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“Alle Sorgenti Delle Civiltà Vol. 3 - Africa, Australia, Nuova Zelanda” (1971) is the third and final chapter of a triptych of folk-based sound recordings released by Folkmusic. The album contains a total of fourteen tracks by Braen and Raskovich, i.e. the a formidable multi-instrumentalists Alessandro Alessandroni and Giuliano Sorgini, each grappling with seven different compositions characterised by a tribal mood. Among the grooves of this record, repressed on vinyl for the first time by Musica Per Immagini, it is possible to discern an in-depth study of one of those forms of popular culture referring to a specific geographic area, comprising the types of traditions often handed down orally and concerning knowledge, beliefs, fairy tales, legends, myths, narratives linked to the dimension of the fantastic, customs and traditions, namely music. Festivals and propitiatory rites, fights and dances, magical and sacred representations were all expressions of life whose sound and rhythm contributed to an appropriate description of the environment. Alessandro Alessandroni and Giuliano Sorgini have chosen some of the most significant musical characters that even belong to specific ethnic realities scattered across two distant continents, where the use of some of the typical instruments has favoured the realisation of sonorities of considerable interest.

Palham Music releast post mortem eine Zusammenstellung von Tracks des Künstlers Flavio Diners. Seine Sassy Bearbeitung versprüht leichten sommerlichen Vibe, auf Bubblejam freestylt er sich der untergehenden Sonne entgegen. Auf Ohhhs and Yeahs werden auf krautig transzendente Weise Körper und Geist getrennt. Auf der B-Seite werden 2 Bearbeitungen seines A Night at Finsbury Park angeboten, die uns gönnerhaft durch die Blackstock Road vorwärts schieben. Bei Some Deep Vibes halten wir dann nach durchtanzter Nacht unsere Beine ins Wasser und genießen diese. Pew pew.

Palham Music presents a posthumous collection of tracks by artist Flavio Diners. His Sassy rework exudes an easy, summery vibe, while on Bubblejam, he freestyles his way into the sunset. With Ohhhs and Yeahs, body and mind drift apart in a transcendent, kraut-inspired soundscape. On the B-side, two reinterpretations of A Night at Finsbury Park guide us graciously along Blackstock Road. And with Some Deep Vibes, after a night spent dancing, we cool our legs in the water and simply savor the moment. Pew pew.

Step into the time machine and relive the euphoric era of the ‘90s with this exclusive anniversary vinyl release from legendary Belgian dance group Atlantis 6. Celebrating 25 years of hits, this compilation brings together the very best of their energetic and legendary dance sound.

Crafted by top producer Peter Bellaert and powered by the captivating vocals of leading lady Els Mortelmans and creative voice-over Michel Orthier, each track is a reminder of the era when dance & trance from Belgium ruled the dancefloor, shaping a generation.

Pressed on Belgian vinyl and featuring full-length versions, this release is a dream for both DJs and collectors alike. Whether you're spinning it in a set or enjoying it at home, the energy you will feel is timeless.
Only 500 copies available – own a piece of dance music history before it’s gone.

Les Imprimés is back in the studio working on their sophomore album and treats us to a smashing two-sider with the first two songs from these sessions. The A side "With You" is an instant hit for the DJs and dance floors. An uptempo, uplifting tune about a eeting encounter that leaves you craving more. Frontman Morten Martens doesn't waste a word over the shuffling drums and dancing piano lines. He sings about the pleasantly surprising impact of a chance encounter with a woman, whom he winds up pining for. Martens longs for her, but joyfully, as if just remembering such a connection is possible is what he really needed. The B side "Only Love" is built over a gritty, punchy drum break with a chorus that is simple yet profound, and the arrangement leans into the message. Martens sings of letting go of inhibition and fear and allowing love to have a chance to thrive. "Only love can set us free_"

Repress.

Continuing the Cape Verde series Mar & Sol bring this fantastic masterpiece of an LP 'Nha D'stine' from the legendary singer Américo Brito and his band Djarama. Includes insert. TIP!


Originally recorded in 1983 on a private press by Américo Brito , and now in 2018 we bring it back to life with the stamp of our label, from Mar & Sol records to all the world.

Spanish producer Pedro Vian is dreaming of the sea on “Ibillorca”, his third studio album.

Vian, whose Modern Obscure Music label is at the heart of the Barcelona electronic scene, moved to Amsterdam in 2018. While the Dutch capital has embraced this inventive producer and DJ, Vian says the new album is inspired by a feelings of absence and longing for his Mediterranean home. “On this album I explore my feelings of missing the light,” he says. “Ibillorca is a journey to a utopian island, a journey to a new state of mind.”

You can hear this displaced utopia on songs like “Can Mortera”, a dreamy reflection on house music, recorded in Ibiza in summer 2019, that brings to mind Larry Heard at his most meditative; or “Medusa” (featuring artist Rosalie Wammes), which sounds like Tangerine Dream drifting over the sea.

The Quietus called Pedro Vian’s debut album “Beautiful Things You Left Us For Memories” “the soundtrack to walking around the city at night”, while his eponymous second album was both deeply personal and more suited for the dance floor. “Ibillorca” is his Mediterranean album. “I love the Mediterranean sea,” Vian explains. “I come from there and I miss the light, the sun and the smell of the sea, so I dedicated this album to this feeling.” Fittingly, “Ibillorca”’s enigmatic cover art, painted by Spanish artist Blanca Miró, depicts the Mediterranean islands of Ibiza & Mallorca

“Ibillorca” is also Vian’s most varied release to date: “The Destiny Manifest” nods to drum and bass - albeit a touchingly Iberian take on the genre - while “Western Snow” has a hint of Erik Satie’s piano minimalism. Vian’s new home in The Netherlands also played a role in shaping “Ibillorca” .Vian recorded the album during his residency at HetHEM, a new contemporary space in Zandaam, 30 minutes from Amsterdam. “I have my studio at the top of the building, from there I can see all the boats going up and down the river IJ,” Vian says. “The art space is located in an industrial area, everything is grey, also the sky.” All the better, then, for dreaming of the sea.

Neues, viertes, Solo-Album vom dänischen Psych-Rock-Zauberer Uffe Lorenzen aka Lorenzo Woodrose aka... Seit zehn Jahren interpretiert Uffe Lorenzen (bekannt von u.a Baby Woodrose und Spids Nogenhat) auf allen seinen Alben ein altes dänisches Lied. Das gilt für seine drei Soloalben und die beiden Alben seiner aktuellen Rockband Lydsyn. Auf seinem neuen Soloalbum Glemte Spor ("Vergessene Spuren") hat er ein komplettes Album mit 10 Interpretationen von Liedern aus den Jahren 1967 bis 1999 aufgenommen. Einige davon sind dänische Klassiker, andere sind eher unbekannte Lieder, die er sich zu eigen gemacht hat. Viele davon können als Protestsongs betrachtet werden oder haben einen anti-war Charakter. ,Ich habe festgestellt, dass ich die Herausforderung, Songs anderer Leute zu interpretieren und sie zu meinen eigenen zu machen, wirklich mag. Sie zu verändern, zu interpretieren und vielleicht sogar zu verbessern. Viele der Songs werden den meisten Menschen unbekannt sein, während andere dänische Klassiker sind. Was sie gemeinsam haben, ist, dass sie mich irgendwie zu dem gemacht haben, der ich bin", sagt Uffe Lorenzen. Das Album wurde zusammen mit Morten Hart Grabowski in einem kleinen Studio in Kopenhagen aufgenommen. In mehr als 20 Sessions haben sie zusammen eine Liste von 50 Songs auf die zehn reduziert, die schließlich auf dem Album gelandet sind. Laut Lorenzen fanden die Aufnahmen in einer sehr entspannten Atmosphäre statt: ,Wir haben etwas Gras geraucht und Rotwein getrunken, was den Prozess sehr entspannt gemacht hat, und ich glaube, das hört man dem Endergebnis auch an." Später übernahm Flemming Rasmussen den Mix und das Mastering in seinem berühmten Sweet Silence Studio. Glemte Spor erscheint am 24. April bei Bad Afro Records und die erste Auflage ist auf 1000 Exemplare auf schwarzem Vinyl limitiert.

"PRONTO" is the debut album by ARYA, an Italian-Venezuelan artist who grew up in Milan. ARYA arrives with this first full-length album after the EPs
Peace of Mind (2021) and Punto Zero (2023), collaborations (Mahmood, Venerus, Ghemon, Dardust, Calibro35, and many others), and an intense live
activity, which have made her one of the most interesting voices on the Italian neo-soul/R&B scene.
Born from a personal journey of therapy and awareness, "PRONTO" takes shape as a concept album, transforming the emotional investigation into a
coherent and layered musical narrative. The title captures the meaning of the project: "Pronto" is a word that crosses all the languages present on the
album—Italian, English, and Spanish—taking on different meanings ("subito," "presto"), and is also the first word uttered in the intro. A term that introduces the listener to a space of availability, anticipation, and presence.
The entire album was produced by Claudio La Rocca (Sup Nasa), a key figure in building the project's sonic identity. Giuseppe Seccia, Matteo D'Ignazi,
Martina Tedesco, Tiziano Codoro, Stefano De Vivo, and Giulia Gentile also contributed to the album, recording the instrumental parts and contributing
to the arrangements and production of some tracks.
With "PRONTO," ARYA takes the listener on a journey through different levels of her emotional history, until the elevator starts moving again and leaves room for a new possibility of balance.
ARYA (AryaDelgado) is an Italian-Venezuelan artist born in Milan in 1994. Daughter of salsa singer Orlando Watussi, she grew up surrounded by music
and quickly developed a sensibility that blends Latin roots, nu-soul, and contemporary R&B, with a strong focus on the emotional and narrative dimensions of her writing. In 2021, she released her debut EP, Peace of Mind, followed in 2023 by Punto Zero. These releases attracted press attention
and led to collaborations with artists such as Mahmood, Venerus, Ghemon, Dardust, and Calibro35. Over the years, she has consolidated an increasingly recognizable presence, alternating songwriting, solo production, and an intense live schedule in Italy and abroad. In 2024, she accompanied Mahmood on tour and released the single, "Si Potesse Tornare." In 2025, La Noche En Que Te Fuiste and Onda were released, songs that marked the
beginning of a new artistic chapter and anticipated the release of “PRONTO,” her debut album, released in February 2026. An intimate and layered
work, which focuses on vulnerability as a language and confirms ARYA as one of the most personal and aware voices of the new Italian soul scene.

The recordings on Volume II were captured in Copenhagen, Denmark on January 18, 2020. Guided as much by human instinct as by musical intention, the ensemble moved through the evening with a shared sensitivity…listening, responding, and trusting the moment as it unfolded. Though Morten McCoy admits to having felt quite ill that evening, nothing in the music suggests restraint. Instead, what remains is a vivid, playful exchange, where McCoy and Johannes Wamberg carry both Part I and Part II as a flowing conversation, speaking through sound rather than words.

Part I begins abruptly, almost throwing the listener back in time to the exact moment the improvisation was born. Jonathan Bremer steps to the forefront, providing a solid, melodic bassline as Kristoffer and Eliel, perfectly in sync, lay down a steady foundation for whichever voice chooses to rise above the rhythm.

This is also one of the few I Am An Instrument recordings to feature two guitarists. Johannes Wamberg leads the way, shaping the harmonic direction, while Steven Jess Borth II adds subtle rhythmic textures through muted palm work, deepening the groove without ever stepping into the foreground.

Part II unfolds with Morten McCoy on his Moog One, delivering a beautiful, expansive solo. Using a carefully chosen patch, the sound pulses through the rhythm, moving with the groove rather than above it, riding the beat like a wave through the ocean.
Shaped by trust, presence, and collective improvisation, Volume II captures a group deeply attuned to one another, allowing intuition and momentum to guide the unfolding form.
——
Volume III was recorded in Copenhagen on March 5, 2020. Little did anyone know that only days later, the world would be placed on pause for years. Captured just before that moment of global stillness, this session carries a heightened sense of presence, a final gathering before silence reshaped everything. Recorded in a space more commonly associated with a club atmosphere, the music draws on a different kind of energy and immediacy. With Eliel Lazo unable to attend, the group invited Victor Dybbroe of Girls In Airports to join on percussion, subtly reshaping the ensemble while preserving its core spirit. Part I opens with Steven Jess Borth II calling out on tenor saxophone, answered by Morten McCoy on Wurlitzer electric piano. The piece gradually unfolds into a meditative groove, patient and expansive, carrying the listener through an eight-minute journey of layered rhythm and restraint.

Part II begins with Jonathan Bremer on stand up bass, slowly joined by the rest of the ensemble as each voice enters with intention. Midway through, an unexpected vocal melody from Borth emerges, drenched in reverb and delay, later reappearing as a melodic line on the tenor saxophone.

Part III is led by Morten McCoy on Wurlitzer electric piano. His signature melodic language sets the direction, guiding the ensemble while leaving ample space for the music to breathe and evolve through collective improvisation. Reprise returns to the closing moments of Part II, its title reflecting its origin. The familiar groove reappears, transformed into a distinctly Jamaican-influenced rhythm, over which Borth delivers a final tenor saxophone solo, bringing the conversation to rest.

Any questions about any of these products feel free to get in touch and we'll help you out!

[a] a1. Part I [Vol.2]
[b] a2. Part II [Vol.2]
[c] a3. Part I [Vol.3]
[d] b1. Part II [Vol.3]
[e] b2. Part III [Vol.3]
[f] b3. Reprise [Vol.3]

Big Crown Records freut sich, das zweite Album von Les Imprimes, ,Fading Forward", zu präsentieren. Unter der Leitung des autodidaktischen Multi-Instrumentalisten und Produzenten Morten Martens beschäftigt sich dieses Album mit Sterblichkeit, Realitätsflucht und einer Vielzahl von Erfahrungen, die mit Liebe verbunden sind. Martens hinterließ mit seinem hochgelobten Debütalbum ,Rêverie" aus dem Jahr 2023 einen bleibenden Eindruck Rêverie einen enormen Eindruck und hat sich seitdem eine treue Fangemeinde aufgebaut, deren Demografie ebenso vielfältig ist wie die Einflüsse, die seine Musik prägen. Er mischt Klänge aus dem Soul der 60er und 70er Jahre mit Anspielungen auf Doo-Wop-Platten, übernimmt die Energie der Hip-Hop-Drums und überzieht das Ganze mit Gesangsstilen aus den 90ern und 2000ern . Aber es sind Martens' Texte, Emotionen und Darbietung, die wirklich alles zusammenbringen und ihm helfen, sich von seinen Kollegen abzuheben. Seine Texte sind ansteckend und poppig und werden mit höchster Klasse und Geschmack umgesetzt, was Les Imprimés die seltene Eigenschaft verleiht, sofort anzusprechen und mit jedem Hören noch besser zu werden. Der aus Kristiansand, Norwegen, stammende Martens spielt fast alle Instrumente auf Fading Forward, produziert und arrangiert das Album und singt natürlich auch. ,Es ist Soulmusik, aber ich habe nicht gerade eine Soulstimme", erklärt Morten bescheiden. ,Aber ich mache es auf meine eigene Art und Weise, auf eine Art, die mir eigen ist." Der Album-Opener ,You & I" ist Mortens Hommage an seine Partnerin, die ,durch das Chaos und die Fehler" mit ihm durchhält. Kraftvolle Drums und kaskadenartige Klaviere machen diesen Song zu einem richtigen Two-Stepper und einer Hymne für diejenigen, die das Glück haben, jemanden zu finden, der sie versteht und ihnen in den Bereichen des Lebens hilft, in denen sie es brauchen. ,Again & Again" verlangsamt das Tempo und beschäftigt sich mit der schwereren Seite der Liebe und des Lebens, während Martens seine Widerstandsfähigkeit angesichts der Missgeschicke, des Herzschmerzes und der Enttäuschungen gescheiterter Liebesbeziehungen bekundet. ,Untainted Love" rückt die süße Seite der neuen Liebe in den Mittelpunkt, mit einer Melodie, die auf den Titel des Klassikers von Gloria Jones anspielt. ,Get Lost" neigt zum Metaphysischen mit der Einladung, die Realität hinter sich zu lassen und Zeit mit Les Imprimés zu verbringen, wo es Raum zum Träumen gibt. ,Only Love" baut auf einem kraftvollen Drum-Break auf, mit einem Refrain, der einfach, aber tiefgründig ist, und das Arrangement verleiht ihm die Energie eines Mantras. Sie wenden sich dem Tanz ,Only Love" baut auf einem kraftvollen Drum-Break auf, mit einem Refrain, der einfach, aber tiefgründig ist, und das Arrangement verleiht ihm die Energie eines Mantras. Sie wenden sich dem Tanz zu in ,With You", einem schnellen, beschwingten Song über eine zufällige Begegnung, die Lust auf mehr macht. Martens sehnt sich nach ihr, aber freudig, als ob allein die Erinnerung daran, dass eine solche Verbindung möglich ist, genau das ist, was er wirklich braucht. ,Fading Forward" endet mit einer völlig düsteren Note mit ,Miss The Days", einer langsam brennenden Ballade, die an einfachere Zeiten erinnert, als die Liebe noch besser war. Martens wird von der Gastsängerin Ama Li in ,Miss The Days" begleitet, einer langsam brennenden Ballade , die an einfachere Zeiten erinnert, als die Liebe noch an einem besseren Ort war. Fading Forward endet mit einer ganz und gar düsteren Note mit ,Paradise", einem Lied, das einem verstorbenen Freund Freiheit und Frieden wünscht. In der kleinen Stadt Kristanland in Norwegen lebt ein großes Talent, das den größten Teil seines Lebens damit verbracht hat, sich zurückzuhalten und im Hintergrund zu bleiben. Der Vertrag mit dem New Yorker Label Big Crown Records inspirierte Morten Martens dazu, seine eigene Musik zu veröffentlichen. Die Reaktionen auf sein Debütalbum ,Rêverie" veranlassten ihn, das Studio zu verlassen und auf die Bühne zu gehen, und all dies diente ihm als Inspiration, um seine Kunstfertigkeit auf ein neues Niveau zu heben. Neue Höhen, die auf Fading Forward voll zur Geltung kommen.

