Pop & Rock News

ORACULO RECORDS is proud to be again the selected label for another very awaited album advance. In this case, NEON ELECTRONICS 'Apollo', to be released in early 2019. Leadered by Dirk Da Davo (Ex The Neon Judgement), NEON ELECTRONICS plays on the bounds or krautdarkrock and minimalistic ebm pushing the audience to a lysergic trip. This EP includes as well an amazing live version of TNJ super classic 'TV Treated' recorded in 2018. It will be presented on 12 EP format and produced in a ONE-OFF truly limited edition of 300 copies lacquered pressed on 180 gr. high quality solid black vinyl. All tracks have been specially mastered and remastered for LONG CUT vinyl by Eric Van Wonterghem.

Nightscapes recalls the feelings that are triggered and heightened by the dark hours. Recurring dreams, hypnagogic states, and half-sleep visions. The childhood sense of anticipation for the future that strikes in the middle of the night. The bittersweet feeling of waking up from a dream that has transported you back in time...

David Rothon is a musician from south London who has been involved in a variety of musical activities over the years, from garage bands to experimental spoken-word projects. These include a collaboration with Ian Masters (Pale Saints) as Sore & Steal and, more recently, Cloudier Skies with performer/chanteuse Claudia Barton, which was championed by Radio 3's Late Junction.

David conjures up the hours between dusk and dawn by deploying a variety of instruments including pedal steel guitar, Mellotron, Omnichord, strings and cor anglais, as well as experimenting with unusual chord changes and voicings. Patching instruments through unexpected effects pedals, and running tracks out to cassette tape and back again, help bring an otherworldly ambience to the record. Parts of the album were semi-improvised, with melody lines developing from take to take, while field recordings and happy accidents led to serendipitous results.

Nightscapes takes you on a nocturnal journey - whether into your emotions and memories, or the sleeping world outside.

'..... an organ-led delight that recalls everything from Booker T & The MGs to vintage library music.' Clash magazine

The Scandinavian kings of 21st century library recently returned with their sixth album and now the first to gain a UK release; sounding like Stereolab playing covers of groovy sixties lounge pop while adding contemporary sounds and textures. This is where Krautrock inspired electro meets psychedelic funk soundtracks from Italian B-movies. In Trummor & Orgel's own words: 'the goal behind making Indivisibility was to find balance between the organic and the electronic, the dynamic and the predictable, then and now; the equilibrium between man and machine.

Since the start in 2003 Trummor & Orgel have released six instrumental full-length albums, they have worked musically with, among others, Ebbot Lundberg (The Soundtrack of Our Lives), Magnus Carlson (Weeping Willows) and Peter More´n (Peter, Bjorn and John), featured music in several TV shows and movies, received a Swedish Grammy nomination in the Jazz category, composed the score for a silent movie - but most importantly, built a reputation as being a brilliant and mind- blowing live act through their several hundreds of acclaimed live shows in Scandinavia and parts of Europe. Trummor & Orgel is Anders Ljunggren (organ) and Staffan Ljunggren (drums).

Released on Salvation Records in the UK, Trummor & Orgel join the label that introduced Klaus Johann Grobe to an international audience as well as releasing records by Liverpool's Strange Collective and France's Forever Pavot amongst others. Available in a physical format in the UK for the first time, Indivisibility is released exclusively on vinyl.

Upon examining the eventful life of Can bassist Holger Czukay, one might conclude that this intrepid musician was a loner. His turbulent career exuded an enduring eccentricity governed by a boundless free spirit. Yet Czukay,
who passed away unexpectedly last year at the age of 79, constantly emphasized that his creativity was always contingent upon a musical partner, whether that was a skin-and-bones counterpart or an anonymous manifestation that interacted with him through radio waves or, as happened later, the internet. Nonetheless, most of his partners were of flesh and
blood.
His oeuvre, which is in itself cinematic in nature, boasts a cast worthy of a Martin Scorsese film. Only the most interesting character actors were cast:
Brian Eno, Phew, Rolf Dammers, David Sylvian, Annie Lennox, Jah Wobble, his Can bandmates... the list could go on and on.
Many of these masterpieces are now out of print, so Groenland Records, who already released the highly acclaimed retrospective 'CINEMA' to mark the occasion of Holger's 80th birthday at the beginning of the year, has taken it upon themselves to release reissues of Holger's music in order to make it accessible once again.

Upon examining the eventful life of Can bassist Holger Czukay, one might
conclude that this intrepid musician was a loner. His turbulent career exuded
an enduring eccentricity governed by a boundless free spirit. Yet Czukay,
who passed away unexpectedly last year at the age of 79, constantly
emphasized that his creativity was always contingent upon a musical
partner, whether that was a skin-and-bones counterpart or an anonymous
manifestation that interacted with him through radio waves or, as happened
ater, the internet. Nonetheless, most of his partners were of flesh and
blood.
His oeuvre, which is in itself cinematic in nature, boasts a cast worthy of a
Martin Scorsese film. Only the most interesting character actors were cast:
Brian Eno, Phew, Rolf Dammers, David Sylvian, Annie Lennox, Jah Wobble,
his Can bandmates... the list could go on and on.
Many of these masterpieces are now out of print, so Groenland Records,
who already released the highly acclaimed retrospective 'CINEMA' to mark
he occasion of Holger's 80th birthday at the beginning of the year, has
aken it upon themselves to release reissues of Holger's music in order to
make it accessible once again.

Upon examining the eventful life of Can bassist Holger Czukay, one might
conclude that this intrepid musician was a loner. His turbulent career exuded
an enduring eccentricity governed by a boundless free spirit. Yet Czukay,
who passed away unexpectedly last year at the age of 79, constantly
emphasized that his creativity was always contingent upon a musical
partner, whether that was a skin-and-bones counterpart or an anonymous
manifestation that interacted with him through radio waves or, as happened
later, the internet. Nonetheless, most of his partners were of flesh and
blood.
His oeuvre, which is in itself cinematic in nature, boasts a cast worthy of a
Martin Scorsese film. Only the most interesting character actors were cast:
Brian Eno, Phew, Rolf Dammers, David Sylvian, Annie Lennox, Jah Wobble,
his Can bandmates... the list could go on and on.
Many of these masterpieces are now out of print, so Groenland Records,
who already released the highly acclaimed retrospective 'CINEMA' to mark
the occasion of Holger's 80th birthday at the beginning of the year, has
taken it upon themselves to release reissues of Holger's music in order to
make it accessible once again.

Die LP "Chronolyse" kam zwar 1978 und nach "Rhizosphere" auf den Markt, doch eigentlich ist sie Richard Pinhas' erstes Soloalbum, da die Aufnahmen schon 1976 entstanden. Zu dieser Zeit war Pinhas stark von Frank Herberts Roman "Dune" beeindruckt, was zum Beispiel Songtitel wie "Duncan Idaho" erklärt. Es handelt sich hier um den Namen einer der Romanfiguren. Musikalisch ist "Chronolyse" streng zweigeteilt. Die erste rein elektronische und hörbar von Klaus Schulze inspirierte Hälfte, eine Reihe skizzenhafter Stücke mit
repetitiven Sequenzer-Mustern, wurde von Pinhas live im Studio auf zwei Moog-Synthesizern improvisiert.
Die zweite rockigere Hälfte, ein knapp 30 Minuten langes Stück mit dem Titel "Paul Atreides", ist ein ausgedehnter Prog-Jam, in dem Pinhas seine Synthesizer-Experimente um Gitarre, Mellotron, Bass und Schlagzeug ergänzt. Hier zeigt sich deutlich der Einfluss von King Crimson im Allgemeinen und Robert Fripp
im Besonderen.

Nach "Rhizosphere", "Chronolyse" und "Iceland" war "East West" das vierte Soloalbum des französischen
Electro-Space-Rockers Richard Pinhas. Es kam 1980 beim Major CBS auf den Markt, was dem Musiker zeitgeisttypisch eine Menge Kommerzvorwürfe einbrachte. Der jedoch sah darin vielmehr die Möglichkeit, seine Kreativität freier umsetzen zu können. "Signing to CBS was a blessing. It gave me the tools for better production", so Pinhas. Und weiter: "I don't see any virtue in remaining underground. You try to do what's best
for the music at each moment in your life. Always. The best for the music." Verglichen mit anderen Pinhas-Werken klingt "East West" noch stärker von der Elektronik der Berliner Schule (Tangerine Dream, Klaus Schulze, Michael Hoenig) dominiert und dadurch etwas glatter und einfacher, gewissermaßen poppiger. Auch Elemente von Kraftwerk und Brian Eno lassen sich nicht verhehlen. Das Album wird von zwei Teilen des Stücks "Houston 69" eingerahmt. Dabei gingen ihm Bandkollegen von Heldon - Didier Batard, François Auger, Patrick Gauthier - zur Hand. Die Vocoderstimme steuerte der SF-Autor Norman Spinrad bei, von dessen Roman "The Iron Dream" sich Heldon einst den Namen borgte

Ab 1981 Entwickelten Wilfried Franzen Und Thomas Grötz Eine Experimentelle Popmusik, Die Zwischen
Songstrukturen, Geräuschhaftigkeit Und Psychedelischer Trance Changierte. Instrumentales Fundament Ihrer
Kompositionen Waren Bass Und Keyboard, Die Das Duo In Seinen Eigenproduktionen Um Gitarren, Violine,
Klavier, Elektronische Perkussion, Samples Und Anderes Erweiterte. Als Instrumente Dienten Den Beiden
Alles, Was Sie In Die Finger Bekamen, Egal Ob Sie Diese Beherrschten, Hauptsache Es Entsprach Den
Musikalischen Vorstellungen. Die Ergebnisse Hielten Sie Zunächst Mit Kassettenrekorden Und Später 4-spurgeräten
Fest. So Entstanden In Einem Zeitraum Von Fast 20 Jahren Mehr Als 250 Titel. "nachtwerk (1991-
1998)" Ist Nach Privaten Kassetten- Und Cd-produktionen Die Erste Offizielle Veröffentlichung Von Solarize.
"nachtwerk" Präsentiert Zehn Ausgewählte Stücke. Sie Bilden Ab, Was Die Stilistisch Nicht Festgelegte, Aber
Zugleich Konsequente Herangehensweise Von Solarize Ausmacht: Sonnig-strahlende Melodien, Knarzige
Geigen- Und E-bow-ausflüge, Bierernst Ausgetüftelte Kompositionen, Polyrhythmische Und Dichte Ambientlandschaften,
Teelöffel-samples Mit Interview-ausschnitten Und Dramatische Klavier-exkurse.

Melodic Energy Commission is a Canadian gem and an interesting branch of the Hawkwind family tree (featuring Del Delmar on electronics.) Hailing from British Columbia, their unique blend of space rock, progressive and hippie psychedelia began in 1977 as a recording-only project titled "The Melodic Energy Commission of Collected Artists."
.
In 1985 Ken Man showed up in the studio
with this IBM AT computer. It had a 1/2 MB of
RAM and some Voyetra software that could
sequence music, becoming the duo's backing
band. Fist Of Facts contributors included Mark Cunningham from Mars, Felice Rosser, Genevieve De Monvel Boutet, Carlos Vivanco, Scott Hartley from the Liquids and a whole host of others.
Fist of Facts expand the natural groove that Liquid Liquid established over their quick career, with a strong political message combined with abstract dub soundscapes.

*Black vinyl press* Reissue of his debut album from 1980. Beautiful experimental sound design which results in proto-techno soundscapes. A gem in the genre!
Minimal Wave is honored to present a reissue of Sympathy Nervous' pioneering debut album originally released in 1980 on Vanity Records out of Japan. Sympathy Nervous was Yosihumi Niinuma's lifelong project which he started in his Tokyo living room in 1979. Through Sympathy Nervous, Niinuma was able to channel his energy into what he loved - building his own synthesizers and speakers from scratch. Niinuma was inspired by German Krautrock and through his music created intense proto-techno soundscapes. Now finally available for the first time ever, remastered from the original tapes used for the 1980 release, is the timeless masterpiece in its entirety.

REISSUE OF THE LEGENDARY KRAUT-DISCO MASTERPIECE REMASTERED FROM THE ORIGINAL MASTER TAPES. CONTAINS INSERT WITH RARE PHOTOS.

LIMITED EDITION 300 ONLY BLACK VINYL LP HOUSED IN A GLOSS FINISHED OUTER SLEEVE WITH DOWNLOAD CODE
 
'But the man who comes back through the Door in the Wall will never be quite the same as the man who went out. He will be wiser but less cocksure, happier but less self-satisfied, humbler in acknowledging his ignorance yet better equipped to understand the relationship of words to things, of systematic reasoning to the unfathomable Mystery which it tries, forever vainly, to comprehend.'  Aldous Huxley
 
The consequences of tampering with the fabric of reality are, and always have been, direct and brutal.
 
An unrelenting quake of disruption amongst what we think, perceive, and accordingly act upon is an inevitable result, and thus leaves disaster in ways hard to conceive, much less prepare against. When these quakes initially began, the only logical cause was that Perhaps was again at the helm; and though disruptive experimentation has always been a common practice of the band, it has become increasingly obvious things may have again gotten out of hand.
 
This came as no surprise to fans however, who's cult-like obsession with the band and their practices reached a chaotic peak earlier last year after members of the bands' presence was reported in a small Eastern European compound, bordering Moldova. Flocks of adoring fans flooded the streets in search of any sign of Perhaps, many of whom belonged to dangerous gangs and shamanic cults, terrifying locals and causing thousands in damage. But this was only the tip of the iceberg for what was to come.
 
Suspicions of a new album were presented through outside sources by means of cryptic letters, and later confirmed by reports of large quantities of beached whales and colossal squid washing up on various shores on the east coast, as well as a mass disruption in the migratory pattern of elk nationwide. Following an interview with a local shaman, it appeared that Perhaps had stationed themselves somewhere in the great red canyons of Utah, apparently in attempt to create some sort of audio re-creation of cellular respiration.
 
