Upset The Rhythm released Normil Hawaiians’ lost album ‘Return Of The Ranters’ back in 2015, the band members got back in touch with each other after a 30 year break and starting playing music together again. Out of this the group played a launch show for the album and followed that up with more concerts, including an appearance at Supernormal, a residency at the Edinburgh Festival, gigs at Cafe OTO and supporting Richard Dawson in London too. They even recently toured Greece in support of having all three of their renowned exploratory post-punk albums finally back in print.

Throughout this time, Normil Hawaiians revisited their original songs for these live performances. However for a group always so interested in evolving their sound and seeking nuance, it comes as no surprise that they shirked the idea of a faithful retread of old material in favour of reimagining their songs. The group experimented by pushing their songs into new inventive dimensions, still progressive at heart, but now imbued with a cosmic uncanny. A cinematic, even pastoral approach that was always quietly present has come to the fore. The quaint weirdness of folk song, the humanity of communal practice and the group’s ecological mindedness have all found a place in Normil Hawaiians’ current sound world. With this conducive atmosphere brewing, the band’s first new songs in decades started to emerge.
Being far-flung across the UK, the Family Hawaii encamped to Tayinloan, a small village on the west coast of the Kintyre peninsula in Scotland with the intention of recording new music. They set up their own studio in an isolated, windswept house overlooking the sea and started the tape rolling. Noel Blanden from the band explains how the spirit of the location was such an inspiration to the group during this initial recording session: “Our time immersed in the place and the unique energy it generated in us allowed us to write ‘In The Stone’. It goes right back to our first album, this need to document experience before it passes over and eludes us. We were grabbing at the musical ether and letting it shape itself through the band.” From loose, improvised sessions and reflective periods of listening in Tayinloan, Normil Hawaiians captured the moment. ‘In The Stone’ is a motorik thrill of distorted guitars, locked rhythms and morphic resonance. Guy Smith is joined by Zinta Egle on vocals, skilfully sharing lyrics informed by Alan Garner and Nigel Kneale’s ideas around recurring events being linked to place and historical artefact;  a kind of residual haunting known as ‘Stone Tape’ theory. In keeping with the context of the song, sounds from several previous live recordings of the track were woven into its present being. Flipside ‘Where is Living?’ is a decidedly more delicate affair of questioning lyrics and eerie traces, droning strings and impressions smudged. This resultant 7” is a tantalising glimpse of Normil Hawaiians now, an echo from the past, an echo from the future.

Following contributions from Carl Craig, Stacey Pullen and Wajeed, Swiss DJ and producer Mirko Loko steps forward to mix the fourth volume of Planet E's mix series, Detroit Love. Active since the late nineties when he first began DJing in the clubs of Lausanne, Switzerland, Mirko Loko has always felt a deep connection to the music of Detroit. Having been personally invited by Carl Craig to play at the Detroit Electronic Music Festival in 2001, that connection has stayed consistent and electric ever since. Mirko Lokois also known as a Cadenza mainstay and a curator of Verbier's Polaris Festival, but the music of the Motor City has been the guiding force of his creative career.

Having earned BBC Radio 6 play from Gilles Peterson for last year’s track ‘Vortex’ , Japanese duo
Ohnesty today announce their next release, ‘Movin’ On’ EP, out on 22nd May on Highball. The
project unites two influential talents from Fukuoka’s burgeoning underground scene: BRISA, the
adventurous and eclectic producer/DJ who spans everything from nu-jazz to acid house, and shigge,
founder of the Yesterday Once More label.

The EP makes an immediate statement of intent with the title track. Underpinned by a lurching,
mechanised groove, it swings unexpectedly into a stuttering, pitch-shifted vocal cut alongside insistent
hi-hats and the kind of soulful female vocal sample that’s a hallmark of deep house. The track demonstrates Ohnesty’s unique style. On one hand, they’re constantly pushing an audacious sense
of creativity into a progressive-focused track. Yet at the same time, they never lose sight of the
importance of making it sound both engrossing and energising.

Its second track ‘K&T’ focuses those traits in a completely different direction, blending elements acid
jazz, late ‘70s disco and French Touch into their own vision. And finally ‘Need You’ echoes yacht rock
and ‘80s movie scores with sweet synths and the booming gated reverb drum sounds.

The ‘Movin’ On’ EP is completed by a remix of ‘Need You’ by British producer Happa . One of the
youngest artists to have ever DJed at Berghain, Happa’s production talents have also been called on
by the likes of David Byrne, FKA Twigs and Trim.

Ohnesty released their debut EP ‘Time To Be Honest’ last September on Yesterday Once More. It
was followed by an accompanying remix package , which included intreprations from the likes of
Metome and Daijo Kaisei.

The ‘Movin’ On’ EP is the second release from the new London-based Highball Records. Aiming to
highlight essential, forward-thinking new music from Japan, the label debuted in March with
Foodman’s ‘Dokutsu’ EP.

