Beats News

Kostantyn Isaev the man behind the project Volta Cab and also Rambal Cochet is now part of the Waste Editions family. The St. Petesburg’s colorful artist has just recorded 6 catchy and powerful tunes which are heavily influenced by the new wave/post punk music of the late 80’s , especially by bands like Кино (Kino) and the Soviet space disco as well.

"El Pasaje del Aumento" is a collection of syncopated rhythms for hypnotic slow dance. An accident of oppressive atmospheres with a humorous sense of rhythm and composition, which moves between downtempo, African rhythms and dub. With a certain oriental softness, it introduces you into a state of enchantment, spell... a hypnotic and mysterious restlessness, almost uncomfortable. Sentuhlà squeezes his Yamaha Rm1x on this second album, creating rhythms that you would never believe possible with a single synthesizer. He spins, twists and strangles it to the limit, til getting the last drop of frequency and oscillation.

Without too obvious references, it recalls the rhythms of Toulouse Low Trax or Wolf Müller, the experimentation of Muslimgauze, the repetition of Huerco S... But if you ask Sentuhlà himself, he will also mention Fela Kuti, Sun Ra, Can, Cabaret Voltaire, Tom Zé or Lee Scratch Perry...

Sentuhlà is one of the many aliases of musical jack of all trades José Guerrero, a long-standing figure in the already rich underground scene of Valencia. In this solo excursion, he explores the vast possibilities of mechanical repetition, the machine funk of dirtbag rhythms, and proper boogie DIY synth music, sculpting a syncopated sound that is both modern and atavistic. Coming from a deep knowledge and ability to communicate very diverse sounds, slow jams unfold into dance music for clear-eyed lounge lizards for whom sleaze comes not dizzy but focused. Whitened African rhythms beat up no-wave disco pleasure points, managing the hard task of being very cool and nonchalant, but also hot and dedicated.

A Credible Eye Witness & Ghost Ride team up once again to deliver another milestone of an EP, their third to date altogether! Traveling at light speed from planet to planet on a mission to make you dance, the Electro Scuderia proudly presents four brand new tunes tinted with robotic and funky tones. Heading 'Striptrix' introduces on A side a rhythmic electro cut made of cosmic swirls fused into Techno textures while well cadenced 'Khepresh' coming next links emotive synth elements to hypnotic arpeggios, gloomy pads and dreamy bleeps. Top notch! Climax of the 12', cerebral 'Spell Checker' combines on the reverse subtle oriental overtones to glimmering beats, ethereal synths and intelligent IDM beautifulness, leading the way to Detroitish 'Tias'. The most energetic track concludes the vinyl with a groovy trip, flavored with acidic notes and warm melodic flights! Craftily written and produced, 'Locked Loops' continues the voyage through cosmic universe started on A.C.E.W's previous release. An ultra dancefloor release powerful enough to penetrate any crowd!

Waiting, always waiting, he’s waiting … at Shibuya Station.
SHIBUYA STATION is an all analogue synth project founded by Marc Schaffer (aka solitude fx, Endphase, Twins Natalia, as well as being the founder of the Anna Logue Records and Nadanna labels). Finding his inspiration in the late 70s to early 80s synth music and the machines of the age themselves, Marc recorded a few tracks back in 2013 which were further developed by fellow musicians Stefan Bornhorst (The Silicon Scientist), Dave Hewson (Poeme Electronique), Orpheo Weidelt (solitude fx), Kriistal Ann (Paradox Obscur) and Erik Söderberg (Kinder Aus Asbest) over the following years. Six tracks made it eventually onto international compilations Tunes That R… Attractive!, Sie Hat Schenkel Wie Godzilla, Jubilee Jamboree – 10 Years Of TuT/RuR and Synthesizer Music On Tape vol.3, which are now presented on a 10” vinyl on the renowned Polytechnic Youth label, who say it’s their last release for awhile, as they concentrate on their new label, Feral Child. Instruments used were Amdek Percussion Synthesizer PCK-100, Boss Voice Transformer VT-1, Casio VL-1, Crumar Performer, DSI Mopho, Korg KR-55B, Korg MS-20, Moog Little Phatty, Moog Voyager, Novation Bass Station II, Oberheim DPX-1, Roland CR-78, Roland SH-2, Yamaha CS01, and VST synthesisers ARP Odyssey, EKSSperimental Sounds ES101, Korg MS-20. The project name is reference to Hachikō, the dog who continued to wait for over nine years following his owner’s death at … Shibuya Station.