The bands success in doing so is hardly put to question, as all members, have been front runners in the experimental recreation of natural principles through musical methods, and rarely come out empty handed. Because of 'Hexagon' being crafted through similar unorthodox principles, leading scholars and music experts in various colleges lucky enough to have received samples have hypothesized 'Hexagon' to be within some sort of shared linear relationship with the bands previous album 'V'.It has been confirmed core members and frequent contributors have returned with the making of Hexagon: (Jim Haney, Sean McDermott, David Khoshtinat, Ricky Petraglia, Ben Talmi, Tom Weeks). As well as appearances from long-time collaborators Makoto Kawabata and Tabata Mitsuru of the Japanese psychedelic-juggernaut group Acid Mothers Temple.
 
The answer to the question of whether the album had been completed came to fruition a half a year after the previously mentioned incidences and left no doubt about its truth. Following many more cryptic letters sent to our office and eerie reports, several hikers in the Utah area reported mind-shattering hallucinations, as well as locals witnessing a massive blood red moon taking place the same evening. There was no doubt in anyone's mind that 'Hexagon' was complete, and in preparation for its release, many who were religious were granted time to seek refuge in their respective places of worship.
 
For the listener, no pass is needed. And while what lies ahead may seem gargantuan, it is best to open one's mind and allow all that is necessary happen. Great spiritual wisdom is not attained without a daunting climb, and all 'Hexagon' has to offer makes that climb worth the peril. Go in head first and do not fall, or face the current.
 
Samson Hailstone, Vancouver BC , 7/2/2018
 
Musicians On This Album :
 
Jim Haney
Sean Mcdermott
David Khoshtinat
Tom Weeks
Ricky Petraglia
Ben Talmi
Makoto Kawabata
Michael Thomas
Tyler Skoglund
Tabata Mitsuru
Doug Smith
Ryan Bambery
 

Remastered Edition Of A Compilation Of Stereolab
Singles And Rarities, First Issued In 1995. Clear Double Vinyl. Includes Download Card.

Brooklyn trio Forma's latest LP continues their mission to 'broaden the idea of what an electronic music ensemble can sound like.' Semblance emerged from exploratory sessions at The Schoolhouse, the Bushwick loft where members Mark Dwinell and John Also Bennett live, then was tracked at Gary's Electric studios, where their previous album Physicalist was also recorded.
Inspired by polyrhythmic composition, the human voice, and conceptual improvisation strategies, the songs are striking in their textural detail and emotional nuance, alternately synthetic and sentient, futuristic and intuitive. Incorporating flute, piano, guitar, saxophone, acoustic drums and cymbals alongside an array of synthesizers, the record persuasively demonstrates the group's unique playing abilities and fluid chemistry - attributes they credit to 'techniques we've developed to trick our electronic machines into mimicking the spontaneous character of live instruments.'
Members George and John Also Bennett also cite as an influence their recent stint in minimalist composer Jon Gibson's ensemble, performing his 1973 proto-ambient masterwork Visitations. The long- form modal piece requires restraint and deep listening to execute, qualities especially apparent in the more muted moments of Semblance, such as 'Rebreather' and 'New City.'
The group states the intent of the new album as 'to be more direct and exacting', which it is. Over half a decade spent writing and recording together has distilled Forma's hybrid electro-acoustic interplay into an attuned and astounding language, capable of articulating impossible symmetries and reflective states.
The stunning visuals of the artwork are by frequent collaborator of the group Peter Burr.

Die Beiden Ambient/krautrock/avantgarde-meisterwerke "plight & Premonition" (1988) Und "flux & Mutability" (1989) Entstanden Ende Der 1980er Im Can-studio Bei Köln, Bestehen Aus Jeweils Zwei Überlangen Tracks Und Gelten Als Klassiker Ihres Genres. An Den Aufnahmen Waren Neben Sylvian Und Czukay Auch Die Beiden Can-musiker Jaki Liebezeit (an Beiden Alben) Und Michael Karoli Sowie Marcus Stockhausen, Trompeter Und Sohn Des Berühmten Komponisten Karl-heinz Stockhausen, Beteiligt (letztere Nur An "flux & Mutability"). Der Re-release Auf Grönland Erscheint In Chicen Doppelformaten Mit Neuen Linernotes Des Renommierten Britischen Journalisten David Topp. Beide Alben Sind Nicht Bestandteil Der Jüngst Erschienenen Holger Czukay-retrospektive "cinema" Und Seit Ihrer Original-veröffentlichung Damals Auf Venture/virgin Records Und Limitierten Reissues Anfang Der 1990er In Japan Und Uk Nicht Mehr Erhältlich Gewesen.

Wieder Erhältlich: Das Am 23. März 1974 Im Penny Station Club In Der Nähe Von Detmold Aufgenommene Livekonzert Der Deutschen Krautrocklegende Harmonia, Bestehend Aus Michael Rother, Dieter Moebius Und Hans-joachim Roedelius. Grönland-erstveröffentlichung Am 19.10.2007.

* 180 gram audiophile vinyl
* Gatefold sleeve
* Limited pressing of 1.000 individually numbered copies on Transparent Green vinyl

Eloy Is One Of German's Most Important Bands During The 70's Invasion Of Progressive Rock Bands All Over The World. Their Music Can Be Placed In The Krautrock Scene Which Developed At The End Of 60's. They Released Their First Self-titled Album In 1971. At This Time They Were A Hard Rock Band Which Created Some Heavy Pieces Of Music. But It Does Have That Progressive Feeling While You Listen To An Epic Piece Like The Eight-minute "something Yellow". The Power Ballad "isle Of Sun" Is Another Impressive Track. It's A Nice Beginning Before They Went On To Became A Big Name For The Insiders Of The Prog.

Eloy Is Available As A Limited Pressing Of 1.000 Individually Numbered Copies On Transparent Green Vinyl.

PSYCHIC LEMON spielen eine Mischung aus Space Rock, Psych und Krautrock mit starken Einflüssen von HAWKWIND, GOAT und AMON DÜÜL II
Limitierte, zweite Pressung auf rotem 180gr. Vinyl

Tonzonen Records ist ein deutsches Independent Label das 2014 gegründet wurde um stilvolle, zeitlose und einzigartige Musik jenseits vom Mainstream zu veröffentlichen. Tonzonen Records erarbeitete sich schnell eine treue Fangemeinde in der wachsenden Stoner, Progressive und Psychedelic Rock-Szene.
Nur einen Monat nach der Veröffentlichung ihres Debütalbums im März 2016 wurde von der ursprünglich als Quartett gestarteten Band PSYCHIC LEMON ein Trio. Als Reaktion darauf wuchs jedoch der Sound der Band an und es wurden vielschichtige Drone-Elemente sowie ausladende Gitarreneffekte eingebracht und die Songs entstanden auf natürlichere Weise in ausufernden Jam-Sessions. So gibt es auf ihrem neuen Album eine breite Soundlandschaft mit zahllosen Gitarreneffekten, verzerrtem Bass und Schlagzeug zu hören

Geins't Naït Is Considered Legendary At Offen Music. Releasing Music Since 1986, Their Last 3 Albums Have Featured Laurent Petitgand (2011, 2014 & 2015). Now We Present A Collection Of New Unreleased Tracks That We Hope Will Plunge You Deep Into The Special World Of Gn & Lp.

Austin Based Experimental Collective Thousand Foot Whale Claw Is Back With The New Cosmic Full Length black Hole Party, Out June 29, 2018. Featuring Members Of S U R V I V E, Troller, Single Lash And Future Museums, This Is The Supergroup's Second Lp And Their Most Accomplished Work To Date. Inspired By Progressive 70's German Kraut-rock, Thousand Foot Whale Claw Maintains A Classic Style While Establishing An Original Voice. With Album Art By Renowned Contemporary Sci-fi/fantasy Illustrator Kilian Ang, black Hole Party's Aesthetic Is Cohesively Curated Throughout Its Dense, Multi-layered Track List, Ranging From Serene Sound Baths To Driving Dance Beats.

Tfwc Was Founded In San Marcos, Tx By A Core Group Of College Friends Who Bonded Over Loose Collaborative Jams Of Effects Driven Improvisations. Eventually These Unstructured Practices Evolved Into Refined Studio Sessions And Intense Live Performances, Leading To A Rich Discography And Enthusiastic Fanbase. Balancing Repetition With The Unexpected, Tfwc's Sustained Motifs Slowly Reveal The Band's Signature Free-form Experimentation. Known For Heavy Walls Of Guitar And Electronic Drones, Tfwc Spirals Into Circular Rhythms And Looping Riffs Stacked With Shredding Guitar Solos And Ambient Soundscapes. Explorations Spurring From A Central Theme Is The Basis For The Band's Compositional Approach, Always Seeking New Instruments, Sound Sources And Production Techniques For Each Piece. Recorded And Engineered At Stassney Studios In Austin, Tx With Producer/artist Dylan Cameron, black Hole Party Has Become The Band's Most Defining Body Of Work Thus Far.  

On black Hole Party, The Polished Structure And Acute Development Of All Six Tracks Is Distinct And Tangible, Making This Record More Composed Than Any Of Their Previous Releases.  Propulsive Songs Such As deridium Rail' And The Album's Title Track Are Driven By Four-on-the-floor Dance Beats And Arpeggiated Synthesizers, Contrasting Songs Like genesis Effect' That Predominantly Features The Natural Tones Of 12-string Acoustic Guitar And Harmonium. The Wide Variety Of Sonic Flavors Is Reflective Of Tfwc's Vast Musical Tastes, Refusing To Settle On One Approach And Allowing The Band's Idiosyncrasies To Shine Regardless Of Genre. To Classify Tfwc As An Instrumental Psych Band Is Only Partially Accurate, However There Are A Lack Of Proper Terms To Fully Encapsulate The Band's Broad Scope. Black Hole Party Is The Latest And Brightest Collection Of Songs From Thousand Foot Whale Claw, Meant To Be Enjoyed In A Multitude Of Environments For All Fans Of Expansive Listening. 

Colin Potter Is A Sound Engineer And Musician Currently Based In London. He Has Worked Within The Fields Of Electronic And Experimental Music For Over 35 Years, Collaborating With The Likes Of Current 93, The Hafler Trio, Organum, Andrew Chalk, And Most Notably As A Key Part Of Nurse With Wound Alongside Steven Stapleton. He Started The Esteemed Icr (integrated Circuit Recordings) Label In 1981 Releasing A Clutch Of Wonderful Home Recordings Of His Own, Over Half A Dozen Small Run Cassette Only Releases.'the Where House' Was Recorded In 1981 At Ic Studio, A Converted Wash House In Sutton On The Forest In North Yorkshire. The Album Was Self-released On Cassette That Same Year Via Icr. This Expanded Double Lp Edition Features All 13 Tracks From The Original Tape On Vinyl For The First Time Plus 4 Bonus Tracks. 'the Where House' Is A Prime Example Of Early Uk Post-punk/industrial Electronic Music. combining Dub, Electro, And Krautrock Rhythms With Psychedelic, Kosmische Noise In Multiple Mutations Ranging From Almost Pop-wise Songcraft To Horizon-scanning Motorik Flights,' Says Boomkat. Most Of The Damage Was Done By Colin Using Guitars, Synths, Sequencers, Drum Machines, Percussion, And Modified Toy Keyboards With Fairly Primitive 4-track Recording Equipment. He Was Assisted On Some Of The Tracks By Stephan Jadd-parry (guitar, Percussions), Jon Caffery (guitar, Bass, E-bow, Percussion) And Nick Jackson (synth). All Songs Have Been Remastered For Vinyl By George Horn At Fantasy Studios In Berkeley. The Record Is Sleeved In A Replica Of The Original Cassette Artwork By Jonathan Coleclough. Every Copy Includes A Double Sided Postcard Insert With Notes From Colin.

Welcome to Whale City. 2018.

A thrill' Lauren Laverne, BBC 6 Music

At the point where personal hygiene ends and Kraut-garage begins lies Warmduscher' the Quietus

The offspring of a match made in hell between Fat White Family and Paranoid London' Louder Than War

Warmduscher are playing by their own rules' Clash Magazine

Let Warmduscher be your guide. Clams Baker: the man with the golden tongue. Fast-talking, no nonsense networker. The 'legitimate' front to the great rock 'n' roll swindle. No time for fact checking. No need for building regulations. Heading straight to the top. Consequence be damned. Lightnin' Jack Everett is his man on point. The rhythm. The brains. The brawn. Let's make lots of money. The Saulcano, Mr Salt Fingers Lovecraft and The Witherer operate in the shadows. The cogs. The machine. The bootleggers.


* South London recidivists Warmduscher include members of Paranoid London, Fat White Family and Childhood

* Longtime Warmduscher biographer Dr Alan Goldfarb describes Whale City as a rock opera so vast in magnitude that - were in not for my being strapped naked to a chair in a garage - could send a man hurtling towards the outer perimeters of uncharted space'

* Features the hits-to-be 'Big Wilma', 'Standing On The Corner' and 'I Got Friends'

* Get a taste for Whale City in this video, as Lightnin' Jack goes in search of the elusive Big Wilma

* A formidable live prospect, the band will be on tour throughout 2018 - all announced dates below

* Early support from Lauren Laverne at 6 Music plus a Marc Riley live session on March 6th

* Vinyl edition includes a set of postcards featuring artwork by David Ruddeforth

* In the words of Clams Baker, Whale City is a playground for the people that have stepped above and beyond their comfort zone.' What are you waiting for

UK promo will be handled in house by Thea Hudson-Davies.

Now available for the first time on vinyl, One Way Static Records presents the THIRD volume in our new archival series 'La Vie Electronique'. This volume (1.2) focuses on the years 1970-1972 and is spread over two glorious LP's containing +77 minutes of Klaus Shulze rarities. This deluxe vinyl set also comes with an insert containing extensive liner notes. Available as a limited classic black vinyl retail edition (700 copies) with obi strip.