Having previously brought together world-renowned Theremin soloist Carolina Eyck and electronic producer Eversines for a specially commissioned collaborative mini album, yeyeh founder Pieter Jansen has now conjured up another unlikely but inspired joint album, this time featuring award-winning free-jazz vocalist Greetje Bijma and leftfield house, techno and ambient producer Oceanic.

The project has its roots in a chance meeting between Jansen and Bijma, a legendary figure on the Dutch jazz scene who in 1990 became the first woman to win the country’s top jazz accolade, the VPRO/Boy Edgar award. Apart from having previously worked with the likes of Anna Homler (aka Breadwoman), Jasper van ’t Hof, Han Bennink, Louis Andriessen and Willem Breuker and her own solo projects, she’s in a league of her own.

Jansen is a big fan of Bijma’s 1996 heavily electronic collaboration with Jasper van’t Hof and Pierre Favre, Freezing Screens, and was with the friend who first introduced him to it when he bumped into Bijma.
Excited to meet someone who had made one of his favourite records, Jansen took the opportunity to ask Bijma if she would be interested in working with young electronic music producers. To Jansen’s delight, Bijma quickly agreed.

Weeks later, Bijma stepped into the studio with Oceanic, a rising star of the Dutch electronic underground whose releases as Oceanic for Nous’klaer Audio and BAKK Plafond revolve around mechanical rhythms, opaque ambient textures, minimalist melodic movements and effervescent electronics. The pair quickly connected on an emotional and musical level, with Bijma taking her cues from Oceanic’s electronic sounds and rhythms, and Oceanic drawing inspiration from Bijma’s dexterous, mind- bending and otherworldly vocalizations.

After two hugely productive days, the cross-generational duo had completed a couple of mesmerizing songs – breathlessly haunting album opener “Swallow a Party” and chilly ambient closer “A Window Drifting” – and recorded several hours or improvisations that Oceanic later edited, layered-up and re-modelled.

The results are little less than spellbinding. The range and versatility of Bijma’s vocalizations is breathtaking, while Oceanic’s music – which cleverly incorporates the free-jazz singer’s vocal notes, tones and proclamations – swings between becalmed beauty and breathless intensity.

Some of the set’s most striking moments are those where Oceanic re-contextualizes Bijma’s varied vocal sounds with the dancefloor in mind. On the pulsating “Technicolour Memories”, up-tempo “Step Snakes” and hypnotic “Never Done”, Bijma’s scat outbursts not only ride Oceanic’s rhythms, but also form part of the densely layered percussion tracks beneath.

Like the release’s more downtempo and ethereal moments, these hybrid organic- synthetic compositions defy easy categorization, offering a unique brand of alien electronic/acoustic musical fusion that lingers long in the memory.

When Joakim aka Cray76 moved back from NYC to Paris in 2019, he knew he wouldn't have access to a studio for a little while. And although he welcomed that forced pause in making music, he felt the need to take at least one piece of gear with him in his suitcase. It was the legendary Roland TB303, one of the simplest and quirkest synth ever made and maybe the one that had the most important influence on electronic music since the mid 80s. Having recorded a few beats on his Roland TR808 before he packed his studio in Brooklyn to be shipped back to France, Joakim decided to make a record only using those 2 machines, an « exercice de style » that is a tribute to 30 years+ of acid house and techno and a way to make tools that he could use in his DJ sets. It goes deep, it goes hypnotic, it goes rough, many flavors of acid are packed in this 808+303=1111 12inch.

Bristolian promoters Worm Disco Club have been championing South-Western talent since their inception in 2014. Having collaborated with Glastonbury Festival on their notorious 'Wormhole' stage and hosted the likes of The Comet Is Coming, The Heliocentrics and The Mauskovic Dance Band at their regular club night, the name has become synonymous with quality groove laden goodness, percussive madness, jazz, psych and beyond. Now proudly presenting their label Worm Discs, the collective recruit some of Bristol's most notable emerging talent for an exploration into the new wave of Jazz emanating from the city. As Andrew Hayes, (Run Logan Run) explains : "Bristol has always had its own sound, but there's been a new crop of young players come through over the past five years that's revitalised the scene and expanded its expectations about what jazz music means. Featuring the likes of Waldo's Gift, Run Logan Run (Montreux Jazz Talent Award winners), BaDaBoom, Lyrebird and Alun Elliot, 'New Horizons' channels the seismic energy of the sonically rich landscape into 12 progressive, psychedelic, impeccably crafted tracks.

Widely and rightly regarded as one of the best ever soul and funk bands, the now legendary Average White Band tore-up the rule book and conquered the US, UK & International charts with a series of soul and disco hits between 1974 and 1980.

AWB’s repertoire has been a source of inspiration and influence for many R&B acts and they are one of the most sampled bands in history, remaining relevant today, continuing to reach new generations of younger audiences.

Snoop Dogg, Fatboy Slim, Ice Cube, Puff Daddy, TLC, Rick Ross, will.i.am and Mark Ronson amongst countless others, have all borrowed sections of their grooves.