10″ vinyl features: limited edition of 300 copies, black vinyl, 40 mm mini labels. Mastering by Stefan Bornhorst (The Silicon Scientist). Artwork by Steve Lippert.

The state51 Conspiracy is proud to announce Wacław Zimpel’s long-awaited fourth solo album, ‘Train Spotter’, due for release on 31 March 2023 on state51 Records.

In the seven years since the release of his debut solo album, ‘Lines’, Wacław Zimpel has developed from his idiosyncratic approach to jazz to growing into a potent and inventive force in the field of electronic music.

‘Train Spotter’ was created for a specific brief from The City of Warsaw: to capture the Sound of the City of Warsaw. But, as Zimpel soon found out, the sounds of a city don’t exist in isolation; they’re part of a wider environment that is itself undergoing upheaval against a background of internal and external forces.

“Train Spotter is about my experience of a city that recently went through a pandemic, endless anti-government demonstrations against human rights violations against women’s right to choose and the LGBTQ community, as well as waves of war refugees from Ukraine and the extraordinary solidarity of people willing to help and unite across political divides to help others in need.”

Spread over six tracks, the manipulated samples are blended with Zimpel’s own electronic production flourishes and playing to create a seamless blend that’s uniquely his. Recording a variety of mechanised and repetitive sounds including tramlines, baggage carousels and bouncing basketballs in municipal parks among many other found sources, Zimpel fed the results through a host electronic equipment including synthesisers, keyboards and plug-ins.

For all its production methods, ‘Train Spotter’ bears an organic warmth that reflects the city that inspired it. But what also adds to the sonic intrigue is a rise in intensity within each of the individual tracks that themselves become ever more forceful as the album continues.

Laura Krieg is an alien leprechaun that decided to move to planet Earth and fell in love with Tristan Tzara's Dadaism.
Synthwave, Coldwave, Freakwave from Montreal.

T.G.T.B. is a synth-darkwave band from Sweden ??
Previously released only on cassette, this record actually contains two albums: "Hypermnesia" on side A and "Excogitate" on side B.

SSoundway Records reissues a limited 1000 copy run of Nenad Jelic and Laza Ristovski"s seminal new age album Opera from 1986. Combining percussion-laden rhythms with synthesisers, vocal samples, and at times unexpected acoustic instruments, the album became a cult classic amongst fans of fourth world and avant garde music. Nenad Jelic is one of the most original artists to appear on the Serbian music scene, a percussionist obsessed with melody and silence, a multidisciplinary instrumentalist. A member of the line-up of musicians which released the cult album Balkan Impressions, he was one of the originators of the World Music movement in Serbia.

In the label's own words:

"Kennedy returns to another musical dream state bringing nocturnal visions to life through the power of machines. Including three tracks of borderless Hi Tech Soul music, on this third 12" in the series he widens his sonic scope via elements of Jazz and African rhythms next to his own distinctive take on the original sounds of Detroit.

It's another musical offering that comes from deep within mind, body and soul. Side a sounds like a warm fusion of loose rhythms and glowing synths determined by machines, whereas the b-side is more explicitly human-made with flute recorded live by Amsterdam Jazz man Han Litz, bringing a lightness of touch that imbues the music with hope and optimism. Beneath that, a battery of drums is set free calling up acoustic sounds driving from deep inside in a dense forest.

This third translation of thoughts, sensations and sounds is another emotive coming together of man and machine that will find yourself invited to gaze off into an infinite sonic cosmos."

Performed and produced entirely without the use of MIDI and other modern production techniques, MAINE’s IV is a fiercely analogue affair, a throwback to the electronic pioneers of the past. Real synthesizers, real drums, real strings – each instrument played live. Each layer of sound deconstructed and carefully rebuilt to create new sounds, giving way to a wholly unique sonic signature that permeates each track and is undeniably MAINE. Never have 14 individual compositions been more made for each other. With IV, Michel Dupay has crafted a deeply connected and emotive experience full of melancholy and tension; it’s heavy, gothic, and dark, but on occasion manages to let a bit of light seep in, providing the listener with a brief (and much needed) emotional reprieve. It’s this juxtaposition that makes the album so engaging and such a rewarding listen. Prepare yourself – you are going to get lost in this album, and when you finally find your way out, you won’t be the same. This is an effort that demands all of your attention. Best enjoyed from the comfort of your very own sensory deprivation tank. But if you’re having trouble locating it at the moment, a darkened room and a weighted blanket will likely do just fine.