Big Crown Records freut sich, das zweite Album von Les Imprimes, ,Fading Forward", zu präsentieren. Unter der Leitung des autodidaktischen Multi-Instrumentalisten und Produzenten Morten Martens beschäftigt sich dieses Album mit Sterblichkeit, Realitätsflucht und einer Vielzahl von Erfahrungen, die mit Liebe verbunden sind. Martens hinterließ mit seinem hochgelobten Debütalbum ,Rêverie" aus dem Jahr 2023 einen bleibenden Eindruck Rêverie einen enormen Eindruck und hat sich seitdem eine treue Fangemeinde aufgebaut, deren Demografie ebenso vielfältig ist wie die Einflüsse, die seine Musik prägen. Er mischt Klänge aus dem Soul der 60er und 70er Jahre mit Anspielungen auf Doo-Wop-Platten, übernimmt die Energie der Hip-Hop-Drums und überzieht das Ganze mit Gesangsstilen aus den 90ern und 2000ern . Aber es sind Martens' Texte, Emotionen und Darbietung, die wirklich alles zusammenbringen und ihm helfen, sich von seinen Kollegen abzuheben. Seine Texte sind ansteckend und poppig und werden mit höchster Klasse und Geschmack umgesetzt, was Les Imprimés die seltene Eigenschaft verleiht, sofort anzusprechen und mit jedem Hören noch besser zu werden. Der aus Kristiansand, Norwegen, stammende Martens spielt fast alle Instrumente auf Fading Forward, produziert und arrangiert das Album und singt natürlich auch. ,Es ist Soulmusik, aber ich habe nicht gerade eine Soulstimme", erklärt Morten bescheiden. ,Aber ich mache es auf meine eigene Art und Weise, auf eine Art, die mir eigen ist." Der Album-Opener ,You & I" ist Mortens Hommage an seine Partnerin, die ,durch das Chaos und die Fehler" mit ihm durchhält. Kraftvolle Drums und kaskadenartige Klaviere machen diesen Song zu einem richtigen Two-Stepper und einer Hymne für diejenigen, die das Glück haben, jemanden zu finden, der sie versteht und ihnen in den Bereichen des Lebens hilft, in denen sie es brauchen. ,Again & Again" verlangsamt das Tempo und beschäftigt sich mit der schwereren Seite der Liebe und des Lebens, während Martens seine Widerstandsfähigkeit angesichts der Missgeschicke, des Herzschmerzes und der Enttäuschungen gescheiterter Liebesbeziehungen bekundet. ,Untainted Love" rückt die süße Seite der neuen Liebe in den Mittelpunkt, mit einer Melodie, die auf den Titel des Klassikers von Gloria Jones anspielt. ,Get Lost" neigt zum Metaphysischen mit der Einladung, die Realität hinter sich zu lassen und Zeit mit Les Imprimés zu verbringen, wo es Raum zum Träumen gibt. ,Only Love" baut auf einem kraftvollen Drum-Break auf, mit einem Refrain, der einfach, aber tiefgründig ist, und das Arrangement verleiht ihm die Energie eines Mantras. Sie wenden sich dem Tanz ,Only Love" baut auf einem kraftvollen Drum-Break auf, mit einem Refrain, der einfach, aber tiefgründig ist, und das Arrangement verleiht ihm die Energie eines Mantras. Sie wenden sich dem Tanz zu in ,With You", einem schnellen, beschwingten Song über eine zufällige Begegnung, die Lust auf mehr macht. Martens sehnt sich nach ihr, aber freudig, als ob allein die Erinnerung daran, dass eine solche Verbindung möglich ist, genau das ist, was er wirklich braucht. ,Fading Forward" endet mit einer völlig düsteren Note mit ,Miss The Days", einer langsam brennenden Ballade, die an einfachere Zeiten erinnert, als die Liebe noch besser war. Martens wird von der Gastsängerin Ama Li in ,Miss The Days" begleitet, einer langsam brennenden Ballade , die an einfachere Zeiten erinnert, als die Liebe noch an einem besseren Ort war. Fading Forward endet mit einer ganz und gar düsteren Note mit ,Paradise", einem Lied, das einem verstorbenen Freund Freiheit und Frieden wünscht. In der kleinen Stadt Kristanland in Norwegen lebt ein großes Talent, das den größten Teil seines Lebens damit verbracht hat, sich zurückzuhalten und im Hintergrund zu bleiben. Der Vertrag mit dem New Yorker Label Big Crown Records inspirierte Morten Martens dazu, seine eigene Musik zu veröffentlichen. Die Reaktionen auf sein Debütalbum ,Rêverie" veranlassten ihn, das Studio zu verlassen und auf die Bühne zu gehen, und all dies diente ihm als Inspiration, um seine Kunstfertigkeit auf ein neues Niveau zu heben. Neue Höhen, die auf Fading Forward voll zur Geltung kommen.

Big Crown Records freut sich, das zweite Album von Les Imprimes, ,Fading Forward", zu präsentieren. Unter der Leitung des autodidaktischen Multi-Instrumentalisten und Produzenten Morten Martens beschäftigt sich dieses Album mit Sterblichkeit, Realitätsflucht und einer Vielzahl von Erfahrungen, die mit Liebe verbunden sind. Martens hinterließ mit seinem hochgelobten Debütalbum ,Rêverie" aus dem Jahr 2023 einen bleibenden Eindruck Rêverie einen enormen Eindruck und hat sich seitdem eine treue Fangemeinde aufgebaut, deren Demografie ebenso vielfältig ist wie die Einflüsse, die seine Musik prägen. Er mischt Klänge aus dem Soul der 60er und 70er Jahre mit Anspielungen auf Doo-Wop-Platten, übernimmt die Energie der Hip-Hop-Drums und überzieht das Ganze mit Gesangsstilen aus den 90ern und 2000ern . Aber es sind Martens' Texte, Emotionen und Darbietung, die wirklich alles zusammenbringen und ihm helfen, sich von seinen Kollegen abzuheben. Seine Texte sind ansteckend und poppig und werden mit höchster Klasse und Geschmack umgesetzt, was Les Imprimés die seltene Eigenschaft verleiht, sofort anzusprechen und mit jedem Hören noch besser zu werden. Der aus Kristiansand, Norwegen, stammende Martens spielt fast alle Instrumente auf Fading Forward, produziert und arrangiert das Album und singt natürlich auch. ,Es ist Soulmusik, aber ich habe nicht gerade eine Soulstimme", erklärt Morten bescheiden. ,Aber ich mache es auf meine eigene Art und Weise, auf eine Art, die mir eigen ist." Der Album-Opener ,You & I" ist Mortens Hommage an seine Partnerin, die ,durch das Chaos und die Fehler" mit ihm durchhält. Kraftvolle Drums und kaskadenartige Klaviere machen diesen Song zu einem richtigen Two-Stepper und einer Hymne für diejenigen, die das Glück haben, jemanden zu finden, der sie versteht und ihnen in den Bereichen des Lebens hilft, in denen sie es brauchen. ,Again & Again" verlangsamt das Tempo und beschäftigt sich mit der schwereren Seite der Liebe und des Lebens, während Martens seine Widerstandsfähigkeit angesichts der Missgeschicke, des Herzschmerzes und der Enttäuschungen gescheiterter Liebesbeziehungen bekundet. ,Untainted Love" rückt die süße Seite der neuen Liebe in den Mittelpunkt, mit einer Melodie, die auf den Titel des Klassikers von Gloria Jones anspielt. ,Get Lost" neigt zum Metaphysischen mit der Einladung, die Realität hinter sich zu lassen und Zeit mit Les Imprimés zu verbringen, wo es Raum zum Träumen gibt. ,Only Love" baut auf einem kraftvollen Drum-Break auf, mit einem Refrain, der einfach, aber tiefgründig ist, und das Arrangement verleiht ihm die Energie eines Mantras. Sie wenden sich dem Tanz ,Only Love" baut auf einem kraftvollen Drum-Break auf, mit einem Refrain, der einfach, aber tiefgründig ist, und das Arrangement verleiht ihm die Energie eines Mantras. Sie wenden sich dem Tanz zu in ,With You", einem schnellen, beschwingten Song über eine zufällige Begegnung, die Lust auf mehr macht. Martens sehnt sich nach ihr, aber freudig, als ob allein die Erinnerung daran, dass eine solche Verbindung möglich ist, genau das ist, was er wirklich braucht. ,Fading Forward" endet mit einer völlig düsteren Note mit ,Miss The Days", einer langsam brennenden Ballade, die an einfachere Zeiten erinnert, als die Liebe noch besser war. Martens wird von der Gastsängerin Ama Li in ,Miss The Days" begleitet, einer langsam brennenden Ballade , die an einfachere Zeiten erinnert, als die Liebe noch an einem besseren Ort war. Fading Forward endet mit einer ganz und gar düsteren Note mit ,Paradise", einem Lied, das einem verstorbenen Freund Freiheit und Frieden wünscht. In der kleinen Stadt Kristanland in Norwegen lebt ein großes Talent, das den größten Teil seines Lebens damit verbracht hat, sich zurückzuhalten und im Hintergrund zu bleiben. Der Vertrag mit dem New Yorker Label Big Crown Records inspirierte Morten Martens dazu, seine eigene Musik zu veröffentlichen. Die Reaktionen auf sein Debütalbum ,Rêverie" veranlassten ihn, das Studio zu verlassen und auf die Bühne zu gehen, und all dies diente ihm als Inspiration, um seine Kunstfertigkeit auf ein neues Niveau zu heben. Neue Höhen, die auf Fading Forward voll zur Geltung kommen.

Stine Janvin & Morten Joh unveil "Or Gare," a stark and deeply atmospheric excavation of funeral-processional music from Ryfylke, Norway. The release marks the debut collaboration of both artists, recasting a near-forgotten tradition into ghost-lit contemporary form. Rooted in the bygone custom of "Liksong" (literally "corpse song") that was once sung by small groups of singers who guided rural funeral processions, Janvin and Joh tap into its uncanny, unbearably slow intervallic structures, reanimating the practice as a kind of ancient electronic microtonal devotional music.

Jards Macalé’s biography is a testament to the electrifying energy of music and the unwavering spirit of artistic rebellion. Macalé has remained true to his vision, unapologetically embracing the unconventional and challenging the status quo. His music, a conduit of emotion and a mirror to society, continues to weave a sonic tapestry that resonates with the souls of listeners.

In 2022, Macalé celebrated the momentous 50th anniversary of his debut solo album, a groundbreaking masterpiece released by Philips in 1972. This iconic record gifted us timeless tracks such as “Vapor Barato”, “Mal Secreto”, “Farinha do Desprezo”, “Revendo Amigos”, and “Hotel das Estrelas”. Its sheer brilliance united the realms of Brazilian music, infusing samba and bossa nova with the fiery essence of rock, classical harmonies, and the improvisational spirit of jazz. As the years passed, a new generation of musicians and fans discovered this gem, fueling its resurgent popularity and inspiring fresh collaborations.

Last year, Jards Macalé assembled a formidable new band, igniting stages across Brazil with a tour that now sets its sights on Europe. Together with Gui Held on guitar, the Paulo Emmery on bass, and Thomas Harres on drums, Macalé conjures an exhilarating homage to his illustrious body of work. This live performance embodies the untamed spirit and boundless musical freedom that define this visionary artist, transporting audiences to a realm where the past intertwines with the present in a breathtaking display of artistic prowess.

Força Maior combines the vital saxophone explorations of Pedro Alves Sousa with the infinitely subtle electronic processing of Pedro Tavares. Sousa (aka Má Estrela) is known for manipulating his woodwind through guitar pedalboards & amplifiers, creating far-from-ordinary sonics rooted in unceasing curiosity. For his part, Tavares (aka funcionário) conjoins video & sound work to create space for the pensive wanderings where memory and imagination interlace.

The album Morte Lilás was recorded over a week in June 2023 in Pedro Alves Sousa's family farm, located in the village of Ferreirim, near Lamego, in Portugal. The partly abandoned farm served as the residency, studio, and inspiration for the album: it is a 400-year-old granite farm that belonged to a member of the "40 conspirators"—a group that led the revolution for Portugal's independence from Spain in the 17th century.

Morte Lilás is a remarkable album of committed meditation. Each day on the farm was a recording day for the two Pedros: Sousa on sax & electronics, Tavares on sampler & processing. Apart from slight sonic incursions from the surrounds—the birds on 'Quinta à tarde'—and the sporadic use of sine tones, the source sounds all start from the saxophone. It is then processed both by Sousa & Tavares. The album unfolds as a saxophonic tapestry that breathes with quiet intensity. Each piece invites close listening, revealing fine gestures and tonal shifts that shape a contemplative, ambient space. Força Maior move with calm precision.

The album opens with the unhurried overture 'Quinta à Tarde' a Portuguese pun on Eno's Thursday Afternoon that announces the textures at play. Sousa's breathy entrance is paired with a soft, delicately shifting, backdrop. As the track progresses, time seems to stretch. The arrangement resists urgency, favouring subtle evolution over dramatic turns. Pensive layers shift & drift, creating a sense of suspended motion that brings the listener into the environs of Morte Lilás. 'Quinta à Tarde' is a long-form fade, shifting emphasis from Sousa to Tavares.

'Cubos' continues the gauzy feel, but with a more up-tempo tilt. Rhythmic clicks & pings setup a swung time for the sax to interpose melodic lines that are fed back & bent with cascading delays. Força Maior in distilled form.

Força Maior is in top form on the title track 'Morte Lilás', a sprawling centrepiece that showcases their command of atmosphere & emotional pacing. By turning up the reverberation & leaning into a continuous format, they dissolve the gap between hypnotic trance & articulate reverie. Then, a moment of stillness. The track pauses, not abruptly but like a tide pulling back, revealing the contours beneath. What follows is a return to the album's more relaxed architecture: understated rhythms, softened textures, and a sense of spaciousness that opens space for reflection. It is a transition that feels organic, as if the song itself needed to exhale before settling back into its contemplative groove.

'Menta' is another short-form miniature of the band's signature contours: beautiful loops of air pressure gradients that carry an emotive weight & light.

The album closes with 'Cascata do Inferno'. The title suggests violence, but the music whispers instead—an atmospheric cascade of breath & tone that emerges in slow, deliberate waves. Short melodic cycles are matched by shimmering electronic chords. It's a piece that rewards patience, draws the listener in to drift downstream, eyes closed, into the serene turbulence of its current.

