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A multicultural explosion of West African, French and Brighton sounds
Stranded Horse is a touring machine centered around composer, songwriter and
instrument maker Yann Tambour.Whilst he had developed his own kora playing
and teamed up with local player Boubacar Cissokho (cousin and protege of
erstwhile Tambour collaborator Ballake Sissoko) In terms of repertoire, there is
nothing to stop him from covering Joy Division, the Smiths or even Jackson C.
Frank and the moving "My Name is Carnival".Behind Yann Tambour and his band
Stranded Horse lies a faith in chance encounters, a belief that renewal is born out
of chaos. They strive to skirt conventions and labels and wed together
unexpected genres, rules and habits in an album of erratic wanderings, dance and
trance, at a time when more and more get walled off by reluctance and suspicion.
But a strange spell, it seems, was cast on our stranded horse since he chose to
hit the dancefloor for the first time the very year nobody could. Yann Tambour
was first known as Encre at the turn of the millennium. He was then whispering
and stacking orchestral samples into a kind of spoken word electronica with an
acoustic tinge. But in 2005, he decided to return to his early love for arpeggios
and dusted off his classical guitar, all the while growing a fascination for the kora,
an instrument symbolic of West-Africa.
But Stranded Horse doesn't forget to draw on the indie heritage that is still very
much present, as evidenced by "In A Sharper Fairway", which may remind the
most passionate folk fans of the folk- mindedness of Jackson C Franck. As for
the choice of English or French, it is a natural one, whether it is a question of
immersing oneself into the contemplative and poignant "Sparks Turn To Stone" or
entering the frenzied dance of the irresistible "Rumba du trépas", the richness of
the lyrics is reinforced by a voice stripped of all artifice, making each composition
sincere and authentic. The same is true when, with Youssou N'Dour's permission,
Stranded Horse adapts Star Band de Dakar's heady and vast "Thiely" from Wolof
to French.

What would it sound like if Ginger Root was asked to make the soundtrack to an American adaptation of a fictitious Japanese film from 1981 entitled, “街のやつ” (Machi No Yatsu) You’d get their new EP, “City Slicker” While the previous Ginger Root albums have had themes of introspectiveness and observations on past personal experiences, this upcoming release is the first collection of songs written from an outside perspective. The first collection of songs that live in a fabricated world. A short 19-minute escape to a metropolis that never was. Following a protagonist whose neighbors call him the “City Slicker”. On this EP, Ginger Root continues to pioneer their self-proclaimed genre: “Aggressive Elevator Soul”. By blending the bones and blueprints from the works of Yacht Rock and City Pop, with textures from the ever-evolving Bedroom Pop scene, glueing them all together fruitions something uniquely Ginger Root. One may argue that the best way to listen to “City Slicker” is not by vinyl, nor by cassette, but by VHS (if such a merch item were to be created). major label,

What is possible in the field of electronic music? What can you get out of
a cutting-edge ecello, that he helped to develop, from the instrument
itself? What possibilities do loop machines, samplers and many other
technical innovations offer? The classically trained cellist, who embraces
experiment, moves without gravity into the pulsating core of a musical
universe, that has expanded exponentially in recent years, on his solo (in
the true sense of the word) album

All Good Things create cinematic epic rock that celebrates the underdog, lifts the fallen, and all out gloats in victory. Pairing post-apocalyptic pump-up rock with powerful lyrics, AGT crafts a massive, bombastic sensory assault of anthemic heavy rock, summoning vistas associated with gaming or blockbuster movies. Their worldwide 'For The Glory' hit has accumulated more than 50 million streams, now their full length debut album 'A Hope In Hell' is set for release on August 20th.

A family affair since the early days, WOLF Music have been shining a light on the scenes and sounds the duo are ingrained in. Staying true to form and rolling deep for WOLFEP065, the spotlight turns to a selection of familiar faces and new recruits for a four track VA EP that’s strictly for the groovers.

WOLF OG, man like Medlar kicks it off in signature style with 'Bandit', a heads-down, techno-tinged trip. Machine music with the soul of south London. Next, professor of the dark arts, Manuel Darquart, conjures up the aptly named 'Euphoria' a deep, ‘90s leaning house excursion, synth wizardry and all, that works just as well as a sunset cruiser, as it does an end of the night closer.

On the flip, two long time listeners, first time callers, with a double dose of debuts on the label. Jon Sable takes the B1 with 'Infinite Care', offering up that trademark strong and Sable, In Dust We Trust flavour. Deep, emotive, intricate house with a nod to the worlds of Bruk and Chicago house melded together with that NZ feel.

Closing it out, debut number two comes in the form of rising star moon who lays down a beatsy, broken earworm ‘Handmade’ featuring some dreamy bars from Tamu.

Full crew, through and through – this one hits different!

Höga Nord Rekords kindly welcomes Teecwa back to the label, following up his last full length-album “Beyond the Altai” with “Elysian on Moon Lake”. He is still exploring the intersections between house, electro, techno and dub and once again he manages to harness the analogue electronics in his machines to produce modern psychedelia.

“Elysian On Moon Lake” is rawer, less airy and not as sparkling as his last album. This is a tighter, and slightly darker experience than Teecwa’s previous work, maybe caused by being in quarantine for extensive time during production, letting some of the dreaminess aside for the harsher reality in a pandemic world. Still, you get a mind-altering experience in a lot of tracks since the album starts off in a lighter tone than how it later develops. Switching from the A- to the B-side works as a rite of passage going from dusk to night; the sun rays through the blinders are replaced by neon light dancing on the walls and ceiling.

Regarding the dramaturgy of “Elysian On Moon Lake”, this album has movielike qualities; a well-directed piece from the opening impact and setup through the confrontational part where intensity builds up to the climax in “Hythmdoser” to the cooling down effect of the peaceful closer “Celestial Trails”. The trip eventually ends up in a safe and happy place after the cathartic finale.

This is not a just collection of songs, this is an album made to experience in full length without interruptions.

