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Enigmatic SoCal singer / songwriter’s debut album conjures dreamy and melancholic, sun-drenched folk pop.

"LA-based musician Brian Collins records music as Hurt Valley. He makes loosely psychedelic, often rollicking songs that feel like they came from a simpler time, before you realize that the simpler time you’re thinking about never really existed in the first place, and you’re just romanticizing a past that was as complicated as the present.

All this is to say that Collins makes songs that sound like they’re ripped from a forgotten private press record from decades gone but imbued with the weight of right now. Glacial Pace opener 'Geology Dreamer' is anthemic and sad, an end-of-the-night (or, let’s face it, end of the world) jam that crumbles under lyrics about love and (healthy) obsession and getting through shit with people you love and trust.

The last track on the album, 'Immaterial Worlds' acts as a mirror image to the opener. Where 'Geology Dreamer' hits hard and woozy, 'Immaterial Worlds' is soft and intricate, a nakedly contemplative end to an album that sneaks up on you no matter where you might be when you hear it.

Listening to Glacial Pace will no doubt evoke a number of complicated feelings about how you could be living differently, or more simply. The songs here are something of a roadmap to understanding how we got where we are, and what it all means. It doesn’t so much give answers as it does is point us toward observations that might push us to question who we are and what we do. Is there a better way to explain modern existence than the line 'All we ever do is create immaterial worlds no one occupies in real life'?"

by Sam Hockley-Smith

My life with M. - an organic contact with sound where theatre and music could be perceived as a tool for the creation of a distant dream. Doerell’s sonorities transpose a nostalgia for something never met or somewhere never been, an osmosis of absence and memory interrupted by scattered fragments of abstraction.

The album reveals Oliver Doerell’s artistic collaboration with German-Iranian dancer and choreographer Modjgan Hashemian. All pieces are reworked compositions for theatre plays from 2008 to 2018. A wide acoustic spectrum is built throughout the merge of home-made instruments, electro-acoustic and digital means. The artist is subtly mastering sound textures, distortions, altered frequencies, voice insertions and blends reality and mysticism into his unique soundscape.

The founding member of Dictaphone/ SWOD, Oliver Doerell (aka Cummi Flu) releases the first album under his artist name and invites the listener to contemplate and to discover another one of his artistic personas. Grab a comfortable chair and enjoy the audition.

With a self-described maximalist jazz fusion aesthetic and love for DnD-adjacent subject matter, it is safe to say you won't find many bands like Nolan Potter's Nightmare Band. Making use of an eclectic assembly of instruments -- double drumsets, flutes, strings, keys and ripping guitars -- Nolan Potter's Nightmare Band makes for a wild listen.

Nightmare in name only, the inspiration runs white-hot with this one - the wizard’s gaze cast over a distant landscape, bits of ash and motes of incinerated earth float in the air, the smell of ozone and fried metal sting the villager’s noses...

But hope’s bell rings eternal! A flower of beauty is standing up in the sole ray of sun, the clouds are withering away, retreating back to dark cloaks behind crusted-over frost-fractal windows. Darkness cannot usurp the crown, light is king and will eliminate the darkness, chase it out of the unfathomable corners and brush away the webs of evil...remnant factions will always remain but they will be hunted with pure magical riffage.

These are the peaks and valleys of the mighty Nolan Potter’s Nightmare Band, conceptual in feel and flow, a lovely lilting ride and then, up through the floor boards, a warrior incants into the frothing night a huge band, heavy and tumultuous like a war machine rumbling thru the ash, clearing the way for folks to continue their idyll. Dreamy and lucid keys, strings, drum corps, slippery guitar and buff bass, ripe flutes and breezy vocals. For fans of Embryo, the Mothers, Pink Floyd, Mahavishnu Orchestra, Moody Blues, the Stark Reality, and Placebo. They’re from Austin, Texas, but you’d swear it’s from 1972 Europa-Mothership. Like their vodka, it surpasses expectations and fucking crushes.” - John Dwyer

On the eve of a post-Thatcherite Britain, the Pale Saints, alongside the likes of Lush, Ride and Slowdive, were ushering in a new wave of British indie. And in 4AD, they found a perfect home for their music - an exciting & undeniable meld of noise and dream-pop.

Their debut album, The Comforts of Madness, didn’t disappoint, now standing as one of the best of its era. Pitchfork placed it in their Best 50 Shoegaze Albums Of All Time saying, “There’s a restless urgency, particularly when the volume swells and the rhythms intensify. That energy not only keeps (it) vital, it emphasizes Pale Saints’ inventiveness, how they channelled softness and rage into something distinctive.”

Nearly 30 years on and The Comforts of Madness is finally getting the reissue treatment. Having been remastered, a faithful LP repress on black vinyl is being released as well as double CD and double clear vinyl editions, both of which come with a bonus disc of previously unreleased demos and the band’s only John Peel Session, recorded in 1989.

Have A Nice Life was formed in a time of Dan Barrett and Tim Macuga’s life that reflected concerns with depression and suicidal ideation. As the following for the project has grown, and Barrett and Macuga have aged and faced new life challenges with family and careers, their new album Sea Of Worry reflects just that. Dread is the primary theme that is woven throughout this release—the dread of aging, children growing up, and an increasingly uncertain future. However, Sea Of Worry is Have A Nice Life at the peak of their powers: Barrett and Macuga’s unmistakable chemistry coupled with a propulsive backing band catapults them into stratosphere. These seven tracks ebb and flow with noise and melody, and are so well-crafted it’s near impossible to get them out of one’s head. More concise and perhaps more straightforward than their past releases, Have A Nice Life has found new focus and discipline on Sea Of Worry and the album is a triumphant addition to their ever-evolving discography.