Klaus Schulze is a German electronic music pioneer, composer and musician that needs very little introduction. In the late sixties & early seventies he was a member of several iconic bands such as 'Tangerine Dream', 'The Cosmic Jokers' & 'Ash Ra Tempel' before launching a solo career consisting of more than 60 albums released across five decades. Collaborations were numerous and highlights include working with Steve Winwood, Brian Eno & Alphaville... just to name a few.

Klaus Schulze's proto moog-synthesizer work is regarded as a milestone in electronic music & during the decades he released landmark albums in genres catalogued as 'Ambient', 'Electronic', 'New Age', 'Berlin School', 'Experimental', 'Kosmische Musik' & 'Krautrock'. Mr. Schulze had a more organic sound than most electronic artists of the time, often he would throw in decidedly non-electronic sounds such as acoustic guitar and a male operatic voice. Schulze is also known for developing a Minimoog technique that sounds uncannily like an electric guitar, which is quite impressive in concert.

On occasions he would also compose film scores such as Body Love 1977), Barracuda (1978), Next of Kin (1982), & Angst (1983). His best known song 'Freeze' has been used in films like Manhunter (1986) and more recently in Sofia Coppola's 'The Bling Ring' from 2013.

In 2009, producer Klaus D. Mueller and Schulze began releasing La Vie Electronique ("The Electronic Life"), a series of sets that collected rare sought-after early works & unreleased tracks put in chronological sequence. These sets contain some of the best music Klaus ever created and are early 70's masterworks that will appeal to both fans and collectors.

Metaclaw is blazed studio session that time could have forgotten...but Offen Music didn't. A glorious downbeat synth plodder/head nodder from the minds of three very muscial friends.. features remixes from Gordon Pohl and Glib'r.. TIP!

Deep Distance return to the fray with a brace of killer new LPs, both set to sell out quickly upon release (given pre-release interest), so be quick here!

From the SLOWS camp:

The past two years has seen Matthew Simms (multi-instrumentalist & producer, WIRE, IT HUGS BACK, BILL FAY, UUUU, CHASTITY BELT) release two LP's of looping transcendental, instrumental music on London's great Deep Distance label, and perform shows in the UK and USA, including opening dates with Tortoise, Juliana Barwick & Michael Rother of NEU!

While the first LP focused on solely on the sound of his beloved old Farfisa Organ, evoking the minimalism of Terry Riley and JD Emmanuel and the 2nd his growing obsession with modular synth put through a chain of old tape delays and reverb, resulting in a more hazy Krautrock feel, akin to that of Cluster or NEU!

On this third LP it's all changed again, with the tracks growing out of the drum recordings of Matt Schultz (HOLY FUCK, ENON, LAKE RUTH).

Matthew explains, I asked him to send me anything, not to worry how it was recorded as I was going to process and destroy it, the only advice I gave him was that the weirder the better. I was instantly inspired when I listened to the clips he sent, as can be heard on the lp, he took my advice on both the patterns played and the recording technique, some with his kids chatting in the background, some recorded during sound checks where the rest of band are heard enjoying his playing! I met Matt ages ago when I was lucky to open for Holy Fuck for a month around Europe and we've stayed in touch since, not only an amazing musician and lovely person, he is also a big record collector and jazz head, which is something we both have in common.

I worked very quickly, kind of imagining Matt was in the room with me, playing the drum recordings back really loud. I think I used only my farfisa organ and korg ms-10 synth, as well as a load of effects pedals, running it all through small valve amp and using my wem copy cat tape delay a lot to glue &/or skew everything together.'

Having Matt's drums to kick things off, this record turned into something much noisier and varied than the previous release, still repetitive and minimal but with more sense of wild abandon and embracing a free-jazz influence, like that heard within the sound of the Sun Ra Arkestra'.

SLOWS is a project started by accident that has grown into a fantastic place for Matthew Simms to experiment, collaborate and follow his ideas, regardless of boundaries and not tied by anything or anyone. Where next...

The LP is released as a limited edition pressing on vinyl only of 300 copies and will sell out sharpish...

The Second Of May's Pair Of Ace New Deep Distance Lps, Sees A Second Studio Full Length From Brighton Based Kraut / Kosmische Juggernauts Zofff.

Described Recently As "the Finest Purveyors Of Kosmische Heaviness On The Planet Right Now" By Shindig! Magazine, The Band Release Their Eagerly Awaited Follow Up To The Quickfire Sell Out Of zofff I' In 2017 (separated By An Equally Hastily Sold Out Live Album On Drone Rock Recs), fff' Is Released First Week Of May And Again Is Expected To Move Out Quick Style.

Over To Ben Graham For A Few Words: zofff Are All About Light And Shade, And The Dynamic Movement From The Subtlest Curlicues Of Gentle Sound To The Full Raging Storm Of Sonic Attack, And Back Again. On Their Second Studio Album 'fff', The South Coast Psychedelic Five Piece Serve Up Six Tracks Of Improvised Instrumental Experimentation That Blend Seamlessly Into A Consistent Whole: A Trip, If You Will, From First Faltering Feelings To Final Full-blown Freak-out.

'ye' Assembles Around A Lonesome Trumpet Overture, Before The Drums And Dirty Fuzz Guitar Kick In And We're Off, With No Messing Around And No Ambient Noodling: Direct To The Cranium And The Groove With High-energy Space Rock Reversing The Polarity And Shaking Out The Ghosts. 'vav' Takes It Up Another Notch: Tense And Urgent, It Climaxes In Coltrane-like Sheets Of Sound Over Double-time Drumming, Before 'har' Arrives At A Relatively Gentle Pace, Dub-like Sonic Action Swooping And Fluttering Over A Rock-solid Beat Until The Bass Takes Over And The Direction Becomes Clear: Ffforward!!!

Side Two Starts With The Appropriately Titled 'dig'. All The Elements Are In Balance And The Band Are Firing At Full Force. 'ca' Kicks Off With Horn, Static And Splash, A Classic Slow Burn Taking Us Up To The Final Eleven-minute Climax Of 'zeta'. This Surprisingly Exploratory Piece Doesn't Just Aim To Go Out With A Bang But Takes Time To Set Up New Possibilities And Juxtapositions, Opening New Doors Right To The End Where Other Lesser Bands Would Already Be Packing Up The Scenery.
Recent Years Have Seen Zofff Reaping Acclaim And Blown Minds Wherever They've Appeared.

Their Live Album, (2017's Kozfest Mmxvi Baring Striking Testimony To This), With Psychedelia An Increasingly Devalued Term, Zofff Remain The Connoisseur's Choice. That's Zofff With Three Fs By The Way. We Wouldn't Want You To Forget Now...'

The Lp Is Released As A (clear) Vinyl Only Pressing Of 300 On Deep Distance, The Go-to London Label For Kraut Flavoured Kosmische With A Sold Out Back Catalogue Of 60/60 Releases Including Cavern Of Anti-matter, Jd Emmanuel, Colin Potter And Many Others...

Reissue of their 1987 album! A diverse blend of New Wave, Turkish Pop and Oriental-Rock, Funk & Soul, Hip-Hop but also Disco in a exotic way.
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The Official 30th Anniversary Vinyl Reissue of
Elektro-Dschungel Kebab- Und Andere Träume'

Restored From The Original Reel2Reel Mastertapes
Mastering And Lacquer Cut by Mike Grinser at Manmade Mastering
LP 33 1/3 PM 4-Page Insert With Original And Expanded Credits

Since Smoke Bellows Debut Release Blooming/middling In 2014, Core Members Meredith Mchugh And Christian J. Best Have Relocated From Baltimore Usa To Melbourne Australia And Back Again.

The Inherent Chaos Of Moving Across The Globe Twice, Plus The Pull And Influence Of Varied Geography And Culture Have Shaped This Latest Release, Isolation 3000, Immeasurably. These New Perspectives Have Led To An Entirely New

Writing Process, Drawing From 70s/ 80s Ny Post Punk, High Minded Pastoral Krautrock, Modern Minimalist Composition, As Well As West African Guitar Groups. Isolation 3000 Was Written Over The Summer Of 2016/2017 In A Quintessentially

Australian Backyard Shed. The Record's Title Is A Reference To The Conditions It Was Created In, A Musical Summary Of Two People Feeling The Effects Of Being Uprooted From Their Former Musical Community In Baltimore. The Days Writing

Would Involve Endless Cups Of Tea, Backyard Chickens And Visits From Australian Wildlife. Similarly, The Record Was Recorded In A Bush Cabin Just Outside Of Sydney, Pitched In A Small Clearing Between Eucalypts, With Long-time Friend

Todd Dixon. This Release Is In Many Ways An Attempt To Reconnect With A Sense Of Home And Place.

New Lp-edition of a private press library recordings of the early '70s.
Together with Florian Fricke and Peter Michael Hamel, Deuter is certainly the main responsible of a fruitful encounter between European sensibility and Eastern aesthetics in the German music of the 1970s. Soundtrack was originally produced by Kuckuck in 1973 not for an official and public release, but as a library' to be used for films, TV and radio. As a library it respects the canonical and typological structure of the genre with 26 short sonic fragments, sequences imagined and conceived like fulminating illuminations. There's still a solid electronic vocation that, however, has put aside the most disruptive effluvia of D (1971) of pure kraut' ancestry. In fact, the album is more like an ideal passing bridge between some ritual instances of the previous Aum (1972) and the following successful phase of Deuter during the period when he stays in the Bhagwan Shree Rajneesh's ashram in Poona realizing, in parallel to a renewed inner life, masterpieces like Celebration, Haleakala, Ecstasy and Silence is the Answer. Musically speaking, Soundtrack presents itself as a heterogeneous work with nocturnal, cinematic, galactic and atmospheric-environmental implications. Electronics remains the predominant factor but can vary from mantra drones of more ceremonial and meditative space-relax' tones of some tracks (Triad, Deep Sea, Gothic Velvet or Evening) to the most amused formulations of pulsating analog synths that in the hands of Deuter become toy-equipement' to modulate and explore (Desert Rock, Synth Effect, Flea Dance or Laser). There is no lack of acoustic moments more ethnically inspired with Arabian and Indian (Reed, Arabia) or devotionally solar themes (Tom Bombaddils Dance), so evoking an air of diffuse peace then completely conquered in the beloved India.

Packaged in a 7' format showing the talents of these fresh young artists.
FALA is a new label from Amsterdam, a Knekelhuis sister label that will present you with some very delicate surprises in the near future. The kickoff will be a Dollkraut rework of the truly beautiful song 'Scheef' by Eefje de Visser. Dollkraut captures the magical energy of Eefje de Visser's creation, turning it into a drum driven dancefloor-ready track. The B-side will contain the original version of 'Scheef', released before on her highly acclaimed album Nachtlicht. FALA!

Deluxe 5LP+DVD+MP3 Retrospective Boxset

Die musikalische Reise beginnt mit der Jazz-Nummer »Konfigurationen«, bisher unveröffentlicht, die der 'universale Dilettant', wie Holger sich selbst zu bezeichnen pflegte, 1960 mit seinem Jazz-Quintett aufnahm. Es folgen Experimente, musikalische Meditationen, Meilensteine, Stolpersteine, Hits, Raritäten und Ausgegrabenes. Die noch vor Can entstandenen Stücke unter dem Projektnamen Canaxis 5 etwa (mit Rolf Dammers), die 1969 heimlich im Stockhausen-Studio aufgenommen wurden und hier - längst vergriffen - nun ihre Auferstehung feiern, die sich über vier Jahrzehnte streckenden Solo-Arbeiten (wie das zeitlos-tanzbare »Cool In The Pool«), Kollaborationen mit Brian Eno und Cluster, das Projekt Les Vampyrettes (mit Conny Plank) oder Produktionen mit der japanischen Sängerin Phew (mit Plank und Jaki Liebezeit) - und nicht zuletzt die Songs der Jah Wobble-Kollaboration »Full Circle« (ebenfalls mit Liebezeit), die Holger rückblickend zu den Höhepunkten seines kreativen Schaffens zählte. In allen diesen Klängen zeigt sich, wie vielseitig und erfinderisch Holger Czukay als Künstler war - und wie tief seine unkonventionellen Ansätze sich denn unzähligen Zusammenarbeiten einschrieben. Exklusiv liegt sein Film »Krieg der Töne« aus dem Jahre 1987, den er vertonte und in dem er gleich auch noch die Hauptrolle übernahm, liegt auf DVD bei. Die Box lädt dabei auch zu einer musikhistorischen Reise ein, illustriert sie doch anhand von Holgers Lebensweg gleich mehrere musikalische Epochen. Der frühe Jazz der BRD, die Innovation der Krautrock-Ära, das Bad in diversen neuen Wellen, die elektronischen Experimente: Holger war überall dort zuhause, wo etwas passierte. Und er hat Spuren hinterlassen. Zwischen Linernotes, raren Fotografien, einem Zeitstrahl und diskografischen Angaben tauchen im aufwändigen Booklet des Boxsets immer wieder Statements und Anekdoten von Musizierenden, die ihre Wertschätzung zum Ausdruck bringen oder in Erinnerungen an einen großen Künstler schwelgen. Sie alle sind sich einig: Holger Czukay hat einen festen Platz in der Musikgeschichte. Er wird niemals vergessen werden.

Inhalt:
- 5 LP-Vinyle als retrospektiver Überblick über Holgers Soloarbeitenen und -kollaborationen.
- Inklusive sehr rarem und unveröffentlichtem Material, darunter Holgers erste, bislang unveröffentlichte Komposition fürs Radio.
- Ein 36-seitiges Booklet mit Linernotes und teils unveröffentlichten Fotos (u.a. von Anton Corbijn).
- Eine DVD mit dem Video-Musical "Krieg der Töne", das 1988 im Rahmen der ZDF-Redaktion "Das kleine Fernsehspiel" erstmals ausgestrahlt wurde und hier exklusiv erhältlich ist.
- Eine exklusive VideoVinyl 7", dessen Videoinhalt per Plattenspieler-Decoder auf einem Fernsehgerät übertragen werden kann.