The journey through French-speaking pop archives continues with this fifth volume, packed with fuzz, gimmicks, and dissent. Far from the charts, the selected tracks display a great creative freedom, often backed by corrosive humor. Welcome to the surprising, kaleidoscopic, and colorful world of the late sixties and early seventies, Wizzz!
Born in Montauban, Robert Pico stumbled into music by chance when he met René Vaneste, then artistic director at Pathé-Marconi. René brought him to Paris to record his first 45 RPM EP in 1964. A year later, Pierre Perret introduced him to Vogue, where he recorded his second album with Claude Nougaro’s orchestra. Sylvie Vartan then introduced him to RCA, where he recorded four singles, including the astonishing "Chien Fidèle," a track backed by a hair-rising fuzz guitar. Alongside his solo career, he also composed for other artists like Alain Delon (the song was recorded but remains unreleased), Magali Noël, Bourvil, and Georges Guétary. In the Paris of the sixties, he mingled with Mireille Darc, Elsa Martinelli, Marie Laforêt, France Gall, Françoise Hardy, Petula Clark, Régine, Dani, Serge Gainsbourg, Joe Dassin, Franck Fernandel, Charles Level, and Roland Vincent. Despite his efforts and winning a Grand Prix Sacem for his final record, Robert Pico didn’t achieve the expected success in show business and decided to leave Paris and return to the Southwest, where he devoted himself to writing. He is the author of 23 books (including Delon et Compagnie, Jean-Marc Savary Editions 2025, a memoir about his youth and his many encounters). Today, he is relieved to never have become a celebrity and devotes himself to his work with passion.
In 1969, the Franco-Italian movie Erotissimo was released, directed by Gérard Pirès (who later directed Taxi in 1998, written and produced by Luc Besson). This pop comedy features Annie Girardot, Jean Yanne, Francis Blanche, Serge Gainsbourg, Nicole Croisille, Jacques Martin, and Patrick Topaloff. The soundtrack was written by Michel Polnareff and William Sheller, with lyrics by Jean-Lou Dabadie. "La Femme Faux-cils," performed by Annie Girardot. It recounts the feelings of a rich CEO's wife who seeks to develop her sex appeal under the influence of advertisement and magazines. Groovy, sparkling and light, this track, with ITS lush arrangements humorously critiques consumer society and feminine beauty standards.
“Je suis l’Etat” (1967) is the flagship track of the first EP by singer-songwriter Spauv Georges, aka Georges Larriaga, better known as Jim Larriaga (1941-2022). Born into a family of bakers, the young man was initially planning to become a hairdresser when he discovered English-speaking music through Elvis Presley and the Beatles. After this revelation, he decided he would become a songwriter and gave himself five years to succeed. He recorded his first two EP’s independently for RCA under the pseudonym Spauv Georges; meaning “that poor George”, a nickname given to him by the mother of her friend Jean-Pierre Prévotat (future drummer of the Players, Triangle, or Johnny Hallyday). Portraying a depressed and eccentric young man, Spauv Georges created corrosive and amusing songs that didn’t reach a wide audience, despite a TV appearance with Jean-Christophe Averty.
Supported by his loyal friend and fellow songwriter Jean-Max Rivière, Georges Larriaga met the future singer Carlos in the early '70s, then Sylvie Vartan’s assistant. He wrote songs for Carlos, including the popular "La vie est belle," "Y’a des indiens partout," and "La cantine", which went onto become a huge hit in 1972. He also composed for Claude François (“Anne-Marie”, 1971), Charlotte Julian (“Fleur de province”, 1972), helped launch child singer Roméo (who sold 4 million records), and later wrote the hit "Pas besoin d’éducation sexuelle" (1975) for the young Julie Bataille. In 1971, Jim recorded an album for Disc'Az: “L’univers étrange et fou de Jim Larriaga”, which featured pop gems like “La maison de mon père”.
The story of the song "Zoé" began when Pierre Dorsay, artistic director at Vogue Records, asked Swiss singer and musician Pierre Alain to write a song for a new female singer. The inspiration came when he realized that Zoé (the artist's name) was also the name of France's first atomic battery, created in 1948, which consisted of uranium oxide immersed in heavy water! The lyrics reflect a bubbling energy that must be handled with caution, while the instrumentation echoes this atomic theme, notably with the use of a theremin.
Zoé’s career lasted only as long as a single 45 RPM, but it seems Christine Fontane was the vocalist behind this pseudonym, who is known for several EPs, a good "popcorn" album in 1964, and a handful of children’s singles in the '70s. Regardless, the photograph on the cover is of a different girl entirely.
Later, Pierre Alain continued his career, writing songs for himself, Marie Laforêt, Danièle Licari, Alice Dona, Arlette Zola (3rd place in Eurovision 1982), and achieving multiple gold and platinum records in Canada. Also an inventor with several patents, president of the Romande Academy, and head of the French Alliance in Geneva, he now composes atonal music, books, and poetry. Moreover, he is also the host of "Les Mardis de Pierre Alain" at "Le P'tit Music'Hohl" in Geneva.
Filled with oriental choruses and fuzz guitar, "Fou" is from Jacques Da Sylva's only EP released by Vogue in 1967. Despite the quality of this recording, all traces of this singer disappear after this first effort.
Valentin is a baroque pop singer born in Belgium. He is the songwriter and composer of most of the tracks on his three singles released in the late 60s in Canada. A legend says that he reincarnated himself as Jacky Valentin during the 1970s for a rock'n'roll revival career in Belgium, but his older brother sadly debunked this story. Valentin's first two singles were arranged by Claude Rogen, a Parisian session pianist who had come to Canada to promote the song “Mister A Gogo”, a cover of David Bowie’s “Laughing Gnome”, adapted by singer Delphine, his wife at the time. Far from his usual network, Claude Rogen arranged music for Polydor, including the arrangements for “Je suis un vagabond” in 1969, a jerk tune with string arrangements and a furious optimism.
Jacques Malia wrote, composed, and recorded his only 45 EP for Festival in 1966. “Histoire de gitan” is an incredible beat track with bohemian scat that tells the story of a gypsy musician who came to Paris to make it in the Music-Hall, to no avail. The hero of the song and its author probably shared a similar fate, as Jacques Malia faded into anonymity after this remarkable attempt.
Bernard Jamet recorded two EPs for Barclay in the late sixties and co-wrote several songs with Christine Pilzer, Pascal Danel, and prolific songwriters Michel Delancray and Mya Simile. The track “Raison Légale” (1968), his masterpiece, immerses the listener in a courtroom right when a murderer is being judged, with jerk rhythm and free arrangements. A unique, paranoid, judicial, and psychedelic oddity.
Jean-Pierre Lebrot-Millers started his career in show business in 1967 as a singer and songwriter for the Philips label. After three singles, he wrote several songs of a new kind with his friend Pierre Halioche, in the midst of the sexual liberation movement and the democratization of drugs. With provocative lyrics, “Les filles du hasard” and “Barbara au Chapeau Rose” were released on a Philips singles in 1968. The character of Barbara was inspired by a queen of Parisian nightlife during the psychedelic years: model Charlotte Martin, who dated Eric Clapton from 1965 to 1968, then Jimmy Page from 1970 to 1983. Jean-Claude Petit’s arrangements, with a table-filled intro, soul brass, and Hendrixian guitar, emphasize the flamboyance of a hedonistic and sexy character, whose dog is named Junkie because “Junkie est un nom exquis”! The track was recorded live in three takes with a full orchestra.
Upon its release, the record was censored by Europe 1 and RTL due to its references to drug use. Jean-Pierre Lebrot was then banned from the airwaves and later dismissed by his record label. He changed his artist name to Jean-Pierre Millers, while his companion Pierre Halioche became D. Dolby for a new dreamy composition, “Chilla”, which Jean-Pierre produced himself with arrangements by Jean Musy. Once again, the song was immediately censored everywhere. After this setback, he decided to stop singing and started taking on odd jobs to support his Swedish wife and their son until the day he met Jean-Pierre Martin, then production manager at Decca, who had worked with Manu Dibango. Martin offered Jean-Pierre Lebrot-Millers, then employed at Rank Xerox, the position of artistic director at Decca. He accepted and became, a year later, promotion director (radio, press, TV). He worked on Julio Iglesias’s first album for Decca, which became a massive hit and allowed him to meet Claude Carrère. The latter asked him to write new songs and find their performers, much like a “talent scout.” It’s through him that Jean-Pierre discovered Julie Pietri and Corinne Hermès. He composed “Ma Pompadour” for Ringo, Sheila’s husband, and took the microphone again for the syncope hit “Rendez-Vous” in 1982.
That same year, Jean-Pierre Lebrot-Millers tried to release a track for which he had heavily gone into debt: “Si la vie est un cadeau”. Having recorded it in London, he presented it to numerous professionals, all of whom refused to get involved. The same thing happened with Antenne 2 and the Sacem when he proposed the song as France’s entry for Eurovision. He then met Haïm Saban, who was producing cartoon soundtracks and had just launched the Goldorak theme song. Saban, having listened to the song, declared it had the potential to become a hit. He sent Jean-Pierre and Corinne Hermès to meet the CEO of the Luxembourg radio and television network. The latter received them, asked to hear a verse and chorus a cappella in his office, and immediately hired them to represent Luxembourg at Eurovision 1983. They reworked the arrangements and recorded a new version with Haïm Saban as co-producer. The song ended up winning Eurovision 1983, a great comeback for our hero. He continued producing and hung out with the band Nacash in Belgium when a couple came to introduce their daughter for an impromptu audition in a hotel room. The girl sang “Les démons de minuit” while dancing to a radio cassette. Impressed, he had her take singing lessons for a year and composed a song for her (for which he had the melody and title, but no lyrics). This required him to go on the hunt for a lyricist, who ended up being Guy Carlier. They recorded the song, which was initially a ballad, at Bernard Estardy’s CBE studio, and gave the singer a new name: Melody. They showed the song around their industry network without success. Later, Estardy called Jean-Pierre to suggest changing the rhythm and making it pop-rock. Orlando, Dalida’s brother, liked the result and decided to co-produce the track. “Y’a pas que les grands qui rêvent » became a classic hit. The song has since been covered by Juliette Armanet (as a ballad, like the original) and Valentina.

Born into an aristocratic Breton family, Hervé Mettais-Cartier worked as a DJ at Queen Kiss, a nightclub in Poitiers, where he formed the band Les Concentrés with Michel (an actor) and Christian (a radio technician). Together, they created a repertoire of whimsical songs (“Ma bique est morte”, “J’suis un salaud”, “Fils de dégénéré”...) that they performed on stage dressed in white (in homage to “concentrated milk”). They performed at Bliboquet and Olympia in 1968 for the 10th edition of the “Relais de la chanson Française” organized by L’Humanité-Dimanche and Nous les Garçons et les Filles, sponsored by Pepsi Cola. Winners in the author-composer category, alongside Danish singer Dorte, their visibility allowed them to record a 45, and appear on television in Jean-Christophe Averty’s show. The A-side of the disc features Bruno le ravageur, a casatchok dedicated to Bruno Caquatrix, the director of Olympia, nicknamed in the song “Coq Atroce” or “croque-actrices”. The B-side is dedicated to “Fils de dégénéré”, a quirky tribute to Hervé's aristocratic roots, mixing absurdity with sophisticated vocal harmonies.
After Les Concentrés, Hervé Mettais-Cartier formed the duo La Paire et sa Bêtise with his friend Olivier Robert. They performed in Parisian cabarets and toured with Pierre Vassiliu. In the late 1970s, Hervé began a solo career. He recorded two albums for the Motors label in 1978 and 1979, which did not achieve their anticipated success due to lack of promotion. In 1980, he met Bernadette, with whom he started a family and created a “Chansons à voir” (songs to see) show that he performed until his death at the end of 2024.

Publicité comes from the final EP by the Missiles (Ducretet Thomson, 1966), a disc that also includes “La (nouvelle) guerre de cent ans”, featured on Volume 4 of our Wizzz! series. Please refer to the booklet for the story of the band.

“He’s 1.82 meters tall, 28 years old, weighs 135 kg, is black and Belgian”: this is the description of singer Hegesippe on the back of his sole single (Decca, 1967). He appears on the album cover wearing a Greek toga, like a hippie gag – we are at the end of the year 1967. In “Le crédo d’Hegesippe”, this former bodyguard of Antoine and the Charlots plays the delightful card of the thick brute converted to Flower-Power and non-violence, with arrangements by Jean-Daniel Mercier, aka Paul Mille.
“Ethéro-disco” was released on a promotional record for clients of the Maréchal company (Liège, Belgium) for the New Year 1979. Over a funky rhythm, celebrity impersonations (Brigitte Bardot, Jacques Dutronc, Fernandel…) deliver an enigmatic text about pharmaceutical products like ether, bismuth, and aspartate. The track was composed by Dan Sarravah (responsible for Joanna's “Hold-up inusité” featured on Wizzz! Volume 3) and Tony Talado, who was also a singer (one 45 in 1967), songwriter (with over a dozen credits between 1964 and 1985 in various styles from surf music to disco), author (Devenez Végétarien, Dricot Editions, 1985), ad designer, and psychologist.

Décollez-les is on the A-side of Mamlouk's only single, a pseudonym for Marsel Hurten, who is known for his work on several EPs in the late sixties, as well as composing music for Hervé Vilard’s “Capri, c’est fini”, Claude Channes' “La Haine”, Annie Philippe’s “On m’a toujours dit”, and Nancy Holloway’s “Panne de Cœur”.
This strange song, with Afrobeat horns and absurd dialogues between a chef and his kitchen staff, is the result of a collaboration between Marsel Hurten and one of his neighbors, a photographer from Pavillon-sous-Bois (93), where the musician settled after returning from the Algerian War. A music video was shot to promote the record.
Marsel Hurten was born in Tourcoing (59) into a musical family. At a young age, he joined the brass band founded by his grandfather, playing the piston before studying trumpet at the conservatory, as well as teaching himself how to play the guitar. As an orchestra musician, he toured in France, Belgium, Germany, and England. He released a series of solo 45’s between 1965 and 1968 for the DMF and Az labels before stopping recording to focus on working for other artists (Gilles Olivier, Noëlle Cordier…).
“L’amour nu” (Vogue, 1971) is the work of the short-lived Belgian band Mozaïque. The track, written by singer Jacques Albin, closely resembles another of his compositions, “Carré Blanc”, which he recorded in 1969 for Disc’AZ.
Represented by the Lumi Son micro-label based in Marignane (Côte d'Azur), Jean-Marc Garrigues released two 45 RPMs in the late sixties, defending the French jerk sound. The song “Je dis Non” is a short, joyful ode to youth, pop music, and rebellion.
Songwriter and performer Jacques Penuel released three singles. The first one, “Astronef 328” (Fontana, 1969), features a dizzying series of chords punctuated by sound effects, a sci-fi story, and arrangements by Jean-Claude Vannier.

We would like to sincerely thank Pierre Alain, Moon Blaha, Marsel Hurten, Bastien Larriaga, Jean-Pierre Lebrot-Millers, Bernadette Mettais-Cartier, Robert Pico, Olivier Robert, Claude Rogen, Micky Segura.

A collection of stunning Persian-tuned piano pieces cut from Iranian national radio broadcasts made for the Golha programmes between 1956 & 1965...

Morteza Mahjubi (1900-1965) was a Iranian pianist & composer who developed a unique tuning system for the piano which enabled the instrument to be played in all the different modes and dastgahs of traditional Persian art music. Known as Piano-ye Sonnati, this technique allowed Mahjubi to express the unique ornamental and monophonic nature of Persian classical music on this western instrument - mimicking the tar, setar & santur and extracting sounds from the piano which are still unprecedented to this day.

An active performer and composer from a young age, Mahjubi made his most notable mark as key contributor and soloist for the Golha (Flowers of Persian Song and Poetry) radio programmes. These seminal broadcasts platformed an encyclopaedic wealth of traditional Persian classical music and poetry on Iranian national radio between 1956 until the revolution in 1979.

Presented here is a collection of Morteza Mahjoubi's stunningly virtuosic improvised pieces broadcast on Golha between the programme's inception until Mahjoubi's death in 1965 - mostly solo, though at times peppered with tombak, violin & some segments of poetry.

The vast collection of Golha radio programmes was put together thanks to the incredible work of Jane Lewisohn & the Golha Project as part of the British Library's Endangered Archives programme, comprising 1,578 radio programs consisting of approximately 847 hours of broadcasts.

A collection of stunning Persian-tuned piano pieces cut from Iranian national radio broadcasts made for the Golha programmes between 1956 & 1965...

Morteza Mahjubi (1900-1965) was a Iranian pianist & composer who developed a unique tuning system for the piano which enabled the instrument to be played in all the different modes and dastgahs of traditional Persian art music. Known as Piano-ye Sonnati, this technique allowed Mahjubi to express the unique ornamental and monophonic nature of Persian classical music on this western instrument - mimicking the tar, setar & santur and extracting sounds from the piano which are still unprecedented to this day.

An active performer and composer from a young age, Mahjubi made his most notable mark as key contributor and soloist for the Golha (Flowers of Persian Song and Poetry) radio programmes. These seminal broadcasts platformed an encyclopaedic wealth of traditional Persian classical music and poetry on Iranian national radio between 1956 until the revolution in 1979.

Presented here is a collection of Morteza Mahjoubi's stunningly virtuosic improvised pieces broadcast on Golha between the programme's inception until Mahjoubi's death in 1965 - mostly solo, though at times peppered with tombak, violin & some segments of poetry.

The vast collection of Golha radio programmes was put together thanks to the incredible work of Jane Lewisohn & the Golha Project as part of the British Library's Endangered Archives programme, comprising 1,578 radio programs consisting of approximately 847 hours of broadcasts.