Motordiscs is a various artists record serie created by the people behind Garage. The parisian club was shut down during summer 2018 but its spirit continues with Motordiscs: Putting artists together and promoting independant electronic music has always been the credo and is now continuing on records.

Motordisc 1 features tracks from Kasper Bjørke, Khidja, Curses and Zombies In Miami

Japanese legendary jazz guitarist “ryo kawasaki”,some of his famous works are like mellow jazz fusion masterpiece “tarika blue”,dance jazz classic “trinkets&things”,cosmic new wave jazz “lucky lady”,balearic jazz album “little tree” and many more….

“electric world” was released on kawasaki’s own label “satellites records” in 1987,it seems this release was very small production. it’s pretty hard to find out the original copy.nobody selling at even discogs…

original version of “electric world” and “727” are electric jazzy fusion disco and main track on this ep is extended version of “electric world”,it’s very playful 80’s freestyle boogie track.

After his collaboration with Sóley and múm’s Örvar Smárason for the 2018 LP “Team Dreams”, “Sad Party” sees Sindri Sigfússon take things into his own hands again. As a result of frantic and mostly improvised jam sessions, the nine pop songs are as bittersweet as the title suggests, meandering between Sin Fang’s trademark knack for catchy melodies, rich sonic textures and advanced musical experimentalism. Psychedelic and melancholic at once, it brings Sigfússon’s many different musical facets into a consistent and irresistible flow.

“Sad Party” was recorded by Sigfússon alone over the course of three weeks in an old wooden studio in downtown Reykjavík before it was, like so many Icelandic venues in recent times, closed for good thanks to rising rents. “It had a wonderful view, something most music studios do not have,” says Sigfússon of the place, where he had spent so much time recording, drinking and playing table tennis in the past years. Now he locked himself in for three weeks to throw a very last “Sad Party”. Aiming for the music to be “not too fast and not too slow, not too loud and not too quiet”, the songwriter followed a radical stream of consciousness approach for the lyrics.

Starting with lush and warm drones, the opener “Planet Arfth” sets the mood for Sin Fang’s fifth solo record just perfectly. This is goodbye, the wordless vocals in the background seem to say - but we’re going to make the best of it, counters the slow hip hop groove that takes center stage midway through the track. Soon giving way for slow and funky dream pop sounds (“Hollow”), “Sad Party” slowly picks up speed with intricately built rhythms (“No Summer”), piano-driven power pop (“Smother”) and even IDM-influenced electronica (“Goldenboy Is Sleeping”), before the second half makes the melancholy that comes with a farewell audible. The bitter follows the sweet.

After a wonderfully psychedelic gem (“Happiness”), a hazy midtempo rock ballad (“Never Who I Wanna Be”) and a shimmering downbeat piece that highlights Sigfússon’s abilities as a producer of experimental electronic music (“Cloudjuice”), “Constellation” serves as the perfect coda to the album. With its underwater lo-fi aesthetics and its psychoactive qualities, it ends the album with just the right amount of anthemic ambiguity.

Here’s to old places, new beginnings and, most of all, Sin Fang!

Brand new EP by Compact Disk Dummies. Including 'Cry For Me' and latest single 'Satellites'. 'Solar Lottery' and 'Easy Life' are two brand new tracks. The superb ASA Moto Remix of 'Satellites' completes this EP. The EP will be presented to the public during their two sold out live gigs at AB Club in October.

For the first time this massive tune by Esnard Boisdur is pressed on record..One of the standouts in the Gwo-Ka genre.. Comes with a rework on the flip by Africaine 808 (Hans Reuschl & Dirk Leyers) - they used the original stems and added drumcomputer and extra live percussion, synthlines, little dub effects.. Not the ''usual standard threatment'' here!! This is class!

“You don’t need to be a fan of Gwoka or even Antillean music in general to fall in love with the deep, expressive voices of the singers of the genre. Artists like COSACK, ANZALA and ESNARD BOISDUR have fascinated music lovers around the globe for decades. It’s not only the drumming style accompanied by their beautiful melodic intonation, but also the revolutionary spirit of these songs that make them a unique and powerful document of the culture and the history of the Antilles and the Caribbean.

Soul Jazz Records are releasing this stunning new collection, The World of Keith Haring, featuring
music influential to the artist Keith Haring.
The art of Keith Haring is today one of the most recognisable of any visual artists of his generation,
defining 1980s New York during an intense period when downtown artists and musicians collaborated
like never before. Haring’s musical inspiration took in the punk/dance downtown sounds of clubs like
The Mudd Club, underground disco at Larry Levan’s Paradise Garage, as well the early days of hip-hop
and electro.
The album is released to coincide with the opening of the first major exhibition in the UK of Keith
Haring’s work at Tate Liverpool and which runs for the next six months.
Haring’s many friends included Jean-Michel Basquiat, Andy Warhol, Madonna, Fab Five Freddy,
William Burroughs, Jenny Holzer, Yoko Ono, Grace Jones, Larry Levan, Futura 2000.
If you were looking for a person to guide you through the wide variety of nightclub scenes of
downtown New York in the 1980s, then Keith Haring would have been your man.
This album comes in deluxe artwork and three formats – Double CD + 48-page book, a deluxe 3xLP +
bonus 7” + download code vinyl version, and a standard 3xLP + download standard vinyl version. All
formats of the album feature stunning photography, extensive sleevenotes and interviews.
The music here includes the work of a number of Haring’s close friends, including Jean-Michel
Basquiat, Yoko Ono, Larry Levan, John Sex and George Condo (The Girls), as well as healthy dose of
rare disco, early electro and New York punk/dance tracks.

our old friend “sasse” come back on endless flight since 2007. his homie veteran artist “jimi tenor” join to the new single. we already loved their collaboration on studio barnhus. title track on a side is super romantic 80’s style vocal disco track. b side is spiritual jazzy deep house. great double sider.