Having split in 1982, Average White Band re-formed in 1988 with a different line-up but with Alan Gorrie, Onnie McIntyre and Roger Ball remaining. ‘Aftershock’ is the Band’s 11th album, originally released in 1988.

‘Aftershock’ includes the singles ‘The Spirit Of Love’, which features Chaka Khan and Ronnie Laws, as well as ‘Sticky Situation’. Other special guests include The Ohio Players.

This is the 1973 solo album by Ghanaian percussionist Anthony Kwaku Bah, who was given the nickname „Reebop“ by American
jazz legend Dizzie Gillespie. He passed away early at the age of 39 in Stockholm in 1983, but before made himself a name for his
works with UK 70s rock heroes TRAFFIC and German Krautrockers CAN, amongst others. If you might expect here the prototypical
Afro Beat and Afro Rock you mostly know from British bands, you will be surprised that this is only one part of the deal. Yes, there
are African elements to be found, buried somewhere in this boiling cauldron where polyrhythmic grooves are the base for jazz
improvisations by the brass section, that range from naughty swing and bebop, to freaked out free jazz and enchanting soul jazz
the way it was popular in the late 60s. The arrangements are utterly lush with so much going on here in every aspect that you
would get lost if there was no trace of melody to be discovered, but there they are and they tell you fantastic stories of exotic
places that only exist in your wildest dreams. Kwaku Bah’s rhythm patterns grab you by the horns and pull you into a world of
their own. Hypnotical, irresistible, hot and vivid. The tunes combine jazz, soul, funk and each one is constructed like a self –
contained story. One could imagine these tunes being used as library music for 70s movies from action to romance. All pieces
though are characterized by the constantly pulsating rhythm. To avoid drifting into the field of insubstantial disco dance music,
the performances witnessed here were executed with the highest possible emotional intensity and dedication. Lay back, close
your eyes and float away on a raft of sound upon the wild river of grooves and melodies. Some haunting Exotica jazz passages
with a typical „jungle“ feel get thrown in for the good measure. There are even vocals in an African language hard to identify,
which create and even more mysterious atmosphere. This is just an introduction part of another powerful speed funk groover but
the vocals stay and make this a clear standout track. Saxophone and guitars seem to have a duel here. You will not sit still while
having this tune „Iphonohimine“ coming down on you like a thunderstorm. Blues, Afro Beat, Psychedelic Rock, Funk, it can all be
found in here and the band goes wild into an everlasting improvisation that deprives you of your breath. Can this record get even better? Do not ask, just enjoy what comes next. If you think that some melodies by the giant brass section sound a bit too catchy
just reach out beyond these harmony lines and find yourself in a thicket of grooves, pulsations, bits and pieces of melody with a
dense, sultry atmosphere. Some smaller parts might make you think of cruise ship big bands and white suits, but everybody will
soon drop these and dance in their underwear for the hot blooded power funk base of the tune called „Africa“, which will take
over one’s soul and set it on fire. So clean, so nice and so filthy and dangerous at the same time, this album is a masterpiece of it’s
style. The exciting and very sensual funk rock of „Lovin‘ you baby“ with crazy fuzz guitars and a dark and haunting approach is
another reason to kneel down when you put this record onto your turntable. Great clean lead guitars give it a latin garage rock
edge Carlos Santana would commit serious crimes for. If you love bands like OSIBISA, Eric Burden & WAR, GINGER BAKER
AIRFORCE, SANTANA, Miles Davis, all around 1969 to 1973, this is what you always wanted to listen to. Grab your copy now.

It is possible that a deeply fickle Bryn Jones, who was never happy with remixes of Muslimgauze music apart from his own, might be with this one.
Extreme, an earlier Muslimgauze label, had a long history of remixing the material Bryn sent to them and this was the main reason for the artist to move to the staalplaat label.

It’s an interesting coincidence that Extreme hired Anders Peterson to remaster Muslimgauze for them. In the process of listening to masters and studying the music, the idea of a remix or ‘rework’ seemed an intuitive next step, reflects Peterson, “The remixes are based on various material from about 6 DAT tapes. I did not choose any specific tracks, rather sections and parts of all the recordings on those tapes. I did not seek to do a remix, it just grew up of that remastering project. I think I could not find any artist in any genre, anywhere, that would be more interesting to rework / remix than Muslimgauze, so I definitely feel very honored having been able to record these remixes.”

Musically, this release falls in line with the more deep spiritual, meditative, abstract side of Muslimgauze, which is often overlooked. The music remains timeless, the production as crisp as ever. Those familiar with the Muslimgauze oeuvre know this music is more than just a series of infectious rhythmic works. Rather a historical document, a musical commentary on the tumultuous times that inspired it; a reflection on the Iran/Iraq war, Operation Desert Storm, the Soviet invasion of and retreat from Afghanistan and the first Intifada. Anders Peterson brings the music of Muslimgauze and successfully found new ways to reveal the artistries from one of the 20th century’s more intriguing artists. Through circumstance, Staalplaat is to ensure that the remix project sees the light of day, now available on the evidently timeless medium of a vinyl record.”