After an initial link up last summer, Altrimenti Records present four more remixes of cult Italian synth maestros Cabaret Du Ciel. Once again the focus is on experimentation, testing unusual crossovers between artists, eras and styles in pursuit of compelling new sounds.
The results across all four of these versions are distinct from each other, and distinct from wider trends in dance music.
First up, Benedek approaches 'Great Plains' as a low-tempo space-boogie excursion. Following in the wake of his releases on Leaving Records, L.I.E.S. and People's Potential Unlimited, the LA-based artist lays down thick slabs of Moog while retaining the ethereal swirl of the source material.
Rome's L.U.C.A. (aka Francesco De Bellis) has established his new wave-inspired sound on his own Edizioni Mondo label, not to mention working in other projects such as MAT101 and Jollymusic, and he brings a sprightly, motorik energy to 'Climatic Variation'.
Lorenzo Fortino's 'Suspacid Revisitation' version of 'Lakota' is aqueous and psychedelic, but remains elegant and understated in its execution. The emergent producer has already released on Wo-Land and most recently Miniera, and this remix ably embodies the entrancing qualities inherent in his sound.
The remix package concludes with a playful, leftfield electro diversion from elusive Montreal-based producers Sentena. Hailing from an emergent scene orbiting the Doo label and projects like SnP 500 and Fashion, their crooked take on machine music perfectly meets the adventurous aims of Altrimenti in testing out crossovers of styles and creative processes.

'Hotel Florida', the debut album by trombonist Andreas Tschopp and
baritone saxophonist Matthias Tschopp's Swiss sextet Sparks and Tides,
delivers an enthralling, improvisation-laced set of electro-acoustic
soundscapes
The first collaboration co- led by brothers Andreas and Matthias Tschopp, the
Swiss sextet makes a subtly enthralling debut with Hotel Florida, an album
marked by lapidary textures, extended melodies, and finely calibrated production.
Sparks and Tides also refers to the flow of their music, which unfurls in unhurried
waves until suddenly surging with quicksilver flurries. Cinematic and full of
intriguing passages, it's music for unsettled dreams. "There are lots of little things
like drum machine tracks, bass drones, live sampling of the horns by the
keyboardist and using the sounds as samples, and also some modular synth
processing of the saxophone," Andreas says.
The group brings together some of the most creative figures on the small,
intertwined and fervently inventive Swiss jazz scene. A member of the R&Binfluenced electro- duo True, drummer Rico Baumann is as deeply versed in hip
hop, pop and electronic music as he is jazz and improvised music, which is the
terrain he inhabits with Andreas in the collective jazz quintet Le Rex.

He may not have known it before, but Toronto-born, New York-based
guitarist Matthew Stevens, prized for his forceful, distinctive electric
sound was an ideal candidate to make an album fully devoted to solo
acoustic guitar: the intimate, unadorned, straightforwardly titled
'Pittsburgh'
September 2020, Stevens was hunkering down in his wife's family's hometown of
Pittsburgh, while navigating his way through the crisis. He had with him a vintage
Martin 00-17, a small- body mahogany guitar. Practicing daily on the Martin, he
began generating a series of short song "starts" - ideas and sketches he thought
might lead somewhere. Then one rainy Pittsburgh day, Stevens' bike slid out from
under him and he broke his right elbow. Rather than getting derailed musically, he
became immersed in a creative process that led straight to 'Pittsburgh': a
document of those short song "starts" from the notebook, now hatched as
completed compositions. "Playing this music became a big part of my rehab,"
Stevens recalls.
As the album took shape, it became clear to Stevens that he was headed in the
direction of a wholly unaccompanied recital, with no overdubs or sound layering
of any kind. Just him and this special Martin, two Neumann U89 mics and enough
peace of mind across two separate sessions to make 'Pittsburgh' the triumph that
it is.
In addition to his extensive high-profile work with Esperanza Spalding (serving as
co- producer on 'Exposure' and '12 Little Spells'), Stevens is also a member,
songwriter and co-producer of Terri Lyne Carrington's GRAMMY-nominated Social
Science band. He has made vital contributions to groups led by Dave Douglas,
Linda May Han Oh, Christian Scott aTunde Adjuah, Ben Williams and more. With
tenor saxophonist Walter Smith III he co-leads the In Common collective. Stevens
has also amassed many credits beyond the jazz world, collaborating on
forthcoming releases by Anna B Savage, Jamila Woods, Tyler Armes
(Murdagang) and Berlin-based electronic artist Robag Wruhme.

On Origin , celebrated pianist, bandleader, and three-time Grammy
nominee Joey Alexander has written the next chapter of his career:
composer
His longstanding trio featuring Larry Grenadier and Kendrick Scott is the
backbone of his creative freedom, with Chris Potter (a previous collaborator) and
Gilad Hekselman joining the fray to bring to life the spectacular vision of
Alexander's first full length release of all original music and debut with Mack
Avenue Records.Over the course of his astonishing career, Steinway Artist
Alexander has performed with Wayne Shorter and Esperanza Spalding at the
Obama White House, for President Bill Clinton at the Arthur Ashe Learning Center
Gala, at the Grand Ole Opry, the Apollo Theater, Carnegie Hall and at major jazz
festivals and night clubs around the world. He has also been the subject of
profiles on 60 Minutes and The New York Times.
Joey Alexander, now 18, is stepping out as a composer and bandleader as well as
a virtuoso pianist. "These past years have been especially trying for everyone,
including those of us who didn't know when we would ever perform for live
audiences again," Alexander said. "Origin represents a turning point for me — the
time when I decided to turn frustration into an opportunity to truly express myself
and to rise above the circumstances."

Exit Wounds: The Album is the soundtrack to the Andrzej Bartkowiak 2001 film, Exit Wounds. Executive produced by Barry and Jomo Hankerson, the album features production from a variety of producers including Dame Grease, Irv Gotti, Bud'da, Eric Seats, DJ Paul, Juicy J, The Beat Bullies, & Timbaland. Appearances include Black Child, Drag-On, Ja Rule, Lady Luck, Mack 10, Memphis Bleek, Nas, Redman, Sheek Louch, Styles P, Three 6 Mafia, Trick Daddy, Trina & WC, as well as the film's star, DMX. The album peaked at number 8 on the Bullboard 200 and features the hit single, "No Sunshine."