Mit der exklusiven Doppelvinyl in zartem Pink erscheint eine Hommage an eine der größten Künstlerinnen Europas: Édith Piaf. Ihre Lieder sind nicht nur musikalische Meisterwerke, sondern auch emotionale Zeitdokumente, die Millionen Menschen berührt haben - in Frankreich, Deutschland und weit darüber hinaus. Geboren 1915 in Paris, wuchs Piaf unter schwierigen Umständen auf, sang auf den Straßen und wurde 1935 von einem Cabaret-Besitzer entdeckt. Ihr Spitzname "La Môme Piaf" - der kleine Spatz - wurde zum Symbol für ihre fragile Erscheinung und ihre kraftvolle Stimme. Ihre Musik war oft autobiografisch, geprägt von Liebe, Verlust und Hoffnung. Sie sang mit einer Intensität, die bis heute unter die Haut geht. Piaf wurde zur Nationalikone Frankreichs, besonders nach dem Zweiten Weltkrieg. Ihre Lieder wie "La Vie en Rose", "Non, Je Ne Regrette Rien" oder "Hymne à l"Amour" wurden zu Hymnen einer Generation. Auch in Deutschland und Europa wurde sie gefeiert - als Stimme der Versöhnung, der Leidenschaft und der Menschlichkeit. Diese Vinyl-Edition vereint ihre größten Werke in einem liebevoll gestalteten Sammlerstück - ein Muss für Musikliebhaber und Kulturinteressierte.

The Pitch is a quartet made up of Boris Baltschun, Koen Nutters, Michael Thieke and Morten Joh. Founded in Berlin in 2009, they play a hypnotic form of structured improvisation full of acoustic exploration and electronic intervention. On Neutral Star, The Pitch are joined by Australian guitarist/composer extraordinaire Julia Reidy for a record of star gazing electro-acoustic jazz.

Reidy's playing and compositional technique between Takoma-style fingerpicking and Glenn Branca'esque microtonality, perfectly complements the loose improvisational framework The Pitch is providing. Endless ≠ Limitless, a recent piece by Reidy and Joh, is transformed from a washed-out/obscured tape delay composition into a colorful, meandering ensemble piece with a swarming character - blooming with intrigue for the patient ear. The B-side strikes a more gentle tone: the 24-minute Neutral Star begins with a siren-like overtone whose drone-like flowing slowly morphs into a deterritorial modality with jazzy undertone. Accompanied by constant eruptions of vibraphone, clarinet, electronics and double bass punctuation – while permanently questioned by Reidy's drippingly pearly steel guitar work. Slowly evolving into new territories through the expansive instrumentation and keen listening between the players.

The fact that Neutral Star was recorded in one take (by Rabih Beaini in his Morphine Raum studio/venue) in front of a live audience and without overdubs is hard to believe, even for the trained ear. The recording appears to be too multilayered for a single snapshot, with its compositional structures constantly shifting and moving against themselves, counterintuitively and anti-cyclically. Reidy´s playing has been described as "unstable harmonic territory, and the collaboration with The Pitch interprets this concept brilliantly - adding further non-places to the territory. And the listener, however, is never left alone in the process of tectonic shifts - at least as long as their listening is attentive and contemplative at once.

"Bandleader Lina Langendorf has been known in Sweden for a long time as one of the most skilled and forward thinking saxophone players. She has been staying in both Mali and Ethopia for longer periods and has performed in concerts with legendary artists like Alemayehu Eshete, Vieux Farka Touré and...Mulatu Astatke who, at his club African Jazz Village (in Addis Ababa/Ethiopia), introduced Lina to people in the audience with the words: 'Amazing saxophone player, big respect! We should play together some day'. Some minutes later they go on stage together. Joined by the legendary piano player Dawit Yifru and the bass player from Roha Band, Giovanni Rico Bonsignori. 'Fantastic. You're so strong. Everybody loves you, they say you are ethio-jazz' was Mulatu's words after the jam session.
Lina has also been invited to the live club Le Hogon in Bamako numerous times for jam sessions and concerts with Toumani Diabaté and his band. And for Lina, these jam sessions in Addis and Bamako has been a crucial part of shaping (and sharpening) her musical vision. Last year she was also touring the UK as part of James Yorkston, Nina Persson and the second hand orchestra.
But it wasn't until feb 2023 we got to hear her own music. The debut album with her newly formed band Langendorf United was co-released between Italian label Black Sweat records and Swedish label Sing A Song Fighter and it immediately resonated with music lovers around the world (Radiohead drummer Philip Selway called it 'as if Tinariwen and Fela Kuti had a Blue Note session').
But the band is not just the composer/Saxophone star and band leader Lina Langendorf. Oh, no. The other four musicians are all highly praised musicians in various jazz bands in Sweden and Norway and together they form this sacred thythmic unity with the pulsating bass at the centre.
Langendorf United's music is vibrant and spiritual and on fire!"

Lina Langendorf - saxophone
Daniel Bingert (son of legendary South American musician Hector Bingert) - keys, guitars
Martin Hederos (The Soundtrack Of Our Lives, Tonbruket) - keys, viola
Ole Morten Vågan (Trondheim Jazz Orchestra) - upright bass
Andreas Werliin (Fire!, Wildbirds & Peacedrums) - drums

Pop-punk veterans Teenage Bottlerocket are primed to release their new LP Ready to Roll, the band's first full length for Pirates Press Records. "This time around, there was no big concept, no pressure. We just wrote songs that felt good to play," explains bassist Miguel Chen. "That freedom brought something fresh. It reminded us why we started doing this in the first place. The vibe is all about reconnecting with the joy of making music together. "The band returned to The Blasting Room in Fort Collins, CO, with Andrew Berlin behind the board & Jason Livermore overseeing the final master. "The Blasting Room is like home for us," says Miguel. "Working with Andrew and Jason is always a smooth ride-they know how to pull the best out of us." Fans got their first taste of what's to come via the lead single "She's the Shit." Ray Carlisle wrote the song for his wife Rachel, who he says "loves to give me a hard time-she rolls her eyes when I rock out in front of the mirror, makes fun of the music I love, and calls me an old man when I bring up movies she's never seen. And I totally love her for it." As for the song, Ray says, "It kicks the door open. It sets the tone for the whole record-fast, catchy, and not taking itself too seriously. Just the way we like it." This back to basics approach carries through the album, making it equally satisfying for longtime fans & newcomers alike. "Whether it's your first TBR album or your tenth," says Miguel. "There's something here for you." It's packed with everything you'd expect from TBR with a few surprises the band think you'll love - including a couple of songs where Miguel steps up to the mic for his first-ever lead vocals! "We're lucky to still be here, making music with our best friends, and connecting with people who get it," sums up Miguel. "Ready to Roll is exactly what it sounds like-we're stoked, and, in a way, we're just getting started."

Pop-punk veterans Teenage Bottlerocket are primed to release their new LP Ready to Roll, the band's first full length for Pirates Press Records. "This time around, there was no big concept, no pressure. We just wrote songs that felt good to play," explains bassist Miguel Chen. "That freedom brought something fresh. It reminded us why we started doing this in the first place. The vibe is all about reconnecting with the joy of making music together. "The band returned to The Blasting Room in Fort Collins, CO, with Andrew Berlin behind the board & Jason Livermore overseeing the final master. "The Blasting Room is like home for us," says Miguel. "Working with Andrew and Jason is always a smooth ride-they know how to pull the best out of us." Fans got their first taste of what's to come via the lead single "She's the Shit." Ray Carlisle wrote the song for his wife Rachel, who he says "loves to give me a hard time-she rolls her eyes when I rock out in front of the mirror, makes fun of the music I love, and calls me an old man when I bring up movies she's never seen. And I totally love her for it." As for the song, Ray says, "It kicks the door open. It sets the tone for the whole record-fast, catchy, and not taking itself too seriously. Just the way we like it." This back to basics approach carries through the album, making it equally satisfying for longtime fans & newcomers alike. "Whether it's your first TBR album or your tenth," says Miguel. "There's something here for you." It's packed with everything you'd expect from TBR with a few surprises the band think you'll love - including a couple of songs where Miguel steps up to the mic for his first-ever lead vocals! "We're lucky to still be here, making music with our best friends, and connecting with people who get it," sums up Miguel. "Ready to Roll is exactly what it sounds like-we're stoked, and, in a way, we're just getting started."

Les Dunes is an alternative band from Haugesund, Norway. Consisting of members from bands like The Low Frequency in Stereo, Undergrünnen, Lumen Drones, Helldorado and Action & Tension & Space. The band consists of Per Andreas Haftorsen on guitar, Morten Jackman on drums and Per Steinar Lie on bass. The result reminds of the fantastic slow-core era bands of the 90ies, like Codeine who create their own version of Explosions In The Sky songs or like Per Steinar Lie claims "it feels like the vibe of the early days of The Low Frequency in Stereo". The music is rooted in a thought of a long freeway drive at night where time stops and the mind flows.

Wer ROME seit der 20-jährigen Bandgeschichte verfolgt, wird nicht bestreiten können: Jerome Reuter ist immer für eine Überraschung gut. Sicher ist der Folk Noir, die düstere Liedermacherkunst mit Akustikgitarre und melancholischen Vocals, seine kreative Basis und Kontinuität. Doch immer wieder finden sich auf seinen Alben atmosphärische Ambienttracks – filmmusikartige Collage und Vertonungen der Konzeptthemen, die ROMEs Ursprung in der Post-Industrial-Culture belegen. Und immer wieder überschreitet er souverän die Grenze zu anderen Genres wie dem Post Punk und dem dunklen Elektropop. Statt luziden Akustikakkorden treten dann noisige, kalte Elemente ins Zentrum, martialische Samples, analoge Synthieklänge und programmierte Beats, die auch auf dem Szenedancefloor nicht stören würden.

„Terres de Sang“ ist nun anlässlich des 20-jährigen Bandjubiläums eine Kollektion von Songs und Instrumentals, die in diesen Versionen noch nicht erhältlich sind, sei es live oder in Remixen. Dazu kommen jene typischen ROME-Klangkollagen, die man von den Intros der Livekonzerte kennt. „Terres de Sang“ ist ein Füllhorn der unterschiedlichen Stile, Themen und Stimmungen, die ROME seit zwei Dekaden kennzeichnen. Daraus ergibt sich kein eigenständiges neues Album, aber ein ebenso spannendes wie unterhaltsames Kaleidoskop der unerschöpflichen Kreativität Jerome Reuters, das dem ROME-Sammler aus dem Herzen spricht. Darunter finden sich auch alternative Liveversionen von beliebten ROME-Hits wie „Das Feuerordal“, „Blighter“ und „Secret Germany“.

Erhältlich als:
- 2CD Digipak
- Schwarzes, 180 Gramm schweres 12“ Doppel-Vinyl, Extra audiophiler Tonträger von hoher Qualität - deutsche Pressung, Gatefold-Klappverpackung, Mehrfarbig bedruckte Innenhüllen, Limitiert auf 500 Exemplare

Alice is a vocal harmony trio made up of three persons, joined by a cheap synth and limited virtuosity. Together, they craft a kind of future folklore that’s part funny, part apocalyptic — half-soft, half-harsh, half-sad, half-simple, half-complex, half-controlled, half-Yvonne Harder, half-Sarah André, half-Lisa Harder.

Since their last album L’Oiseau Magnifique, Alice have spent time on the road — in cars, in trains, out in the open. Accustomed to writing outdoors, they slowly stitched together a collection of new songs. After two years of performing in clubs, bars, stairwells, carpentry workshops, activist agricultural fairs and roadside shoulders, they took their Oiseau Magnifique just about everywhere. It felt like time to sew these new pieces together — a quilt of humour and soft words, something we could really use in these half-sweet, half-fascist times.

Les Châteaux Faibles is the name of one of their latest songs, and naturally, the title of their new album. It captures the group’s ethos perfectly — a search for refuge in fragility, in a weakness that’s better when shared. A collective sensitivity to bring us closer, stronger — united in our Châteaux Faibles.

Alice is a vocal harmony trio made up of three persons, joined by a cheap synth and limited virtuosity. Together, they craft a kind of future folklore that"s part funny, part apocalyptic - half-soft, half-harsh, half-sad, half-simple, half-complex, half-controlled, half-Yvonne Harder, half-Sarah André, half-Lisa Harder.

On the occasion of the celebration of the tenth anniversary of our work, in cooperation with PGP-RTS, we prepared a quite special edition: Max And Intro-Return To The Future 1984-1994 LP collects 12 tracks of this legendary Belgrade synth-pop group on high-quality 180-gram vinyl, remastered from the original master tapes with a handful of extras: the record comes with a rare interview from 1985, a lyrics sheet, and phenomenal unreleased photos by Goran Basarić and Max’s Poster.

Kosmos is the third full-length record for Luaka Bop from the uncategorizable Danish band of Jonathan Bremer (on acoustic bass) and Morten McCoy (on keys and tape delay).

Vita est Morte est Vita is the band’s debut full-length; recorded, mixed, and mastered by Wayne Adams at Bear Bites Horse Studio, London. The four tracks of the album are a dynamic and richly textured journey through the human psyche – inviting the listener to Discover, Enter, Understand, and Become.

In addition to the cover artwork by the band’s own Stuart Hodgkinson, each track is accompanied by individual artworks by Steve Burns, Justin Fink, Eduardo Canalejo, and Lauren McIvor.

A Chaos Of Flowers is an album that builds on their ferocious 2023 album nature morte. BIG|BRAVE"s music has been described as massive minimalism. Their fusillades of textural distortion and feedback emphasize their music"s frayed edges as much as its all-encompassing weight. The potency of the trio"s work is their singular artistry combining elements of traditional folk techniques and a modern deconstruction of guitar music. Gain, feedback, and amplitude are essential. For A Chaos Of Flowers guitarist/vocalist Robin Wattie drew heavily on the poems of artists whom Wattie found kinship in, their words resonant with experiences of those often sidelined by cultural norms. "I discovered that most poems from folk traditions or in the public domain seem to be by men - to which I could not quite relate. In my search, I rediscovered some of my favorite works and poets," says Wattie. Guitarist Mathieu Ball and drummer Tasy Hudson help Wattie shape poetry into pieces as dense and impenetrable as they are vulnerable. BIG|BRAVE achieve their colossal sound through minimalist approaches, a deft understanding of dynamics and an inventive employment of percussion and distortion. The trio reconceptualize what it is to be heavy or minimal, challenging perceptions with their illumination of painfully overlooked perspectives. Guest guitarist Marisa Anderson lends earthen, blues-inflected atmospheres to the album, where guitarist Tashi Dorji and saxophonist Patrick Shiroishi amplify the squall. Working closely with frequent collaborator and producer/engineer Seth Manchester, the internal tumult of Wattie"s voice rings out in warbles, haunting echoes, and unearthly harmonies across bold immense walls of distortion. BIG|BRAVE have collaborated with metal monsters The Body on a previous Thrill Jockey release, Leaving None But Small Birds, and have toured internationally with bands like SUMAC, Godspeed You! Black Emperor, SUNN O))), and Lingua Ignota. As they continue to ascend in their journey as pioneers in the contemporary metal scene, it"s safe to say that BIG|BRAVE are here to stay.

Meet Leng’s latest signings, Liminal – a Danish duo comprised of guitarist, multi-instrumentalist and producer David Rosenkilde, and DJ, producer and sound engineer Morten Troest.

The pair first met when Rosenkilde was booked to perform as a session musician at Troest studio. They clicked immediately so with Troest’s studio skills and inherent knowledge of what works on dancefloors paired with Rosenkilde’s abilities as a musician they decided to produce their own music together working to one simple rule: try out every idea, however outlandish!

Since then Rosenkilde and Troest have been recording their debut album that’s set for release on Leng later in 2025. First, though, we get a taste of their talents via ‘Keep Coming Back To Me’, an impressive debut single that blends electric and electronic instrumentation while keeping its focus fixed on the dancefloor.

Ushered in by shakers, rubbery bass and flanged guitar licks, ‘Keep Coming Back To Me’ giddily blurs the boundaries between colourful nu-disco, low-slung dub disco and the sun-splashed beauty of the more club-friendly end of the Balaeric spectrum. It boasts a hazy, multi-tracked and lightly glassy-eyed lead vocal, as well as a nagging TB-303 acid line that works its way to the fore as the track progresses, adding extra layers of excitement and energy as it unfolds.

Remixer Ray Mang (AKA long-time friend of the label Raj Gupta) takes the latter element as his inspiration on a stunning, nine-minute plus remix that brilliantly re-frames the track as a blend of tactile 21st century nu-disco colour, hypnotic proto-house and analogue-rich, acid-fired Chicago jack. Re-playing the bassline in an early Chicago house style and reaching for lo-fi and spacey synth sounds, the veteran British producer frequently strips the track back to the groove before re-introducing the vocal and the dreamiest of chords.

