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Zwei Tapete Records Acts, die sich kennen und schätzen, veröffentlichen eine gemeinsame Split-7", auf welcher sie sich gegenseitig covern: Pete Astor und Die Liga der gewöhnlichen Gentlemen. Während Pete Astor aus dem Liga-Hit "Alle Ampeln auf Gelb" ein zu Herzen gehendes psychedelisches Moritat namens "Amber Lights" zaubert, verwandelt die Liga die Ballade "Like Frankie Lymon" von Astors ehemaliger Band The Weather Prophets in einen Modern Lovers-esken Uptempo-Song inkl. Saxophon-Solo ("Wie Frankie Lymon). Fun Fact: Pete Astor verbrachte die Sommerferien oft bei seiner Tante in Pinneberg bei Hamburg. Nur ein paar Kilometer entfernt hockte, vermutlich zeitgleich (!) einer von der Liga der gewöhnlichen Gentlemen in seinem Jugendzimmer und lauschte der Original-Version auf der Creation Records-Compilation "Purveyors Of Taste" und hatte natürlich keine Ahnung, dass der Interpret und Autor des The Weather Prophets-Songs, mithin ein waschechter britischer (Indie-)Pop-Star, quasi in der Nachbarschaft zur Sommerfrische weilte. Man kann also sagen, dass sich mit vorliegender Split-7" ein Kreis schließt.

!!! repressed !!!

Walls & Birds‘ debut on the Berlin label Beatbude! Recorded with the aid of “The Whitest Boy Alive” keyboarder Daniel Nentwig at the local Butterama Recording Center, the vinyl is accompanied by a fold-out poster and a digital bonus track.

Much like their previous releases, “Less than a kilometer away” is Walls & Birds’ new take on popular music today. The first song “Wearing a Dress” touches on the theme of modern clothing habits, while questioning relationship patterns still widespread in popular music lyrics. The surprising element of new found love is also one of the themes of the B-side “Heads & Tales”, telling the story of a late night after work taxi ride with the chorus contemplating about the eternal either or question, plainly answered with: love. The cheerful upbeat digital bonus track “Summer 2002” is as meaningless as most nice pop songs these days.

Das Album enthält die Hits "Last Last", "For My Hand und "Kilometre". "Last Last" enthält ein Sample von Toni Braxtons "He Wasn't Man Enough" und wurde von dem nigerianischen Produzenten Chopstix produziert.

Vom Konzept her ist der Song Burnas Antwort bzw. seine emotionale Sicht auf den gesampelten Originalsong.

I can say that the album It's not too late has been created by chance.
Few years ago together with Lisa Gerrard we visited synagogue in a small town hundred kilometres from Cracow, Bobowa. When we entered the synagogue Lisa started to sing. It appeared that the place had spine-tingling acoustics. I said then to Lisa: " let's try to record something here".
The rule was simple: I prepared themes and we recorded live performance. Lisa heard what I was playing for the first time during the recording and she improvised. We recorded nine compositions in 45 minutes. It supposed to be a holiday joy.

Six years later I returned to the material we recorded and decided to finish it. What is left from the original recording is the voice of Lisa. I composed and recorded everything else in my studio. Dominik Wania played piano, Magdalena Pluta - cello and Jerzy G?owczewski- saxophone.
That's the way the album It's not too late came in to being.

We live in the most dangerous time since the Second World War.
Lisa Gerrard and I want to tell you about the world we share. Our weapon is music. It doesn't kill, it resurrects, and it brings hope to life.
It's not too late.

Zbigniew Preisner

The first half follows all of the paths that lead in circles, the tangled yarn that never finds the end. But it holds on. It's stronger than you think.

The second half is how we untangle and get put together again. The final song features a recording I took at the end of last summer, a warm night with a campfire, some crickets, and the people we love. Because even when we unravel, there are ways to be put back together.

Zwei Physiker, die mit elektronischen Geräten Popmusik machen und über 600 Kilometer hinweg agieren, produzieren ein filigranes und poetisches Album, das überrascht.

FliederKind sind auf ihrem dritten Album auf eine besondere Art und Weise emotional. Die Maschinen bleiben präsent – auf Augenhöhe mit der Lyrik und der Komposition. "Zentrale Kreaturen“ schleicht sich technoid-subtil in die Gehörgänge und offenbart eine lyrische Dichte, die die ganze LP prägt. Nicht umsonst steht "ALLES ANALOG" auf dem Plattencover:
Das fliederKind-Studio steht voller klassischer Synthesizer, deren Signale in ein großes analoges Mischpult fließen. Über die großen Racks mit altbewährtem Studioequipment bis hin zur 2-Spur-Bandmaschine, bei der alles zusammenläuft:
fliederKind hat sich einer Arbeitsweise verschrieben, die perfekt zur Atmosphäre ihrer Musik passt. Die Texte entstehen mit Füller auf Papier, die Maschinen sind liebevoll gepflegte Oldtimer (dabei hilft es, Physiker zu sein!), der Output ist das eine Masterband.

Für das Prequel 'Gears Of War: Judgement' (2013) schufen die Komponisten Steve Jablonsky und Jacob Shea eine brodelnde, industrielle Klanglandschaft aus gewaltig klingenden Synthesizern, knackigen Gitarrensounds und sparsamen orchestralen Elementen. Streng strukturierte, emotional angespannte Cues untermalen die Geschichte um Damon Baird und das Militärtribunal von Kilo Squad. Deluxe-Ausgabe auf dunkelrot und dunkelblauem 180g Doppelvinyl mit 30 remastered Tracks im Gatefold-Sleeve.

GAZELLE TWIN - aka composer, producer, singer, and visual artist Elizabeth Bernholz - has scored Sky's brand new TV series "Then You Run".