Packaging: Stülpdeckelschachtel (316 x 316 x 45 mm) mit Banderole & edlem Satin-Hebeband, 5 x LP-Kastentaschen mit Spotlack & bedruckten Innenhüllen, VinylVideo 7" in Kastentasche, DVD9 in DVD-Digipak, 36-seitiges LP-Booklet, MP3-Code

VinylVideo® ist ein System, mit dem es möglich ist, Videofilme auf gewöhnlichen Langspielplatten zu speichern. VinylVideo®-Aufzeichnungen enthalten Videofilme (Video + Audio) in Form eines speziellen analogen Stereo-Videosignalformats, das speziell nur für die Speicherung auf Vinyl-Schallplatten entwickelt wurde. Das Signal kann mit einem speziellen Decoder-Gerät wiedergegeben werden, das mit jedem gewöhnlichen HiFi-Plattenspieler und einem normalen Fernseher verbunden ist. Resultierend aus der maximale speicherbaren Frequenz einer Schallplatte von knapp 20 kHz, beträgt die Bildfrequenz 8 Bilder pro Sekunde. Dank für die Entwicklung gebühren dem Wiener Künstler Gebhard Sengmüller und dem Physiker Martin Diamant.

Experimental German Rock And Electronic Music - Part A

Soul Jazz Records new 2018 edition of their long out of print classic first 'Deutsche Elektronische Musik - Experimental German Rock and Electronic Music 1972-83' is 'a near-definitive guide to some of the world's most extraordinary music' (The Guardian).
The album comes as two separate double-vinyl (+ download code) editions and a large double CD pack (+36-page booklet), featuring a stunning line-up of groups including Cluster, Can, Faust, Popol Vuh, Neu!, Amon Düül, Harmonia, La Düsseldorf and Tangerine Dream as well as a host of lesser known groups such as Kollectiv, Ibliss, Between and many more. This new edition is fully re-mastered and features all the original artwork and tracks.
The first seeds of German rock and experimental electronic music were planted in 1968, as students and workers in Paris, Prague, Mexico and throughout the world demonstrated against mainstream society, the war in Vietnam, imperialism and bourgeois values. The birth of a counter-culture, drug experimentation and social change expanded musical worlds. Germany experienced its own cultural revolution fuelled by these worldwide student and worker revolts and by a generation's desire to rid itself of the guilt of war.
German rock and experimental electronic music grew out of this worldwide counter-cultural revolution of 1968. The objectives were to create new music, 'free' from the past, many German youth turning their back on mainstream society. From the opening of the first collective/cooperative, Kommune 1, in Berlin, to the formation of the Baader-Meinhof terrorist group and the bombings, kidnappings and killings of the Revolutionary Armed Forces (RAF), young Germans sought out new values and a lifestyle outside of 'the system'.
These cooperative and communal experiences led to a number of new collective German bands forming such as Amon Düül, Faust, Can (all featured here) and others and these ideals drove this new movement. A music that gave seed out of the cultural 'nothingness' that young Germans felt as a consequence of Germany's role in the Second World War. A generation who grew up stifled by the recent history of Nazi atrocities, the guilt of their parents' generation and their disillusionment at the reintegration of old Nazis into mainstream society.
Influenced equally by the electronic experimentalism of Stockhausen, the progressive rock of Pink Floyd and the black American jazz and soul music played at the occupying armed forces bases, young German artists seamlessly created out of this a new unique music with its own unique identity.
Double CD pack with large 36-page outsize booklet encased in slipcase. The vinyl edition is made up of TWO separate volume heavyweight loud gatefold double albums (+ free download codes) featuring all sleevenotes and text.

First ever reissue of this impossible to find artefact from the Swiss underground avant-garde scene of Geneva, originally released as a private boxset limited to 150 copies in 1973, only sold at art galleries.

A unique, instrumental mix of free-jazz, classical, psych-rock, folk, improv, kraut, funk and musique concrete with tape effects...

In the late 60s, musician / guitar player Christian Oestreicher, a savage in the era of twist and free jazz', met artist and painter Richard Reimann - famous for his optical art -, at the Aurora art gallery in Geneva. Fuelled by the artistic creativity from this underground scene, where jazz and rock musicians rubbed shoulders with artists, poets and painters, Christian ideated the Mouvements project, enrolling his friend Richard to create the artwork.

Christian was a trained guitar player with diverse influences: Ornette Coleman, Chuck Berry, Zappa, Soft Machine...He envisioned Mouvements as a concept album and he asked some of his musician friends from the jazz / rock scene to join in for the recordings: among them, Jean-François Boillat (of Boillat-Thérace), Blaise Català, Jerry Chardonnens...

The album sessions took place at an occupied mansion during 1972, using three Revox machines. The musicians played standing in a circle and there was lot of room for improvisation. Tape effects and a small portable synth were also used.

The result was released in 1973 as a hand-numbered, deluxe boxset limited to 150 copies, including a series of Richard Reimann's lithographies and inserts. For this, the first ever reissue, we've created a new, more affordable edition with new artwork, including an insert with liner notes and previously unreleased photos.

LP edition comes housed in a silver-mirrored sleeve.

LP version come with a digital download coupon including all the tracks from the LP/CD plus another four bonus tracks taken from the album sessions.

Highly recommended if you're into avant-garde psychedelia, free-jazz, free-rock, psych-funk, kraut...

Think Staff Carpenborg, Zappa, Soft Machine, Bo Hansson, The Feed-Back, Mahogany Brain, Semool, Pierre Schaeffer, the BYG and Futura labels...

*Master tape sound
*Insert with liner notes and rare photos
*Digital Download Coupon including nine previously unreleased bonus tracks

Digital-Only Bonus Tracks: Largo Pour Trompettes - Mouvement Pour Guitare B1 - Mouvement Pour Guitare B2 - Hard-Rock Ouverture (Take 2)

Continuing with our reissue campaign of the Toby Robinson's Pyramid label catalogue, now it's the time for Temple. Probably the most rock' sounding of all the Pyramyd titles, Temple were an ad-hoc outfit born out of several late night sessions at Dierks Studios (where Toby was working at that time), involving local friends of Toby and other musicians from adjoining studios, among them Zeus B. Held (Birth Control).

Temple played a kind of heavy, dark psychedelic krautrock with ahead of its time proto-Goth vibe. Loud guitars, Hammond, Mini-Moog, Mellotron, distorted & echoing vocals, effects...

RIYL: AMON DÜÜL II, HAWKWIND, BIRTH CONTROL, POPOL VUH, ASH RA TEMPEL, EMTIDI...

*24-bit remaster from the original tapes.

*Insert with liner notes by Alan Freeman (The Crack In The Cosmic Egg).

*Includes download coupon.

Brilliant debut by the godfathers of ambient and world music, Popol Vuh! Originally released in 1970, Affenstunde (literally 'Ape Hour') was the first album by a German band to employ the extraordinary sounds of the Moog synthesizer. Blending electronics with traditional percussion instruments, Popol Vuh - led by the legendary multi-instrumentalist Florian Fricke - created a tribal and dreamlike blanket of sound that would go on to influence many-a-band on the krautrock scene and beyond. Popol Vuh would also soon famously begin to collaborate with Werner Herzog, composing many of the soundtracks to his films from this period (including Aguirre: The Wrath of God, Nosferatu and Fitzcarraldo).

Amon Düül's 1969 debut-LP 'Psychedelic Underground', here reissued on vinyl, is music at its most experimental and relentlessly uncommercial, using late '60s influences as a launching ground for what would become known as Krautrock. Taken from a jam session from the previous year, but treated with many studio effects that enhance the strangeness of the collection, 'Psychedelic Underground' rocks to its own weird beat.

Great heavyweight 2LP-set featuring the best tracks from the 1972 to 1975 period including the group's signature track "Gamma Ray". Birth Control is among the longest running german bands and were formed wayback in 1968 in Berlin. The group had several line-up changes over the years and fused Krautrock with progressive rock and the blues rock genre, with percussive keyboards & synthesizer effects an unique sound was created.

1972s Psychonaut, by the Swiss-based Brainticket, is early seventies space rock at its finest. While the bands debut album, 1971s Cottonwoodhill, was a heavily acid-laden affair dominated by droning organ, disturbing vocals and a collection of cacophonic sound effects (causing it to carry a warning label and be banned in several countries) for their second effort, band-founder Joël Vandroogenbroeck brought in a completely new line-up and changed the bands sound dramatically. While Psychonaut still takes listeners into the realm of altered consciousness -- making heavy use of a droning Hammond, sitar, tablas, etc.-- this time the vocals are more melodic and the music itself is more song-oriented. This is by far Braintickets most accessible album, and perhaps their most timeless. Fully remastered from the original master tapes!

* Released for the first time on vinyl
* The ultimate collection of rare early materials by this electronic music pioneer
* Comes as a deluxe double LP set with insert and extensive liner notes . Limited black vinyl pressing (700 copies) with obi strip.

Klaus Schulze is a German electronic music pioneer, composer and musician that needs very little introduction. In the late sixties & early seventies he was a member of several iconic bands such as 'Tangerine Dream', 'The Cosmic Jokers' & 'Ash Ra Tempel' before launching a solo career consisting of more than 60 albums released across five decades. Collaborations were numerous and highlights include working with Steve Winwood, Brian Eno & Alphaville... just to name a few.

Klaus Schulze's proto moog-synthesizer work is regarded as a milestone in electronic music & during the decades he released landmark albums in genres catalogued as 'Ambient', 'Electronic', 'New Age', 'Berlin School', 'Experimental', 'Kosmische Musik' & 'Krautrock'. Mr. Schulze had a more organic sound than most electronic artists of the time, often he would throw in decidedly non-electronic sounds such as acoustic guitar and a male operatic voice. Schulze is also known for developing a Minimoog technique that sounds uncannily like an electric guitar, which is quite impressive in concert.

On occasions he would also compose film scores such as Body Love (1977), Barracuda (1978), Next of Kin (1982), & Angst (1983). His best known song 'Freeze' has been used in films like Manhunter (1986) and more recently in Sofia Coppola's 'The Bling Ring' from 2013.

In 2009, producer Klaus D. Mueller and Schulze began releasing La Vie Electronique ( The Electronic Life'), a series of sets that collected rare sought-after early works & unreleased tracks put in chronological sequence. These sets contain some of the best music Klaus ever created and are early 70's masterworks that will appeal to both fans and collectors.

Now available for the first time on vinyl, One Way Static Records presents the first volume in our new archival series 'La Vie Electronique'. This volume (1.0) focuses on the years 1968-1971 and is spread over two glorious LP's containing +78 minutes of Klaus Shulze rarities. This deluxe vinyl set also comes with an insert containing extensive liner notes.

Another first of year release, this time for Polytechnic Youth's older sibling, the more kosmische / kraut enthused Deep Distance. Following hugely acclaimed releases for labels such as Kranky, Constellation Tatsu, Not Not Fun and Great Pop Supplement, Jesse Reiner's esteemed JONAS REINHARDT return to the fray with the mighty Conclave Surge' LP.

The eight tracks contained within open the listener to a new dimension to the Reinhardt oeuvre, expanding deeply on the sonic themes explored in previous albums with a sense of immersive, meditative intent. The sharp sound design of minimal techno, early industrial music's capacity for dramatic shock and awe and the fervent rhythmic experimentation of West African synthesists all weaved their way into Reiner's palette for Conclave Surge.

Inspired in equal measure by the throbbing urbanity of coastal cities, continental European art-rock experimentation, and improvised electronic minimalism, Jonas Reinhardt's music transcends its influences into a wholly unique amalgam.

As Jesse himself says 'The latin origin of 'Conclave' translates to with key. The pieces of music selected for this album are designed to unlock, by way of machine and human synthesis, ritual and musical ceremony previously hidden from public view. The Conclave ceremony, traditionally designed to introduce something important, is a tool of power and of powerful groups. 'Surge' here refers to electric discharge arcing across a room, crackling gear, and skittering currents sourcing ground'.

Another wonderful Jonas Reinhardt record released as a limited edition pressing of 300 on vinyl only by Deep Distance Jan 2018.

"Cepheidians are the bulk of the universe, the foundation of any knowledge from the greater to the smaller. Temporal and local changes underlayed and still consistent in their spirit, they sweep through the universe and are the comparison and its resolution."Iku Sakan's Cepheidian circles between the poles of contraction and relaxation, both in mental and physical perceptibility. The playful way with the periodic repetition, addition and subtraction to create moments of deepest and greatest excitement is blown with an ease which is difficult for the listener to distinguish between fact and fiction"Sakan in 2017 has finally exposed us to his singular sound, could be Krautrock, certainly spiritual - but thankfully - undefinable. God knows what he'll hit us with in '018" - Japan Blues

'Last', the third LP by krautrock legends Agitation Free, was originally released in 1976 on Barclay in France as a posthumous LP that included tracks from '73 and '74. Agitation Free had been formed in 1967 by Lutz 'Lüül' Ülrich, Michael 'Fame' Günther, Lutz 'Ludwig' Kramer and Christoph Franke. They soon gained the residency as the house band on Berlin's Zodiac Club with their impressive multimedia stage show. By 1973 they had already released two LPs and suffered several line-up changes and the members of the band that recorded 'Last' included Michael Günther on bass, Burghard Rausch on drums, plus Jörg Schwenke and Lutz Ulbrich on guitars, plus friends - Erhard Grosskopf on loops, Michael Hoenig on sinthesizer, a.o. Although the album was first released in 1976, side one was recorded live in France in March 1973 and side two live in the studio in Berlin, February 1974. But don't be fooled by this, the whole LP sounds as a proper studio recording, no intrusive audience noises, perfect mix, outstanding audio quality.

Fans of Can, Guru Guru, Faust or Tangerine Dream will enjoy the sound of Agitation Free, where all elements of acid guitar krautrock mix to perfection with experimental sounds, kosmische atmospheres and tape looping.