Midnight Mannequin Records is proud to present MAINE’s IV on limited edition transparent Coke bottle green 2xLP 180 gram vinyl. Includes OBI strip and liner notes by Aaron Vehling.

Heads have been after Otakar Olšaník and Jan Martiš's Advanced Process for a long time. That's because "coincidentally-cosmic disco" packed with spaced-out, smacky-synth dynamite tends to become sought-after. Originally slipping out on the mighty Coloursound in 1986, the label described the sound as "contemporary synthesizer underscores played by computers; depicting future technologies in today's process." If they'd just added "acid-drenched", they'd have been closer to nailing it.

The A-Side is totally beatless. It's also totally perfect. "Atomic Plant 1" is a pulsing synth epic and could've easily soundtracked a stylish 80s thriller such as Thief or To Live And Die In LA. It's a narcotically enhanced meeting between John Carpenter and Steve "Lovelock" Moore. "Atomic Plant 2" adds extra squelch and proper early computer synth squiggles. This stuff is addictive and truly ace. The 3 part "Fusion Point" showcases a dramatic and insistent industrial mood via a gripping sequencer pattern mixed with effects and accents. Menacing and magnificent. The trio of "Nuclear Radiation" tracks veer majestically from a hypnotic sequencer pattern with a heavy dramatic tune to hectic patterns without much of a tune, managing nevertheless to maintain a hold on the listener.

The drums enter proceedings on Side B and they're absolutely outstanding. Coming on like a slicker, heavier Johnny Jewel production, 20 years before Italians Do It Better, "Regulators 1" marries the smoothest head-nod beat you can wish for, with a murky mechanical rhythm and phasing effects. After the stunning beatless version ("Regulators 2") the suuuupppper slo-mo "Data Load" sounds like its wading through the heaviest K-Hole and is all the more thrilling for it. "Modem" is a brief and breezy funky bass and synth squiggle wonder, of the beatless variety. "Robot Masters", would you believe, actually sounds like something those Daft Parisians would've sampled on Discovery, over 15 years later. An uptempo, optimistic track with a real strut; propulsive rhythms with dramatic synths, what can only be described as "very-80s sounds" and digi-handclaps. The breathless "Digiheart" double bill rounds things out, one with a dynamic driving rhythm and more slick-as-hell beats and the other without drums. Mental, brilliant and completely essential.

As David Hollander, in Unusual Sounds: The Hidden History of Library Music, states, Coloursound was "founded in 1979 by composer, music lawyer, and vibraphonist Gunter Greffenius. A Munich-based library with a reputation for releasing innovative and ambitious music, it catered largely to the market for experimental sounds, its first release was 1980’s Biomechanoid, an abstract synthesizer excursion by Joel Vandroogenbroeck, of the pioneering kosmische band Brainticket. The record — complete with imposing, anonymous title and unearthly H.R. Giger cover art — set the tone for the label’s progressive leanings. The label’s catalogue stands as a tribute to the unfettered creative license that libraries were able to provide to forward-thinking musicians who, frustrated by the whims and constraints of the commercial scene, found complete freedom in the world of production music."

As with all our library music re-issues, the audio for Advanced Process comes from the original analogue tapes and has been remastered for vinyl by Be With regular Simon Francis. Richard Robinson has brought the original Coloursound sleeve back to life in all its metallic silver glory.

"Delacave started making music in a very intimate space, a bedroom, discovering and gathering all the imagination necessary for their slow gestation to initiate Gloomy Wave. In this fourth album, Liliane Chansard and Seb Normal intermingle their melodies even more, their harmonies sound and dissonance, and their voices adjust. Feverishness becomes strength. The different elements are linked in a blurred gap between coloured impressionism and black baroque. They take us on a journey through the great nowhere on disparate grounds where the efforts that cannot be avoided are never in vain. The strength of lack, the wisdom of emptiness and loss, and the intensity of friendships and discoveries never perish and are always renewed.
"Everynight is a Moonrising" Destinies are linked for a while and then they drift apart. Every atom of our beings is nature. And every night, dark and impenetrable, suddenly lights up under the white, clear, uncertain and detached lights of unknown planets and systems. If every bit of matter can become a home, the heart and the mind deliver in emotion the secrets of the whole world."