Diabolical Death Metal titans BELPHEGOR unleash their twelfth studio album!

With “The Devils”, long-running Diabolical Death Metal titans BELPHEGOR unleash their twelfth studio album upon the masses, which proves to be one of the strongest and most elaborate records in the group’s career. Produced at renowned Fascination Studios with Jens Bogren (Kreator, Rotting Christ, At The Gates), “The Devils” sounds absolutely crushing and dynamic, sonically pushing the immense variety of the eight tracks to new heights. Blending German and English lyrics, lead single ‘Totentanz – Dance Macabre’ is as ferocious as it gets with its insane barrage of blast beats, spiteful lyrics, and sinister guitar melodies. ‘Glorifizierung des Teufels’ (= ‘Glorification of the Devil’) and ‘Virtus Asinaria – Prayer’ offer epic, mid-paced grandeur and chanted vocals and choirs adding new shades of black to their stylistic palette. The title-track or ‘Damnation – Höllensturz’ prove to be more complex pieces, shifting moods and tempos with ease and expanding BELPHEGOR’s blasphemous onslaught with fascinating twists and turns. Rounded off by impressive artwork created by Seth Siro Anton (Septicflesh, Nile, Paradise Lost), “The Devils” marks the band’s third collaboration with one of metal’s most prolific designers. Ultimately, “The Devils” is an album that musically builds upon BELPHEGOR’s trademark sound, in essence a combination of traditional death and black metal, deeply rooted in the 90’s, yet boasts with intricate compositions and detailed arrangements underlining their outstanding position within the international extreme metal circuit. Known as tirelessly touring band, BELPHEGOR currently presents a few of the new songs during an European tour with I Am Morbid and Hate before hitting South America in May/June 2022, and an intense festival season including Wacken Open Air, Bloodstock, Sweden Rock and many more.
Mix and mastering by Jens Bogren at Fascination Street Studios Örebro, Sweden. Drum engineering by David Castillo at Fascination Street Studios in Stockholm.
Guitars, Bass and Vocals recorded by Jakob Klingsbigl at Studio Mischmaschine Oberalm, Austria.
Artwork by Seth Siro Anton

Oh wow! Die Zeit ist wieder gekommen, den Piratenhut aufzusetzen und die Gummienten aufzublasen,
denn die weltberühmte Pirate Metal Drinking Crew ALESTORM setzt mit ihrem siebten Studioalbum
Seventh Rum of a Seventh Rum die Segel und begibt sich erneut auf hohe See! Produziert von ihrem
langjährigen Mitstreiter Lasse Lammert, wird dieses epische Abenteuer am 24. Juni 2022 über Napalm
Records veröffentlicht.
Wieder einmal wird die Band von einer ganzen Reihe von Gastmusikern unterstützt, darunter die Drehleier
von Patty Gurdy, der Gesang von Captain Yarrface von Rumahoy, das Geigenspiel von Ally Storch von
Subway To Sally, majestätische Chöre von Hellscore, sowie einige bekannte spanische und japanische Sängerinnen und Sänger im letzten Teil der „Wooden Leg“ Saga. Am wichtigsten ist aber eine absolute
Weltpremiere: Auf dem Album wird zum ersten Mal ein Spiegelei als Instrument in einem Metal-Song verwendet – gekonnt gespielt von Matt Cockram. Aber damit nicht genug! Als besonderen Leckerbissen für
eingefleischte Sammler enthalten einige Sondereditionen eine vollständige akustische Version des gesamten
Albums, und es gibt sogar noch einmal eine legendäre Version des Albums FÜR HUNDE!
Worauf also noch warten? Mach sieben Flaschen mit altem Rum auf und mach dich bereit für die musikalische Reise deines Lebens!

Planet Battagon – Episode 01, a labyrinth of different sounds and textures was created live, purely on machines. Creating Experimental and other-worldly tones, all three tracks hail from the quirky "Planet Battagon" world, with "Like You, Like Me" the most likely contender for Club play by the more adventurous DJs. Touching on early Techno and Space-Jazz, Episode 01 is certain to take you on a sonic journey like no other...

Gilles Peterson – “Love it, I can’t wait to play this one out”

Rob Da Bank - “ WOW what a fresh and unique sounding record…drumtastic! "

Felix (Basement Jaxx) - " It's like the Clangers playing at a bass music festival ”

Rhythm Doctor - “ Explosive, Techno Jazz experiment. . .will become a classic ”

Toddla T - "Refreshing, Sic!”

Further support from Riton, Sinden, Canblaster and Brodinski

FRENCH COMPOSER, PRODUCER AND MULTI INSTRUMENTALIST ADRIEN DURAND’S THIRD ALBUM

"Our last album, “La Course” was released in 2020 during the lockdown. Inspired by the feedback from listeners, who received the music with special attention, the idea and need for “(Loin des) Rivages” was born.” - Adrien Durand

Bon Voyage Organisation is the story of the construction of an ensemble, the quest for harmony, through music, between beings. This story has been the central leitmotif in Adrien Durand's composition and production work for almost ten years. Adrien Durand is a renowned Parisian bass keyboard player, composer, producer and mixing engineer having worked with noteworthy projects such as Amadou & Mariam and Papooz among others. Known for his knowledge of ensemble recording and arrangement techniques, BVO is his attempt at meticulously creating a musical dialogue around his compositions with a distinguished cast of musicians from di?erent backgrounds without the pressure associated with pop music recordings reminding us of the musical ensembles of the 70’s such as that of Carla Bley, Soft Machine or Irakere. (Loin des) Rivages was recorded over five days in June 2020 at Studio Atlas, the studio of Air’s Jean- Benoit Dunckel and mixed the following summer by Adrien Durand in his Parisian studio, Bureau 12. It was an orchestrated performance considering that all ten tracks of the album were played live, gathering up to thirteen musicians in the same room. The album follows what was initiated with BVO’s previous album La Course: an entirely instrumental sound free from any constraints. The close collaboration between Adrien Durand and the members of the ensemble allowed for an exquisite completion. Together, they deliver the incredible energy of "Le Sentier des Orpailleurs", the depth of melancholy of "Apacheta", and the originality of "Et s’éveillent"... Inspired by the great explorers of the soul: Sun Ra, Moondog and Coltrane - a cover of his Naïma actually opens the album - Adrien Durand mixes humanity’s first instruments (percussion and the wind) with its latest ones (mixing desks and synthesizers). Thus, he continues the most interesting yet rewarding artistic journey: The journey inward, far from the standards of civilization, in the heart of what some can take for madness, reaching into a jungle of the soul so marvelously represented in Clément Vuillet’s artwork. This is not an intellectual record but rather a spiritual e?ort, because, as Adrien Durand likes to repeat in his concerts: "Let us step into music as we step into a sanctuary."