Late Of The Pier announce a special 10th anniversary edition of their cult debut album 'Fantasy Black Channel', produced by Erol Alkan and released in 2008 to great acclaim. Fittingly, the reissue will be released on a limited lenticular edition of 500, alongside a standard edition both with heavyweight vinyl. The reissue is accompanied by a digital companion album of unreleased demos and outtakes from the album recording sessions - set for release through Alkan's Phantasy Sound label, landing in stores on 18th January 2019.

LOTP (Sam Eastgate, Andrew Faley, Ross Dawson and Sam Potter) were a band of inter-dimensional musicians who landed in the late noughts, whose wild journey took them from the quiet North West Leicestershire countryside to the stages of Coachella, Tokyo and beyond, touring with the likes of Soulwax and Justice. Their music was a mutant take on pop that described the chaos of being a teenager by looking forwards and backwards over and over again until the present moment started to make sense. Following the release of Fantasy Black Channel they put out singles 'Blueberry' and 'Best In The Class' in 2010, picking up fans from Mike Skinner to Dave Grohl along the way. Talking in a 2014 interview, Grohl exclaimed, 'They blew my fucking mind. They're called Late of the Pier. They made one record and disappeared. They use crazy computers and then they rock and it sounds like dubstep for one minute, then it's a crazy prog thing, and it's like, 'Wow'.'

It seems KPM have long been fans of Smith and Mudd and, after being introduced to each other by mutual friend Andy Allday, the peerless Balearic maestros were invited to contribute to the library label’s digital-only “Album Shorts” project. The results are predictably wonderful.

With past projects under our belt working with everyone involved so far it made perfect sense for Be With to take on the vinyl release of this instant library classic. But why is it called “Tea With Holger”?

“Holger” is of course Holger Czukay and the whole LP is dedicated to Smith and Mudd’s time spent with him and Ursa Major at Can’s famous Inner Space Studio in Weilerswist, near Cologne.

When not recording it seems they spent a great deal of time sat around being entertained by Holger’s stories and drinking many cups of different sorts of tea from all over the world. These moments provide some their fondest memories of their visits:

“Looking back, it was pretty incredible that we spent part of our lives with Holger in one of the most magical places we’ve ever known, Inner Space Studio. We have our memories and, of course, the Bison album we made with him. But to honour the time we spent with him, we wanted to dedicate an album to him called ‘Tea With Holger’. The names of the tracks are about that time.”

The album was recorded over several years in London, Margate and Gorthleck, a small hamlet in the Scottish Highlands. Mike Piggott, who played with Bert Jansch, handled the strings and played violin whilst Sam Creer lent his virtuoso cello work to the proceedings. The sessions employed a key recording technique from their time with Holger: hit record and play. They wanted to capture magical improvisational moments live and not do the work later on in editing.

In their own words (and in classic library record sleeve style) these tracks are collectively described as “Balearic themes including breezy soul, sun-dappled melodies, warm pianos and sweeping strings”. You want to hear this, right?

The album is vintage Smith and Mudd. The gentle piano ushering in opening track “The Gardener” is soon joined by low, bubbling drums. When the time is just right, lush guitars glisten above a Welsh language vocal that floats like silk. Easy as a sea breeze. “Innerspace” is of course a nod to Can’s aforementioned studio. Dark, heavy piano meets rolling drums before warm chords and luscious strings take over, gliding over moody grooves to drive you home. Closing out side A, “Weilerswist” delivers more beautifully rolling piano and guitars over thumping cellos and building drums.

Side B opens with the full, string-enhanced version of “Away From Me”. This is Smith and Mudd’s prefered version and it’s only available here on this vinyl issue. For us it’s the standout on this all-highlight album. Tribal tones, piano and cello set a melodic staccato for violin to soar over while rolling piano lines and gospel organ chords descend into a drum drop that leads to a glorious vocal lead finale.

Distant synths introduce sun-drenched guitars and uplifting strings in “Kölner Street”, before a spacey Moog solo leads to a spellbinding, sci-fi drop. The sunshine returns before the track ends. The album closes with “Tea With Holger”. Airy vocal swells are punctuated by plucked cellos and picked guitars, all wonderfully warmed by a soulful piano.

Cut by Pete Norman and pressed in the Netherlands by Record Industry, “Tea With Holger” comes in a classic KPM green sleeve complete with track descriptions from Smith and Mudd themselves. The finishing visual touches come courtesy of Richard Robinson. We’ve given this record the same care and attention as we give to each our KPM re-issues, and it’s just as essential.

Kranky veteran Benoît Pioulard (né Thomas Meluch) has created his first full-length for Morr Music, complemented by a linen book of Polaroid SX70 photographs from more than two years of environmental explorations. The music on Sylva and its 84-page visual companion bear the beauty and strange shapes of nature: desert rock formations and colorful leaves, restless waters and peculiar plants. Meluch’s dreamy ambient drones and saturated lo-fi pop embody the impressionist sensation of his visual aesthetic – with this collection sound and vision are merged into an affectionate study of the organic.