Created for television by Ben Chanan (The Capture), based on the novel YOU by Zoran Drvenkar, Then You Run follows four rebellious London teenagers on a city getaway to Rotterdam. This contemporary eight-part series boasts an incredible cast of rising stars; Leah McNamara (Normal People) as Tara, Vivian Oparah (Rye Lane) as Stink, Yasmin Monet Prince (Hanna) as Ruth and newcomer Isidora Fairhurst as Nessi.

The four friends embark on what should have been the perfect summer break which soon spirals into a dark and perilous adventure. When their attempt to take on some of the most dangerous people in Europe doesn’t quite go to plan, they find themselves on the run with three kilos of heroin, more questions than answers about Tara’s family, and a gang of deadly criminals tracking their every move.

Invada Records have previously released two recent Gazelle Twin scores (2020’s Nocturne and 2021’s The Power).

Her 2018 acclaimed album Pastoral was described by Pitchfork as “...belonging to a proud tradition of English satire, plumbing the depths of the nation’s psyche and twisting it to wryly discomforting ends”.

Die US-Hardrock Spezialisten Throw The Fight melden sich mit ihrem fünften Studioalbum "Strangeworld", produziert von Josh Gilbert und Joseph McQueen (As I Lay Dying, Bad Wolves, Light The Torch, Upon a Burning Body), zurück. "'Strangeworld' refers to the odd state of the world we have all been living through these past few years," erzählt die Band. "Sometimes we can feel like we aren't on the same planet. It's a strange world, but through music and art, we can express emotions we feel and deal with daily."

Mit über 50.000 verkauften Alben, mehr als 700.000 monatlichen Spotify-Hörern und über 100 Millionen Streams, können Throw The Fight bereits beeindruckende Zahlen vorweisen. Vor allem Live erwachen Throw The Fight wirklich zum Leben. Das Quartett hat bereits unzählige Kilometer auf der Straße zurückgelegt, um sich eine treue Fanschar zu erspielen. Throw The Fight begleiteten unter anderem Bullet For My Valentine und Black Veil Brides auf der Monster Energy Outbreak Tour und tourten als direkter Support für All That Remains durch Kanada. Darüber hinaus spielte der Vierer
mit Bands wie Avenged Sevenfold, Papa Roach, Nonpoint, The Red Jumpsuit Apparatus und vielen mehr und überzeugte auf Festivals wie der Vans Warped Tour, dem Rock Fest oder Rock USA.

What would have happened if Michael Dudikoff had gone missing in action, say – in Poland in 1987 – during the harshest freezing spell of the century? Would he have coped under these conditions like John Rambo has in the town of Hope? We shall never find out, but the soundtrack is already there. Latarnik and Cancer G (members of EABS and Błoto) would call this film Zima Stulecia: Minus 30°C.

When Twin Peaks debuted on Polish National Television with its oneiric music by Angelo Badalamenti, Poland could feel as eerie as the series. Seemingly nothing quite matched, but on the other hand, no one was surprised. Growing up in the 1990s inevitably brings back memories of stalls selling a variety of products. You could buy there cleaning products from Germany, some underwear, Haribo jellies and Jacobs coffee, and have access to the "latest" cultural releases, which would be arriving late in Poland. This is where one could obtain pirated copies of cassette tapes and VHS, the labels of which had typewritten film titles that transported kids' fantasies to another world. With such content distribution, many of these kids got their first glimpse of Predator, Terminator, Robocop, as well as Van Damme's stunts in Bloodsport and a plethora of other B action movies, which to this day - like American Ninja - are rerun on TV over and over again. The afterimages of these soundtracks nestled in the heads of Marcin Rak and Marek Pędziwiatr for years and found expression on their debut album.

The music of Zima Stulecia is difficult to label in terms of genre. It oscillates towards melancholic electronic music. For some it will be techno, others will hear elements of house, all accompanied by improvised synth and percussion music.

Zima Stulecia is a duo that was not supposed to have any chance of success. Many years ago, back in 2006, when they were still budding musicians they met for the first time at a jazz workshop. When they found out where they both came from and that they were separated by almost 800 kilometers, despite having great chemistry in playing, they
jokingly said goodbye with the sentence: "it was fun playing together!". They figured they would never meet again. At the time, none of them imagined that in a few years' time in Wrocław they will form one of the most interesting contemporary jazz bands in Poland: EABS and Błoto. On top of that, they were both born in January 1987. The last of the historic "winters of the century" (eng. for "zima stulecia") occurred at that time in Poland, which ultimately determined their name as a band. Minus 30°C album is a recording of the non-verbal workings of these soulmates, and a fruit of a musical collaboration that has lasted for 16 years.

A few years ago, a very interesting relationship began to develop. A bridge was built out of Jaubi's releases on Astigmatic Records and the increasingly frequent collaborations between musicians from Europe and Asia - out of Latarnik's trip to Pakistan resulting in the widely acclaimed album Nafs at Peace and Zohaib, Dhani and Ali's revisit to Poland, which has been recorded as the EABS meets Jaubi In Search of a Better Tomorrow longplay.

Wrocław and Lahore are almost 7,000 kilometers apart. And despite this immense distance that separates the EABS and Jaubi musicians,
the two bands find a surprising amount of common ground that determines their musical explorations. These include both a strong attachment to locality and respect for tradition, a penchant for weaving in some hip-hop elements, and the basis of a love of improvisation and spiritual jazz. It was therefore only a matter of time before they joined forces. And so, they proceeded to build a (cross)cultural bridge between Poland and Pakistan.