Liminal also display their sonic diversity on bonus cut ‘The Moon Is Changing’, a wonderfully atmospheric and star-lit affair in which spacey ambient chords, twinkling electric piano keys and intergalactic electronics slowly usher in a mid-tempo Norse nu-disco groove. The pair build slowly, adding vocals and layered guitar licks. The results are hard to pigeonhole but thoroughly impressive, offering a tantalising glimpse of what’s to come on their must-check debut album.

Dies ist die zweite Auflage von The Monsters "You're Class, I'm Trash", dem noch aktuellem Monsters-Album aus dem Jahre 2021 (erste Auflage war gelb und mit einer 7" Bonus-Single). Diese zweite Auflage hat ein neues pinkfarbendes Sleeve-Design, kommt als 180g Vinyl und mit einem zweiseitig bedrucktem Insert. HI-SPEED-BOOGIE-FUZZ-GARAGE-TRASH-ROCK-N-ROLL FROM LEGENDARY BERNESE GARAGE PUNKS PLAYED WITH A CHAINSAW-ON-STEEL 13 SPLATTER HITS INCLUDING SMALL HORROR OPERA BY SWISS FILM COMPOSER MARIO BATKOVIC The Monsters wurden 1986 in Bern der Schweiz gegründet, als Alternative zur damaligen populären Musik (z. B. Disco, Pop, Top 40 Rock). Sie nannten dies "Teenage Primitive Rock n' Roll Chainsaw Massacre Garage Trash Mix up Rockabilly mit Punkrock und Garage" und haben sich zu einer gefragten Garagen-Punkrockband gemausert, die auf Festivals, in Klubs und großen Hallen so weit gen Osten wie Japan, gen Süden wie Brasilien und gen Norden zu den Skandinavier resit und dort audspielt. Sogar im so Wilden Westen wie New York City in Amerika. Und dann öffnet 2020 die Türen, YAHOO!!! Die Welt wurde komplett abgeschottet und die Pläne aller änderten sich! Da es in naher Zukunft keine Tourneen gäbe, war es jetzt an der Zeit, ein neues Album zu machen. So widmete sich die Band zwei Wochen, um ihren Proberaum aufzuräumen und neue Musik zu schreiben, und 3 Tage im Berner Shirt Off Studio um diese aufzunehmen. Voila! Hier hast du Rosemary's Baby den Knüppel aus dem Sack: 13 raue, laute und spritzig klingende Tracks, die live ohne Overdubs (nur der Gesang/das Geschrei') aufgenommen wurden. Textlich ist das Album eine komplette Katastrophe mit nicht viel mehr als 120 Wörtern, welche aneinandergereiht meistenfalls keinen Sinn ergeben! Es ist eigentlich völliger Quatsch, aber THE MONSTERS lieben es! Das Cover stammt übrigens vom Berner Surrealisten Jerry Haenggli.

February 2014 saw the band release their 'Back To Bagarmossen' EP on London/Stockholm indie label PNKSLM Recordings. The 10' vinyl received huge praise both internationally and at home, even picking up mainstream TV coverage on Sweden's TV4. Following the EP, Les Big Byrd are now preparing to unleash their debut full length release, 'They Worshipped Cats', on Anton Newcombe's A Records ,Anton has co written & plays 2 tracks on the album . They are supporting the Brian Jonestown Massacre on their European tour . When Anton recently visited Stockholm with his band The Brian Jonestown Massacre, the guys accidentally ran into each other at a local record shop, and started talking about music. Anton invited the band down to his studio in Berlin to record and jam for a few days and it was there that a big part of "They Worshipped Cats" was conceived and recorded. Les Big Byrd was formed in Stockholm by Joakim Åhlund and Frans Johansson a couple of years ago. They each eventually joined different rock bands that brought them out of Sweden and into a different world. Frans' band Fireside, got signed by Rick Rubin to his label Def American and Jocke had a taste of international success with 60's-influenced garage-pop outfit Caesars, as well as his other, more electronically flavored project Teddybears. They decided that they still - in spite of everything - had their love for music intact, and the dream in common to get the perfect band together and give it one more shot. They recruited Jocke's former bandmate, drummer Nino Keller and keyboardist Konie and started jamming and rehearsing. Joakim had been running a recording studio in Stockholm, writing and producing for Swedish and international artists, including Robyn and Håkan Hellström, and had also directed music videos for prominent Swedish exports such as Bob Hund, Refused, Broder Daniel and The International Noise Conspiracy. Keyboardist Konie also runs a studio in Stockholm, where he's been recording a number of film scores as well as many of Swedens most interesting black metal acts.

Totgesagte leben länger – das beweisen SUBWAY TO SALLY, die deutschen Großmeister des Folk Metal, auf ihrem 15. Studioalbum Post Mortem, das
via Napalm Records erscheint. Der 2023 erschienene Vorgänger Himmelfahrt sollte, so hatte die Band es im Geheimen geplant, die letzte
Albumveröffentlichung ihrer über 30-jährigen Karriere sein. Im Nachhinein erklärt dies auch den symbolträchtigen Titel. Doch es kam anders. Das
Albumrelease entfesselte eine unzähmbare Leichtigkeit, Energie und eine mitreißende Begeisterung, die für alle Beteiligten spürbar waren. SUBWAY
TO SALLY hatten mit ihrer Musik fraglos den Nerv der Zeit getroffen, denn auch die Reaktionen auf Himmelfahrt waren seitens der Fans wie Kritiker
überwältigend positiv und nach einer vielerorts ausverkauften Tour war klar, dass das 14. Album noch nicht das letzte Kapitel gewesen war. Aber wie
macht man weiter Post Mortem?
Ein Paradebeispiel dafür liefern die Potsdamer eindrucksvoll auf ihrem neuen Meisterwerk, das mit dem Paukenschlag „Phönix“ eröffnet wird und die
erneute kreative Auferstehung der Folk Metal Instanz feiert. Auf Post Mortem richten SUBWAY TO SALLY ihren Blick nicht zurück, aber auch nicht in
die Zukunft, sondern liefern eine scharfe Gegenwartsanalyse. Alle Songs vereinen die vertrauten Trademarks, wie großartige Melodien und
tiefgründige Texte, aber wirken dabei niemals redundant. Das Spannungsfeld zwischen Vergangenheit, Zukunft und Gegenwart, Kunst und politischer
Realität füllen SUBWAY TO SALLY gekonnt mit ihrer Musik und stellen mit Post Mortem zweifellos klar, dass sie lebendiger sind als je zuvor

Gotho is an experimental instrumental duo formed in 2020.

Their debut track, "Gatta De Blanc," was a 25-minute composition, showcasing their signature mix of synthesizers, electric piano, and drums, with no backing tracks or overdubs. Blending elements of progressive rock, metal, jazz, disco, psychedelia, post-rock, and classical, their sound defies categorization.

After gaining acclaim for their live performances, they released their first album, *MindBowling*, in October 2022 through Controcanti Produzioni and Black Widow Records, receiving strong reviews.

In November 2024, Gotho will release *Gothron Versus Fartark* with Supernatural Cat. Set in a sci-fi world, the album tells the story of two robotic enemies battling for their world's survival, using synthesizers, electric piano, vocoder, trumpet, and drums to narrate Gothron’s victory over Fartark. Like their previous work, the album spans multiple genres, resisting any single classification.

Gotho are: Fabio Cuomo (Elder, Eremite, Liquido Di Morte) on synth and electric piano. Andrea Peracchia (Tons, Dogs For Breakfast, Slaiver) on drums.

After their critically acclaimed full length vinyl release “Acid Universe” from last year, the American (from Fargo, North Dakota) psychedelic, proggy, bluesy and groovy instrumental stoner rock band El Supremo continues on “Signor Morte Improvvisa” with its strong line-up featuring Chad Heille on drums, Neal Stein on guitar, Chris Gould on organ/keys and Cameron Dewald on bass. El Supremo was originally formed as a one-man project with Chad Heille playing all the instruments and handling recording/production. A self-titled full-length demo was released in 2008, with Tom Canning and Neal Stein only contributing guitar solos. Chad and Neal went on to play in the band Egypt from 2012 to 2018. After Egypt split, it was time for Chad and Neal to continue under the El Supremo name, whose influences are rooted in classic 70’s rock, heavy blues and cinematic (cosmic / desert) stoner rock. “Signor Morte Improvvisa” is their third full-album. Vinyl.

Once billed as "Europe's First Lady of Jazz," Rita Reys was a legend overseas during the second half of the 20th century, and certainly one of the top European jazz singers. Jazz Pictures at an Exhibition showcases a 1961 concert featuring Rita with the Pim Jacobs Trio (also including Pim's brother Ruud on bass), plus drum legend Kenny Clarke. This was the only time ever Reys and Clarke recorded together.

The common thread throughout the album is the sitar. With this album Nicolas Mortelmans (Condor Gruppe, Leki, Merdan Taplak) builds a bridge between his love for Indian music and his roots in Western genres such as electronic, jazz and rock music.



On April 12, 2024, Nicolas Mortelmans (Condor Gruppe, Leki, Merdan Taplak) will release his long-awaited debut album MÁYÀ on WERF Records!


The common thread throughout the album is the sitar, an instrument that he learned in the traditional way from various sitar masters in India. Since 2017 he has been trained by the world-famous Anoushka Shankar. In every song he tries to approach this unique instrument in a different way.


With this album he builds a bridge between his love for Indian music and his roots in Western genres such as electronic, jazz and rock music. On the album guest musicians from all over the world are playing, such as Ravichandra Kulur from India (Anoushka/Ravi Shankar, John McLaughlin, Aka Moon,..), Benny Bettane (Australia/handpan) & Belgian friends like Roland van Campenhout, Tim Vanhamel and Stef Kamil Carlens.

Black Truffle is thrilled to present a Song for two Mothers / Occam IX the first ever solo release from Laetitia Sonami. Born in France in 1957, Sonami studied with Éliane Radigue in Paris before moving to California in 1978 to study electronic music at Mills College, going on to make important innovations in the field of live electronics interfaces and multi-media performance. Sonami is perhaps most closely associated with one of her inventions, the Lady’s Glove, an arm-length tailored glove fitted with movement sensors allowing the performer fluidly to control digital sound parameters and processing, as well as motors, lights and video playback. Having performed with the Lady’s Glove for 25 years, Sonami retired it in 2016, turning her attention to the interface/instrument heard and pictured here, the Spring Sprye.

In Sonami’s own description, “The Spring Spyre is composed of three thin springs that are attached to reverb tank pickups, mounted on a metal ring. The audio generated when the springs are touched, rubbed or struck is analyzed in Max/MSP. The extracted features are then used to train machine learning models in Wekinator and Rapidmax and control the audio synthesis in real time. We never actually hear the springs.” After decades of aversion to documenting her work on recordings, a Song for two Mothers / Occam IX treats listeners to two side-long performances with the Spring Spyre: the very first piece developed for the instrument and the most recent, the two contrasting remarkably in sound palette, energy and form. A Song for two Mothers (2023) spins an intricate web of rippling synthetic burbles, rapid sweeps and fizzing textures. Performed in real time with the sensitive and partly uncontrollable Spring Sprye ("a bit tyrannical," Sonami calls it), the music is delicate yet chaotic. Abrupt gestures hover against a backdrop of silence, "devoid of spatial or temporal direction". After several minutes, the sound-world becomes metallic and percussive, tapping and ticking in pointillistic flurries before a wavering harmonic cloud emerges, sprinkled with resonant drips and pops.


Occam IX is a radically different proposition. At the outset of Sonami’s exploration of the Spring Sprye, she asked her former teacher Éliane Radigue to compose a piece for it—and her: like all of Radigue’s work since she ceased working with analogue electronics at the beginning of the 21st century, Occam IX is written not only for an instrument but also for a particular performer. These scores are developed verbally, through meetings and conversations between performer and composer; each is grounded in an image (usually kept from listeners, to avoid influencing their experience); all magnify the subtlest acoustic phenomena and require great commitment and patience from the performer. Sonami’s is one of the few Occam pieces to make use of electronics, bringing it closer to Radigue’s famous longform pieces for ARP 2500. Beginning from a rumbling low tone, the listener is gradually immersed in slowly lapping waves of synthetic tones, eventually thinning out into delicate bell-like pings against a background of white noise, reminiscent of one of the most beautiful sections of Kyema from the Trilogie de la Morte.


Accompanied by notes from Sonami, her longtime collaborator Paul DeMarinis, and Radigue, and illustrated with scores, photographs and images of the Spring Spyre, a Song for two Mothers / Occam IX is an essential document celebrating an under-recognised pioneer of electronic music and performance.

Ominous drums, obscure cellos, fuzzy and distorted guitars, psychedelic piano sequences: legendary Italian composer Alessandro Alessandroni creates a sombre and gritty war atmosphere on this classic library album "Storie Di Guerra". Originally released on the Octopus Records imprint by Flipper Music in 1972, this obscure and spooky library has been long out of print — 50 years past its release we are happy to bring this back on vinyl in collaboration with Flipper Music as a limited edition of 500 copies!

LP+7" (Clear Vinyl). When the Ramones lost it, the Zero Boys found it; Adding a slam brigade fist to the Blitzkrieg Beat. The Zero Boys managed to come with one of the best early 80's punk records, or one of the best records ever, period. From 1979 to 1983, the Indianapolis-based Zero Boys were the finest hardcore blitz in the Midwest if not all the lower 48 states. Compiled and released as a post-mortem following the band's breakup, History Of_ is the proof, if more was needed, that their take of American hardcore wasn't all white bread numbers. Yeah, they played shows with Minor Threat, Dead Kennedys, Subhumans, and others but in Terry "Hollywood" Howe's guitar there was harmonious terror and unstoppable cadence. Terry's licks and chops _ a leap beyond two or three chord punk _ offered a zone and measured count for drummer Mark Cutsinger and bassist David "Tufty" Clough, a rhythm unit in par with the Minutemen if not The Meters, to run lines like quicksilver. Meanwhile, frontman, Paul "Z" Mahern provides a constant wash from beginning to end. Originally released in 1984 with a limited-edition reissue in 2009, this 40th anniversary edition includes the original LP of `History Of...' and a 7" featuring four live recordings never previously pressed to vinyl and recorded at iconic hardcore/punk venue Crazy Al's in 1980: "Livin' In The 80's", "Stick To Your Guns", "Commies", and "I'm Absent".

Sechstes Studioalbum und zweifellos das bislang radikalste der britischen Psychedelic und Doom-Band. 'Nell' Ora Blu' sticht aus der sterilen Rock'n'Roll-Wüste des Jahres 2024 hervor wie ein blutdurchtränktes Leuchtfeuer. Eine epische Hommage an das italienische Kriminalkino der späten 60er/frühen 70er Jahre. Inkl. exklusiver Gastauftritte von Topstars der italienischen Giallo- und Poliziotteschi-Filmgenres, darunter Franco Nero und Edwige Fenech. Was uns dieser schillernde Abstecher über die Zukunft von Uncle Acid & The Deadbeats verrät, bleibt ein Rätsel, aber Nell' Ora Blu ist eine exzentrische Glanzleistung der Band. Eine aurale Fortsetzung italienischer Kult-Soundtracks, Musik für Träume und nicht zuletzt…Albträume.
Live-Auftritte des Albums in voller Länge an ausgewählten europäischen Veranstaltungsorten werden bald bekannt gegeben. Neben der CD gibt es schwarzes Doppel-Vinyl und eine limitierte Version in Türkis.

Since 2002, Rebeka Warrior, poet by night, producer by day, and Carla Pallone, composer, baroque violinist turned multi-instrumentalist, have formed Mansfield.TYA. If we knew until now the sensitive world of Mansfield.TYA: meaning of melody, melancholy and minimalism, today the group returns with a poetic ode New Wave. With Monument Ordinaire, Rebeka and Carla are making their fifth album: 45 minutes of life and death, of poetry carved out of rock, imagined as words by Master Dogen on simple and catchy melodies by Jacno. An album of happy melancholy, an escape to celebrate the furious love of life, like so many cries of the heart. Always guided by emotion and constant attention to words, Mansfield.TYA shares 12 songs that make us dance even when we cry.