Sylva is the result of one of the most productive periods in Meluch’s life. During a 9-month hiatus from his day job he embarked on daily recording sessions amid trips to the American southwest, Montana, Hawai’i and his native Michigan. Back home in Seattle, he developed his recordings and wrote the album’s two mesmerizing vocal tracks, which call to mind early Fleetwood Mac or peak pop-era Brian Eno. “Keep” is based on a tiny flower called Draba mentioned in the book A Sand County Almanac, about which “no one ever wrote a poem”; considering all the little plants he had inadvertently crushed throughout a lifetime of hikes, he wrote it for them. The piano-driven “Meristem” features a striking violin contribution from Freya Creech (London, UK), and is dedicated to Meluch’s brother, who died suddenly two years ago. Sylva’s other collaboration is the soaring vocal arrangement created for “Raze II” by Pulitzer Prize-winning composer/singer Caroline Shaw (New York, USA), a former touring mate who resided at the Banff Centre (Alberta, CAN) during the same period in which Meluch completed his recordings there.

The album’s ten songs are divided into four movements: Solum (soil/solitude), Ignis (fire), Coeptum (seed) and Vireo (thrive), with each group embodying a slightly different environ. When paring down the photo collection Meluch abided three guidelines: no man-made objects, no redundant textures, and a color palette as diverse as his vintage camera allowed. From more than six hundred images, 102 were selected and arranged in diptychs with a preface from the artist. Book and album work well on their own, but by experiencing them together one finds a fundamental connection as well as a three-dimensional view into their creator’s perception of the cosmos.

The first longplayer by this Minimal Synth Wave band from Los Angeles. Image Of Life is a side project of the singer of the band PURE GROUND.

New Ways is a new album by Montreal’s Leif Vollebekk, his hotly anticipated follow-up to the Polaris Prize finalist Twin Solitude. It’s a record that lives between the kick and the snare, in that instant of feeling before the backbeat.
“The way that it was is the way it should be,” Vollebekk sings on “Phaedrus”—a line that’s a memory and a wish. New Ways is that too: the sound of desire in its unfolding. Two years ago, things were changing so fast, and the songwriter didn’t want to forget. “I often think of Leonard Cohen’s line, ‘I hope you’re keeping some kind of record,’” he says. “So I did.” It was like he was pretending you can compose a soundtrack to your own life (which perhaps you can).

In the end, New Ways is a document of everything Vollebekk felt, the way each moment arrived and moved through him. Whereas Twin Solitude was about self-reflection, New Ways is about engaging and changing, touching and being touched. It’s a physical record, with louder and tighter grooves, and the rawest lyrics the musician has ever recorded. A portrait of beauty, desire, longing, risk, remembrance—without an instant of regret. “She’s my woman and she loved me so fine,” goes the chorus to one tune. “She’ll never be back.”

Jeffrey has received jaw-dropping praise from practically every major news and music outlet over the years, as well as awed testimonials from the likes of David (Silver Jews) Berman, Jarvis (Pulp) Cocker, Ben (Death Cab For Cutie) Gibbard, Will Oldham and others… and this new album “Bad Wiring” makes it completely clear why. In all of indie-rock there is no force like Jeffrey Lewis. Although mostly recognized for his lyrical skills (as well as his illustration/comic book skills), the secret weapon in Lewis’s arsenal has been his slow evolution from DIY folkie in the late 90s to barn-burning indie-rock live sensation. New band name The Voltage is a bit of a slight-of-hand, as the musicians are the same bassist, Mem Pahl, and same drummer, Brent Cole (also of the Moldy Peaches), that Jeffrey has been touring the world with for the past four years as “Jeffrey Lewis & Los Bolts.” But Jeffrey continues his tradition of using a new band name for each release… and as Jeffrey says, “everybody knows most good bands have a ‘v’ in their name… Velvets, Nirvana, Pavement, Vaselines, Violent Femmes, Camper Van Beethoven, Modern Lovers, etc!” Recent Jeffrey Lewis band names like “The Rain”, “Los Bolts” and “The Voltage” are also in reference to the fact that Jeffrey’s middle name is Lightning, the result of being born on the Lower East Side in the 1970s to hippie parents. It was almost his first name but got moved to the middle name when he was born!

The album was recorded and produced in Nashville by Roger Moutenot, the man responsible for producing all of the classic Yo La Tengo albums. Moutenot, who also worked on Lou Reed’s “Magic and Loss” album, and Sleater Kinney’s “Hot Rock” album was definitely the right man to capture these twelve new Lewis songs in the studio. As Lewis explains, “As an experience of working with a producer, it was a dream come true. I obviously worship a number of the records Roger had produced in the past, so I specifically sought him out. The fact that he’s in Nashville was just accidental, we would have traveled to record with him anywhere. Now when people hear we made our album in Nashville, everybody’s like, oh, I guess this is your country album…”

NYC singer, guitarist and producer Grey Mcmurray releases his first solo album through Shahzad Ismaily’s figureight records.

Thoroughly blooded as a sideman to musical giants (Grey has performed alongside Gil-Scott Heron, Tyondai Braxton, Alarm Will Sound, Beth Orton, ACME, Colin Stetson, Sam Amidon and John Cale among others) Stay Up represents an artist emboldened by musical heritage and a songwriting voice refined, singular and mesmerising. The album is uniquely expressive, ranging from sweetly melodic passages reflecting the traditional cast of a singer-songwriter, to huge open plains of chord-washes and chorus, to dense, dark, acute dissonance, all composed and performed by a master of his instrument.