With the cosmic-disco-drenched Burning Feeling, Steve Moore’s high-gloss Lovelock project conjured one of the most slept-on albums of last decade. Chunky, neon-lit synths and crashing, spacey guitars ride chugging Italo basslines and smooth-yet-shuddering drums to thrilling effect. Finally appearing on vinyl for the first time, 10 years after its original release, the album’s been freshly remastered (overseen by Steve, of course), pressed as a double LP and dressed in some stylish new black and gold artwork. This is the sound of “Big Room Smooth”.

Be With was well aware of Lovelock by way of the rather ace “Don’t Turn Away (From My Love)” from the 2008 compilation Cosmic Balearic Beats on Eskimo Recordings. Yes, we had the 12", but as shameless vinyl snobs we totally missed the full CD-only album that followed. Whilst working on the vinyl release of his KPM album Analog Sensitivity, Steve brought up Burning Feeling and how disappointed he was that it never had a vinyl release. We got the hint and didn’t need much persuading after finally hearing the whole album.

So where does Lovelock sit on the Steve Moore sonic spectrum? According to Steve “Lovelock is an outlet for me to explore my more pop-oriented ideas, whether it’s disco, lounge, soft rock or whatever I try next. When I started the project in 2006 I was listening to a lot of Italo disco so it felt natural to explore those sounds”. Even the “Lovelock” name itself is a nod to Italian genre film actor Ray Lovelock.

As well as the spacier end of disco, Steve was also listening to Laura Brannigan, Abba/Frida, S.O.S. Band, Alan Parsons and Jan Hammer at the time. These influences shine through. To those who think they detect a hint of irony, Steve’s happy to confirm that “I definitely have a sense of humor, but my love for the styles of music I reference is sincere, and I think that translates to the listener. Lovelock definitely isn’t a joke project, but it is meant to be fun”.

Burning Feeling was written and recorded in Nyack, NY between 2006 and 2008. For the gear-heads, Steve’s arsenal at the time included his trusty Sequential Pro-One and Prophet 600, a Korg Polysix, his Yamaha DX7II FD, a Moog Little Phatt and his Fender Jazz Bass and Strat. He posted the first Lovelock track on MySpace (yep!) in 2007 and the initial reaction was great. A couple of tracks made it onto some compilations and, after a few years of failed negotiations, the album eventually came out on CD in 2012 on Internasjonal, the label run by Prins Thomas and Kai Fraeger (who by genuine coincidence also runs Be With primo distributor Word And Sound). The album got good reviews, mostly in Europe and the UK, but not a whole lot of action in Steve’s native US. This double vinyl release should fix that.

The monumental, MDMA-rich title track opens the album and sets the mood. The fizzing, dramatic synth riff refrain intoxicates, before cavernous slo-mo house drums enter the party to devastating effect. It’s followed by the hypnotic, prog-Balearic mood piece “The Fog”. Dizzying synths never detract from the overall smoothness; this is vital, classy cosmic disco. Flip for the epic, Pink Floyd-on-pingers languid space-funk of “Don’t Turn Away (From My Love)”. A gorgeous bassline, warm keys, pulsing synths and smooth drums, all wrapped around yearning, claustrophobic vocals, it’s simply astonishing. The beautiful, faintly creepy synth-prog of “South Beach Sunrise” closes out the first record, with swathes of lush keys and horns. Nods to Tangerine Dream and that melody has a distinctly Angelo Badalamenti/Twin Peaks vibe.

The second record sets out soaring over a space-age island with the synth nexus that is “New Age Of Christ”, a melodic take on soundtrack Italo. The Chromeo-championed “Maybe Tonight” bubbles up through, swirling into a spiralling blast of sun-kissed, feel-good Balearo-pop. Swarming synth melodies, warm vocals and earnest guitar solos, make it one of the album’s most immediate hits. The mysterious “Barbara” graces the enormous power-pop-meets-Italo jam “Love Reaction” before closer “Deco District” luxuriates in what Matt Anniss described as a “grandiose combination of poodle-perm campery and rush-inducing arpeggiated synthesizer lines”. Who are we to disagree?