A bridge whose pillars are Hindustani ragas, polish jazz understood in a variety of ways, and brotherhood in sound. This merger's finale is surprising to such an extent that it is difficult to pigeonhole this collaboration in any way.

Official reissue of the German psychobilly legend Mad Sin’s 2010 album Burn And Rise. Since their indestructible bandleader Köfte DeVille had gone through some major personal changes, which encouraged him to lose almost 40 kilo grams, the album title is more than adequate. 18 tracks titled like “Last Gang Standing”, “Geisterfahrer (Ghost rider)”, "Wreckhouse Stomp", "The March of the Deviants", "9 Lives" or "Shitlist Bop” promise tension and also a bunch of surprises. The typical Mad Sin mix of psychobilly, rockabilly, 50’s Rock’n’Roll, Country, Punk and Surf sounds fresher than ever before. Featured artists include Sucker (Oxymoron, Bad Co.), Jack Letten (Smoke Blow), Hank (The Boss Hoss) and Marlen (Bonzai Kitten). An outstanding record which gave the band once more the chance to show that they think outside the box and can do a lot more than “just” rockabilly.

Official reissue of the German psychobilly legend Mad Sin’s 2010 album Burn And Rise. Since their indestructible bandleader Köfte DeVille had gone through some major personal changes, which encouraged him to lose almost 40 kilo grams, the album title is more than adequate. 18 tracks titled like “Last Gang Standing”, “Geisterfahrer (Ghost rider)”, "Wreckhouse Stomp", "The March of the Deviants", "9 Lives" or "Shitlist Bop” promise tension and also a bunch of surprises. The typical Mad Sin mix of psychobilly, rockabilly, 50’s Rock’n’Roll, Country, Punk and Surf sounds fresher than ever before. Featured artists include Sucker (Oxymoron, Bad Co.), Jack Letten (Smoke Blow), Hank (The Boss Hoss) and Marlen (Bonzai Kitten). An outstanding record which gave the band once more the chance to show that they think outside the box and can do a lot more than “just” rockabilly.

Mint Condition would like to dedicate this release to the life of Nathan Coles, who sadly passed away on February 12th 2023. A true tech-house originator and underground party starter, his productions laid down a blueprint for the tech-house sound that has become a global phenomena today. A much lauded DJ & producer, he graced the decks of the best clubs globally. As well as his solo productions, Nathan had multiple collaborative projects, Housey Doingz, Mashupheadz, Two Right Wrongans, Get F@cked, to name but a few, that saw him tackle tech-house, deep house, breaks and electro with such skillful aplomb.

The now highly sought after original appeared on Wiggle in 2000, and for this release Nathan teams up with his longtime Wiggle partner, and legend of the scene, Terry Francis for 2 fierce tech-house jams under their 'Delinquents' alias. A-Side 'Disc' opens with heavy kicks and speaker rattling percussion.The hypnotic 303-line builds, layered synths add to the tension, then comes the drop where infectious chord stabs enter the fray. B-Side - 'Funktional' takes a more stripped back approach, the bass line and percussion delivers a groove capable of destroying any discerning dancefloor. Darker acid and synths riffs build around the melody to deliver a bass heavy roller of the highest order that sounds as fresh, exciting & relevant today as it did over 2 decades ago.

This slab of wax is an essential and key release in the evolution of the UK underground that we hope celebrates Nathan's dedication, musical vision and positive energy. His unique talent leaves behind a legacy that populates legendary labels such as Wiggle, Surreal, The End, Eukahouse, Swag, Eye 4 Sound, 10 Kilo and Plastic City. 'Discfunktional' has been legitimately re-released with the full involvement of Terry Francis and Nathan Coles, lovingly remastered by London's Curve Pusher from the original sources especially for Mint Condition. 100% legit, licensed and released. Dug, remastered, repackaged and brought to you by the caring folks at your favourite reissue label - Mint Condition!

Los Angeles based pianist, producer, and songwriter John Carroll Kirby traveled to Pietrasanta, Italy in the summer of 2018 on a self-imposed writing trip. During his stay he composed Tuscany, a two side-long solo piano exploration of this particular geographical envelope, a place where nature is shaped into form.

Kirby would cycle 12 kilometers each day to Cascata di Malbacco, a waterfall with jade pools and silver stone, and the inspiration for Side A of Tuscany. His own Cascata di Malbacco tumbles and shimmers along the piano as a gorgeous eighteen-minute-long improvised piece, some of it polished and some moments left raw.

On a ride to Sant’Anna, twenty-something kilometers away, Kirby took a wrong turn and got lost among the hills, where he encountered several monuments memorializing the victims of the Sant’Anna di Stazzema massacre. The dark history of an abandoned mill house served as the inspiration for the album’s haunting Side B, a eulogy for all of those forgotten by time.

Although Side A is inspired by the natural beauty of a waterfall, and Side B by the cruelty that people can inflict upon others, both pieces revolve around the same seven-note bassline. The idea Kirby is iterating on is the realization that darkness exists inside light, and vice versa; Tuscany is an inquiry into this duality and its consequences.

John Carroll Kirby has recently released records on Leaving Records, Outside Insight and Pinchy & Friends. In the studio and on the road, he’s produced and/or played with Connan Mockasin, Blood Orange, Sebastian Tellier, Shabazz Palaces and Solange.
He recently signed to Stones Throw Records.

Patience is a new outlet for exploring further beyond the break than usual. Inspired by the music perpetually on rotation at HQ – with E2-E4 representing the format’s high tide mark – each release will be one artist’s deep dive down one inspirational wormhole spread across two sides of vinyl, or two side-long sojourns making full use of a round 12” piece of plastic. Set and forget, zone out to tune in.