Grey’s guitar playing - sought after by so many luminaries - is of course a cornerstone here. More than just a backdrop for the message, the guitar often becomes the clearest voice in the room. Unshowy, unpretentious, but eloquent in his storytelling, Grey uses the instrument in the gentlest ways. Lead single “Wanting Ways” combines subtle chords with a constant bassdrum beat, punctuated with a glorious piano hook, secret, fizzing synthesiser and the tenderness of Grey’s effortless tenor. The guitar almost becomes overlooked, such is the precision of its placement. Contrast this with “Keep Your Mind”, a sermon to the self in the face of mental illness, in which the guitar reels on the precipice of madness, threatening to pull the harmonies apart with gamelan-bell ruckus. You’ve got to work hard to keep your mind / when you sleep at night / thinking you’re resting when you’re uptight, Grey tells us, amidst Roky Erikson-esque howls.

Girl is the second album from the North London band Girl Ray, released on 8th November 2019 via Moshi Moshi. Recorded at Electric Beach Studios in Margate with Ash Workman (Christine and the Queens, Metronomy), the album is a delightful, sun-kissed tribute to their love of pop and R&B.

The three-piece, comprising Poppy Hankin, Iris McConnell and Sophie Moss, today share a taster of the new record with “Show Me More”. According to the band, the song is about “crushing really hard but having to play the long game and wait it out because your boo is playing savage games. It’s your classic pop banger. Steamy dance floor. Drinks on me.” The accompanying video was directed by Crusoe Weston and features the band cycling around the city at dusk.

It was Ariana Grande’s explosion into pop culture that kickstarted a new era for Girl Ray, as well as the realisation that their most-listened-to Spotify playlists contained pure pop music. When Poppy began experimenting with writing songs on a computer using keyboards, a collection of shimmering, foot-tapping, sparkling pop bangers poured out. With this new set of songs, Girl Ray have been brave enough to completely change their sound rather than play it safe, yet still remain unmistakably themselves - it’s Girl Ray, but with added synths.

Stars Are the Light, the luminous seventh album by the American psych explorers Moon Duo, marks a progression into significantly new territory. From a preoccupation with the transcendental and occult that informed Ripley Johnson and Sanae Yamada’s guitar-driven psych rock, and reached its apotheosis in the acclaimed Occult Architecture diptych, Stars Are the Light sees the band synthesize the abstract and metaphysical with the embodied and terrestrial.

Branching out from Occult Architecture Vol. 2, the album has a sonic physicality that is at once propulsive and undulating; it puts dance at the heart of an expansive nexus that connects the body to the stars. These are songs about embodied human experience — love, change, misunderstanding, internal struggle, joy, misery, alienation, discord, harmony, celebration — rendered as a kind of dance of the self, both in relation to other selves and to the eternal dance of the cosmos.

Combining the poignant simplicity of Erik Satie-esque piano and ethereal Sigur Rós-style vocals, Thomas Méreur’s debut album Dyrhólaey brings his memories of landscapes he experienced on a trip to Iceland back to life.

“I wanted Dyrhólaey to be very simple, so it's mostly about piano and voice,” says Thomas. “Blending the voices together to create a whole new melody was very exciting to record, and brings a rewarding sense of richness.”

Named after Dyrhólaey, a small peninsula on the south coast of Iceland, Thomas has always felt a connection to the country through the music of artists such as Sigur Rós, Ólafur Arnalds and Björk. There are two themes that blend together on this album – Iceland and losing someone – with some of the lyrics making reference to the wild Icelandic nature and strange comforting loneliness that seems to come from it.

Antony Ryan and Robin Saville – the inventors of electronica – are returning with their ninth studio album. Three years in the making, “The Lamenting Machine” will go down in history as the deepest and most satisfying chapter yet in the ongoing musical conversation between these brilliant musicians. Subtle yet mesmerizing melodies evoking long forgotten memories, calmly throbbing bass figurines pulsing gently along – all paying tribute to free-floating rhythms and their eternal noises. ISAN has always been an intimate and personal take on electronic music.

Produced both in Denmark and the UK in their respective studios, each of the eight tracks symbolises a sea of blossom carefully crafted and tended to, bringing color and hope to today’s fragile and volatile world. And while there is definitely a lot worth lamenting about, ISAN’s machine of the same name is an explorational celebration of their own musical past, once more bringing to the surface the project’s essence of aural delight.

Listening to ISAN requires time, but it is time well invested. While sounding exquisitely lighthearted from the outside, a closer inspection reveals a richly orchestrated and multi-layered musical riddle, mimicking a hedge maze of gargantuan scale and complexity, with each tone and each rhythmic pattern to be dissected, analysed and understood individually in order to find the way out. Getting lost in the moment while doing so never felt better. ISAN’s music has always had this quality, yet reflecting on their own past more consciously, the music on the new album redefines this approach in a more precise and gratifying way than ever before. While wholeheartedly shimmering and drenched in beauty, in order to fully appreciate the whole scale of ISAN, it is key to bravely engage with the underlying vagueness and fuzziness lingering in the tracks.