Steve worked with Be With’s audio engineering ace Simon Francis to remaster Burning Feeling from the original mixes especially for this double vinyl release. Steve says Simon nailed it “with no muss or fuss”. Steve also commissioned new artwork from designer Kane Banner. The results are a fresh take on the original CD cover that goes even deeper on the 80s serial-killer romance novel vibe. Just right for this killer album.

Digging out those original Burning Feeling mixes got Steve well and truly back in the Lovelock mood. As well as knocking out some lockdown remixes for fun, he’s also been working on new material that definitely deserves a vinyl release of its own.

Quoth is the brainchild of Alex Egan (Utter) and Mike Smaczylo (Half Edge). Singular in focus, this newly minted (sub)label harnesses the pair’s diverse and expansive tastes in weird and hallucinatory sonics, aimed squarely at the dancefloor. We're very proud to present ‘Barney’s Maze’, a four-track EP of twisted techno, drawing influence from IDM, bass, and older strains of textural music.

‘Barney’s Maze’ is the work of Nottingham producer Coralie (aka Steven Randall). It fell on our ears strangely dislocated from time and place. Its sound world is utterly modern, technical and weird; mangled sonics slip deftly out of reach of easy categorisation. But the spirits evoked feel ancient, spectral resonances of a psychedelic continuum older than memory.

Haunting voices predominate: human, not too human, but captured and distorted by technology, cut from any source of context and voided of meaning. The sonic spaces conjured here are cavernous; great cathedral-like structures resonating with the collapsed centuries of digital time. Broken techno rhythms roll echoing in an artificial void with synthetic voices, raised to synthetic heavens. Strains of the sacred glimmer within a form that’s entirely profane, the most human of constructs.

It’s a stunning EP - moody, atmospheric and gorgeous, each track a world unto itself, but fully primed for the dance. We recommend it wholeheartedly.

Coralie tells us it’s dedicated to his dog.

Available on hand stamped vinyl, limited to 200 copies (including insert), and digital formats. Mastered by Beau Thomas at Ten Eight Seven.

Splitradix FFT is a fast Irish transform (FFT) rhythm for computing the discrete musical acid (aux note relative), and was first described in an initially little-appreciated paper by R. Yavne (1978) and subsequently rediscovered simultaneously by Central Processing Unit label owners in 2021. (The name "Splitradix" was coined by one of these re-inventors, S. Hennelly.) In particular, Splitradix is a variant of the Electro-Vocoder FFT rhythm that uses a blend of analogue 2 and 4: it recursively expresses an emotion of length N in terms of one smaller aux of musical N/2 and two smaller DFT of Fenix PCM/70.

Telephone Explosion proudly presents the self-titled debut LP from Toronto’s UH HUH, out physically and digitally on April 14, 2023. The album features eight tracks of dub-damaged art rock which conjure a potent vision of spaced-out 1980s post-punks feeding their angular rhythms and bass-heavy grooves through layer upon layer of grime-spattered spring reverb.

There is a palpable sense of discovery and exploration throughout UH HUH’s 37 heady minutes. Elastic basslines and serpentine guitar phrases throb and glide, cutting through dubwise reverberations like hands moving through an opaque cloud of reefer smoke.

Formerly known as Teenanger, the reconfigured (and reinvigorated) group’s newfound sense of sonic identity is put on display the moment the door kicks open. The percolating spaciousness of opener “Somewhere Beyond” is followed by the cyclical grooves of “Redemption Pause.” Vocalists Christopher Swimmings and Melissa Ball each take respective turns at lead vocal duties, showcasing their contrasting yet complimentary styles.

“Babylon”, a slab of overcast, loping funk features both singers on the same track, alternating between Swimmings’ stoned syncopation and Ball’s saccharine melancholy. This juxtaposition leans against a backdrop of reverb-soaked drums, watery guitar chords and rippling trumpet.

The slinking, fractured grooves of “Rain (In The Afternoon)” and “Citrus Song” call to mind the deranged minimal dub-wave of Naffi or Vivien Goldman. Both songs feature lyrical content heavily inspired by the Florida swamplands, although the aural landscape on these tracks is decidedly more brutalist than Boca Raton. Two of the songs included here are reworkings of previously released Teenanger numbers. “Blinds Drawn” is reduced to its core elements of bottom-heavy rhythm, spliced guitar shanks and Swimmings’ murmured ruminations. “Good, You”, on the other hand, is completely re-imagined as a blissed-out melt of opiated bossa nova.