Scaphandre' is the story of an image found in a lost time on the internet a few years ago. It inspired two sound pieces conceived so that one can dive into it as into the sea.
Once their composition was finished, I looked for the origin of this image. It is one of the very first submarine pictures in history, taken by Louis Boutan in 1893 in the bay of Banyuls-sur-Mer... my home town. The original photo as well as a fantastic series of archives documenting this event can be found at the Arago Laboratory, where I often went as a child, after school, amazed by what the researchers were showing me. They just had never told me this story.
This is how this record found its scenery.
Gaspar Claus


The two pieces Gaspar Claus brought together on Scaphandre form an abstract and mysterious B-side of Tancade, released in the fall of 2021. Both composed during the long, initial period of his first album's conception, this mini album's two episodes, each tinged with minimal and noisy abstractions, unfold more than 10 minutes of total immersion into the abyss of experimental music on the first, and drone for the second.

In their own way, these tracks are a form of raw, unadorned escape, a film negative of the cellist's surface creations, which we know are bathed in sunshine and fresh air.

'Inside' is a moment of distraction while Gaspar worked on a film soundtrack. The title took time to mature in the musician's head, abandoned then picked up again and modified until it found its signature progression of strings where time seems suspended. The reverberations dress its fourteen-minute sound canvas in a way that is reminiscent of endless, sub-marine darkness.

'Beyond' was recorded in three takes during a writing session for his first album with David Chalmin in the Basque Country. The post-production phase required a long process of refinement to obtain this invasive sound material that cuts the listener off from their real environment and films them with a hypnotic feeling of depths and apnea.

Taken in 1898 by Louis Boutan a few dozen kilometres from the beach of Tancade in Banyuls sur mer - Gaspar's family village - the photographs of Scaphandre seal the vinyl sleeve with a unique auditory experience presenting the submerged side of the cellist. Obscure, dense, haunting, excitingly weightless.

Clear Vinyl

Clear Vinyl. Limitiert auf 300 Exemplare. Classic Rock, Vintage Rock oder Retro-Rock. Wie auch immer man diese bluesige, gelegentlich psychedelische, von den großen Acts der späten Sixties und Seventies inspirierte Variante des Hardrocks nennen will: Die besten Vertreter des Sujets kommen seit jeher aus dem Norden Europas. Je weiter nördlich ihr Ursprung, desto besser sind sie - so scheint es. Und viel nördlicher als Tromso, die über 300 Kilometer jenseits des Polarkreises gelegene Heimatstadt der Norweger Pristine, geht es kaum _ Pristine sind eine der begeisterndsten und überzeugendsten Live-Bands des Genres. Die Gruppe hat bereits Hunderte von Konzerten absolviert - von intimen Club-Shows bis hin zu Slots im Rahmen der großen Festivals auf unserem Kontinent. Heidi freut sich darauf, nun mit dem neuen Pristine-Album THE LINES WE CROSS endlich wieder auf Tournee gehen zu können. "Wir hatten im letzten Jahr eine Handvoll kleinerer Shows in Norwegen gespielt, als dies für kurze Zeit wieder möglich war. Die Regierung hatte alle Restriktionen aufgehoben, bevor dann die Omikron-Welle kam und alles erneut vorbei war. Diese viel zu wenigen Abende waren wundervoll für uns, aber offenbar ebenso für die Fans. Man merkte förmlich, wie ausgehungert beide Seiten nach Live-Musik waren. Es fühlte sich fast so an wie damals, als wir die Band starteten und unsere ersten Konzerte gaben." Damals war 2006: Heidi besuchte das Musikkonservatorium in Tromso, wo sie Gesang studierte, als sie die erste Inkarnation von Pristine aus der Taufe hob. Nach einigen Jahren der Sound- und Mitglieder-Findung sowie zwei exklusiv in Norwegen veröffentlichten Alben startete die Band 2016 mit REBOOT international durch. Es folgten ausführliche Europa-Konzertreisen mit stilistisch ähnlich gesinnten Acts wie The Brew und Blues Pills. Bereits im Jahr darauf legten Pristine mit NINJA nach und 2019 konnten die Skandinavier dank ROAD BACK TO RUIN erstmals die deutschen Album-Charts knacken. Mit THE LINES WE CROSS kommt Anfang 2023 nun Album Nummer sechs auf uns zu.

Clear Vinyl. Limitiert auf 300 Exemplare. Classic Rock, Vintage Rock oder Retro-Rock. Wie auch immer man diese bluesige, gelegentlich psychedelische, von den großen Acts der späten Sixties und Seventies inspirierte Variante des Hardrocks nennen will: Die besten Vertreter des Sujets kommen seit jeher aus dem Norden Europas. Je weiter nördlich ihr Ursprung, desto besser sind sie - so scheint es. Und viel nördlicher als Tromso, die über 300 Kilometer jenseits des Polarkreises gelegene Heimatstadt der Norweger Pristine, geht es kaum _ Pristine sind eine der begeisterndsten und überzeugendsten Live-Bands des Genres. Die Gruppe hat bereits Hunderte von Konzerten absolviert - von intimen Club-Shows bis hin zu Slots im Rahmen der großen Festivals auf unserem Kontinent. Heidi freut sich darauf, nun mit dem neuen Pristine-Album THE LINES WE CROSS endlich wieder auf Tournee gehen zu können. "Wir hatten im letzten Jahr eine Handvoll kleinerer Shows in Norwegen gespielt, als dies für kurze Zeit wieder möglich war. Die Regierung hatte alle Restriktionen aufgehoben, bevor dann die Omikron-Welle kam und alles erneut vorbei war. Diese viel zu wenigen Abende waren wundervoll für uns, aber offenbar ebenso für die Fans. Man merkte förmlich, wie ausgehungert beide Seiten nach Live-Musik waren. Es fühlte sich fast so an wie damals, als wir die Band starteten und unsere ersten Konzerte gaben." Damals war 2006: Heidi besuchte das Musikkonservatorium in Tromso, wo sie Gesang studierte, als sie die erste Inkarnation von Pristine aus der Taufe hob. Nach einigen Jahren der Sound- und Mitglieder-Findung sowie zwei exklusiv in Norwegen veröffentlichten Alben startete die Band 2016 mit REBOOT international durch. Es folgten ausführliche Europa-Konzertreisen mit stilistisch ähnlich gesinnten Acts wie The Brew und Blues Pills. Bereits im Jahr darauf legten Pristine mit NINJA nach und 2019 konnten die Skandinavier dank ROAD BACK TO RUIN erstmals die deutschen Album-Charts knacken. Mit THE LINES WE CROSS kommt Anfang 2023 nun Album Nummer sechs auf uns zu.