A Chaos Of Flowers is an album that builds on their ferocious 2023 album nature morte. BIG|BRAVE"s music has been described as massive minimalism. Their fusillades of textural distortion and feedback emphasize their music"s frayed edges as much as its all-encompassing weight. The potency of the trio"s work is their singular artistry combining elements of traditional folk techniques and a modern deconstruction of guitar music. Gain, feedback, and amplitude are essential. For A Chaos Of Flowers guitarist/vocalist Robin Wattie drew heavily on the poems of artists whom Wattie found kinship in, their words resonant with experiences of those often sidelined by cultural norms. "I discovered that most poems from folk traditions or in the public domain seem to be by men - to which I could not quite relate. In my search, I rediscovered some of my favorite works and poets," says Wattie. Guitarist Mathieu Ball and drummer Tasy Hudson help Wattie shape poetry into pieces as dense and impenetrable as they are vulnerable. BIG|BRAVE achieve their colossal sound through minimalist approaches, a deft understanding of dynamics and an inventive employment of percussion and distortion. The trio reconceptualize what it is to be heavy or minimal, challenging perceptions with their illumination of painfully overlooked perspectives. Guest guitarist Marisa Anderson lends earthen, blues-inflected atmospheres to the album, where guitarist Tashi Dorji and saxophonist Patrick Shiroishi amplify the squall. Working closely with frequent collaborator and producer/engineer Seth Manchester, the internal tumult of Wattie"s voice rings out in warbles, haunting echoes, and unearthly harmonies across bold immense walls of distortion. BIG|BRAVE have collaborated with metal monsters The Body on a previous Thrill Jockey release, Leaving None But Small Birds, and have toured internationally with bands like SUMAC, Godspeed You! Black Emperor, SUNN O))), and Lingua Ignota. As they continue to ascend in their journey as pioneers in the contemporary metal scene, it"s safe to say that BIG|BRAVE are here to stay.

Big Crown Records is proud to present the debut full length offering from Les Imprimés, Rêverie. The stirring and ethereal sounds of Les Imprimés have been making fans of anyone who hears them since their first 7" single hit the speakers. Morten Martens is the man behind the band. Born, raised, and working in Kristiansand, Norway, he keeps a low prole while making his heart felt, highly infectious, and unique music. This album is a long time coming for Martens and it is sure to make him a name to be reckoned with. The first thing you notice listening to Les Imprimés is the high level of musician-ship. Martens plays nearly every instrument on the recordings and handles the production and arranging. He has been making records for decades, winning a Spellemann Award (aka, the Norwegian Grammy) in 2006 for producing a HipHop album as well as getting nominations across three other genres. While awards and accolades speak to the level of his talent, this new album really shows who he is an artist on his own terms. Moving away from being a hired gun on the touring scene naturally led him to start doing more studio work. Slowly collecting gear and getting more experi-ence behind the boards he built his own studio on the island of Odderoya and was making a living playing with and recording other people's music. As the story goes, after those sessions would end he would work on his own project into the wee hours of the night. From these late night sessions, Les Imprimés was born and Rêverie began to take shape. However, "it wasn't until COVID, when things locked down, that I was really able to nd the time to focus on Les Imprimés" Morten says about creating and leading his own solo project. "It was a scary time. But I knew I had to do something with it." He took the sum of his inuences, combined them with his own vibe and got busy writing the music, playing the instruments, and singing the songs. "It's soul music, but I don't exactly have the soul voice," Morten explains humbly. "But I do it my own way, in a way that's mine. "It is his sound, his fingerprint, his sensibility, that makes his music hard to put in a box. The album showcases both Martens' range and his ability to make a cohesive album. The lead single "Falling Away" starts with a raw drum break and turns into a lushly arranged tune that paints the picture of love when it slips away. On "Still Here" he professes his resilience through life's twists and turns over a thundering track that puts a new spin on the B side ballad genre. Songs like "You" and "Our Love" mix tones from 60s and 70s Soul with arrangement nods to Doo Wop records while Martens' lyrics and delivery leave you singing the melodies long after they finish. "Love & Flowers" finds Martens in a moment of clarity with a song that ts the niche sub genre of happy break up tunes, the four on the floor track will move the dancefloor or while the message will resonate with anyone who put too much effort into the wrong situation in their lives. However, it is songs like "Muse" and "Chess" that really encapsulate the uniqueness of Les Imprimés as they push the boundaries of genre, one a profession of love for music and the other a cover of an electronic record respectively. Martens' lyrics, emotion, and delivery truly make the whole thing come together and stand out from any of his peers. There's an infectiousness and a pop sensibility in the writing that is done with the utmost class and taste giving Les Imprimés the rare quality of immediate attraction that only deepens the more you listen.

Jards Macalé’s biography is a testament to the electrifying energy of music and the unwavering spirit of artistic rebellion. Macalé has remained true to his vision, unapologetically embracing the unconventional and challenging the status quo. His music, a conduit of emotion and a mirror to society, continues to weave a sonic tapestry that resonates with the souls of listeners.

In 2022, Macalé celebrated the momentous 50th anniversary of his debut solo album, a groundbreaking masterpiece released by Philips in 1972. This iconic record gifted us timeless tracks such as “Vapor Barato”, “Mal Secreto”, “Farinha do Desprezo”, “Revendo Amigos”, and “Hotel das Estrelas”. Its sheer brilliance united the realms of Brazilian music, infusing samba and bossa nova with the fiery essence of rock, classical harmonies, and the improvisational spirit of jazz. As the years passed, a new generation of musicians and fans discovered this gem, fueling its resurgent popularity and inspiring fresh collaborations.

Last year, Jards Macalé assembled a formidable new band, igniting stages across Brazil with a tour that now sets its sights on Europe. Together with Gui Held on guitar, the Paulo Emmery on bass, and Thomas Harres on drums, Macalé conjures an exhilarating homage to his illustrious body of work. This live performance embodies the untamed spirit and boundless musical freedom that define this visionary artist, transporting audiences to a realm where the past intertwines with the present in a breathtaking display of artistic prowess.

Randy Rice mixed accoustic singer-songwriter songs with electrifying acid guitar in his marvellous privately pressed double album from 1974.

Offered here in a much needed reissue so you do not have to spend over a grand for an original copy.

Housed in it's original minimalist hand made artwork with the little upgrade twist of silk-screen printing.

· First ever vinyl reissue of ultra rare privately pressed double LP!

· Remastered sound!

· Reproductions of the two original inserts!

· Plus a new one with liner notes by Randy Rice himself sharing his memories of the recording!

I was between the ages of 18 and 20 when I wrote the 22 songs found on To Anyone Who Ever Laughed at Someone Else. They express the thoughts and frustrations, hopes and fears of a young man coming of age in a world that was full of upheaval and transformation. I was a product of that period in America we call the sixties—those years between the assassination of President John F. Kennedy in November 1963 and the resignation of President Richard Nixon in August 1974. In fact, this record was released that same month Nixon resigned. Over the next five years, I toured the country as an acoustic artist performing at clubs, coffeehouses and colleges. During that time, I watched the idealism and social consciousness of the sixties slowly fade away. In its place emerged a cynicism and materialism that still seems to be with us so many years later. More than anything else, I think To Anyone Who Ever Laughed at Someone Else is a time capsule that speaks to us from a past era. A period when, above all other things, we asked questions. We questioned our country, we questioned our faith, we questioned the very purpose of life itself. I am very excited to bring those questions and these songs to a new generation on a new continent. Special thanks to my friends Jordi Segura of Wah Wah Records who took the initiative to release this 50th Anniversary Re-issue of To Anyone Who Ever Laughed at Someone Else and Michel Veenstra Klinkhamer, who introduced us.

A1.Hello
A2. Mr. Dumpty, Before The Fall
A3.The Song
A4.Mrs.Bitch
A5.Students From Marian Catholic High School
A6.Will You Still Love Me When You're Twenty-One
A7.To Anyone Who's Ever Laughed At Someone Else
B1.The Other Day
B2.SPQR Part 1 - I Wish That Fly Would Land So I Could Swat Him
B3.SPQR Part 2 - Sorry
B4.SPQR Part 3 - My Last Question
B5.SPQR Part 4 - Gosh, Darn, Golly Gee, or Those Canadians Can Sure Tell It Like It Is
B6.SPQR Part 5 - All American Girl
B7.SPQR Part 6 - Let Me Grow
C1.For Me, For You
C2.The New Testament, Or A Good Samaritan Will Never Jew You · Matthew: Love Means Never
Having To Say You're Happy
C3.The New Testament, Or A Good Samaritan Will Never Jew You · Mark: Jesus Was A Capricorn, But
Then So Am I
C4.The New Testament, Or A Good Samaritan Will Never Jew You · Luke: Morning Meditation
C5.The New Testament, Or A Good Samaritan Will Never Jew You · John: Mother Mary, Let Me Be
C6.The New Testament, Or A Good Samaritan Will Never Jew You · Fred: Post-Mortem Dirge
D1.Everyday People Revisited
D2.Filler Song
Out Of Here
D5.The Continuing Story Of A Square Peg In A Round Hole Part 3: Footnote To The Preceding Nineteen Songs, And Is It Really Necessary
D6.The Continuing Story Of A Square Peg In A Round Hole Part 4: I Hope I Always See You
Smiling
D7.The Continuing Story Of A Square Peg In A Round Hole Part 5: My Song
D3.The Continuing Story Of A Square Peg In A Round Hole Part 1: The Ballad Of Uthage
D4. The Continuing Story Of A Square Peg In A Round Hole Part 2: I Think It's Time For Me To Get

Danish imprint Inherent Futurism returns with its second release in 2024, entitled 'Merger' and made up of a selection of cuts from the Copenhagen Electro Alliance. Inherent Futurism is the new label launched by Morten Kamper, an intrinsic member of the Copenhagen electronic music scene and the man behind the city's 313vinyl_collective record store. He launched the label with a reissue of the Autobot-1000 '3 Dimensions Of Space', a hidden gem from 2001 and the golden era of Electro. Here though, he brings things closer to home and revisits an array of select compositions from the Copenhagen Electro Alliance, compiled together to make up the aptly titled 'Merger'. The package is made up of twelve tracks across two twelve-inch vinyl from artists in the alliance, Nixxon, Brain Enterprise, Deimos Defender and Kruzh'em. As the name of the Copenhagen Electro Alliance collective would suggest, the aesthetic leans heavily towards experimental sounds and draws influence from the soul of Detroit electro, which paved the way for the future of the genre. The twelve-track collection explores all of the classic Electro tropes from punchy and crunch 808s, intricately intertwined synthesizer melodies, murky bass lines and dynamically unfolding, heavily modulated constructions, some leaning towards dance floor friendly while others lay more in the realm of sonic exploration of futuristic music.

Vladislav Delay's complete "Hide Behind The Silence" series. Intuitive and raw music, momentary and reflective, released on Ripatti's own label Rajaton.

Stillness is a myth. Consider concepts such as ”still water”, or ”still air” for that matter. Go to a restaurant, ask them for a glass of still water, hold it against the light and see where we’re at. Even though the water itself has been captured and imprisoned in the glass, it never stops breathing. It’s filled with tiny particles, dancing. Everything can be explained on a molecular level, but since we’re not scientists – and even if you happen to be – it’s the natural world of perception that moves me.
Still air is very similar. A hot summer’s day with zero wind feels completely still. It’s the closest I have felt to complete stillness. Or for a more urban adaptation, imagine the same vibe inside a normal apartment. In those moments, revelations and mind- blowing experiences can be had with experiments in stillness.
Try this: Just sit down for a minute on a sunny day, making sure there’s enough natural light. Do absolutely nothing. Try not to breathe for a bit. (If you need a mental anchor, you can play Cage’s 4’33” in your head but nothing else.) Watch the tiny dots of dust dancing :..’ ̈.:; ́ ́*°.,’:,. ̈ ̈ ̈ ̈:,.’
The movement is crazy, but the feeling of stillness comes from witnessing how subtle it is. In (perceived) complete stillness, every act of microscopic mobility seems to speak volumes. Yet, it feels both reassuring and oddly threatening that the stillness is never complete. What if we would need absolute stillness? Or is it just enough that we can perceive something as such? Extremes attract, so for both water and air, extraordinary movement is equally fascinating. That is also a luxury item of sorts. For us to enjoy a very ”loud” body of water or air, we need to be safe, in enough control of the situation. So when you are, it’s worthwhile to pay attention and take it all in.
A rapid flowing free with extreme strength and just barely in control. Look at that water go! No still water on this one, only ”sparkling”. A windy day when birds seem surprised how hard it is to fly, but in the end they make it. Trees bend but don’t break. The wind shows you its movement but doesn’t hurt you. It feels friendly, like a big clumsy dog that doesn’t quite understand its size.
It’s beautiful to be a guest of the elements, but not at the mercy of them. A new kind of dialogue forms.

Q&A with Sasu Ripatti:

1) Tell us something about the EP series ”Hide Behind the Silence”, what’s the idea and what can we expect?

Exploration of inaction. Of many kinds. In arts and in personal life, or at bigger and more serious levels. Questioning myself as a human being as well as an artist. Acknowledging the growing activism all around, and the very clear need for it, and how it reflects my own inaction.
Musically speaking, after Rakka, Isoviha and Speed Demon, I finally found some relief, but more importantly lost the need to go musically ever more outward and intensive. I felt quite strongly certain periods/moods from the past and they made me revisit some musical ideas or states of mind I was exploring early on.
It’s about live moments being captured, not much premeditation or editing. More intuitive and raw, even though the end result (to me) feels and sounds quite introspective and calm. It’s not very ambitious. Momentary and reflective.

2) Your music doesn’t sound very silent. Does it come from somewhere behind the silence?

Oh, this time to me it sounds quite quiet and playing with space if not silence. I don’t know what’s actually behind silence, but I think silence is the source of everything. We just don’t understand it yet.

3) What kind of thoughts or experiences gave inspiration to this series?

Writing this in Nov ’22, it’s not a stretch to say the world has been really unwell. Sometimes, like Mika Vainio put it, the world eats you up. I feel a bit like that. And I try to hide in my studio and stay away from it all, but it’s getting harder by the day. I’ve been questioning myself and thinking if what us artists are doing is worth anything, and whether it’s just a selfish thing I’ve been doing for the past 25 years, running away from everything. I haven’t come to a conclusion yet.

4) Is it easy for you to be in silence, or around silence?

Absolutely. I not only hide behind silence but I also love silence. It’s only since I started going back to nature as a grown-up person that I sensed and was enveloped by silence, true silence. I have begun to appreciate it a lot. I think all the people should spend more time in silence.

All tracks composed and produced by Sasu Ripatti.
Artwork by Marc Hohmann, photography by Shinnosuke Yoshimori.
Mastering by Stephan Mathieu for Schwebung Mastering.
Vinyl cut by SST Brueggemann.
Publishing by WARP Music Ltd.

And finally a re-release of this crossover Masterpiece, a milestone in the hardcore punk/metal blending genre by these Brazilian beasts! Including reproduction of the original insert and two bonus tracks not included on the original release. Reissue of Ratos de Porao's fifth album, originally released in 1990 and since considered a Crossover Thrash milestone. With a more thrash metal-oriented sound than their previous efforts, it is a classic that reinforced the Brazilian band's legendary status among fans all over the world. Includes two bonus tracks and reproduction of the original insert. A must for any crossover thrash or extreme music fanatic!

I see lucid blue flames moving before my eyes.
I hear voices melting. Voices somewhere from within.
Speaking words I do not know but feel connected to, almost as if I have known the meaning once..
Noises that obscures the multiple pictures hidden in these digital compositions.
Iku Sakan have created a set of five tracks that takes the listener on a
trip deep into the human psyché. Emotional flickering movements that twists and turns. The albums have a darker, much more intense feel than some of Ikus earlier magical and often hypnotic music. A myriad of different voices creates pulsing patterns and constantly morphing pictures for my inner eye. It's an album that might work as a hack to our lingual structures, pushing limits, pushing possibilities of meaning.

A pool of over-saturated information boils and out of the vapor new contours take form.
The magical and hypnotic is not gone, I still recognise the softer aspects of Ikus highly detailed hybrid sound design. But I no longer see where it takes me. It excites me. It feels like the world is expanding again, breathing. The sounds on the album asks us questions and points in several directions at once. In the shadows, weeds of lucid dreams grow deeper roots, reaching for my inner ear.

The faint sounds on the track Nature Morte reminds me of expeditions to the local witch house ruins as a child. Something almost not there, something felt. History, Memories and the connection between the two seems to have played a part in these compositions. Emotional reactions that plant reactions in other people, all around creating soft movements on the face of our planet.

Whether our collective psyché is an open field or an impenetrable dark forest, is of less concern with a key like Omnitopoeia, that works like an enhanced mirror, reflecting the dreams of the words we speak everyday, reflecting the emotional charges of significant places. Unrecognisable but still remembered.

Big Crown Records is proud to present the debut full length offering from Les Imprimés, Rêverie. The stirring and ethereal sounds of Les Imprimés have been making fans of anyone who hears them since their first 7” single hit the speakers. Morten Martens is the man behind the band. Born, raised, and working in Kristiansand, Norway, he keeps a low profile while making his heartfelt, highly infectious, and unique music. This album is a long time coming for Martens and it is sure to make him a name to be reckoned with.