It's dark in the forest. Especially in the »northwest«. You have to adjust all your senses. But once you have, the forest will take you in his arms. The forest will protect you. Just like Daniel Herrmann's first album for Live At Robert Johnson will protect you.

Herrmann is far from being unknown in the world of music - let alone in the art or photography world. In the music field, he is probably much more known under his Flug 8 moniker where he released five albums on Disko B, Doxa Records, Ransom Note, and Acid Pauli's Smaul Recordings. Under his given name, Daniel Herrmann's relationship with LARJ's label boss Ata Macias goes way back. As an artist and photographer Herrmann was the only one allowed to take pictures inside Ata's ROBERT JOHNSON club, thus creating an iconic series of pictures of clubbers and club life in general. Herrmann’s pictures of the partying punters themselves were presented as wallpaper all over Robert Johnson back in 2002.

With »Enroute« Herrmann enters new territory: It is his most ambient work up to today. And yes, it is a piece of work created during the lockdown. Herrmann's studio is situated in the outskirts of Frankfurt, near the forest - a quite remote place already in-between the Taunus mountain range. Imagine life during the lockdown in such a place … This is where Herrmann set up his former basement studio in the large living room with a variety of instruments besides a cozy fireplace spending warm light and warmth. A warmth that despite its seemingly rather "cold" atmosphere can be heard all over »Enroute«. Once you soak in the sounds (or get soaked into the sounds) of the first tracks like album opener »northwest«, »Fly By Wire« or the 11min »Dark Trace« you might feel this warmth too. A cold warmth you could say, yet a warmth that only modular systems and synthesizers can create.

There is a change of mood with »Intercontinental« - literally as it seems that Herrmann indeed is on an intercontinental journey here despite the strolls and long walks in silence through the Taunus forest. This is also the place where Herrmann took many photographs of the forest and its trees (to be seen on his Instagram account) - and the picture on the cover: This spooky yet fragile high seat in the mist in front of those trees. Yet darkness alone is not dominating this album. Even during these dark days, there was a bit of light at the end of the tunnel. And it shows in the beauty of »Bouncing Rays«.

»Enroute« is done all alone and in total isolation. And one can hear it. But it also invites the listener to be a part of this lonely world. And we all know that being lonely is made easier with someone on your side - »Enroute« to a better place. A place that isn't lonely at all.

PS: For all digital music lovers we have included two bonus tracks: The GLOK remix of »Bouncing Rays« and Herrmann's clattering and creaking tune »Economy« - enjoy!

The ninth installment in Numero's Cabinet of Curiosities is 100% chart smashes. Culled from the depths of the private press, Super Hits gathers 12 magical adaptations from the Me Decade's introspective songbook. Pop this oversized 8-Track into your Fleetwood Weltron and enjoy a motley crew of lounge singers, wedding bands, synth enthusiasts, trailer park dreamers, accountants, gym teachers, and more as they bring their own unique energy to classics by Steely Dan, War, Boz Scaggs, Neil Diamond, John Denver, Smokey Robinson, The Carpenters, Redbone, The Box Tops, Fleetwood Mac, and more. Tape warble not included.

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Tacit Group is an audio-visual group founded in 2008 with a vision of creating new art for the 21st century. Based in Seoul but working globally, the group comprises composer Jaeho Chang and electronic musician Gazaebal(Lee Jinwon).

With audio-visual art as its core content, Tacit Group has expanded in a contemporary and experimental way in multimedia performances, interactive installations, and music installations. Representative works such as ‘Hun-Min-Jeong-Ak,’ ‘Game Over,’ ‘Morse ㅋung ㅋung,’ combine a systematic worldview weaved through intuitive materials and technology inspired by normal everyday activities such as games and text chatting. In particular, works that utilize the beauty and communica- tion power of characters are among their most striking.

“It’s like wind chimes,” says Tacit Group’s Jeaho Chang. “The creator makes the pipes, but the wind makes the music.” He’s talking about the algorithmic music that Tacit Group creates. Jaeho and Gazaebal create audio/visual systems using code that the pair work within to unleash their utterly compelling AV performances, each show, each track, as unique as a snowflake. The pair met at Korea National University of Arts in 2006. Jaeho Chang was a media installation artist and composer who’d studied classical composition in Korea and electronic music at Den Haag’s Conservatoire. Gazaebal, who’d moved to the US as a teen, had worked at the renowned Quad group studios as a sound engineer, recording acts including Rage Against The Machine, Wu Tang and Janet Jackson. Returning to Korea, he had found success as a K-Pop producer, (founding the act Banana Girl, and writing their No.1 Korean hit ‘Shake Your Ass’) and DJing under the moniker Gazaebal, before deciding to go ‘back to school’ to learn to create more challenging music.
The quiet and reserved Jae and the more outgoing Gazaebal bonded over a shared vision, forming Tacit Group in 2008. And until recently, everything they have done has been through the medium of their globally acclaimed live shows, playing all over the world from Lincoln Center in NY, the Museum of Contemporary Art in Chicago, MMCA (National Museum of Modern and Contemporary Art) and Nam June Paik Art Center in Korea, Aarhus Festival in Denmark, Stereolux in France and NYU Abu Dhabi.