Edition of 250 UNITS

English short Version
Almost five years after the inaugural compilation "El sol desde oriente", Passat Continu releases "El ser y el tiempo", the first solo recordings of the Tenerife musician Javier Segura, a set of seven
compositions that make up a true exceptionality in the panorama of Spanish experimental music and that have never before been uncovered for listening. This sound document recorded between 1976 and 1978 is presented remastered from its original tapes and with a bonus track, with the invaluable collaboration of Juan Belda.

panish Version

Casi cinco años después del recopilatorio inaugural “El sol desde oriente”, Passat Continu lanza “El ser y el tiempo”, las primeras grabaciones en solitario del músico tinerfeño Javier Segura, un conjunto de siete composiciones que conforman una auténtica excepcionalidad en el panorama de la música experimental española y que nunca antes han sido destapadas para su escucha. Este documento sonoro registrado entre 1976 y 1978 se presenta remasterizado de sus cintas originales y con una canción extra, con la inestimable colaboración de Juan Belda.
Existe cierto consenso en llamar transición española al período que va del fallecimiento de Francisco Franco, el 20 de noviembre de 1975, a la ratificación mediante referéndum de la Constitución, el 6 de
diciembre de 1978. Años de agitación y anhelo democrático que la población vive con gran intensidad. Aquejada por una larga enfermedad, la madre de Javier Segura fallece en 1976. El
tinerfeño tiene entonces 21 años y acaba de salir de su primera experiencia discográfica como compositor en el cuarteto Huellas. Como todo el mundo entonces, Segura se ha educado en un colegio
religioso. Es allí donde empieza a cultivar interés en la música, el cine y la filosofía “dentro de mí existía, y aún persiste, la idea de que somos un espejo donde algo o alguien se mira para reconocerse. Es una idea que surge de la lectura de “El ser y el tiempo” de Martin Heidegger.”
Con el objetivo de seguir dando forma a las ideas, Segura destina la totalidad de sus ingresos a la compra de equipamiento, experimentando en el desván de casa en los ratos libres. Se adentra en sesiones extenuantes utilizando la metodología de las músicas de corte concreto, grabando encima de un casete Sony, reproduciendo encima de otro al tiempo que mete más instrumentación por la entrada del micrófono. Así varias veces hasta sobreponer tres, cuatro y hasta cinco capas. En 1977 se hace con dos Tascam de carrete abierto de cuatro pistas. Las cintas grabadas en los casetes Sony se pasan al magnetofón para luego volver a encima del mismo, y así una y otra vez. En sus más de 40 minutos de duración, en “El ser y el tiempo” suenan flautas, saxos, un vibráfono, un piano, un violín, un arpa, un salterio turco, un Crumar DS-2, sintetizador monofónico de dos osciladores y de más de 50 kilos de peso popularizado por Sun Ra en los años 70 e incluso unas placas de metal.

Dj Spinna & Mark Francis present “Kilomanjaro” for the first time on Vinyl . Produced by Jersey’s Stim Dzyl, this tune has a unique style and sound that is perfectly captured over an Afro infused groove. It is undeniably hypnotic and built to make you wanna dance. This release contains an Original Mix, an Eye Candy Mix (that builds with a myriad of sounds.

Drush emerges from the pixelated haze to make his debut on Fast Castle. "Archipelago" is a collection of three versatile and playful post-dancehall hybrids with plenty of bass and full of creativity. Recorded in improvised live takes in Drush's NK hideout, the cuts feature signature progressive arrangements and an unpolished live feel.

Taking up the full depth of Side A, "Birds and Bass" kicks things off with pitched percs, sharp drums and a pulsating bass before a psycho-bird melody lifts you to a lucid dance craze. The flip shines light on a sunnier vibe with "Archipelago" and "Flat Earth Dub" both hoovering and modulating around soothing melodies, generous bass swells and occasional dub-outs.

Mastering comes courtesy of Isabel at Olo Mastering while artwork duties are once again with Jonas at 200 Kilo

Anthology of some the earlyest french Hardcore producers.
Featuring Yann Dub from Brest, who passed away 10 years ago in Barcelona playin guitar in the a bar... Peace to him and his familly.

Playing experimental music since the 90's, creating "Reverse Studio" in Paris in Y2K (we did a lot of cut with him...) and then moving away to Barcelona, cutting again... His brother took over with DK Mastering studio... His cutting machine is now in Belgium at Angström Studio... The story continues...
Explore Toi is Explore Toi Crew. Also early french Hardcore music producer, golden age where musicians were nameless... Everybody knows his label(s) as a CYBER Hardcore pure creation... Visual and musical artist.
Alive and kicking, active !

Big respect for this high ranking production, with locked grooves and remastering.

All tunes are improvisations from the 90's.

Don't miss !!!