The Wah Wah reissue respects the original artwork, features an insert with photos and liner notes and comes in a strictly limited edition of 500 copies only.

Coming out of the boiling Munich scene of the sixties that also gave us the original Amon Düül (Thom Argauer had played in a dixieland band with Chris Karrer in the late 60s, actually), Siloah are one of the best kept secrets of the krautrock production. Siloah had a hard core including Thom Argauer, Manuela von Perfall, Heinrich 'Tiny' Stricker and Wolfgang Görner, plus a host of guests coming and going, everybody was free to join and play at any time, guest members often joining from the Baumstassen commune around which the band was living before they eventually moved to an abandoned farm on the outskirts of town.

Their first LP is a trippy acid psychmasterpiece recorded in 1970 and privately issued on German Blues and Undergrund. It showed a strong influence from US West Coast psychedelic music and has a lovely acoustic approach. It's sound is free, full of improvisation and with a charming amateurish feel all through it. It will appeal to lovers of free spirits like Amon Düül themselves, Kalacakra or even Música Dispersa.

The Wah Wah reissue is made in cooperation with Thom Argauer family, it has been cut from the original master tapes, has original artwork (improved by printing it over a mirror finish silver cardboard), has two bonus track not on the original LP added, features an insert with photos and liner notes and comes in a strictly limited edition of 500 copies only.


· ANALOGUE LACQUER CUT DIRECT FROM THE ORIGINAL MASTER TAPES

· TWO BONUS TRACKS

· ORIGINAL ARTWORK, IMPROVED PRINTING ON SILVER CARDBOARD SLEEVE!

· INSERT WITH PHOTOS AND LINER NOTES

· 500 COPIES ONLY!

Coming out of the boiling Munich scene of the sixties that also gave us the original Amon Düül (Thom Argauer had played in a dixieland band with Chris Karrer in the late 60s, actually), Siloah are one of the best kept secrets of the krautrock production. In 1972 Siloah had suffered a certain number of changes. Thom Argauer was still leading the project, but since his coleagues had left the farm in which they were all leaving he had to start again with new members Markus Krug and Florian Laber. He also looked for a more electric approach, himself moving from acoustic guitar to electric organ.

'Sukram Gurk' was the title chosen for their second LP. It was the name of Markus Krug spelled backwards. Markus' name was chosen because it was the one that sounded better phonetically to the ears of the trio. The sound of the album takes it all one step further, turning into an electric storm, yet retaining the free psychedelic improvisation feel of its predecessor.

The Wah Wah reissue is made in cooperation with Thom Argauer family, it has been cut from the original master tapes, has one bonus track not on the original LP added, features an insert with photos and liner notes and comes in a strictly limited edition of 500 copies only.


· ANALOGUE LACQUER CUT DIRECT FROM THE ORIGINAL MASTER TAPES

· ONE BONUS TRACK

· FAITHFUL REPRODUCTION OF THE ORIGINAL GLOSSY LAMINATED SLEEVE AND ORIGINAL ARTWORK

· INSERT WITH PHOTOS AND LINER NOTES

· 500 COPIES ONLY!

First ever reissue and first time on vinyl for this unique Flying Saucer Attack live album, expanded with additional material and a new side four mix from Jim O'Rourke. Produced in collaboration with Dave Pearce / FSA and Bruce Russell (compiler of the original CD release for his Corpus Hermeticum label), featuring new artwork by Bruce Russell as well.

While rightly known for the folk-influenced songs and spacey instrumentals of their proper albums, the briefly active live version of FSA unexpectedly delivered a blistering wave of electric sound. Recorded at various shows in 1994, In Search Of Spaces heaves with long passages of feedback guitar racket, broken up by sections of surging rock music. The live band focused almost exclusively on visceral, trebly guitar noise—which, while always a key element in their sound, was greeted by audiences with total mystification (and often disapproval). Following a few brief attempts to settle a lineup and play songs from their records, Dave Pearce / FSA abandoned live performance altogether, leaving behind this album (and the barely available P. A. Blues CDR) as the sole document of his in-person delivery.

Originally compiled and released in 1996, this reissue adds several minutes of music back to the original program that had been edited out by FSA for being too rock.' For side four, Jim O'Rourke revisited the original 1994 live tapes and has made a spooky and brooding new mix of music exclusive to this release.

On paper, the collaboration between Jello Biafra and Ministry seems like a match made in industrial punk heaven, and thankfully the first release from Lard lives up to these expectations. Both parties seemed to have taught the other side a thing or two: Jello Biafra is more focused than usual, while Alain Jourgensen and Paul Barker from Ministry sound a lot more punky and loose. The percussion, courtesy of Bill Rieflin and the late Jeff Ward, is firmly in an industrial style, though — all mechanized metallic thrashing, but it works just fine with the material. The standout track is "Forkboy," the album's opener, a frantic guitar workout with Biafra's righteous anger coming through loud and clear.

Bis was formed in late 1994 by teenagers Sci-fi Steve, Manda Rin and John Disco. From 1995 on Bis released a string of 7''s and EP's, on indie labels like Chemical Underground, Guided Missile and their own Teen-C Recordings. Bis had a sound that was completely their own, an agressive yet poppy mix of punk, indie pop, riot grrrl, new wave and britpop. Their second EP for Chemical Underground, 'The Secret Vampire Soundtrack', managed to enter the British top 30, and the band was even invited to perform one of the songs of the EP, 'Kandy Pop', on Top Of The Pops. Bis released their 1997 debut album 'The New Transistor Heroes' on Wiija (Europe), the Beastie Boys' label Grand Royal (US) and Sony (Japan) - selling more than 100.000 copies of the album in Japan, where they were very popular, alone. After two more albums, 1998's 'Social Dancing', that had a more poppy and modern sound and featured hit single 'Eurodisco' and the 2001's 'Return To Central', leading the band further into electronic terrority, Bis split up in 2003. Members went on to other projects, only to return in 2005, with an extra rhythm section, als Data Panik. After three reunion shows and releasing a greatest hit compilation in 2007, Bis came back together in 2009, and have been playing shows regularly ever since, releasing the 'Data Panik' album in 2014, a bunch of (split) singles and re-releasing deluxe editions of their albums on their own 'Do Yourself In'-label. And now, in 2017, Bis ads a Christmas single to their already extensive discography, a single that shows two completely different sides of the band. The A-side, the catchy Christmas anthem 'You Wrecked My Christmas' brings 'Social Dancing'-era Bis to mind, with punky guitars, uptempo drums, 80s synths and a chorus that refuses to leave your mind once you've heard it. On the B-side Bis take Saint Etiennes' synthpop-influenced Christmas hit 'I Was Born On Christmas Day', strip it to the bones, and it ends up sounding like Bis' interpretation of a 21st Century krautrock Christmas song.

For a year, friends and producers Jean-Gabriel Becker and Susumu Muka have been meeting for collaborative recording sessions at Sounds And Sons studio in Shoreditch.

Susumu Mukai, originally from Kanagawa, Japan, has been involved in diverse projects such as Zongamin, Stalactite and Off World as producer and multi-instrumentalist. Mukai is also a member of bands including Fimber Bravo, Vanishing Twin and Floating Points. Jean-Gabriel Becker, originally from Paris, France, has been writing music under various names and in numerous projects, from Jeanga And George and Economy Wolf to Lux Prima to name only a few. He also composes extensively for films and television under his own name. The sessions for Eyes, their first EP together, unfolded as a musical dialogue between the duo - open-ended, discovering the sounds as they revealed themselves in an organic way. Although some influences can be heard, from acidhouse to krautrock, to jazz and psychedelia, the otherness of Eyes EP refuses to be categorised easily.

"On Suicide's First Rehearsal Tapes, recorded in 1975, Alan Vega and Martin Rev create minimalist aural structures, traces of which would surface on their eponymous debut album, released on the Red Star label in late 1977.

These songs are not a sketchpad of semi-formed ideas. The First Rehearsal Tapes comprise an audio diary of two men out in the ether, measuring themselves as evolving individual artists and as a unit who would rely on inseparability to realize their unique and often confrontational mass in the decades to come. What the tapes also reveal is that Vega and Rev were compositionally ambitious, capable of melody and form, while resisting definition as they headed further into uncharted territory.

The First Rehearsal Tapes afford the listener a glimpse into the creative process of two groundbreaking, true art warriors with their swords and shields leaning against the practice room wall. To understand the absolute brilliance of Suicide's first album as well as their sonic adventures that followed, you have to start here with their earliest recordings."

- Henry Rollins (excerpt from the liner notes)

Steve Murphy returns on Wilson Records with a solid electro EP that hark back to the classic sound of some of the greatest International Deejay Gigolos Records.

Blackest Ever Black presents To Make A Fool Ask, And You Are The First, the latest - and, for us, greatest - full-length entry in Ashtray Navigations' uniquely important, uniquely sprawling - possibly sentient and self-multiplying - discography. It picks up where the nerve-damaged exotica of 2015's A Shimmering Replica left off...acerbic surf' guitar and synthetic salt-breeze fit for the Tropic of Yorkshire. Instant immersion in a potent, pungent psychedelia that feels equal parts cosmic and aquatic. What Todd wrenches out of his instrument these days is a language unto itself (perhaps it always was)... a helical, ecstatic, grieving howl...a (super)natural efflorescence, beyond earthly description or transcription...ur-rock and post-everything. But equal emphasis is given here to pulsating machine rhythms and lush keyboard textures, with killer contributions from longtime fellow traveller Mel O'Dubhshlaine. There were pre-echoes of all this in the recent(ish) Fluctuants and Aero Infinite: but To Make A Fool feels like the culmination, or the fullest expression, of something which was only glimpsed in those earlier works. The side-long 'Spray Two' - gently eddying string-pads gradually slashed to all f***k with fraught piano improvisations - is a masterpiece in its own right. At its delirious peak, the whole thing boils over into brooding, arpeggiated noir-techno - Michael Mann's steadicam roaming Leeds' B-roads, some kind of tangerine nightmare - before finally cooling into a bleary starfield of pure and sumptuous hypno-tone. This LP is a trip, in the most skull-splitting, soul-crinkling sense of the word, but it soothes and heals as well. A circular and transformative journey to the other side of the underneath and a landmark recording from one of the most adept and visionary nodes in Britain's freakout underground.

Dubbed-out cosmic pastorals and politically exasperated techno-exotica from Blackest Ever Black's most secretive and shape-shifting project. Guest contributors include Conrad and Jonnine Standish of HTRK, Genevieve McGuckin (These Immortal Souls), and Lucas Santanna. The ghosts of Les Baxter, Rowland S. Howard and Nina Simone are also in attendance. But whoever is pulling the strings remains hidden...possibly in plain view. Structurally Wreck His Days recalls the grand collective statements of This Mortal Coil or Massive Attack, but musically its dreamlike overtures have more in common with Deux Filles, Global Communication, Arthur Russell, Penguin Cafe Orchestra, Anthony Moore, even Robert Wyatt circa Old Rottenhat/Nothing Can Stop Us. It roams far and wide: from the lambent, near-Balearic piano loops of the title track, to the Audrey Horne-worthy death-jazz of 'Ghost From The Coast', and hulking, bass-heavy soundsystem weapon 'Reverberasia'. Side Two opens with the swelling, uplifting astral psychedelia of '...And I Tried So Hard', while 'I Beat As I Sleep As I Dream' reprises the bleak existential synth drift of T.T.W.F.U.'s extraordinary 2014 10', How Great A Fame Has Departed. A deep-seated socialist impulse drives the whole thing: with a dedication to women who have fought oppression throughout history, references to the Spanish Civil War and the UK Miners' Strike, and an overarching belief in the international ideal (in fact the closing 'Rosa / Kollontai' explicitly invokes the Internationale). Written and recorded over the course of 2014-15, Wreck His Days is a plea, or perhaps a requiem, for a world that embraces difference and upholds equality. Its contemporary relevance hardly needs emphasising.

Never before released studio and live recordings by Harmonia from 1975! Four fantastic tracks. Two from the Harmonia studio in Forst and two from live shows in Hamburg. These pieces express a very exploratory side of Harmonia, a rare peek into what they were capable of live.

1000 Robota im Jahr 2022 sind, soviel sei verraten, immer noch Sebastian Muxfeldt, Jonas Hinnerkort und Anton Spielmann. Und was macht eine Band, die schon immer den Zeitgeist angeschrien hat, mit der hochfrequenten Gegenwart? Sie durch den Fleischwolf drehen und ihr die eigene Reflexion vorlegen, genauer: Ein neues Album. Es klingt gewaltig, intensiv und intim zugleich und strahlt eine utopisch finstere Wärme aus.

1000 Robota im Jahr 2022 sind, soviel sei verraten, immer noch Sebastian Muxfeldt, Jonas Hinnerkort und Anton Spielmann. Und was macht eine Band, die schon immer den Zeitgeist angeschrien hat, mit der hochfrequenten Gegenwart? Sie durch den Fleischwolf drehen und ihr die eigene Reflexion vorlegen, genauer: Ein neues Album. Es klingt gewaltig, intensiv und intim zugleich und strahlt eine utopisch finstere Wärme aus. 1000 Robota über das Artwork: Jede Platte ist physisch (per Hand) individuell von uns gestaltet worden. Kein Artwork sieht gleich aus. Durch Heißluft werden handelsübliche Supermarkttüten um die Albumhülle geschmolzen. Faktisch gibt es kein "grafisches Artwork", es ist physischer Natur und schafft sich seine ganz eigene Form, die zu immer wieder neuen, unberechenbaren Oberflächen, Kerben und Strukturen führt, zu einer zusammengeschmolzenen und übersehenen Welt. Wahrscheinlich unsere Welt.

Mint and Bone Swirl Vinyl (A Side / B Side Effect) There’s a new Acid Rooster on the horizon as Irrlichter is heading our way.