Each show an utterly unique and compelling event, a synthesis of music and visual art that has echoes of the concept of synesthesia: “we love the idea that the audience can ‘see’ the music.” says Gazaebal, “the way that you can hear a painting like Edvard Munch’s ‘The Scream’.” The frameworks and systems are created in advance using code such as C++ and max/M- SP(sometimes combined with analog and modular synthesizers), often growing out a of a simple idea (one of their first composi- tions, ‘Game Over’ explored the idea of a Tetris gameplay as a musical score) while on stage the pair react to the audience, creating new inputs and variables that can lead the performance in ways that are unexpected and even self sustaining - some of their installations could in theory continue to evolve and run on into infinity.

For Tacit Group, the process is as important as the outcome, and every bit as fascinating for the audience, who’ve been known to react like the crowd at a rock band gig to tracks / installations like ‘Hun-Min-Jeong-Ak’ which sees abstract geometric shapes based on the Korean alphabet evolve (through the process of live text interchanges between the pair) to become almost an immersive call and response.With that in mind, the duo have long been reluctant to commit to the idea of releasing via a ‘fixed medium’ it was actually the release of an acclaimed (and beautifully designed) book Tacit.print0_Anthology that convinced them to share their work more widely through an album.

Nach dem Erfolg seines Debüt-Albums „Kid Krow“ (2020), veröffentlicht Conan Gray jetzt sein zweites
Studioalbum „Superache“. Der 23-Jährige gilt mittlerweile als eine der interessantesten Stimmen der
amerikanischen Gen-Z Pop-Kultur.
Fans können sich auf einiges gefasst machen. Conan selbst sagt über sein neues Album: „‘Kid Krow‘ was
just the introduction“. Mit „Superache“ beginnt für Conan ein neues Kapitel seiner Karriere, hier möchte
er jetzt all das sagen, dass er sich vorher nicht getraut hat.
Einen Vorgeschmack lieferte schon seine Single „Memories“, die das Thema des Albums gut einfängt. Conan sagt: „(The Album is) just about that ache of being young and sometimes dramatic about the way that
you deal with pain and heartbreak and mourning.” Zusätzlich zu seinem neuen Album, können Fans seine
ausgefallenen Bühnenoutfits jetzt auch weltweit live bestaunen. Conan ist 2022 auf Welttournee, 4 Konzerte davon sind in Deutschland. Neben der digitalen Variante gibt es das Album als CD und Vinyl zu kaufen

”Sometimes, Forever” - das dritte Album von Soccer Mommy erscheint am 24.06. und beweist Sophie
Allison endgültig als einer der talentiertesten Songwriterinnen der Rockmusik unserer Zeit. Mit cleveren
Anspielungen auf Synthie-Subgenres wie New Wave und Gothic erweitert die heute 24-Jährige die Grenzen
ihrer Ästhetik. ”Sometimes, Forever” ist eine faszinierende Sammlung, die sowohl von der Vergangenheit
als auch von der Gegenwart geprägt ist und damit das gewagteste und ästhetisch abenteuerlichste Werk
von Soccer Mommy. Das Album lebt von widersprüchlichen Kräften: Verlangen und Apathie, Ekstase
und Elend, Gut und Böse, Selbstbeherrschung und Wildheit. Unverblümte Liebeslieder reiben sich an viel
düstererer Kost mit makabre Bildern, die selbst die fröhlichsten Passagen heimsuchen. Aber da es ihr heute
besser geht als zu der Zeit, als sie die Lieder schrieb, hat sie keine Probleme damit, in den Momenten des
unkomplizierten Glücks zu schwelgen, die neben der Dunkelheit existieren. Sie sagt: ”Ich wollte nicht etwas
super Deprimierendes ohne jeden Sinn für Magie machen”. Der Album-Titel bezieht sich auf die Idee, dass
sowohl gute als auch schlechte Gefühle zyklisch sind. ”Kummer und Leere gehen vorbei, aber sie kommen
immer wieder - genauso wie die Freude”, sagt Allison. ”Irgendwann ist man gezwungen zu sagen: Ich muss
einfach beides nehmen.”
Produziert wurde der neue Longplayer von Daniel Lopatin aka Oneohtrix Point Never.

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I met Thomas Roussel in 2017 at a Pigalle fashion show in Paris. As always with Stéphane Ashpool, the designer of Pigalle, casting is perfect and the clothes are modern and groundbreaking. But my eyes and ears were intrigued by this retro-futuristic instrument next to me, the Cristal Baschet. French composer and conductor Thomas Roussel wrote the soundtrack of the show.
He add this magnificent instrument in his "not very classical" orchestra, this is what I immediately loved with him!
He invited us into his world of classical music with a fresh twist, simplicity and audacity.
At the same time I was scratching my head to find something different to celebrate the 15th anniversary of Ed Banger records.
For a long time I had this idea of mixing both electronic and classical music together. Exactly like my heroes Metallica did in 1999 with the Symphonic orchestra of San Francisco! Thomas Roussel seems the perfect man for this crazy idea. We did Ed Banger 15 together and we became friends.
Thomas Roussel grew up in Dijon, spent his days at the conservatory and his nights at L’An-Fer, one of the most respected Techno club in France. Probably the reason why he ended up working with Jeff Mills, on two projects mixing Jeff’s 909 and a classical orchestra.
By experimenting new ways of using an orchestra, by creating state-of-the-art scenography and producing more ambitious music he quickly became the man in charge of everything "classica". The list of his collaborations is too long and will ruin this little introduction.
It could sounds like this : Chanel, Apple, Cartier, Kenzo, Nike, Dior…
Performing from Paris to Macau, from Monte Carlo to Dubai and from New York to Beijing!
In 2017 Thomas Roussel released his first album as Prequell with Universal Music.
A successful collaboration that really allows Thomas Roussel to become an artist.
In 2022 Ed Banger records is proud to release Thomas Roussel "LATE METAL" a 3 tracks EP.
Where uplifting orchestration and electronic music composing collide. The perfect soundtrack of a block buster movie mixing George Lucas & Christopher Nolan generations. It’s also a marker of our time, music boundaries are explosing. It’s time to hear the London Symphony Orchestra’s strings battling with a Drum’n’Bass beat, a way to DEIFIED classical music.
It’s also a record for your eyes. Art director Andy Picci created an algorthym and gave life to a mercury abstract form. This collaboration
marks the need for Thomas Roussel to always push the boundaries and take his project to another LEVEL.