Energy and inspiration come from the Gwoka. From these hands which, when they are not a raised fist, pound the drums, proud of their roots and of their Guadeloupean identity.
This is where Celia Wa comes from, from all that she inherited by spending her childhood between the West Indies and France.

The first years of her life were spent discovering the musical soul of the island, letting the seven gwoka rhythms seep into her until they became an integral part of her. The following years were spent discovering reggae, salsa, jazz and the omnipresent hip hop. Music whose original source was close to her, but to which she only opened up after having travelled thousands of kilometres.

After two self-produced EPs, Wastral is the sum of these inspirations and influences. Born in the acoustic, it is under the modern and futuristic production of Victor Vagh (producer of Flavia Coelo) that the seven tracks were revealed and then sublimated. Dissipated in the vaporous arrangements, softened under the effect of the synthetic layers, the organic was meticulously covered with an electro varnish disturbed by the echoes and reverbs of the dub. Celia Wa's soaring, twirling flute grazes or stirring the groove, her lyrics reviving the memory of her island. In Creole or in English, they tell the story in the present tense without forgetting the past. A past full of the sounds of struggles, of clashing chains and cracking whips, marks that have disappeared from bodies but remain deeply rooted in families and history. New feminine signature at Heavenly Sweetness, Celia Wa draws with Wastral the map of an avant-garde stellar journey in which the musical star of Guadeloupe shines the brightest.

Isoviha was recorded four years ago, inspired by ideas that Sasu Ripatti (aka Vladislav Delay) had been reflecting on for a long time. This album is a counterpart to his two Rakka albums which were a personal reflection on the nature and sound-world of the northern Arctic wilderness, 1000 kilometres north of where he lives on the Finnish island of Hailuoto. It's an area he loves to explore, trekking out alone to enjoy its rugged power. However the sound world of Isoviha is a return to man-made civilization. Musically Isoviha presents a more complicated world than Rakka; overloaded and unpredictable, audio archaeology that layers and juxtaposes everyday sounds into intense sculptures of noise and drone. As a musical observation internally and externally, it's influenced by the heightened anxious intensity Sasu feels when returning from the empty wilderness. The ratcheting up of urban noise on Isoviha is built with insistent loops that seem to malfunction the faster they spiral and the dangerous overwhelming potential of ordinary objects and events: shimmering, hammering, crowds, radio distortion, ancient backfiring engines. It's hypermodern musique concrète, married to a jazz drummer's intuitive sense of rhythm. Going back even further in time but still tethered to the local, Isoviha also means 'the great wrath' and refers to a time in Finland under Russian occupation in the 1700s. A time when all the Islanders of Hailuoto were killed, apart from a single couple who were left to bury the dead. As if time is non-linear, the response to toxicity and madness that drives the album feels even more appropriate now than when it was written four years ago and confirmation that the horrors of the past still darken the present.

Vanuit het niets, ontsproten uit hetzelfde ecosysteem dat ons eerder al zegende met namen als NTREK en Brihang, was daar plots olsan. olsan - geen hoofdletter vereist - is het geesteskind van rapper D. Meeuws en producer DJ SNS, twee artiesten die de kilometers op hun teller allang niet meer hoeven te tellen. Om het hoofd te bieden aan de chaotische tijd waarin we leven, werkten zij in de afgelopen jaren elke maandag aan nieuw materiaal. Zonder vastomlijnd doel op voorhand, tot de urgentie het overnam. Het losse project dat ze hadden aangevat, bleek voor beide mannen al snel cruciaal om grip te blijven behouden op alles wat ze om zich heen zagen gebeuren. De vraag was niet langer of dit tot een plaat zou leiden, de vraag werd hoe snel dit zou gaan gebeuren.

Nog geen jaar later is daar dan dat debuutalbum 'millimeter', wederom zonder hoofdletter, en het is een bijzonder solide plaat geworden. De heerlijk tijdloze producties van DJ SNS vormen het ideale achtergronddecor voor D. Meeuws om de balans op te maken van z'n ervaringen in zijn eerste dertig levensjaren. De pieken, de dalen en zowat alles daar tussenin, ongefilterd. Singles 'millimeter' en 'asjeblief' (ft. Brihang) lichtten al een tipje op van de sluier, maar de andere nummers van deze plaat doen daar allesbehalve voor onder. De plaat werd gemixt door Tobie Speleman en gemasterd door Jeffrey De Gans.

De vinyl, ontworpen door Fabrice Parent, is een erg mooie uitgave op 300 exemplaren, die zich qua afwerking onderscheidt door het reliëf en de papieren feel van de outer sleeve, maar ook door het strategisch verstopte gedicht aan de binnenkant. De fysieke release staat gepland op vrijdag 10 juni. 'millimeter' is uitgegeven door Fake Records en geproduceerd en gedistribueerd door News Distribution Benelux.

Written in early 2020, and inspired by childhood memories of their
forborne General Store in Bishop's Mills ON - 'Front Porch' is a family
production that thrums with alt-roots and Americana warmth
The music also reflects much of the influences that informed Graham's musical
education - with nods to The Beatles, Dolly Parton and Lyle Lovett. In fact, the
entire new album serves as a time capsule filled with precious memories that
only come with being born, raised and homeschooled together in a house in the
woods a kilometer from the nearest neighbour. It was these memories and
moments that culminated in 'Graham's General Store' and it was presented to
their parents as a surprise for their 43rd wedding anniversary.

REPRESS

'the best soul album — in the real sense of the word — you'll hear this year... classic, blistering afro-beat' (Daily Telegraph); 'as tight as a pressure cooker... fierce and fun' (The Wire); 'son meilleur album... monumentale, triomphante, orgasmique' (Les Inrockuptibles); '**** utterly infectious... a triumphant return' (The Observer).