The first thing you notice listening to Les Imprimés is the high level of musicianship. Martens plays nearly every instrument on the recordings and handles the production and arranging. He has been making records for decades, winning a Spellemann Award (aka, the Norwegian Grammy) in 2006 for producing a Hip Hop album as well as getting nominations across three other genres. While awards and accolades speak to the level of his talent, this new album really shows who he is as an artist on his own terms.

Moving away from being a hired gun on the touring scene naturally led him to start doing more studio work. Slowly collecting gear and getting more experience behind the boards he built his own studio on the island of Odderøya and was making a living playing with and recording other people's music. As the story goes, after those sessions would end he would work on his own project into the wee hours of the night. From these late night sessions, Les Imprimés was born and Rêverie began to take shape.

However, "it wasn't until COVID, when things locked down, that I was really able to find the time to focus on Les Imprimés" Morten says about creating and leading his own solo project. "It was a scary time. But I knew I had to do something with it." He took the sum of his influences, combined them with his own vibe and got busy writing the music, playing the instruments, and singing the songs. "It's soul music, but I don't exactly have the soul voice," Morten explains humbly. "But I do it my own way, in a way that's mine."

It is his sound, his fingerprint, his sensibility, that makes his music hard to categorize. He has crafted an album of songs with different energies that all fit together to make one gorgeous record. The lead single “Falling Away” starts with a raw drum break and turns into a lushly arranged tune that paints the picture of love when it slips away. On “Still Here” he professes his resilience through life’s twists and turns over a thundering track that puts a new spin on the B side ballad genre. Songs like “You” and “Our Love” mix tones from 60s and 70s Soul with arrangement nods to Doo Wop records while Martens’ lyrics and delivery leave you singing the melodies long after they finish. “Love & Flowers” finds Martens in a moment of clarity with a song that fits the niche sub genre of happy break up tunes, the four on the floor track will move the dancefloor while the message will resonate with anyone who put too much effort into the wrong situation in their lives. However, it is songs like “Muse” and “Chess” that really encapsulate the uniqueness of Les Imprimés as they push the boundaries of genre, one a profession of love for music and the other a cover of an electronic record respectively. Martens’ lyrics, emotion, and delivery truly make the whole thing come together and stand out from any of his peers. There’s an infectiousness and a pop sensibility in the writing that is done with the utmost class and taste giving Les Imprimés the rare quality of immediate attraction that only deepens the more you listen.

From Serge Gainsbourg to Barbara, From Edith Piaf to George Brassens, all the classics of French singers are included in this very nice 3LP boxset.

Sistro (Sistrum) is a kind of percussion instrument that has had several incarnations and names in various cultures since the time of the Sumerians and throughout history has always been associated with religious rituals. It’s from this relationship between music and the transcendent that Nuno Oliveira (Nuno O, Judas Triste, José Pinhal Post-Mortem Experience), Tito Silva (Vasco da Ganza, José Pinhal Post-Mortem Experience) and Rodolfo Oliveira (Oficinas TK) were gradually inspired to create a trio that pays homage to this instrument of ancient times.

The project was born casually and without intentionality throughout several incursions into megalithic monuments in the hills and mountains of northern Portugal, culminating in an unusual two-day session of musical experimentation in Esposende, in September 2019. In this two-day session, codenamed “Arménio Sessions”, the trio explored a sound based on sea soundscapes, electronic beats, electric noises and the strings of na altered guitar. Channeling the strength of the elements and the mystique of the place in the form of a musical experience.

In 2021, Sistro collaborated with Mario Klingemann (aka Quasimondo) who created a music video especially for the band, created using a vintage video mixing board. Then using feedback loops and a process that Klingemann calls “Neural Edit”, which uses an artificial intelligence algorithm to correlate the raw video material with the sound.

After a long period of incubation, the group's first full-length release sees the light of day on the 31th October, 2023, moment in which a sequence of rituals begins to present and celebrate the relationship between music and the transcendent. Sistro's debut album will be released by Favela Discos, having been mixed by Tito Silva and mastered by Pedro Augusto. The photography and graphics are by Oficinas TK.

In this collection, Piaf presents ten characteristic chansons in English. Whether in French or English her command of her art and of her audience are equally profound, and these songs present a fresh approach to Piaf’s work. Her singing of La vie en rose has already taken its place among the classic performances; this presentation is no less rewarding, and, being in English, has a slightly different atmosphere. Similarly, The Three Bells, loses no part of its drama. Indeed, all of Piaf’s performances in this collection brim over with the fervour that she brings to her singing, the controlled intensity that pervades her work

The soundtrack to the comic strip "Lou! Sonata 2" will plunge you into the heart of Dead Dung Fest, the music festival organised by the heroine and her friends. The ten (fictional, created by the Krystal Zealot collective) bands who perform there are present on this record.

Existential bossa nova (Le Marquis du Néant), Swedish electronic folk (Frikoppling), steamy fusion (Cyriak's Oak) or relaxed disco pop (Fur Pants): each track reinterprets the themes of the story and the moods of the characters.

The vinyl edition includes several bonus tracks based on the world of "Lou! Sonata" and the Dead Dung Fest: a poster, a series of 10 illustrated album covers corresponding to the different groups, the flyer and the official festival woven bracelet.

REPRESS !

Très bonne nouvelle ref pour Mackitek Records, les track A1 et B1 sont bien dans le style Tribe dancefloor (B1 est mortel imo), et les track A2 et B2 sont dans un style Hardtechno un peu plus lent et du coup plus lourde...

Transversales proudly presents the first LP reissue of “Les granges brûlées”, original soundtrack written and performed by Jean-Michel Jarre shortly after his work experience at G.R.M (Groupe de Recherches Musicales).

Probably one the first ever electronic music score, recorded with very scanty means: a VCS3 synthesizer, a Farsifa organ and three synchronized Revox tape recorders.

Director Jean Chapot, who understood immediately the interest in the gap between this hyper classical rural thriller and this groundbreaking music, let Jarre absolutely free to compose. Built up around several melodic leitmotifs, the score of “Les granges brûlées” allowed Jarre to pursue his personal research: to bridge the gap between experimental music and pop music. This deluxe reissue also contains the bonus track “Happiness Is a Sad Song” composed during Jarre's time at the G.R.M.


“Aphex Twin told me once that the original soundtrack of “Les granges brûlées” was one of his favorite records” JeanMichel Jarre

The quartet's creative sense of musical interplay is again to the forefront of this newest album, recorded in Oslo in the summer of 2022, which may be their strongest statement to date. Obara's new music optimally highlights his intuitive musical relationship with Dominik Wania, while Ole Morten Vagan and Gard Nilssen continually transcend rhythm section roles to interact persuasively with the saxophonist and the pianist.

Place of longing Paris - with the cellist Gautier Capuçon "Gautier Capuçon is like a diamond in a ring and sparkles on its setting", with enthusiasm the New York Times resorted to figurative comparisons. With such effusive praise, it is no wonder that the famous cellist's albums are also absolute bestsellers.

Intuition, Emotions and Sensations are now followed by his next album with a ravishing program: Destination Paris is dedicated to atmospheric evergreens and ranges from popular film music to French chansons and classical works.

Neo Noir Swing! The modern Les Paul from the Dark Side! PO and his band catapult you right into a ball room filled with misfits and goons and smack you with 12 songs including the terrific cover version of Niagara's 80's disco hit L'amour a la plage Pierre Omer was born in London of an Indian father and a Swiss mother. He is a founder member of the legendary Swiss funeral Rock'n'Roll band The Dead Brothers (guitars and accordion). In 2009 he started several solo projects along with Robert Butler (the Shit, the Miracle Workers), Roland Bucher and Christian Aregger (Blind Butcher) in 2013 the Swing Revue was born, along with: Pierre Omer: vocals, guitar Julien Israelian: drums, Géraldine Schenkel: Fender Rhodes, Christoph Gantert: vocals, trumpet, and the one and only Lalla Morte: Sings Fakir and Dances. They played many shows and festivals such as: Binic Folk Blues Festival, Montreux Jazz Festival, Buskers Bern, Festival Les Athénéennes, Pod'Ring Biel, Vinelz, Le Cirque Electric Paris etc. This new album is recorded by the band itself in true DIY-style - Pierre already produced some Voodoo Rhythm Records (mama rosin) in the past - and was mixed in Berlin's Big Snuff Studio with Nene Baratto (movie star junkies, black lips, Heat, Jimi Tenor, King khan, Black Mass Rising. The whole album Stands out with Pierre's amazing song writing skills, the lazy laid back dark vocal and his irritating guitar playing, along with Christop Gantert's devil possessed trumpet playing. The Music of the swing era of the 30's and 40's, combined with a garage spirit and an eye for everything else make for a special album. Classic black vinyl with dlc and printed inlay, CD as gatefold wallet with 12page booklet.

Vladislav Delay presents the fourth EP in his "Hide Behind The Silence" series with five 10" releases coming throughout 2023. Intuitive and raw music, momentary and reflective, released on Ripatti's own label "Rajaton".

Stillness is a myth. Consider concepts such as ”still water”, or ”still air” for that matter. Go to a restaurant, ask them for a glass of still water, hold it against the light and see where we’re at. Even though the water itself has been captured and imprisoned in the glass, it never stops breathing. It’s filled with tiny particles, dancing. Everything can be explained on a molecular level, but since we’re not scientists – and even if you happen to be – it’s the natural world of perception that moves me.

Still air is very similar. A hot summer’s day with zero wind feels completely still. It’s the closest I have felt to complete stillness. Or for a more urban adaptation, imagine the same vibe inside a normal apartment. In those moments, revelations and mind- blowing experiences can be had with experiments in stillness.
Try this: Just sit down for a minute on a sunny day, making sure there’s enough natural light. Do absolutely nothing. Try not to breathe for a bit. (If you need a mental anchor, you can play Cage’s 4’33” in your head but nothing else.) Watch the tiny dots of dust dancing :..’ ̈.:; ́ ́*°.,’:,. ̈ ̈ ̈ ̈:,.’
The movement is crazy, but the feeling of stillness comes from witnessing how subtle it is. In (perceived) complete stillness, every act of microscopic mobility seems to speak volumes. Yet, it feels both reassuring and oddly threatening that the stillness is never complete. What if we would need absolute stillness? Or is it just enough that we can perceive something as such? Extremes attract, so for both water and air, extraordinary movement is equally fascinating. That is also a luxury item of sorts. For us to enjoy a very ”loud” body of water or air, we need to be safe, in enough control of the situation. So when you are, it’s worthwhile to pay attention and take it all in.
A rapid flowing free with extreme strength and just barely in control. Look at that water go! No still water on this one, only ”sparkling”. A windy day when birds seem surprised how hard it is to fly, but in the end they make it. Trees bend but don’t break. The wind shows you its movement but doesn’t hurt you. It feels friendly, like a big clumsy dog that doesn’t quite understand its size.
It’s beautiful to be a guest of the elements, but not at the mercy of them. A new kind of dialogue forms.

Q&A with Sasu Ripatti:

1) Tell us something about the EP series ”Hide Behind the Silence”, what’s the idea and what can we expect?

Exploration of inaction. Of many kinds. In arts and in personal life, or at bigger and more serious levels. Questioning myself as a human being as well as an artist. Acknowledging the growing activism all around, and the very clear need for it, and how it reflects my own inaction.
Musically speaking, after Rakka, Isoviha and Speed Demon, I finally found some relief, but more importantly lost the need to go musically ever more outward and intensive. I felt quite strongly certain periods/moods from the past and they made me revisit some musical ideas or states of mind I was exploring early on.
It’s about live moments being captured, not much premeditation or editing. More intuitive and raw, even though the end result (to me) feels and sounds quite introspective and calm. It’s not very ambitious. Momentary and reflective.

2) Your music doesn’t sound very silent. Does it come from somewhere behind the silence?

Oh, this time to me it sounds quite quiet and playing with space if not silence. I don’t know what’s actually behind silence, but I think silence is the source of everything. We just don’t understand it yet.

3) What kind of thoughts or experiences gave inspiration to this series?

Writing this in Nov ’22, it’s not a stretch to say the world has been really unwell. Sometimes, like Mika Vainio put it, the world eats you up. I feel a bit like that. And I try to hide in my studio and stay away from it all, but it’s getting harder by the day. I’ve been questioning myself and thinking if what us artists are doing is worth anything, and whether it’s just a selfish thing I’ve been doing for the past 25 years, running away from everything. I haven’t come to a conclusion yet.

4) Is it easy for you to be in silence, or around silence?

Absolutely. I not only hide behind silence but I also love silence. It’s only since I started going back to nature as a grown-up person that I sensed and was enveloped by silence, true silence. I have begun to appreciate it a lot. I think all the people should spend more time in silence.

All tracks composed and produced by Sasu Ripatti.
Artwork by Marc Hohmann, photography by Shinnosuke Yoshimori.
Mastering by Stephan Mathieu for Schwebung Mastering.
Vinyl cut by SST Brueggemann.
Publishing by WARP Music Ltd.

It's because we want to show this quality to the world that we bring here our "Heavy Brazil" series once again. After the first two chapters, where we brought thrash legends VODU with their first two albums ("The Final Conflict" and "Seeds Of Destruction"), the time has come to present a new chapter of this series.

For all those who are fans of Brazilian thrash, KORZUS' first studio album needs no special introduction. "Sonho Maniaco" (Portuguese for 'Maniac Dream') is by all parameters a thrash metal classic! With a total of 7 songs, "Sonho Maniaco" has everything you'd expect from an 80's thrash album: speed, aggression and a good dose of insanity!

Originally released in 1987 and being a highly sought after record by collectors, it is with great pleasure that we bring you the first vinyl reissue of "Sonho Maniaco"!

Get ready for another ultra- limited edition by our label, with all the extras our followers are used to.

Louis Cole ist ein Singer-Songwriter und unverschämt talentierter Multiinstrumentalist mit einem ausgeprägten DIY-Ethos aus Los Angeles, Kalifornien. Er ist auf der Mission, tiefe Gefühle durch Musik zu erzeugen und ist das Aushängeschild einer allgemein dem Jazz nahestehenden Szene in L.A., zu der Genevieve Artadi (mit der Cole 2009 die Alt-Pop/ Elektrofunk-Band KNOWER gründete), Sam Gendel, Sam Wilkes, Jacob Mann, Thundercat-Keyboarder Dennis Hamm, Pedro Martins und viele mehr gehören. Sein neues Album, „Quality Over Opinion“, erscheint Mitte Oktober 2022 auf Brainfeeder Records.
Die 20 Tracks des Albums wurden von ihm selbst in seinem bescheidenen Heimstudio geschrieben, eingespielt und produziert, aber Louis lud eine Handvoll enger Freund*innen ein, ihren Beitrag zu leisten, u.a. Genevieve Artadi, den Saxophonisten Sam Gendel, den Pianisten Chris Fishman, Nate Wood von der Band Kneebody, Marlon Mackey und den Gitarristen Kurt Rosenwinkel. Louis' Hauptinstrument ist das Schlagzeug, und er hat einen Hintergrund im Jazz, obwohl die Musik, die er schreibt, wenig Ähnlichkeit mit Jazz im reinen oder klassischen Sinne hat. Dementsprechend gehören zu Coles Maßstäben für „Quality Over Opinion“ neben Jazz-Ikonen wie Miles Davis, der schwedischen Experimental-Metal-Band mit einem ausgeprägten Hang zu Jazz, Meshuggah, Morten Lauridsen und Super Mario Kart auch grenzüberschreitende Komponisten wie Gustav Mahler und György Ligeti. Coles verrückte Musikalität ist kein Geheimnis - seit einem Jahrzehnt lädt er Performance-Videos auf Youtube hoch und hat sich so eine treue Fangemeinde aufgebaut, die sowohl sein Handwerk als auch seinen ausgefallenen Stil zu schätzen weiß. Schlagzeug, Bass, Tasten... er hat eine sehr strenge Einstellung zum Üben und zur Perfektionierung seiner Kunst. Thundercat beschreibt ihn als „einen der größten Musiker von Los Angeles“ und lud ihn Anfang des Jahres ein, auf seiner jüngsten Japan-Tour Schlagzeug zu spielen. Die beiden haben häufig zusammen geschrieben, unter anderem auf Thundercats Liebeserklärung an Cole, „I Love Louis Cole“, aus seinem Grammy-gekröntem Album, „It Is What It Is“, auf „Bus In The Streets“ und „Jameel's Space Ride“ (aus Thundercats 2017er Werk, „Drunk“) und „Tunnels In The Air“ für Louis' 2018er Album, „Time“. Auch Flying Lotus hat seine Bewunderung für Louis zum Ausdruck gebracht und ihn während der Arbeit an seinem 2019er Album, „Flamagra“ als „super inspirierend“ bezeichnet. Im vergangenen Jahr begann Louis seine bisher größte Zusammenarbeit mit dem Grammy-prämierten Metropole Orkest, unter der Leitung von Jules Buckley, für eine Reihe einzigartiger Konzerte in den Niederlanden, die 2023 fortgesetzt werden, bevor er im Oktober dieses Jahres mit seiner Big Band durch die USA touren wird.