Following appearances on Ellen Allien’s UFO Inc. and Bpitch Control, Lobster Theremin,and many more, NYC-based singer,multi-instrumentalist, DJ, and producer Heidi Sabertooth readies her first appearance on New York Trax this Spring, turning in a fierce four track EP of gritty hardware techno jams. Leading the release, ‘BeMyISM’ brings raw and crunching percussion alongside grinding low end for a high energy start to the EP. The fast-paced ‘JupiterCalling’ follows, raising thetempo to 150bpm as pounding kicks meet grinding, machinist percussion while trippy synthesis unfurls towards the tail end of the track. On the flip, ‘Welcome2MirrorWorld’ sees warped acid lines and sizzling percussion bring a dark and moodyatmosphere, before ‘You Must Have 10000 Followers (For Me To Book You)’closes out the release. A jittery slice of bass heavy electro, the punchy track makes use of squelchy synthesis, knocking drums and an assortment of unruly sounds. Heidi Sabertooth ‘Nine Hundred Lives EP ’drops this Spring

Philip Lawn is an Italian music producer, co-founder of Turbokitchen, releasing on labels such as Motek and My Favorite Robot Recordings.

In his debut EP as solo artist for Thisbe Recordings, “Ten Years of Travel”, he tells the tale of the Odyssey and his protagonist Ulysses through the use of machines (such as Nord Lead 4, Roland SPD-30, Behringer TD -3, Yamaha Reface CS & Moog sub 37) and hot grooves. Out of his secret garden, a perfect acoustically isolated walk-in closet, “Ten Years of Travel” was born. Particular to the structure of the EP is that each track has its own remix.

With a rework of “Distorted View”, Days of Being Wild deliver a dark disco classic, true to their idiosyncratic sound and original beats, mesmerizing the dancefloor straight away. Traveller and cosmic poet Pyrame rework of the single “Start” first feels like rain dropping before the storm comes and reveals an euphoric feeling as the break starts. Romain FX nails a fine remix of Ten Years of Travel, the main single of Philip Lawns´EP. His remix is a pure italo disco rework of the original, infused with pop synths and keys, that won´t leave anyone still and quiet. Banger.

Emerging from the shadows, Hesperius Draco returns to Frigio with a solo release for the first time since his 2016 album Actus Tragicus.

Directive V conjures up the magic of giallo horror, silver screen slashers and smoky synthlines, while exploring something altogether new. Tempered percussion and low bass-lines introduce the 12” with “Lexploitation”. Cinematic influences percolate in the steady percussion and lonesome elation of “Memories of Sex Desire.” The mood changes on the flip with “Leaders In Space.” Guitar strings and breathy samples blend to create a leering late lounge track spiked with acid notes and vocoder bitterness. The finale brings something totally different. The gurgling acid line is amplified as Hesperius Draco unveils “Cyber Bondage.” Floor centric and machine steeped, stabbing synth-lines, rusted rhythms and an inchoate energy course through this finale to display yet another side of Alessandro Parisi’s sound.

Camisole is proud to unveil another part of the french cold wave history with the reissue of "Paroles Absurdes" LP by White Pain.

Hailing from Lyon the band began as a duo with Patrick Saveau and Patrick Gravier in 1984.Active figures in the underground scene of their city, they played some gigs and even had their own show on the local radio station.They developed a small following around them and recruited other members to record this album in 1986.

"Paroles Absurdes" is driven by the feeling that you can't escape your fate. Saying Words that you sometimes regret but you feel to be true.This testimony infuses this whole album.However, positive assumptions flow from time to time and left their more pop appeal roll into some songs.

This reissue also includes the first two tracks of the group only released on tape in 1985.As a duo, White Pain was a synth and drum machine band inspired by early 80's german pioneers like DAF or Din a Testbild.They used to have a raw, powerful, and dark sound quite unique in France at this time."Vienna" is probably the best way to resume their first intention.

Four killer tracks of high grade electronic soul from James Baker AKA REKAB. A fantastic EP showing both breadth of style and respect for the roots and traditions of the music from this artist.The first, Locked on Dodge, is a driving deep Detroit techno track with a hypnotic arpeggiated lead and filtered atmospherics to lose yourself inside. Don’t get too comfortable though, it’s capped with a surprise electro switch in the breakdown to keep the floor on their toes! The second track, We Need to Care, delivers a cool clear synth sound design over Chicago influenced house tempo beats and lush pads. Simultaneously groovy and comforting, this is a track for those special moments. Jacking with your eyes closed and a big grin on your face.
Third we have a clear tribute to Drexciya with In Search of the Deep Sea Dweller. Tough 808 beats and laser zaps punch through a bed of evocative strings whilst a filtered single note loop rises and falls like the tide. An abstract robotic voice presides over the track, adding atmosphere whilst giving it a sense of mysterious machine driven intelligence.
Lastly, Too Much Time gets its space boogie on. Electro funk beats jump round staccato synth chords and a simple but effective Moog-like bass line. Once the scene is set, a writhing 303 joins the proceedings accompanied soaring pads and beautiful melodic leads that make you feel like you’re being lifted into the cosmos.
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ReKab aka James Baker from the UK started Djing in the early 90’s. Later on he started playing around with music. Finally the ReKab sound was established in 2019 with his first release on Where We Met records. Other releases followed soon on Móatún, Withhold, Intellitronic Bubble, We’re Going Deep and Fourier Transform.
His music is very deep and full of emotions and influenced by his love for Detroit.

Busy is Good is an assemblage of rare-groove and jazz-funk cuts pulled from 45s of the 70s and 80s. A project that celebrates pure creative expression, these under-appreciated tracks reflect the individual efforts of artists both of their time and ahead of it; local legends who challenged convention and produced work steeped in ambition.