Vinyl-Fans aufgepasst: Hier kommt ein weiterer legendärer Album-Klassiker aus Oesterreich auf Vinyl!

Mit 'Kilogram' veröffentlicht die dänische Hardcore-Punkrock Band Tvivler ihr zweites Album über das norwegische Label Fysisk Format. In den Black Tornado Studios in Kopenhagen aufgenommen, erschafft die Band, mit Anspielungen auf Blondie und Brutal Truth, einen gewalttäigen und kathartischen Indie-Hardcore.

Burnski's Instinct label serves up some fresh platters from a new name, Papa Nugs. These are of course naughty as you like garage tinged late night gems for cosy dance floors. Opener 'Gemini' is a high speed affair with exotic strings and neck-snapping hits. 'Kilo of Filo' is a super heavy wobbler with a fat as fuck bottom end oscillation. 'De Nata' closes out on more super crisp breakbeats that recall the genres hey day when artists like Ali B were knocking out killer mixes for Fabric. All killer no filler, as ever with this label.

Etran de L'Aïr (or "stars of the Aïr region") welcomes you to Agadez, the capital city of Saharan rock. Playing for over 25 years, Etran has emerged as stars of the local wedding circuit. Beloved for their dynamic repertoire of hypnotic solos and sun schlazed melodies, Etran stakes out a place for Agadez guitar music. Playing a sound that invokes the desert metropolis, Agadez celebrates the sounds of all the dynamism of a hometown wedding. Etran is a family band composed of brothers and cousins, all born and raised in the small neighborhood of Abalane, just in the shadow of the grand mosque. Sons of nomadic families that settled here in the 1970s fleeing the droughts, they all grew up in Agadez. The band was formed in 1995 when current band leader Moussa "Abindi" Ibra was only 9 years old. "We only had one acoustic guitar," he explains, "and for percussion, we hit a calabash with a sandal." Over the decades, the band painstakingly pieced together gear to form their band and built an audience by playing everywhere, for everyone. "It was difficult. We would walk to gigs by foot, lugging all our equipment, carrying a small PA and guitars on our backs, 25 kilometers into the bush, to play for free_ there's nowhere in Agadez we haven't played." Whereas other Tuareg guitarists look to Western rock, Etran de L'Aïr play in a pan-African style that is emblematic of their hometown, citing a myriad of cultural influences, from Northern Malian blues, Hausa bar bands, to Congolese Soukous. It's perhaps this quality that makes them so beloved in Agadez. "We play for the Tuareg, the Toubou, the Zarma, the Hausa," Abindi explains. "When you invite us, we come and play." Their music is rooted in celebration, and invokes the exuberance of an Agadez wedding, with an overwhelming abundance of guitars, as simultaneous solos playfully pass over one another with a restrained precision, forceful yet never overindulgent.

Jack Wilson was a talented, jazz pianist. Wilson's music had elements of hard bop, swing, cool jazz and soul-jazz, and it was all tied together
by his tasteful playing and soulful appeal.
This album is an exceptional and fresh album by twoexceptional musicians.
Jack Wilson and Roy Ayers have an instinctive and uncomplicated sense of showmanship that goes hand with awareness appreciation for their audience, and an enthusiasm for their music.
It repays all the cents spent to buy this record.

Durch eine unerschütterliche Hingabe an die Progression schärfen Wage War mit jeder weiteren Entwicklung ihre patentierte Mischung aus schwerer, technischer Technik und hypnotischen Melodien, die man mitsummen muss. Das Debüt der Gruppe aus dem Jahr 2015, ”Blueprints”, brachte mehrere Fan-Lieblinge hervor: ”Alive” knackte die Marke von 12 Millionen Spotify-Streams und ”The River” überschritt bis heute 8 Millionen. In der Zwischenzeit etablierte das 2017er Album ”Deadweight” die Jungs als aufstrebende Kraft.

Mit insgesamt fast 50 Millionen Streams in zwei Jahren erreichte die Single ”Stitch” 14 Millionen Streams auf Spotify, während ”Deadweight” von Metal Injection, New Noise, Metal Hammer und Rock Sound gelobt wurde, die das Album als ”ein unerbittliches, das Genre veränderndes Vergnügen” bezeichneten. In der Zwischenzeit tourten sie mit Bands wie I Prevail, Of Mice & Men, Parkway Drive und A Day To Remember und legten unzählige Kilometer auf der Straße zurück.

Jetzt sind Wage War mit ihrem neusten Longplayer ”Manic” zurück und begeistern erneut Fans und Kritiker
zugleich.

Das britische Produzentenduo Jungle meldet sich zurück.
Das kommende Album von Jungle - ihr drittes - „Loving In Stereo" wird wahrscheinlich der Soundtrack zu einem Sommer werden, der anders ist als alle anderen. Das Duo hat das vergangene Jahr im Studio verbracht und ist mit einer unbändigen Dancefloor-Platte für die post „social distancing" Zeit herausgekommen: „With this record we’ve learned to trust our instincts and go with our gut,” sagt T. „We want it to be more raw, open, fun, enjoyable and entertaining, because that’s what music is,” fügt J. hinzu.