Human beings are not perfect. Neither are the means with which they produce music. This very realization has always played an integral role defining, carving and polishing the project’s musical identity. Letting each piece of gear be true to itself, accepting its flaws as part of its unique personality, and turning these frailties into a starting point of inter-circuitry communication, ISAN has been at the forefront of humanising technology and eliminating the dystopian men machine debate, clearing the table for a better future. This approach actually requires time in the studio as well: circuits need time to warm up, get to know each other, understand the energy flowing through the cables connecting them, figuring out what to do and what they really want. This process is not so much about giving up control, but rather to moderate a constant exchange of ideas. Having perfected this technique over the last two decades, ISAN are finally ready to share their very own approach with the rest of the world. With newly set-up channels on both Instagram and YouTube, Ryan and Saville opened the windows into their studios, offering a glimpse into how their most magical album yet came into being. There really is no lamenting to be done. Not at all.

"In 2016 I released Cascades. Francois K got in touch with some very kind words about the track and offered to remix it, initially in surround for his 2016 show at the Ministry of Sound and later on in stereo. Here it is. It's deep & luscious. Enveloping and all encompassing. A melted chocolate fountain of warmth & joy minus Augustus Gloop.

Halav Av is a Tel Avivian super-group consisting of members of the Israeli alternative music scene. Alonzo and Amitkes of The Crotches, Niv of Red Axes, Yovav of Shame on Us and Adiel of Hila Ruach & Future Shock.

This summer the band will release their first album, the first singles to meet the public’s ears will be To Live, Talk to Me and Mt. Beitar. These singles and the rest of the album were recorded by Uri Mixmonster of The Apples straight onto two-inch tape like the good ol’ days.
In addition to Mixmonster’s recording expertise, the album features Cello virtuoso Noa Ayali of The White Screen and Keyboardist Shay Landa of The RPS Surfers.

Wrapped up in a cover by the praised Israeli artist David Tartakover, the songs in this album are meant to be short and ticklish just like a father’s bristles. Because Father’s Milk is the essence of male gentleness. It is romantic, optimistic, nostalgic and naive. It’s childhood. It’s longing. It’s longing for childhood. Father’s Milk is the feeling of fatherhood, even if without offsprings. Father’s Milk is love, it’s music, it’s nourishing music.

Following the success of her 2018 solo debut album »Kontrapoetik,« the Swedish composer Maria W Horn returns with »Epistasis,« her most ambitious record to date. The title track, »Konvektion« and the two parts of »Interlocked Cycles« see the XKatedral co-founder explore radical approaches to composition that combine avantgarde methods with electronic means. While »Kontrapoetik« highlighted Horn’s strength as a conceptual and political artist, »Epistasis« is to be understood as an advanced statement by a forward-thinking composer who throughout four pieces channels her influences, ranging from black metal to minimal music, through state-of-the-art technology.

Originally composed as an audiovisual piece for synchronised multichannel sound and lights and premiered in 2018 at the Royal College of Music in Stockholm, »Interlocked Cycles« is a series of pieces exploring a gradual increase in tempo and density using various instruments. It was written to be performed by a computer-controlled upright Disklavier piano while the electronic part was generated within the Supercollider framework using phase modulation synthesis. Navigating between acoustic and electronic sounds, the two parts of »Interlocked Cycles« create a frame for the album by respectively serving as an introduction and coda to Horn’s musical exploration of the notions of authenticity and artificiality.

The nine and a half minute long title track was composed for an eight-voice double string quartet and draws on evolving progressions in F minor that were inspired by the sound and harmonic structures of early nineties doom and black metal music. During the performance of »Epistasis,« which was commissioned by Konstmusiksystrar and premiered by Malvakvartetten at Konserthuset in Stockholm 2018, four parts are played by the string quartet and four parts are played back electronically. Using various amplification techniques, the spectral characteristics of the string instruments are enhanced and distorted and were later on complemented by feedbacking electric guitar overdubs while mixing the piece. The result are densely layered drones that are most unsettling when they are the quietest and reveal their anthemic qualities in their most forceful moments.

The structure of »Konvektion« however takes its cues from a very different field of the musical world. The composition progresses in a way that was inspired by Arvo Pärt’s »Tintinnabuli« technique, where step-by-step diatonic movement interplays with triads to form a complex harmonic function that is still rooted in tonality. Based around four-note chords articulated as dyads and performed by two organists on the same instrument, the duration of each dyad is measured by the individual breaths of the two performers while pitches are predetermined in the score of the piece. The alternating breathing cycles of the performers slowly move the piece forward at a glacial pace. Simultaneously, an electronic part composed of interference tones creating high and low frequency beating patterns gradually unfolds, making »Konvektion« an exercise in minimalism that combines the subtle gravity of Phill Niblock’s work with the visceral theatrality of Anna von Hausswolff’s organ pieces.

Edited and mixed between Montreal and Paris, From Somewhere Invisible summons the fever of experimentation and a powerful sound coming together in the service of a luxuriant and psychedelic drift. Synthetic brass meets hammered rhythms, string electrics with cracked electronics, saxophone cries and laughter at a pulsing and seminal bass.

Created in 2012 by multi-instrumentalists Frédéric D. Oberland and Stéphane Pigneul, Oiseaux-Tempëte (Storm Petrels) is a constantly evolving collective that, embracing the freedom of improvisation, transcends borders and cultures, straddling the intersection where amplified music (post/kraut/free-rock, jazz-punk, avant-garde, experimental electronics) collides and finds common ground -- a refuge. Sensitive to the beating of hearts, hypnotic beats, and explosions of materials, Oiseaux-Tempête embrace the community of collaboration, regularly inviting to the studio and tour friends, like: the electronic producer Mondkopf, the Dutch performer G.W.Sok (The Ex), drummers Jean-Michel Pirës (Bruit Noir, The Married Monk), Sylvain Joasson (Mendelson), Ben McConnell (Beach House, Marissa Nadler), British bass clarinetist Gareth Davis, contemporary Ondes Martenot player Christine Ott , and musicians Charbel Haber & The Bunny Tylers, Sharif Sehnaoui, Fadi Tabbal, Tamer Abu Ghazaleh, Youmna Saba, and Two Or The Dragon.