From the seductively smooth “Twilight,” by New York’s own Febop, to the blistering key breaks and infectious funk of Bob Payne’s “Side By Side”, this anthology highlights the fusions and crossovers that occurred in jazz, rock, funk and soul at the time. Buddy Emmer’s jazz-kissed breezer “That Summer Nite” and Forest’s synth-pumped AOR cut “Crazy Days” further traverse the many styles that bloomed in the 70s and 80s.

A.B. Crentsil is a heavyweight of Highlife music and the main vocalist of Sweet Talks, one of the most popular Ghanaian bands of the 1970’s. In 1992, musician Charles Amoah and producer Richie Osei Kuffour offered him the opportunity to explore a new popular sound: Bürger Highlife. Little did he know these studio sessions would give birth to the biggest song of his career.
Charles Amoah, who had released his Sweet Vibrations LP in 1984 to great acclaim, extensively toured in Europe with bands such as Black Earth and Saraba, was eager to bring a new sound to Crentsil, an artist he had admired for years. Throughout the 1980’s, Highlife had been changing pretty radically, following the same evolution as Congolese Soukous, Caribbean Zouk and most popular black music
genres of that era: Heavy use of drum machines, synths and digital technology was conveniently replacing big bands and expensive
analog studios and equipments. Mostly recorded, produced or mixed in Germany, this new breed of electric Highlife dubbed ‘Bürger Highlife’ could be defined as a fusion of Disco, Jazz, Funk and Pop with the popular Highlife beats, rhythms and lyrics.
According to A.B. Crentsil, the name was a reference to the ever present American cultural influence on Ghanaian musicians. Charles
Amoah has his own take: “I initially called this particular kind of Highlife ‘Ethno Pop’. Bürger is the German word for citizen, and that’s how Ghanaian musicians living and working in Germany were calling each other”.
The music for both “Obi Baa Wiase'' and “Sika Be Ba” was entirely composed and played by Charles Amoah, using minimal equipment: a
DX7 synth, a Korg M1, a Yamaha RX5 drum machine, and an Akai 1000 sampler. A.B. Crentsil provided the lyrics for both tunes on the spot. Obi Ba Wiase’s message is one of gratitude and faith: it says we should appreciate our life way more and follow the example of people who have a lot less but still praise God all day.
Charles remembers fondly Crentsil’s larger than life personality: "A.B. slept a lot, he really loved sleeping. His lack of punctuality was easily dismissed by his wonderful sense of humour and it wasn't uncommon to find musicians rolling with laughter on the studio floor."
Charles also remembers vividly the "Obi Baa Wiase" session: he could feel the magic in the air while working on the soon to be hit, and
knew something special was happening. A.B. asked for a break in the middle of the session, which Charles adamantly refused until the song was finished and the magic fully captured.
Success was not immediate, and Charles was first a little concerned by the lack of buzz following the immediate release of the Gyae Me
Life Ma Me album. But a few months down the line, the situation took a new turn. "Obi Baa Wiase" was making its way into radio playlists,
weddings and festive celebrations. It was covered by local bands, and soon most of Ghana and its European and American diasporas were hooked. It became A.B. Crentsil’s most requested song at live events for the following decades.
As producer Richie Moore wrote on the album back cover : "A perfect integration of two musical geniuses, the result of which are the
scintillating tracks of music on this record… so all you party fans go onto the floor and dance the body music"

Enough Is Enough - auf deutsch: Genug ist genug! Clara Louise verarbeitet in ihrem neuen Album alte Erinnerungen und Glaubenssätze, die sie umprogrammieren möchte. In der Bridge der gleichnamigen Single singt sie „I am enough“ und diese Message zieht sich durch das ganze Album. Songs, die Mut machen, für sich selbst einzustehen und dabei trotzdem zart und zerbrechlich wirken. Musikalisch betritt Louise durchaus neue Pfade, denn insgesamt ist der Sound des Langspielers wuchtig und kraftvoll und vermittelt das Gefühl von „Aufbruch“, so auch ihr Song „Goodbye Little Old Town“, in dem sie Abschied von ihrer alten Heimat nimmt, die sie mit 16 Jahren zurückgelassen hat.

Die 29-Jährige ist eine erfolgreiche Tausendsasserin. Im letzten Jahr schrieb Clara Louise den Song „Haven“ für die Sängerin Cassandra Steen, mit der sie bereits auf Tour war, und den WWF. Kurz vor Beginn der Pandemie war Louise mit dem US-Singer-Songwriter Joshua Radin auf der Bühne zu sehen. So „ganz nebenbei“ ist Clara Louise auch noch Mitgründerin und Designerin einer nachhaltigen Schuhmarke in Nordamerika und Ideengeberin für eine internationale vegane Molkerei, von der Bryan Adams Gründungsmitglied ist. Außerdem engagiert sie sich gemeinsam mit der „Stiftung Deutsche Depressionshilfe“ für die Aufklärung des Krankheitsbilds „Depressionen“. Sie macht sich für ein Umdenken in der Modeindustrie, fairer Löhne und einem besseren Umgang mit Ressourcen stark.

Clara Louise ist wahrhaftig ein Synonym für tiefgründige Lyrik, für Veränderung, Durchhaltevermögen und Wachstum. Sie gehört heute zu den beliebtesten und erfolgreichsten Dichterinnen der aktuellen Zeit (über 50.000 verkaufte Gedichtbände im Eigenverlag), gibt Menschen auch in schweren Zeiten Mut zur Veränderung, zum Aufbruch und Fortschritt, zur Zuversicht und Hoffnung. Sie möchte als Beispiel vorangehen, was ein Mensch mit dem Fokus auf die einem wichtigen Dinge im Leben, einer unbändigen Leidenschaft und notwendigen Disziplin erreichen kann.

2001: Guillaume Atlan is nominated with 'Starlight' at the MTV Awards in the best French artists category. 20 years later, the first generation French Touch (Modjo, Demon, Cassius, Stardust, Etienne de Crécy etc.) is almost gone. Among the few still active, The Supermen Lovers, who will release his fourth studio album, 'Body Double', end of May.