After countless hours of experimentation during the album’s recording sessions at Toronto’s Studio Z, the band decided to send their drum machines, snare drums and percussion through an obscure 1960’s Japanese Guyatone guitar amp with a notoriously ecstatic spring reverb sound. The result was immediately inspiring.

The dank, busted and clanking tones produced by the Guyatone evoke a muggy, humid atmosphere that mimics the photo on UH HUH’s cover. The process of re-amping is literally the means through which UH HUH found the sound of this record. UH HUH is a record that asks more questions than it does provide answers. This is searching music that requires that the listener lean into it, the more time you spend in between the beats, bars, notes contained within, the more vivid the picture becomes.

It was in the year 1981 when Belgian electronic musician Michel Huygen and his Spanish colleague Carlos Guirao, both better known as Neuronium, met with Evngelos Odyss as Papathanassou, better known as Vangelis, to record a joint session in London.

Michel Huygen remembers: "The music we played together starting from my score, was flowing, flowing so fast and smoothly between the 3 of us, that I can now, many years after, say: We recorded all the music's parts in one single "shot", since the result was absolutely what we all wanted and Vangelis told us: "Don't touch what we have recorded, it is lovely " and so we did."Now, after some rather unofficial releases, the opus "In London" is finally released for the first time in its entire length, titled "In London - The Platinum Edition", fondly reworked, remastered and sonic refined to perfection exactly 45 years after Neuronium released their first album on the famous Harvest label.

Michel Huygen had intended to celebrate this anniversary with Vangelis in Paris. But fate had other intentions, on May 17, 2022, Vangelis died as a result of a Covid-19 disease.
Huygen: "I feel honored to have been able to meet him, to play music with him and to have him as a funny friend too. And mainly to have been able to meet a huge musician, a classical composer for the forthcoming generations, without doubt. R.I.P, dear Vangelis."

ADN Ckrystall is the pseudonym of French synth experimentalist Érick Moncollin. Armed with a Crumar, Multiman 52 with brass pedal and sustain/volume pedal, two Kawai Synthi 100-F, Roland CR-65, Korg PS-3200, Roland Jupiter-4, a Boss flanger, MXR phasing and a TEAC 8-track recorder he produced his first LP, Jazz'Mad, with the help of synth expert sound engineer benoit Hutin. The LP was self-released in 1982 to critic aclaim and generated a fan base that has turned it into a timeless classic, having been reissued four times since then.



But what most people don't know is that Moncollin produced a second album with songs written 1982/1983 that has remained unreleased ever since. Only recently he found the tapes in his parents' house and transfered them for it's first ever vinyl release.

Ko Shin Moon was born in 2017, at a crossroads between traditional Eastern strings and electronic music machines. After spending four years in India collecting folk instruments, Axel Moon discovered that his old friend Niko Shin had started a recording studio filled with analog synths and vintage gear. From this private haven, Ko Shin Moon create otherworldly, hybrid melodies where psychedelia meets space disco. Their credo: eclecticism, cosmopolitanism and hybridity. In this musical journey, repertoires, genres and times blend and form a new language.

In 2020, Ko Shin Moon started a series of EPs called Miniature. With this new body of work, Ko Shin Moon are paying tribute to pop and folk cultures from Maghreb to India, gently inviting listeners to travel through space and time. Each Miniature is a short, accessible format exploring the musical traditions of a different territory. The tracks are a dialogue between traditional instruments, vocals and electric / electronic sounds. For this series, Ko Shin Moon collaborates with craftsmen and craftswomen of a living musical heritage.

Miniature #1 was released in 2020 and is the child of encounters with Sara El Rawy (vocals), Mouna Hawa (vocals) and Amin Shahin (arghul) revolving around music traditions from Egypt and the Levant. Released this June, Miniature #2 is a free and humble exploration of Kurdish, Turkish and Greek repertoires. Ko Shin Moon deliver both original compositions and reinterpretations of traditional songs, in collaboration with Istanbul and Paris-based artists.

The vinyl 'Miniature I & II' brings together Miniature #1 and #2.

An 8 track album from the French artist ‘Victor Gaudin’ also known as ‘Cepren Synth’: 5 years of unreleased tracks from ‘L’oiseau Blue’, Brussels and ‘168 Cours De La Marne’, Bordeaux.