At the end of November 2017, Oiseaux-Tempête flew to Canada at the invitation of Radwan Ghazi Moumneh (Jerusalem In My Heart). The program for the quintet (Frédéric, Stéphane, Jean-Michel, Mondkopf, and G.W.Sok): two concerts in Montreal and Toronto in support of the collaborative project Suuns and Jerusalem In My Heart (specially reformed for the occasion), fraternal encounters buried beneath the Canadian snow, and to finish, a mysterious two-day studio session in Montreal's legendary Hotel2Tango. Radwan shifts from the recording controls to the buzuk, the spiraling strings of Jessica Moss (Thee Silver Mt. Zion) a welcome surprise. With usual urgency, Oiseaux-Tempête rushes with joy towards the invisible outcome. The fourth studio album and seventh release on the Belgian avant-garde label Sub Rosa, From Somewhere Invisible embraces the new. Leaving aside for a while the logbooks of long journeys and the field recordings of the previous albums, the music of Oiseaux-Tempête unfolds as a twilight and prophetic orchestra around G.W.Sok's punctuated voice. The poems of Mahmoud Darwish, Ghayath Almadhoun, and Yu Jian question the modern man and his double, the strange and foreign, the fragmented real, the violence, society and its mirror. The eyes we hide behind, the ones we should open. These intimate compasses which can make us rise together in the midst of shrouded ruins; there is always a black raven to defy the horizon.

Inland is Vanessa Wagner’s continuation of the exploration of the minimalist composers register to complete the solo continuum of the Statea released in 2016 with the Mexican producer Murcof. Inland highlights a set of pieces, mostly rare or unavailable to date (Moondog, Nico Muhly, William Susman, Bryce Dessner, Gavin Bryars...) and some other well known (Philip Glass, Wim Mertens, Michael Nyman) that Vanessa Wagner performs with her classic pianist background and velvet sound.

Lucie Antunes is a French classically trained drummer and percussionist, inspired by the pioneers of minimalism. Her debut album SERGEÏ is a tour de force of eclectic music that leaves the listener amazed, almost hooked up in Lucie’s magnetic spiral of sounds. The eclecticism that pervades SERGEÏ is shown by Lucie ability to create labyrinths of sounds through the use of unconventional instruments such as marimba, vibraphones, celesta, tubular balls, glockenspiel and ondes Martenot.


Sergei is a statement of freedom. The same childish freedom that we run behind and that we desperately seek. Lucie, with SERGEÏ, achieves her freedom and builds on it, the artist that she is with no compromises but only with the determined ambition to break the boundaries, to shake genres and to make the eyes smile.

Milan Knizak 1979's masterpiece never re-released before. Presented as a gatefold with the original design.

Milan Knizak (born 19 April 1940) is a Czech performance artist, sculptor, musician, installation artist, dissident, graphic artist, art theorist and pedagogue of art. Before everyone else - Christian Marclay, Philip Jeck, eRikm, Martin Tétreault, Otomo Yoshihide - there was Milan Knizak.

In 1964, Milan Knizak, a member of Fluxus from behind the Iron Curtain, sat down on a sidewalk near the Charles Bridge in Prague, laid down a paper carpet right into the street, and starts tearing pages out of books and burning them. Around the same time, he began to create music from defective, worn, damaged or broken LP's. These Broken Music compositions, his classic collages of noises created during performances and happenings, are widely regarded as important sound art documents on record.

"In 1963-64 I used to play records both too slowly and too fast and thus changed the quality of the music, thereby creating new compositions. In 1965 I started to destroy records: scratch them, punch holes in them, break them. By playing them over and over again (which destroyed the needle and often the record player too) an entirely new music was created - unexpected, nerve-racking, aggressive and even humorous. Compositions lasting one second or almost infinitely long (as when the needle got stuck in a deep groove and played the same phrase over and over). I developed this system further. I began sticking tape on top of records, painting over them, burning them, cutting them up and gluing different parts of records back together, etc. to achieve the widest possible variety of sounds." Milan Knízak, Broken Music

Taking inspiration from a vast musical sphere, the Munich-Vienna pair Jorkes are widely recognised for their open-minded and passionate approach to electronic music which is translated through their Freeride Millenium imprint and own unique productions. ‘Cross The Line’ will be the duo’s first outing since 2016 seeing them join up with the Italian pair Hard Ton who are known for releases on Wonder Stories, Luv Shack Records, Toy Tonics and many more. Jorkes invite Live At Robert Johnson artist Massimiliano Pagliara and Philpot founder SoulPhiction aka Jackmate for remix duties which tops off this distinctive release highlighting the openness and sensibility of their musical philosophy.
‘Cross The Line’ begins the EP with alleviating pads balanced harmoniously with alluring, heart-warming vocals and gentle keys drifting throughout before Massimiliano Pagliara delivers an infectious remix focusing on hypnotic bass grooves, effervescent drums and undulating pads fluttering naturally with the stirring modulations.
‘Jackmate’s Dub Mix’ deploys low-riding resonations fused with muffled tones and thrilling, shuffling rhythms within whereas ‘Jackmate’s 90s Mix’ focuses heavily on organic percussion rolling throughout with robust musical elements and looping vocals. SoulPhiction’s ’Dub Mix’ completes the pack with a tranquil take on the original laying focus on funk-infused instrumentals and subdued jazz drums.