Mainlining the spirit of Agitation Free, Neu! or any of the well known German psych and krautrock pioneers, Acid Rooster’s partially-written and part-improv take on free-thinking psych is equal parts monolithic and hypnotic, executed with genuine conviction – it’s like being catapulted into orbit by wave after cosmic wave in a maelstrom of psychedelic flavors, whether it’s blistering guitar pyrotechnics or the downtempo check-ins with your consciousness. It’s Acid Rooster’s strength to relentlessly take you well beyond the astral planes.

Aircooled return with a new single and album of disco-fuelled locked grooves, rock swagger and glittered poise but with an expanded palette that brings vocals to the fore for the first time. The extended psychomotorik traits are still very much part of the picture but the band have sidestepped into songsmithing with apparent ease and explosive results.

In a year that included sell-out shows at The Lexington - Islington, The Trades - Hebden Bridge and The Brixton Windmill, a stint opening for Suede on tour and the release (and repress) of their debut LP St Leopards, Aircooled found time in their studios in St Leonards on Sea, where they live, to write, record and produce Eat The Gold, a set of winning, infectious tunes that, while neatly avoiding resting on the laurels of their initial success, ignites with all the energy of a band at the peak of their power. From the super solid, relentless grind of Katharine and Justin’s stainless steel rhythm section to the twin-voices-as-one vocals from Riz and Ollie and the psyched-out riffing, wig-out guitars and synthesizers this is mirror ball disco funk rock from a band that’s clearly and unashamedly having a very good time.

Eat The Gold is set for release digitally and on vinyl on 16th February 2024 on the Music’s Not Dead label and will be celebrated with a show at Third Man Records the same day and followed by a series of gigs including Lewes Psych Fest and a major UK tour.

Im September 1968 spielte AMON DÜÜL bei den "Internationalen Essener Songtagen", dem ersten fünftägigen Rockfestival Deutschlands, das der spätere Ohr-Labelchef Rolf-Ulrich Kaiser initiiert hatte. Der Berliner Musikproduzent Peter Meisel hörte und sah die Band dort und nahm sie spontan unter Vertrag, zusammen mit Tangerine Dream und Birth Control. AMON DÜÜL stand der Berliner "Kommune 1" nahe und entstand zu einer Zeit, da jeder ein Künstler war, der einer sein wollte. Und so konnte auch jeder, der wollte, ein Musiker sein. Zusammen, im Kollektiv, war alles möglich. Angelika und Helge Filanda, Wolfgang Krischke, Ulrich Leopold, Rainer und Ella Bauer, Peter Leopold sowie Uschi Obermaier spielten in Meisels Studio zeitgemäß high in the sky eine Session ein, die alle Regeln durchbrach und alle Hörgewohnheiten auf den Kopf stellte. Die Aufnahmen wanderten zunächst in den Giftschrank, erst ein Jahr später traute sich Meisel, sie unter dem Titel Psychedelic Underground zu veröffentlichen. Hier ist die Fortsetzung: Die Doppel-LP Disaster/Lüüd Noma erschien 1972, als es die Gruppe AMON DÜÜL schon nicht mehr gab, und sie präsentiert weitere Aufnahmen aus derselben Session. Alle Titel sind surreale, unübersetzbare Wortspielereien, die Stücke sind klanglich besser organisiert, weniger fragmentarisch, klarer voneinander abgesetzt und ausgefeilter nachbearbeitet als auf der ersten LP - der ausgenzwinkernd mitgelieferte Hinweis, alle Störungen und Fehler seien beabsichtigt, hat aber gleichwohl einen wahren Kern. Nun sind diese denkwürdigen Aufnahmen wieder zugänglich, remastered von den analogen Originalbändern. Sie sind das Dokument einer Zeitstimmung, die unwiederholbar geblieben ist. Wer sich für die Anfänge des Krautrocks ernsthaft interessiert, kommt an diesem Album nicht vorbei - das Disaster wartet auf Sie!

Sense and Sensuality (1982) was the second and final album by seminal British post-punk band The Au Pairs. The four-piece group from Birmingham were very much in tune with the early 80s growth pangs from the first punk explosion - stripping down their music from their debut LP to a funkier, more rhythmic essence, and shifting the focus of their lyrics to the personal rather than the political.

The addition of horns and imaginative synthesizers allowed for more satisfying sonic diversity, from the disco-informed dance-punk of “Instant Touch” to the cabaret swing of “Tongue in Cheek”. While “That’s When It’s Worth It” takes several elements of popular post-punk - looping auxiliary percussion rhythms and a sporadically used horn section - and crafts them into a wild sound that’s equal parts dance, psychedelia, punk and art pop.

Their distinctly punk take on sex and gender politics, meanwhile, was their strongest thematic strain - and that’s truly where Sense and Sensuality shined. Despite only reaching #79 in the UK when first released, it’s now widely seen as one of the best post-punk albums ever.

Sense and Sensuality is now available as a limited numbered edition of 750 copies on translucent magenta coloured vinyl and contains an insert.

We did already reissue Between's "And The Waters Opened" ten years ago and it sold out very fast. Since then, many of you have kept asking for copies of it, so we've just done a new deal to produce a new run of 500 copies only. This is one of the most interesting kraut LPs, be sure to grab a copy for your collection!

First released in Vertigo in 1972 and often regarded as Between's most exotic and beautiful opus, it is a huge droning masterpiece with oriental nuances that might recall Popol Vuh, Fripp and Eno or Taj Mahal Travellers. A classic album from the early German 1970s scene!

Traversing the everyday in 2023, the need for ritual catharsis only grows stronger. The need to lose oneself in a force bigger than ourselves, and to venture into inner space the better to sculpt armour for the battles outside. Luckily this is the job of Bonnacons of Doom, aural soothsayers and progenitors of Trans Pennine hypnotic music. ‘Signs’ - their second album for Rocket Recordings - marks both a portent of things to come, and a roadmap of the psychic pathways to survival. This masked troupe, subsumed to mystery and amassed from across the North of England, have stepped up their mission accordingly. Building on the intimidating intensity of their self-titled 2018 debut, this series of fiercely charged mantras and premonitory transmissions is possessed of a new level of communal intensity. The band’s choice of weapons- the monomaniacal intensity of the riff, the liberating binary spirit of electronics and the incantatory vocals of ceremonial leader Kate Smith - here coalesce into a metaphysical force which stands defiant of easy categorisation. Within these otherworldly manifestations lurks solace in a place where the transcendent power of heavy amplification, cosmically aligned sonic explorations and strange forces darker and more unknowable can coalesce to cathartic and redeeming effect. ‘Signs’ marks out a supernatural landscape where ancient and modern, earthly and alien congregate in the eternal now, whilst Bonnacons Of Doom transcend era to light a path for the future

Unissued recordings by this very LOUD power trio from San Francisco, modeled
after Cream, Blue Cheer or The Jimi Hendrix Experience.

Including their fantastic studio demo from 1968 plus raw & wild live tracks
from 1969.

Boogie (or The Boogie) was probably the first hard-blues / proto-metal group
that emerged from the San Francisco scene. This power-trio was formed by
Barry “The Bee” Bastian (Canned Heat, Lee Michaels...) on guitar/vocals;
John Barrett (The Rhythm Dukes) on bass and Fuzzy John Oxendine (Roky
Erickson & The Aliens, Jerry Miller Band...) on drums.

Comrades of Moby Grape (who even let Boogie use their rehearsal space) and
the Sons Of Champlin, they played at all the legendary venues (The Ark,
Avalon, Fillmore…) sharing stage with bands like Buffalo Springfield,
Quicksilver, Ace Of Cups, Flamin’ Groovies or Country Joe & The Fish. Their
explosive show at the Sky River Rock Festival (August, 1968, the first
outdoor multi-band Rock Festival held in the United States) to an audience
of 150,000 people, is still remembered today.

Sadly, their convulsed story, which includes undercover narks and marijuana
busts, left them with no record deal. But a studio demo - recorded in 1968
at Pacific High Recorders - including three tracks, “In Freak Town”, “To Me”
and a terrific, fuzzed out 7-minute long cover of “Wade In The Water”, plus
some live recordings from 1969, survived. Previously available only as part
of a private CD released by Barry Bastian, here’s the first ever vinyl
release.

PLAY LOUD!

*Hard cardboard sleeve.

*Insert with rare photos and detailed liner notes by San Fran rock historian
Bruno Ceriotti.

*Download card with the full album plus three bonus tracks.

"Arguably the greatest San Francisco's rock 'n' roll band of the 60's who
never released anything"
- Bruno Ceriotti

SPECIAL EDITION COLLECTORS VINYL WITH BONUS CD

Cottonwoodhill immediately ran into controversy for its association with psychedelic drugs.

the album came with a warning label that insisted

you should "only listen once a day to this record. Your brain might be destroyed,”

which led to the album being banned in several countries including the USA.

* 50th Anniversary deluxe edition of this Spanish psychedelic/progressive masterpiece from 1970!

* First ever vinyl reissue featuring the intended but never used at the time nude gatefold cover design by painter Claudio Bravo.

* Double set including the Spanish version of the album plus, for the first time on vinyl, the alternate English version that Fernando Arbex (Brincos main man) considered to be the definitive one and that he couldn’t release at the time, including different tracklist / mixes than the released at the time English one, resulting in a fabulous psych album with a strong late ‘60s British feel.

*12-page colour insert with detailed liner notes in English / Spanish and rare photos plus poster!

In 1969, Los Brincos, probably the most famous Spanish ‘60s pop band - often dubbed “the Spanish Beatles” – added a new member to their line-up: Colombian born Oscar Lasprilla, an accomplished keyboard / guitar player who had previously been part of pioneering Colombian psych bands Time Machine and the Speakers.

Influenced by psychedelia, prog-rock and underground sounds, Los Brincos (now simply named ‘Brincos’), led by drummer / main songwriter Fernando Arbex, decided that their new album would be a conceptual work - something never seen in Spain until then - similar to what other international bands like Beatles, Who, Moody Blues or Pretty Things were doing. The concept behind the album was supposedly to be based on the three enemies of the soul: the world, the flesh and the devil, hence the final title: “World Devil Body”.

This ambitious work was recorded by the new Brincos line-up - with famous Spanish musician Augusto Algueró as arranger - at the same place where King Crimson recorded their legendary debut, Wessex Studios in London, using the same sound engineer, Robin Thompson.

The recording sessions were intensive and highly productive, with the band giving plenty of room to improvisation. Some songs were sung in Spanish, some in English, being the central piece an outstanding 12 minute long conceptual psych suite, sung in English and titled “Mundo Demonio y Carne” (“World Devil & Body”), comprised of four parts and written by Fernando Arbex and Oscar Lasprilla. There was nothing similar in Spain at that time and this track stands today as one of the earliest, if not the first, progressive pieces ever recorded by a Spanish band.

Regarding the other tracks, we find many surprises: a long eastern sounding instrumental (“Kama-Sutra”); the eerie “Esa Mujer”, with a hair-rising orchestral arrangement by Algueró, featuring members of the London Symphony Orchestra; British influenced psych-pop “Jenny La Genio”, “Promises and Dreams” or “Butterfly” (which featured vocals sung through a megaphone!); hard-psych with plenty of guitar and Hammond (“Emancipation”, “Misery & Pain”)…

The album was originally intended to be housed in a gatefold cover with artwork by hyperrealist painter Claudio Bravo, showing the five members of the band naked from their waists up. It was instantly rejected by the label. Also, the heads of the label showed little interest in this project, as they didn’t understand it at all, putting many objections to the proposed tracklist / release ideas. In the end, the release received zero promotion. Finally, the album, housed in a new cover by another painter depicting a bizarre viscous brain, was released in 1970 in two different versions: one in Spanish (Mundo Demonio Carne) and another in English (World Devil Body). They featured different tracklists / songs but both versions included the English sung “World Devil Body” suite. Fernando Arbex had the US market in mind for the English version but in the end that version was released only in Spain, Germany and, oddly enough, Japan. The album was received with mixing reviews… it was too ‘progressive’ for most of the Brincos fans and the few progressive music fans in Spain didn’t even bother to listen to it, as they still thought of Brincos as a pop band. Soon after, the band, tired and exhausted, disbanded after giving an amazing concert at a famous progressive music festival in Barcelona, sharing stage with new Spanish underground bands like Máquina! and Smash.

During the years, both the Spanish/English versions of the album have been reissued many times. Then, in 1997, Fernando Arbex released (only on CD) what he understood was the definitive English version, featuring the nude Claudio Bravo cover for the first time and a new, different tracklist that, according to him, was the one he originally intended to release in 1970 but couldn’t do it due to frictions with the record company. The result is an English sung album with a strong late ‘60s British psychedelic flavour, including one of the best tracks Brincos ever recorded, “If I Were You” (which inexplicably was not included in the original release at the time) and a different mix of the “World Devil Body” suite.

To coincide with the 50th Anniversary of World Devil Body / Mundo Demonio Carne, we’re proud to present a deluxe double vinyl LP reissue featuring, for the first time on vinyl, the nude gatefold cover design and the alternate English version, as Fernando Arbex originally intended. Disc 2 features the Spanish version as originally released in 1970.

*Gatefold cover

*12-page colour insert with detailed notes

*Free poster.

Was für eine erstaunliche Verbesserung im Klang dieser 50 Jahre alten Aufnahme. Unter Zuhilfenahme der originalen, analogen Masterbänder und modernstem, technischem Equipment erscheinen die einfühlsamen Melodien der Originalbesetzung in einem wunderbaren Licht von Romantik und Empathie. Remastert in den Dierks-Studios, wo auch die Aufnahmen entstanden. Produziert unter Mitwirkung von Dieter Dierks.

Unbelievably killer and super, super heavy brand-new Psyche/Krautrock album coming out of nowhere from Brown Spirits, new on Soul Jazz Records!
Brown Spirits are from Melbourne, Australia. Their stripped down and tight musical unit is a trio (think Cream or Hendrix!) of raw bass, drums and shared guitar/keyboards meets the D-I-Y attitude and punk/post-punk intensity, giving them a unique hi-octane sound.