J und T sind das pulsierende Herz von Jungle, wo Musik, Ästhetik und Choreografie als eine unverwechselbare künstlerische Vision nebeneinander bestehen. Mit dem gleichen Ethos wie z.B. Gorillaz oder The Avalanches sind die beiden die Produzenten, Songwriter und Musiker, aber sie sind auch die Regisseure, Content-Schöpfer und Kuratoren. Sie stehen an der Spitze einer größeren Gemeinschaft von Kreativen. Sie sind Weltenbauer.
Mit dem neuen Album wird dies auf eine neue Ebene gehoben, wobei das größere Jungle-Kollektiv von Tänzern ein integraler Aspekt ist, wie die Musik visuell erlebt wird. Mit jedem Video, bei dem Josh Lloyd Watson und sein langjähriger Mitarbeiter Charlie Di Placido Regie geführt haben, schaffen sie es die Fans zu begeistern. Das Video zu „Keep Moving" ist in einem Take gedreht - teils Birdman, teils West Side Story und zeigt zwei Gangs von Tänzer*innen. Es beginnt mit dem Tänzer Che Jones (der im Video zu „Smile" vom letzten Jungle-Album mitspielte) in seinem Schlafzimmer und führt zu einer Szene im Freien, in der wir Mette Linturi (die im Video zu „Casio" vom letzten Album mitspielte) finden. Der Rest ist eine wunderschöne Entfesselung, die so atemraubend zu beobachten ist, dass sie den Zuschauer mit einem Gefühl der Ehrfurcht zurücklässt.

In ihrer bisherigen Karriere haben Jungle bereits auf mehreren Kontinenten gespielt und eine stetig wachsende internationale Fangemeinde gewonnen: Headline Shows von Sydney bis Moskau, vom ausverkauften Londoner Alexandra Palace mit 10.000 Plätzen bis zum 9.000 Kilometer von ihrem zu Hause entfernten ausverkauften Hollywood Palladium und Festivals wie Coachella, Bonnaroo und Lollapalooza. Ihr für den Mercury Prize nominiertes und mit Gold ausgezeichnetes Debütalbum und der Nachfolger "For Ever" von 2018 erreichten beide die UK Top 10. Diese beiden Alben haben seitdem 750.000 Verkäufe und fast eine Milliarde Streams erreicht.

Die Liga der gewöhnlichen Gentlemen ... sind sie Troglodyten, welche mit heiligem Ernst über Hemden, Speiseeis und Ferien singen? Sind sie vollkommen aus der Zeit gefallen, mit ihrem aus zerkratzen alten Madness-, 60s-Pop-, A&M-, Northern-Soul-Platten destillierten DIY-Sound? Oder gerade deshalb modern? Schaffen sie nicht gerade aufgrund ihrer Sturheit stets etwas Eigenes, etwas Neues, ja etwas Modernes? Ja, Ja und nochmals Ja! möchte man nach Hören der "Gschichterln aus dem Park Café" ausrufen. Die Liga der gewöhnlichen Gentlemen ist die größte kleine Popband der Welt! Zumindest aber die größte kleine Popband West-Hamburgs.

Olafur Arnalds' highly anticipated second full-length album '...and they have escaped the weight of darkness', continues his mission to lure an indie-generation of pop and rock fans into an emotive world of beguiling electronic chamber music and delicate classical arrangements. The sense of an organic crossover recording is reinforced by the involvement of co-producer Bar?i J?hannsson of eccentric pop/rock/electronica-formation Bang Gang. Bar?i has successfully coloured the brittle minimalism of previous releases through the addition of an array of new instruments.

Those expecting a mere continuation of the minimal melancholia of his previous albums are therefore in for a surprise, as the record may be the most uplifting and richly orchestrated work of his career: "The album has a very clear theme", Arnalds relates, "which is that there is always light after darkness. To me, it has a more positive note than my previous works." When ?lafur saw how the opening scene of a Hungarian indie film metaphorically described a solar eclipse, he instantly connected it to the concept, naming the album after a key line of the film's introductory monologue. Staying true to this positive note, '...and they have escaped the weight of darkness' will herald another intense year for ?lafur Arnalds, with the album being accompanied by a world tour, starting in China in March 2010.

Born in the suburban Icelandic town of Mosfellsb?r, a few kilometres outside of Reykjav?k, the 23-year old composer has always enjoyed pushing boundaries with both his studio work and his live-shows. His new opus is set to again challenge his fan base, which is still growing rapidly. Over the past eighteen months Arnalds has advanced from a former support-act for Sigur R?s to an internationally respected artists in his own right. He was privileged to be invited to write the 'Dyad 1909' score for award-winning choreographer Wayne McGregor, aired on BBC Four and on ITV1's South Bank Show. 'Found Songs', a collection of pieces each written, recorded and released in a single day via the Erased Tapes label website, as well as the video for 'Lj?si?' have since managed to generate half a million downloads and video views.

In many ways, the new record is clearly inspired and informed by these events. Several of the pieces were, in fact, written on and off throughout his tour and benefit directly from the intensity of the live situation and the emotional roller-coaster-ride of life on the road: "The first half of 'Gleypa okkur' was written in a sound check in Munich, for example", Arnalds relates, "while the second part was scored in Braunschweig, Germany." On the other hand it is the result of meticulous studio work, of refining compositions in close co operation with compatriot Bar?i Johannsson, known for his eccentric personality and unique electro-acoustic sound: "I definitely wanted to do something a bit different this time, something more. Working with a producer was a part of that." The enthusiasm translates to arrangements displaying a new sense of sonic diversity.

?lafur Arnalds has created an even more open and spacious sound and taken his distinct style to a new level. Compared to his previous works, '...and they have escaped the weight of darkness' makes use of diverse instrumentation ? drums, guitars, voice, Rhodes, a selection of subtle synthesisers, alongside Arnalds' trademark piano as well as Tony Levin on bass. Traditional terminologies become void on his latest offering, which blends contrasting elements into an original, entirely organic new language and a sensitive ballet of the mind.

Arnalds fusion of 21st century electronics and classical vocabulary thereby continues to decisively unwrap the sealed-off world of classical music.