* New 2023 Vinyl pressings * Original Release Date: 10/25/1994 * Album Notes: Single LP + poster Mercyful Fate "Time" packs a nasty horror-metal punch. As always, metal icon and frontman King Diamond leads the way on Time with epic lyrics and instantly recognizable vocal range that defined the group's sound. Bandmembers, guitarist Hank Sherman, bassist Sharlee D'Angelo, and Snowy Shaw on drums do their usual fine job cranking out retro and near thrash metal riffs with biting precision. The sprawling "Lady in Black" is a clear standout, with its superior guitar grooves and relatively melodic and intelligible vocals. Other choice cuts include the crushing opener, "Nightmare Be Thy Name," and the title track,

* New 2023 Vinyl pressings * Original Release Date: 10/25/1994 * Album Notes: Single LP + poster Mercyful Fate "Time" packs a nasty horror-metal punch. As always, metal icon and frontman King Diamond leads the way on Time with epic lyrics and instantly recognizable vocal range that defined the group's sound. Bandmembers, guitarist Hank Sherman, bassist Sharlee D'Angelo, and Snowy Shaw on drums do their usual fine job cranking out retro and near thrash metal riffs with biting precision. The sprawling "Lady in Black" is a clear standout, with its superior guitar grooves and relatively melodic and intelligible vocals. Other choice cuts include the crushing opener, "Nightmare Be Thy Name," and the title track,

Impii Hora ist das Debütalbum des dänischen Musikers Michael Schøn Poulsen (geboren am 1. April 1975). Er ist der Leadsänger, Rhythmusgitarrist und Hauptsongschreiber der Rockband Volbeat. Asinhell ist eine Band, kein Nebenprojekt. Vor Volbeat hieß Michaels Metalband Dominus, mit Morten Toft Hansen, ebenfalls aus Ringsted, am Schlagzeug. Michael war Dominus' Leadsänger, Booker, Manager und Buchhalter. Als Poulsen Songs für das Volbeat-Album 2021, Servant of the Mind, zusammenstellte, schrieb er eine Reihe von Death-Metal-Riffs. Als er mit dem Volbeat-Album fertig war, begann er, Songs für seine neue Death-Metal-Band Asinhell zu schreiben, deren Debütalbum Impii Hora (lateinisch für Ungodly Hour) eine Hommage an Poulsens Lieblingsgruppen der alten Schule ist. Die Songs basieren auf krachenden Riffs, sind jedoch mit starken Gitarrenhooks und Shout-Along-Refrains versehen. "Bands wie Death, Entombed, Bolt Thrower, Autopsy, Dismember, Grave, Mercyful Fate, Possessed und andere Bands der alten Schule sind der Grund, warum wir das überhaupt machen können", sagt Poulsen. Obwohl er stolz darauf ist, seine Einflüsse auf seinen Ärmeln zu tragen, hat Asinhell seine eigene Identität entwickelt. "Bei Asinhell habe ich versucht, Songs ohne Regeln zu schreiben, aber weil ich so sehr daran gewöhnt war, mit Volbeat zu schreiben, konnte ich nicht wirklich verhindern, dass ich Bridges, Hooks oder eine bestimmte Art von Refrains schrieb", sagt er. "Ich denke, die Kombination aus Old-School-Death-Metal-Riffs mit ein wenig Struktur macht die Songs wirklich stark."

Impii Hora ist das Debütalbum des dänischen Musikers Michael Schøn Poulsen (geboren am 1. April 1975). Er ist der Leadsänger, Rhythmusgitarrist und Hauptsongschreiber der Rockband Volbeat. Asinhell ist eine Band, kein Nebenprojekt. Vor Volbeat hieß Michaels Metalband Dominus, mit Morten Toft Hansen, ebenfalls aus Ringsted, am Schlagzeug. Michael war Dominus' Leadsänger, Booker, Manager und Buchhalter. Als Poulsen Songs für das Volbeat-Album 2021, Servant of the Mind, zusammenstellte, schrieb er eine Reihe von Death-Metal-Riffs. Als er mit dem Volbeat-Album fertig war, begann er, Songs für seine neue Death-Metal-Band Asinhell zu schreiben, deren Debütalbum Impii Hora (lateinisch für Ungodly Hour) eine Hommage an Poulsens Lieblingsgruppen der alten Schule ist. Die Songs basieren auf krachenden Riffs, sind jedoch mit starken Gitarrenhooks und Shout-Along-Refrains versehen. "Bands wie Death, Entombed, Bolt Thrower, Autopsy, Dismember, Grave, Mercyful Fate, Possessed und andere Bands der alten Schule sind der Grund, warum wir das überhaupt machen können", sagt Poulsen. Obwohl er stolz darauf ist, seine Einflüsse auf seinen Ärmeln zu tragen, hat Asinhell seine eigene Identität entwickelt. "Bei Asinhell habe ich versucht, Songs ohne Regeln zu schreiben, aber weil ich so sehr daran gewöhnt war, mit Volbeat zu schreiben, konnte ich nicht wirklich verhindern, dass ich Bridges, Hooks oder eine bestimmte Art von Refrains schrieb", sagt er. "Ich denke, die Kombination aus Old-School-Death-Metal-Riffs mit ein wenig Struktur macht die Songs wirklich stark."

Big Crown Records is proud to present the debut full length offering from Les Imprimés, Rêverie. The stirring and ethereal sounds of Les Imprimés have been making fans of anyone who hears them since their first 7" single hit the speakers. Morten Martens is the man behind the band. Born, raised, and working in Kristiansand, Norway, he keeps a low prole while making his heart felt, highly infectious, and unique music. This album is a long time coming for Martens and it is sure to make him a name to be reckoned with. The first thing you notice listening to Les Imprimés is the high level of musician-ship. Martens plays nearly every instrument on the recordings and handles the production and arranging. He has been making records for decades, winning a Spellemann Award (aka, the Norwegian Grammy) in 2006 for producing a HipHop album as well as getting nominations across three other genres. While awards and accolades speak to the level of his talent, this new album really shows who he is an artist on his own terms. Moving away from being a hired gun on the touring scene naturally led him to start doing more studio work. Slowly collecting gear and getting more experi-ence behind the boards he built his own studio on the island of Odderoya and was making a living playing with and recording other people's music. As the story goes, after those sessions would end he would work on his own project into the wee hours of the night. From these late night sessions, Les Imprimés was born and Rêverie began to take shape. However, "it wasn't until COVID, when things locked down, that I was really able to nd the time to focus on Les Imprimés" Morten says about creating and leading his own solo project. "It was a scary time. But I knew I had to do something with it." He took the sum of his inuences, combined them with his own vibe and got busy writing the music, playing the instruments, and singing the songs. "It's soul music, but I don't exactly have the soul voice," Morten explains humbly. "But I do it my own way, in a way that's mine. "It is his sound, his fingerprint, his sensibility, that makes his music hard to put in a box. The album showcases both Martens' range and his ability to make a cohesive album. The lead single "Falling Away" starts with a raw drum break and turns into a lushly arranged tune that paints the picture of love when it slips away. On "Still Here" he professes his resilience through life's twists and turns over a thundering track that puts a new spin on the B side ballad genre. Songs like "You" and "Our Love" mix tones from 60s and 70s Soul with arrangement nods to Doo Wop records while Martens' lyrics and delivery leave you singing the melodies long after they finish. "Love & Flowers" finds Martens in a moment of clarity with a song that ts the niche sub genre of happy break up tunes, the four on the floor track will move the dancefloor or while the message will resonate with anyone who put too much effort into the wrong situation in their lives. However, it is songs like "Muse" and "Chess" that really encapsulate the uniqueness of Les Imprimés as they push the boundaries of genre, one a profession of love for music and the other a cover of an electronic record respectively. Martens' lyrics, emotion, and delivery truly make the whole thing come together and stand out from any of his peers. There's an infectiousness and a pop sensibility in the writing that is done with the utmost class and taste giving Les Imprimés the rare quality of immediate attraction that only deepens the more you listen.

Big Crown Records is proud to present the debut full length offering from Les Imprimés, Rêverie. The stirring and ethereal sounds of Les Imprimés have been making fans of anyone who hears them since their first 7” single hit the speakers. Morten Martens is the man behind the band. Born, raised, and working in Kristiansand, Norway, he keeps a low profile while making his heartfelt, highly infectious, and unique music. This album is a long time coming for Martens and it is sure to make him a name to be reckoned with.

The first thing you notice listening to Les Imprimés is the high level of musicianship. Martens plays nearly every instrument on the recordings and handles the production and arranging. He has been making records for decades, winning a Spellemann Award (aka, the Norwegian Grammy) in 2006 for producing a Hip Hop album as well as getting nominations across three other genres. While awards and accolades speak to the level of his talent, this new album really shows who he is as an artist on his own terms.

Moving away from being a hired gun on the touring scene naturally led him to start doing more studio work. Slowly collecting gear and getting more experience behind the boards he built his own studio on the island of Odderøya and was making a living playing with and recording other people's music. As the story goes, after those sessions would end he would work on his own project into the wee hours of the night. From these late night sessions, Les Imprimés was born and Rêverie began to take shape.

However, "it wasn't until COVID, when things locked down, that I was really able to find the time to focus on Les Imprimés" Morten says about creating and leading his own solo project. "It was a scary time. But I knew I had to do something with it." He took the sum of his influences, combined them with his own vibe and got busy writing the music, playing the instruments, and singing the songs. "It's soul music, but I don't exactly have the soul voice," Morten explains humbly. "But I do it my own way, in a way that's mine."

It is his sound, his fingerprint, his sensibility, that makes his music hard to categorize. He has crafted an album of songs with different energies that all fit together to make one gorgeous record. The lead single “Falling Away” starts with a raw drum break and turns into a lushly arranged tune that paints the picture of love when it slips away. On “Still Here” he professes his resilience through life’s twists and turns over a thundering track that puts a new spin on the B side ballad genre. Songs like “You” and “Our Love” mix tones from 60s and 70s Soul with arrangement nods to Doo Wop records while Martens’ lyrics and delivery leave you singing the melodies long after they finish. “Love & Flowers” finds Martens in a moment of clarity with a song that fits the niche sub genre of happy break up tunes, the four on the floor track will move the dancefloor while the message will resonate with anyone who put too much effort into the wrong situation in their lives. However, it is songs like “Muse” and “Chess” that really encapsulate the uniqueness of Les Imprimés as they push the boundaries of genre, one a profession of love for music and the other a cover of an electronic record respectively. Martens’ lyrics, emotion, and delivery truly make the whole thing come together and stand out from any of his peers. There’s an infectiousness and a pop sensibility in the writing that is done with the utmost class and taste giving Les Imprimés the rare quality of immediate attraction that only deepens the more you listen.

I Shall Die Here / Earth Triumphant is an expanded edition of the fourth full-length album by The Body, first released to widespread acclaim, and terror, in 2014. Sharing their moribund vision with Bobby Krlic, aka The Haxan Cloak, the tried and true sound of The Body is shred to pieces on I Shall Die Here, mutilated by process and re-animated in a spectral state by the collaboration.

This double album set is expanded with the previously unreleased Earth Triumphant, a full-length companion album that would become I Shall Die Here, showcasing The Body's brutality in its most primal form. With both albums revisited by The Body and Seth Manchester at Machines With Magnets and remastered by Matt Colton at Metropolis Studios, this is the definitive edition of a shocking classic of unbridled bleakness and innovation. Formed by drummer Lee Buford and guitarist Chip King in Little Rock, Arkansas in 1999, The Body soon relocated to Providence, Rhode Island. The duo remained in Providence for a decade before moving west to their current home of Portland, Oregon. Their debut self-titled album (Moganano, 2003) and on the widely-acclaimed, classification curtailing of All the Waters of the Earth Turn to Blood (At A Loss, 2011) readied the band for even more experimentations. The employment of the Assembly of Light Choir's classical chorales on All the Waters, alongside more industrial music techniques such as vocal sampling and drum programming, prompted RVNG to inquire with King and Buford which darker corners of the electronic universe they were presumably interested in exploring.

The undertaking of I Shall Die Here was aided by Seth Manchester and Keith Souza, The Body's long standing engineer and creative collaborator, and noted producer Bobby Krlic. Krlic's own work as The Haxan Cloak struck a similarly despairing chord to The Body with the celebrated Excavation (Tri Angle, 2013), itself a minimalist evocation of the afterlife. I Shall Die Here shares similar nether space with the morbidly deviating darkness of Excavation, but remains sculpturally frozen in a sort of earthen purgatory.

The Body's musical approach, engraved by Buford's colossal beats and King's mad howl and bass-bladed guitar dirge, became something even more terrifying with Krlic's post-mortem ambiences serving as both baseline and outer limit. I Shall Die Here sonically serrates the remains of metal's already unidentifiable corpse and splays it amid tormented voices in shadow. This expanded edition gives us a window into the creation of a classic with the inclusion of its in utero twin, Earth Triumphant. Recorded as a nearly finished album by Buford and King before The Haxan Cloak's transformation, it stands as a raw statement of intent, the original DNA for what would soon mutate into something wholly new.

Fans of I Shall Die Here will find familiar sonic fragments in a more primitive state - like seeing an out-of-context photograph of a family member taken well before you knew them - but the album stands on its own in its minimalist brutality, a natural bridge to what The Body was soon to become. The Body's I Shall Die Here / Earth Triumphant will be released in digital and vinyl formats on June 30, 2023. On behalf of The Body, The Haxan Cloak, and RVNG Intl., a portion of the proceeds from this release will benefit Intransitive, an organization that works to advance the cause of Trans liberation in Arkansas through art, education, advocacy, organizing and culture in order to create effective systemic change and on-the-ground impact.

I Shall Die Here / Earth Triumphant is an expanded edition of the fourth full-length album by The Body, first released to widespread acclaim, and terror, in 2014. Sharing their moribund vision with Bobby Krlic, aka The Haxan Cloak, the tried and true sound of The Body is shred to pieces on I Shall Die Here, mutilated by process and re-animated in a spectral state by the collaboration.

This double album set is expanded with the previously unreleased Earth Triumphant, a full-length companion album that would become I Shall Die Here, showcasing The Body's brutality in its most primal form. With both albums revisited by The Body and Seth Manchester at Machines With Magnets and remastered by Matt Colton at Metropolis Studios, this is the definitive edition of a shocking classic of unbridled bleakness and innovation. Formed by drummer Lee Buford and guitarist Chip King in Little Rock, Arkansas in 1999, The Body soon relocated to Providence, Rhode Island. The duo remained in Providence for a decade before moving west to their current home of Portland, Oregon. Their debut self-titled album (Moganano, 2003) and on the widely-acclaimed, classification curtailing of All the Waters of the Earth Turn to Blood (At A Loss, 2011) readied the band for even more experimentations. The employment of the Assembly of Light Choir's classical chorales on All the Waters, alongside more industrial music techniques such as vocal sampling and drum programming, prompted RVNG to inquire with King and Buford which darker corners of the electronic universe they were presumably interested in exploring.

The undertaking of I Shall Die Here was aided by Seth Manchester and Keith Souza, The Body's long standing engineer and creative collaborator, and noted producer Bobby Krlic. Krlic's own work as The Haxan Cloak struck a similarly despairing chord to The Body with the celebrated Excavation (Tri Angle, 2013), itself a minimalist evocation of the afterlife. I Shall Die Here shares similar nether space with the morbidly deviating darkness of Excavation, but remains sculpturally frozen in a sort of earthen purgatory.

The Body's musical approach, engraved by Buford's colossal beats and King's mad howl and bass-bladed guitar dirge, became something even more terrifying with Krlic's post-mortem ambiences serving as both baseline and outer limit. I Shall Die Here sonically serrates the remains of metal's already unidentifiable corpse and splays it amid tormented voices in shadow. This expanded edition gives us a window into the creation of a classic with the inclusion of its in utero twin, Earth Triumphant. Recorded as a nearly finished album by Buford and King before The Haxan Cloak's transformation, it stands as a raw statement of intent, the original DNA for what would soon mutate into something wholly new.

Fans of I Shall Die Here will find familiar sonic fragments in a more primitive state - like seeing an out-of-context photograph of a family member taken well before you knew them - but the album stands on its own in its minimalist brutality, a natural bridge to what The Body was soon to become. The Body's I Shall Die Here / Earth Triumphant will be released in digital and vinyl formats on June 30, 2023. On behalf of The Body, The Haxan Cloak, and RVNG Intl., a portion of the proceeds from this release will benefit Intransitive, an organization that works to advance the cause of Trans liberation in Arkansas through art, education, advocacy, organizing and culture in order to create effective systemic change and on-the-ground impact.