'Eurabia Vol. 1' is the forthcoming EP from Cairo Liberation Front, following up on their debut release on the über hip Höga Nord Rekords. It sees the band collaborating with Iraqi/Dutch female vocalist Meis (aka Bagdaddy) and Syrian keyboard virtuoso Rizan Said along others. The lead single Tilly' track gallops along like a rabid horse with Bagdaddy in the saddle, urging it on. It is, in essence, the embodiment on record of their scintillating live set, which ripped the roof off Dour festival this summer, and promises to do so again at their tenth Eurabia party to mark the EP release, this time with Mehmet Aslan and Baris K guesting.

Can, live from Soest, Rockpalast, Germany in November 1970.
This remarkable set is the earliest full concert recording of the mighty Can. Performed in November 1970 for broadcast on the WDR TV show Karussell für die Jugend (‘Youth Carousel) in Soest, 80 miles north of their base in Cologne, it features vocalist Damo Suzuki (who’d replaced Malcolm Mooney in May), alongside Michael Karoli (guitar), Irmin Schmidt (keyboards), Holger Czukay (bass) and Jaki Liebezeit (drums), and is presented here with background notes and images.

Spoon Records kündigt, die erste Veröffentlichung in einer Reihe von lang erwarteten Live Alben an: Can Live in Stuttgart 1975 - erscheint auf Vinyl, CD und digital am 28. Mai 2021.

Selbst wenn man glaubt Can zu kennen, inklusive aller Alben und den legendären Lost Tapes, gibt es hier immer noch vieles entdecken das einen überrascht. Diese Musik ist nie zweimal derselbe Fluss.

Das neue Album in fünf Teilen, Can Live in Stuttgart 1975 dokumentiert einen wichtigen und beeindruckenden Teil der Can-Geschichte. Da in den 70gern technische Pannen immer wieder die geplannten Live-Aufnahmen sabotierten, fehlten diese im Spoon Katalog. Nun wurden die besten Bootleg-Aufnahmen genommen und unter der Leitung von Gründungsmitglied Irmin Schmidt und CAN Produzent/Toningenieur René Tinner durch die Mühlen der Technologie des 21. Jahrhunderts geschickt, um diese wichtigen historischen Dokumente in der bestmöglichen Qualität zu präsentieren. Gegründet 1967 und aufgelöst etwas über ein Jahrzehnt später, hat Can's beispiellose und kühne Verbindung von hypnotischen Grooves und avantgardistischen instrumentalen Texturen sie zu einer der wichtigsten und innovativsten Bands aller Zeiten gemacht. Die neue LIVE Serie offenbart eine völlig neue Perspektive auf die Band. Man kann vertraute Themen, Riffs und Motive hören, die auftauchen und durch die Jams surfen, aber es sind oft nur flüchtig wiedererkannte Gesichter in einer wirbelnden Menge. Man kann aber auch viel Musik entdecken, die es nie in den offiziellen Albumkanon geschafft hat. Die Aufnahmen gehen in extremere Bereiche als Can’s Studioarbeit: von sanftem, ambientem Drift-Rock bis hin zu den berühmt berüchtigten "Godzilla"-Momenten. Und selbst wenn sich die Band Mitglieder von Minute zu Minute anpassen und dem Rhythmus hinterherjagen, kann man die außergewöhnliche musikalische Telepathie hören, die sie alle teilten.

- "Can’s Live-Auftritte klingen wie eine epische Geschichte – ein Roman, der uns erzählt wird. Mit unterschiedlichen Kapiteln, wechselnden Stimmungen, Jahreszeiten und exotischen Landschaften." - Alan Warner

Future Days" aus dem Jahre 1973 ist das fünfte Studioalbum der Band und zugleich das letzte Album mit dem japanischen Sänger Damo Suzuki. Auf dem Album herrschte eine für Can bis dahin ungewohnte lyrische Atmosphäre, insbesondere bei den Stücken "Future Days" und "Bel Air".

- Die LP erscheint als 180g Vinyl inkl. MP3-Download Codes

LTD Edition im goldenen Vinyl!

"Future Days" aus dem Jahre 1973 ist das fünfte Studioalbum der Band und zugleich das letzte Album mit dem japanischen Sänger Damo Suzuki. Auf dem Album herrschte eine für Can bis dahin ungewohnte lyrische Atmosphäre, insbesondere bei den Stücken "Future Days" und "Bel Air".

Die gefeierte Can Live Serie wird mit einem Konzert in Paris mit Damo Suzuki fortgesetzt! Die zweite Phase der gefeierten Can Live-Serie, Can Live in Paris 1973, wird am 23. Februar 2024 auf Vinyl, CD und digital über Mute und Future Days (das neue EU-Label von Spoon Records) veröffentlicht.

Live in Paris 1973 zeigt Can in magischer Form bei einem Auftritt, der am 12. Mai 1973 im Pariser L'Olympia aufgezeichnet wurde und bei dem erstmals Damo Suzuki am Gesang zu hören ist. Von 1970-73 wurde die Stammbesetzung von Irmin Schmidt, Jaki Liebezeit, Michael Karoli und Holger Czukay durch den japanischen Improvisator und Sänger Suzuki ergänzt. Sie lernten sich durch eine zufällige Begegnung kennen, als Suzuki als Straßenmusiker in München unterwegs war; einige Monate nach dem hier veröffentlichtem Auftritt verließ Damo die Band. Dieses neue Album in der Reihe ermöglicht es uns, die Band in einer besonders wichtigen Phase ihrer Karriere zu erleben, da zwei ihrer am meisten gefeierten Alben - Tago Mago und Ege Bamyasi, wobei letzteres in den Pariser Auftritt einfließt - erst kürzlich veröffentlicht wurden. Die Aufnahmen wurden von Gründungsmitglied Irmin Schmidt und Produzent/Sound Engineer René Tinner, die alle Alben dieser Reihe zusammengestellt und bearbeitet haben, aus Aufnahmen in den Archiven von Spoon Records und von hilfsbereiten Fans eingesandten Aufnahmen zusammengesetzt und für das 21. Jahrhundert aufgearbeitet. CAN, die in den späten 60er Jahren gegründet wurden und sich ein gutes Jahrzehnt später auflösten, haben sich mit ihrer beispiellosen und kühnen Verbindung von hypnotischen Grooves und avantgardistischen Instrumentalstrukturen zu einer der wichtigsten und innovativsten Bands aller Zeiten entwickelt, und diese Alben zeigen die Gruppe aus einer ganz anderen Perspektive. Man hört vielleicht vertraute Themen, Riffs und Motive, die auftauchen und sich durch diese Jams wälzen, aber es sind oft nur flüchtig wiedererkannte Gesichter in einer wirbelnden Menge. An anderen Stellen hört man Musik, die es nie in den offiziellen Albumkanon geschafft hat. Bei diesen Aufnahmen gehen Can in noch extremere Bereiche als bei ihren Studioarbeiten: von sanftem, atmosphärischem Drift-Rock bis hin zu Momenten, denen die Band den Spitznamen "Godzillas" gab. Und selbst wenn sie sich von Minute zu Minute dem Rhythmus anpassen und hinterher jagen, kann man die außergewöhnliche musikalische Telepathie hören, die ihre Mitglieder miteinander teilen.

Die neue Veröffentlichung folgt auf Can Live in Brighton 1975 "Pure dynamite... keep them coming" - MOJO; Can Live in Stuttgart 1975, UNCUT's Reissue of the Year, #2 in MOJO's Reissues of the Year, #7 in THE WIRE’s Archive Reissues of the Year, und Can Live in Cuxhaven 1976, das ebenfalls in den “Reissues of the Year” stark vertreten war.

Can Live in Paris 1973 wird am 23. Februar 2024 auf Doppel-Vinyl, 2 x CD und digital über Mute / Spoon Records veröffentlicht.

Seit langer Zeit kursierten die Can LPs nur als Bootlegs, jetzt gibt es endlich die offiziellen Vinyl Reissues via Spoon Records! Die limitierte Erstveröffentlichung des Albums erschien im August 1969 auf dem Label Music Factory noch unter dem Namen THE CAN. Die zweite Veröffentlichung, mit neuem Artwork wie man es heute kennt, erfolgte auf Liberty Records im darauf folgenden Jahr. Aufgenommen wurde das Album im Schloss Nörvenich mit Cans erstem Sänger Malcolm Mooney. Das Albumdebüt der Band verband Elemente unterschiedlichster Stilrichtungen aus Psychedelic Rock, Blues, Fee Jazz und World Music. Die Nutzung der Improvisation, des Editings und des Layerings der unterschiedlichen Sounds setzte den Standard für alle folgenden Can Alben!

Seit langer Zeit kursierten die Can LPs nur als Bootlegs, jetzt gibt es endlich die offiziellen Vinyl Reissues via Spoon Records! Das zweite Can Album, eine Kompilation verschiedener Filmmusiken, erschien 1970. In dieser Zeit verließ Malcolm Mooney die Band und ist nur noch auf zwei Tracks vertreten: "She Brings The Rain" und "Soul Desert". Stilistisch entfernte sich die Band hier vom ersten Album "Monster Movie" (und dem später veröffentlichten Album "Delay") hin zu den den mehr meditativen, elektronischen Studioaufnahmen der folgenden Alben wie "Tago Mago" und "Ege Bamyasi".

Seit langer Zeit kursierten die Can LPs nur als Bootlegs, jetzt gibt es endlich die offiziellen Vinyl Reissues via Spoon Records! "Ege Bamyasi" ist das vierte Studioalbum der Band und wurde im Original 1972 von United Artist veröffentlicht. Der Titel "Spoon" (zugleich die Titelmusik der TV-Serie "Das Messer") schaffte es in die deutschen Charts (Platzierung #6). "Ege Bamyasi" ist das erste Album, das im neuen Studio der Band in Weilerswist aufgenommen wurde. Das Album wird immer wieder von Musikern weltweit als eines der einflussreichsten Alben überhaupt genannt. Tracks wie "I'm So Green" oder "Sing Swan Song" wurden von Künstlern wie Beck und Kanye West gecovered!

"Future Days" aus dem Jahre 1973 ist das fünfte Studioalbum der Band und zugleich das letzte Album mit dem japanischen Sänger Damo Suzuki. Auf dem Album herrschte eine für Can bis dahin ungewohnte lyrische Atmosphäre, insbesondere bei den Stücken "Future Days" und "Bel Air".

Das sechste Studioalbum der Band, veröffentlicht 1974, ist das erste nach dem Verlassen der Band von Sänger Damo Suzuki. Der Gesang wurde hier hauptsächlich von Gitarrist Michael Karoli und Keyboard Player Irmin Schmidt übernommen. "Soon Over Babluma" führt den "Ambiente Sound" des vorherigen Albums "Future Days" weiter, verfügt aber auch über 'upbeat' Tracks wie "Chain Reaktion" oder "Dizzy Dizzy". Eines der vielseitigsten Alben der Band!

"Landed", das siebte Studioalbum der Band, wurde 1975 bei Virgin veröffentlicht. "Landed" ist voller überraschender, neuer elektronischer Klänge, und mit dem 13-minütigen Stück "Unfinished" bewegt sich die Band mehr in Richtung "Ambient Sound".

Das neunte Can-Studioalbum, "Saw Delight", wurde 1977 bei Virgin veröffentlicht. Holger Czukay spielt hier keinen Bass mehr, sondern widmet sich ausschließlich experimentellen Effekten. Die vier Can-Mitglieder wurden bei den Aufnahmen durch die zwei neuen Musiker Rosko Gee (Bass) und Reebok Kwaku Bah (Percussion) verstärkt, beide waren ehemalige Mitglieder der Band Traffic.

"Delay 1968" ist eine Compilation mit älteren, unveröffentlichten Titeln der Band aus dem Jahre 1968. Das Album wurde 1981 erstmalig veröffentlicht.

"Unlimited Edition" ist eine Compilation aus dem Jahre 1976, gedacht als Verlängerung der 1974 erschienen LP Limited Edition (welche, wie der Name schon verrät, eine limitierte Auflage war). "Unlimited Edition" ist eine Sammlung von Tracks aus der Zeit zwischen 1968 bis 1976, beide Sänger der Band, Malcolm Mooney wie auch Damo Suzuki, sind hier vertreten. Die Abkürzung E.F.S., die bei mehreren Tracks hier vorkommt, steht für Ethnological Forgery Series bzw. "Ethnologische Fälschungsserie": kleine, ironische Improvisationen zum Thema "World Music".

'Can Live in Keele 1977' ist die neueste Veröffentlichung in einer Reihe von Live-Alben, die aus den Tresoren von Spoon Records und aus Fanaufnahmen ausgegraben und dann von Gründungsmitglied Irmin Schmidt und Produzent/Ingenieur René Tinner sorgfältig zusammengestellt wurden.

Live in Keele 1977 ist ein dynamisches Dokument der Spätzeit von Can. Die im März 1977 aufgenommene Kernbesetzung bestehend aus Irmin Schmidt, Jaki Liebezeit, Michael Karoli und Holger Czukay wird durch Rosko Gee (Traffic) am Bass ergänzt. Gees kürzliche Ergänzung des Line-Ups bedeutete, dass Holger Czukay von seinen Bassaufgaben entbunden wurde, um „Waveform Radio und Spec“ zu spielen. Sounds“, die sich hier als jenseitige Klänge, Samples und das manifestieren, was ein Rezensent einer späteren Show als „Mondgespräch mit einem weißen Kontinentaltelefon“ beschrieb.
Das neue Album ist die letzte Veröffentlichung in der aktuellen Reihe von Live-Dokumenten, die 1975 mit „Can Live in Stuttgart“ starteten (Uncuts Reissues of the Year, Platz 2 in MOJOs Reissues of the Year, Platz 7 in The Wire's Archive Reissues of the Year und mehr). ), gefolgt von „Can Live in Cuxhaven 1976“ (das erneut eine große Rolle in den Neuauflagen des Jahres spielte); „Can Live in Brighton 1975“ („Pure Dynamit… Keep They Coming“ – MOJO); „Can Live in Paris 1973“, das erste der Reihe mit dem verstorbenen Damo Suzuki („eine lebhafte Hommage an eine der besten Improvisationsgruppen des Rock“ – Financial Times), und „Can live in Aston 1977“ (The Quietus's Reissue of the Week – „ Es ist zweifellos Musik zur Erweiterung des Geistes, aber sie dehnt das Gehirn auf eine Weise, die einzigartig bleibt – „Can waren schon immer Anbieter von Inner-Space-Rock, und jede Reise ins Unbekannte war so anders wie ihre Shows“).