Les Innocents’ ‘Post-Partum’ album originally released in 1996 is being for the very 1st time on vinyl with 4 rare and demo bonus tracks.
Tracklist includes the hits ‘Colore’ and ‘Un monde parfait’.

Trentemøller returns with his fifth studio album 'Obverse' in September 2019! Anders Trentemøller is a well-known multi-instrumentalist, but perhaps the one he’s most adept at is the studio itself. 'Obverse' is the result of him expanding that skill even further. 'Obverse' often feels like an instrumental album because it started life as one, the driving philosophy being “what if the pressure of having to perform these songs live is removed entirely?” Granting yourself the freedom to chase down every idea a studio offers comes with privileges. What happens when you reverse a synth part mid-verse? Why not send an entire track through a faulty distortion pedal? Inspiration reveals itself in a variety of forms and, before long, a simple chord progression contorts into something entirely new. It’s a work method that yielded great results for the legendary German Kosmiche/Motorik experimentalists of the 1970’s. Intentional or not, 'Obverse' embodies more than a little of that spirit without even a hint of pastiche.

So it only makes sense that 'Obverse' would stray from its original roadmap. In due time, half of the nascent compositions featured singers, including Lina Tullgren, Lisbet Fritze, and jennylee, of Warpaint, another band deeply influenced by dream pop. While 'Obverse' was born from a different work ethic than previous efforts, it also continues an arc that started in 2006. Each successive effort has represented a logical next step beyond the album before, and 'Obverse' absolutely picks up where Fixion left off.

For the past decade Trentemøller has been perfecting this form of sonic chiaroscuro to conjure up images of severe landscapes, and to mirror the Scandinavian climate, where half the year the sun barely sets, and the other it barely tops the horizon. While there has been a film noir element in his previous work, 'Obverse' is the first time each song has felt like a collection of pocket soundtracks.

By fusing together a love of dream pop, dark synth-based music, film scores, and a deep connection with the stark Nordic panoramas, Anders has created an inimitable language. Ultimately 'Obverse' resides in a genre all its own.

After being unavailable on vinyl for several decades, the third album of iconic French duo Les Rita Mitsouko is made available for the first time with audio re-mastered from the original tapes by Bernie Grundman Mastering. The original packaging has been strictly reproduced along with the original tracklist featuring the hits ‘Singing In The Shower (Les Rita Mitsouko & The Sparks)’, ‘Le Petit Train’ and ‘Hip Kit (Les Rita Mitsouko & The Sparks)’.

Rolf Hansen, who as a guitarist is originally rooted in jazz, has been one of the most in-demand studio and session musician in the Danish rock, pop, and folk scene. Between 2010 and 2017, he toured under the name Il Tempo Gigante as a solo artist and released two albums: »Lost Something Good« (Speed of Sound, 2010) and »Watch It Watch« (Resonans, 2014). With subsequent tours throughout Europe, he made a name for himself in the alternative folk scene.

After a phase of reorientation, he now releases his first purely instrumental record under his real name through the Berlin-based Karaoke Kalk label in September. On his third album »Elektrisk Guitar«, the many different influences Hansen has gathered as a composer, solo performer, session musician and producer shine through.

The concept of limitation - an album composed for and played with solo guitar - is being mirrored in the conception of the album itself. Not only does Hansen resolutely constrain himself to a sole instrument, he also eschews traditional composition techniques and follows an experimental approach.

»Elektrisk Guitar« is an album that enters into a dialogue with its conscious and attentive listener. Pieces whose melancholy is carefully weighed meet complex musical structures that again and again provide new challenges. In just 43 minutes, »Elektrisk Guitar« offers a plethora of ideas, impressions, details, and inspiration. And even more so, it opens up a room for its listeners to explore, precisely because its minimalistic compositions create a lot of space in which to get accommodated in.

Apart from his solo projects, Rolf Hansen has for several years been connected to Donna Regina as well as Anders Mathiasen (formerly Murder, now Vessel, DK) and Henriette Sennenvaldt (formerly Under Byen, DK) through close collaborations.

Gas Station Roses, Sis’s second full-length album, is the Berkeley-based band’s devotional document of six weeks spent in the dream zone of the studio.

Lovingly made, with earthen percussive elements, chance technique, inside a glimmering forest full of synths and guitars, the album reunites Sis for their most assertive musical statement yet.

Unabashedly drawing from the well of that musical era’s emotional yet funky potency, you can hear Blue Nile, Grace Jones, Talking Heads and Peter Gabriel in the elegantly shifting soundscapes of the album.

Originally envisioning a quieter acoustic album to complement the darkly swooning r ‘n b of their debut album Euphorbia (Native Cat Recordings 2018), once in the studio, the band started playing each other songs by other artists before getting to work on anything, such as “Shadows from Nowhere” by the obscure dream-pop 80s band Blue Gas, the feminist and funky album Raw Like Sushi by Neneh Cherry, and the anthemic weirdness of Toto.

DEEP DARK BLUE presents an album filled with gentle surprises. When We Get Together takes you through lightly psychedelic melodies for the heart and mind to get lost in. Though highly polished as a production, a sense of underlying spontaneity implies a process that's closer to an improvised jam session than a planned composition. The lush synths, complex percussion, and shimmering melodies create rich backdrops for reveries. Each song bobs and weaves through opposite contrasts, often going back and forth between melancholic to bright. Yet each song remains cohesive and leaves you wondering how you arrived at the end of each track.