Das Album „Cage Company“ der Mannheimer Band CANARY erschien 1981 und ist im gutem Zustand heute für nicht unter 80 Euro zu bekommen – wenn es denn überhaupt auftaucht. Das verwundert nicht, denn die Mischung aus Hardrock, Krautrock und Prog lässt gleich mehrere Zielgruppen auf die LP schielen…

Viel ist nicht bekannt über CANARY und offensichtlich ist das wichtigste Bandmitglied, Drummer Klaus Jungmann, im Dezember 2024 verstorben. Mannheim war gerade in den Siebzigern ein kreatives Pflaster für Rockmusik. Man denke nur an Kin Ping Meh, Twenty Sixty Six And Then, oder auch die frühe Joy Fleming. CANARY führten diese Kultur weiter in die frühen Achtzigerjahre. Sie erhielten einen Vertrag beim Label SriLanca (auch als SL-Records bekannt), welches zum GAMA Musikverlag gehörte. Der wiederrum entstand aus dem Umfeld der Gruppe Eulenspygel. So wurde „Cage Company“ von Achim Bosch im Spygel Studio zwischen Dezember 1980 und März 1981 aufgenommen. Leider hatte das frischgebackene Label SriLanca damals nicht das Budget, die LP adäquat zu bewerben und flächendeckend in die Läden zu stellen. So wurde „Cage Company“ zum Geheimtipp und zur Rarität.

Golden Core machen dieses anspruchsvolle Album in restaurierter und remasterter Version wieder zugänglich. Das Booklet, bzw. das LP-Inlay, enthält Scans/Abbildungen der originalen LP von 1981.

WRWTFWW Records is thrilled to announce the release of the long anticipated, always delayed, 30-years-in-the-making PSYCHOS IN LOVE Original Soundtrack, available at last and for the first time ever in a super deluxe low fidelity _7" grape-colored vinyl edition, housed in a DIY no-budget sleeve, and loaded with extras, including words from film director Gorman Bechard, lyrics of the theme song, a promotional postcard with a picture of the cast, a poster of a woman attacked in a bathroom, and the infamous as-seen-in-the-movie "I LOVE MY VCR" bumper sticker!

Filled with sleazy funk, macabre synths, homemade electronic kitsch, anti-grape propaganda, and rewind-worthy dialogue excerpts, Psychos In Love is the ultimate lo-fi horror-romcom soundtrack adventure with a theme song so memorable you'll find yourself humming it every morning. In Gorman Bechard's words, "For the Psychos In Love theme I purposefully wrote what I hoped were the worst lyrics of all time, giving them to Carmine Capobianco with one note, 'use them to write the worst song of all time.'"

The movie Psychos In Love (1986) is a trenchant, laugh-out-loud indictment of slasher films, romantic comedies, and grapes (that's right, pal, grapes), a true genre-defying post-modern cult classic that will wind its way into your heart as its characters work _their way through vats of gore. Packed tight with sly homages to - and parodies of the work of such cinema legends as Alfred Hitchcock, Woody Allen, Roger Corman, Groucho Marx, and Gerard Damiano, Psychos In Love foreshadows the grand guignol culinary delights of Silence of the Lambs, served up with a healthy portion of wry wit and all-American t&a.

Christian Naujoks' work has been heard and seen in a wide range of contexts, from nightclubs to concert halls, art venues and the theatre. He released three solo albums on Berlin-based label Dial Records. After his critically-acclaimed album "Wave" (2016), which has been praised as a contemporary masterpiece of ambient romance and "the most exquisitely melancholy thing he's done yet" (Pitchfork), followed by numerous collaborative projects with performance artist Ei Arakawa, filmmaker Loretta Fahrenholz and composer Ari Benjamin Meyers, among others, Christian Naujoks is back with a new record produced during his exhibition "Soft Mouth Data Service" at Galerie Max Mayer in Düsseldorf.

The single features a collaboration between Studio Kosmische from UK and Cloud Canyons from Italy. Side A is a rework by Studio Kosmische of “Under Neon Stars”, a track from Cloud Canyon’s 2023 debut album “Dreaming Of Horses Running In Circles”: by adding a few parts and alchemically blending the original elements of the song - the relentless motorik pulse, the ethereal female vocals, the multilayers of monophonic analogue synths - Studio Kosmische’s version moulds a shrouding and lilting veil on the 9-minutes long original track. Side B features a brand new track, “Black Fruit”, also sprung from the creative dialogue between the two bands and clocking at about 9 minutes side-long. Born as an instrumental piece by Studio Kosmische, “Black Fruit” developed in a full song thanks to the vocal additions by Michelle Cristofori, Laura Storchi and Stella Baraldi (Cloud Canyons’ singers) and a rich yet minimalistic array of instrumental parts by Studio Kosmische’s Dom Keen, who ingeniously shaped the keys harmonies and rhythmic textures around the vocal lines. Accomplished by some subtle electronics treatment by Cloud Canyons’ Nicola Caleffi, “Black Fruit” ideally complements “Under Neon Stars” as a two-sided creature, hanging somewhere between krautrock and electronica.

Twin readings from Joy Division’s post-punk gospels, on 7” for the first time. Codeine’s 1994 take on “Atmosphere” were the New York slowcore band’s final recorded moments, a glum, if not melodic, take on the Salford quartet’s requiem to solitude. On the flip, Dallas’ Bedhead tackle the opener for Unknown Pleasures, reimagining “Disorder” as jangly indie rock. Housed in an elegant black and silver sleeve, with embossed braille lettering for the visually impaired.

"Control" dokumentiert eine Phase, in der Conrad Schnitzler neue elektronische Technologien testete - inspiriert durch seine Verbindung zu Peter Baumann (Tangerine Dream). Das Album wirkt wie eine Kompilation verschiedener musikalischer Ansätze: Von klassischen Schnitzler-Stücken mit perlenden Klangkaskaden bis zu überraschenden Momenten, in denen er traditionelle Harmonik streift. Die Stücke sind kurz, skizzenhaft, aber präzise - ein akustisches Tagebuch seiner künstlerischen Rastlosigkeit. Die Original-LP von 1981 verzichtete auf Kennrillen, die Tracks fließen ineinander. Auch hier bleibt Schnitzler seinem Prinzip treu: Musik als Bewegung, als Momentaufnahme, als Experiment. "Control" ist eine starke Dosis seines kreativen Elixiers - und ein weiterer Schritt auf dem Weg zum "gesamten Schnitzler".

The origins of Cos date back to the second half of the sixties when Daniel Schell joined forces with Jean-Paul Musette, Pascale Son and Robert Pernet to form Classroom. When Classroom split, Daniel Schell and Pascale Son moved ahead and formed Cos together with Charles Loos, Alain Goutier and Bob Dartsch. They produced an experimental jazz rock sound linked to the influences above mentioned, but without being mere copycats since they always managed to keep to their own personality.



Viva Boma was their second LP, originally issued in November 1976, and added some African influences to the mix, including the cover which, designed by Alain Goutier upon a concept by Daniel Schell, depicted a trio of hipopotamus that made reference to Boma, a portuary city at the banks of the river Congo, and Bomma, Belgian word for grandmother (hence the title appearing either with one or two m's on different parts of the artwork).



The Wah Wah reissue comes housed in a

1974 entstanden die Zusammenstellungen Planeten Sit-In und Sci-Fi Party mit der Musik aus den Jam Sessions der Cosmic Jokers. Unter einem konzeptionellen Mantel wurden die legendären Aufnahmen einem jungen Publikum nähergebracht. Unter den Musiker die Elite der damaligen Krautrocker, wie Manuel Göttsching, Klaus Schulze, Jürgen Dollase, Harald Grosskopf und Dieter Dierks der für die Aufnahmen, Arrangement und den Mix zuständig war, aber auch als Musiker mitwirkte. Neu transferiert von den originalen analogen Bändern und sorgfältig und erstmalig remastert. ENG The compilations Planeten Sit-In and Sci Fi Party, both originally released in 1974, are a contemporary document of the legendary jam sessions of the Cosmic Jokers. Under a conceptual mantle, the recordings were brought to a young audience. Among the musicians the elite of the Krautrockers of that time, like Manuel Göttsching, Klaus Schulze, Jürgen Dollase, Harald Grosskopf and Dieter Dierks who was responsible for the recordings, arrangement and mixing, but also participated as a musician. Newly transferred from the original analog tapes and carefully remastered for the first time.

1974 entstanden die Zusammenstellungen Planeten Sit-In und Sci-Fi Party mit der Musik aus den Jam Sessions der Cosmic Jokers. Unter einem konzeptionellen Mantel wurden die legendären Aufnahmen einem jungen Publikum nähergebracht. Unter den Musiker die Elite der damaligen Krautrocker, wie Manuel Göttsching, Klaus Schulze, Jürgen Dollase, Harald Grosskopf und Dieter Dierks der für die Aufnahmen, Arrangement und den Mix zuständig war, aber auch als Musiker mitwirkte. Neu transferiert von den originalen analogen Bändern und sorgfältig und erstmalig remastert. ENG The compilations Planeten Sit-In and Sci Fi Party, both originally released in 1974, are a contemporary document of the legendary jam sessions of the Cosmic Jokers. Under a conceptual mantle, the recordings were brought to a young audience. Among the musicians the elite of the Krautrockers of that time, like Manuel Göttsching, Klaus Schulze, Jürgen Dollase, Harald Grosskopf and Dieter Dierks who was responsible for the recordings, arrangement and mixing, but also participated as a musician. Newly transferred from the original analog tapes and carefully remastered for the first time.

First ever vinyl reissue of this underground Kraut–Kosmische monster, recorded / produced circa 1972–73 in Cologne by Toby "The Mad Twiddler" Robinson for his Pyramid label. Originally released as an ultra–limited handmade edition, original copies are lost forever in the mist of time.

Featuring Mythos drummer Hans–Jürgen Pütz on percussion & effects, alongside synth / keyboard freak Alex Meyer, poet / vocalist Pauline Fund and mysterious guitarist Peter Förster.

WARNING: DON’T LISTEN TO THIS ALONE IN THE DARK!!

Hailing from Berlin CURLY CURVE has been one of the best german rock bands of the 70s. Although there were some relations to krautrock acts (bass player Kurt Herkenberg was one of the founding members of TANGERINE DREAM for example) they had the emphasis on playing sophisticated blues rock. The band started in 1968 and saw several line-up changes over the years. Alex Conti (later Atlantis, Lake) was aboard for some time but had already left when CURLY CURVE produced this eponymous album in 1973. It should remain their only official studio album.

**FORTE TOP RECORDS OF 2020 REPRESSED ON HALF BLUE HALF MAGENTA
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“I first heard Michael Yonkers via the Microminature Love reissue (Sub Pop) and was immediately hooked. I started collecting any piece of his legend that I could…some true, some likely not. He had hand-built all of his gear. He had broken his back. He was part of experimental surgery that left him in lifelong pain. He was a dancer. He was still kicking around making some of the oddest and most contrary-to-contemporary-popular-norms type of music. (A man after my own heart) And then I heard Goodby Sunball, recorded and released in 1974, the year I was born. I had and have a very deep connection with this set of songs. I wasn’t sure why, but when I finally met Michael, I understood. He was kind and seemingly a pretty regular guy. But he was also a weirdo. A rare bird, waving the true freak music flag, and it didn’t matter what kind of music he made, I loved it all. So, this record was recorded as a way to reboot and reconnect with some songs that have heavily inspired me over the years. It was hard to pick from his vast catalog, so I just sort of jumped in, with Tom Dolas, Nick Murray, and Brigid Dawson as my band (along with a bevy of others along the way) and these are the tunes that stuck to the wall. I will forever be grateful to Mr Yonkers for bringing me a little joy with his music and inspiring weirdos everywhere.”—John Dwyer, Feb 2020

Die Wilde Jagd ist das Musikprojekt des Produzenten und Songwriters Sebastian Lee Philipp. In einem dichten, atmosphärischen Netz verwebt Die Wilde Jagd Dramatik, Romantik, Ekstase, Melancholie und dunkle Intensität. Nach drei Studio-Alben, mehreren EPs und zahlreichen internationalen Tourneen veröffentlicht die Band nun eine spezielle Performance namens ATEM, die als Auftragskomposition im Rahmen des Roadburn Festivals im April 2021 in Tilburg uraufgeführt wurde. Nachdem die 2022er LP schnell ausverkauft war, freuen wir uns, ATEM jetzt als limitierte gelbe LP veröffentlichen zu können.

Die Wilde Jagd veröffentlicht gemeinsam mit dem Grammy-prämierten Metropole Orkest unter der Leitung von Simon Dobson das neue Album Lux Tenera - A Rite to Joy, eine Auftragsarbeit des Roadburn Festivals. In Lux Tenera, das am 21. April 2024 in Tilburg uraufgeführt wurde, verbindet Sebastian Lee Philipp, der kreative Kopf hinter Die Wilde Jagd, seine visionäre Musik mit den orchestralen Klangfarben des 50-köpfigen Metropole Orkests. Mit lyrischen Elementen auf Deutsch und Englisch sowie instrumentalen Besonderheiten wie Taiko-Trommeln und der historischen Carnyx führt das Werk die Zuhörenden in eine meditative Klangwelt voller Freude und Tiefe.