A reference to Brian de Palma's film and its perfect plastic, the disc bears witness to the many artistic encounters and tumults of love that feed Guillaume during his trip to Kyiv from 2018 to 2020. Love can move mountains but can also destroy a man. Demons and emotions will make him go back to the studios, firstly in Kyiv, which reminds him of Paris in the 90s : strong energy, a thirst for discovery, creation and pure spontaneity. Straddling 2 musical bodies, the heart of Body Double balances between vocal electro-disco and clubbing, without forgetting this analog/digital jumble dear to Guillaume. He is an electro producer, a DJ, but above all a multi-instrumentalist. Machines in contact with “real” instruments…

Following the sublime smash debut "X17", LA-based label Elbow Grease head conductor Dave Aju continues on his righteous piece-by-piece journey toward a multi-genre multiverse, where deep musical roots come together in kaleidoscopic expression, and unfakeable funk reigns supreme.

"Spacio Tempo" picks up where we last left off, though with a notable drop in bpm as the title implies, with a rolling 4/4 textural tapestry that combines pulsating layers of soulful synth work, effervescent live percussion, and heavenly strings into a dense yet open-as-the-night-sky extended gem yet again. Just as the machine patterns of near-equator rhythms bubble over and begin to lock into a hypnotic groove, a bold left turn into a dank latin jazz noir vibraphone solo and SH-101 duet tango ensues, before landing us safely back at home base - right on time, at its own spacial pace.

As per the Elbow Grease release recipe so far, the B1 cut offers DJs a more driving flex, this time in the form of the "Acido Tempo Mix": a raw 303-driven take on the original which will undoubtedly stomp its way fiercely thru many bass bins in sweaty basements and warehouses worldwide. Finally the B2 blessing "Domingo Dub" closes things out, removing all but the highest vibes as an ambient drifting and uplifting take on the main theme, where the faintest of vocal tones, space echoes, and light percussive touches leave us elated in a West Coast, with subtle splashes from the D, sunset dream. Another solid single turned three-tracker sure-shot from EG.

Swedish duo Thunder Tillman come together again in healing harmony to produce a much needed LP for troubled times. Thunder and his life coach Pony bring their spirits in sync for 40 minutes of improvised soundtracks for mental and physical wellbeing.

Recorded on Stockholm’s Wind Island, the pair have carefully selected specimens from their collection of vintage musical paraphernalia to channel these specific vibrations for maximum healing power.

Side one is a gentle wake up call for the soul, with pipes and chimes that gently give way to mind-expanding synths and feedback echoes that sound like sun glistening off a mountain river. Those sounds lead into an electric piano and life affirming synth figure, before disintegrating into santoor strings and chants with a slight Indian flavor. It’s a cosmic combination that invites relaxation and meditation, and the kind of deep breathing exercises that could turn back the clock on a host of bodily ailments. An electric piano comes back to the foreground with a bass and synth combination that drives forward with healing hands, before parting the frequencies for ear-tickling pads and voices. Rounding out the side is a chiming synth and santoor figure that brings the wandering spirit home and to rest.

Side two starts up with Cosmic Osmosis - a motorik drum machine beat and bass line that briefly brings to mind some of their more krautrock inspired modes across their three previous Eps, but soon collapses back into visceral synth twinkles and relaxing washes of analogue tones. It’s a dynamic that drives the whole record, sounds that excite the soul perhaps even the body on an atomic level, before bringing that energy down to a calming, relaxing home. There’s a craftsmanship to their synthesized tones that goes beyond mere artistry, and the interplay between sounds and frequencies is especially inspired, to the point where the music practically sparkles out of the speakers. Side two closes out with harmonic chimes that could put you on a Himalayan mountain side, and succeeds in raising the spirit, mind and body to higher plains of cosmic consciousness.

The Aural Healing Program is accompanied by a 40 minutes Visual Healing Program that will be unveiled in conjunction with the vinyl release. The first visual healing session featuring side B opener Cosmic Osmosis, is already available for all to partake. So just relax, let go and let the frequencies guide you.

Bämmm..was für ein ranziges Stück oldschool Death Metal. Fans von MACABRE, DEATH BREATH, NEKROFILTH und MIDNIGHT müssen hier zugreifen. Die Death Metal Punx aus Regensburg präsentieren mit "Gimme Morgue!" den räudigsten Ohrwurm Death Metal des Jahres. Was für ein vomitables, geiles Brett !!
Limitiertes, schwarzes Vinyl!

A repress offer using exactly the same stampers as our first run!

The masters were sourced from original reel to reel tape, we carefully remastered this classic release while retaining all the character of the original. Mastering is by Bob Macc @ Subvert Central Mastering. You can be assured the tracks sound fantastic but do not suffer from the Loudness Wars while still holding their own when mixed with modern productions.

Das Trio "Girls In Synthesis" wurde treffend als "eher eine Terrorzelle als eine Rockgruppe" beschrieben. Textlich befassen sie sich mit den Erfahrungen der Arbeiterklasse in Bezug auf fragile geistige Gesundheit, soziale Unbeweglichkeit, Gefühle der Machtlosigkeit, Unsicherheit, Angst und die zersetzenden Auswirkungen einer feindseligen Gesellschaft. John Linger bringt es auf den Punkt, wenn er "I've seen a glimpse of the future" in sein Mikrofon bellt. Das Londoner Trio "Girls In Synthesis" ist eine Band, die sich einer Kategorisierung entzieht. Seit ihrer Gründung hat die Band Anarcho-Punk, Noise-Rock, Post-Punk und elektronische Einflüsse aufgenommen, ohne in einem dieser Genres zu verweilen. Der definitive GIS-Sound ist mehr als die Summe dieser Teile. Die Band ist eher ein Kollektiv als eine traditionelle Musikgruppe, da alles (Aufnahmen, Artwork, Fotos und Videos) intern mit den Mitgliedern der Band und ihren Verbündeten kreiert wird. Mit einer unvergleichlichen Live-Show hat sich die Band durch ihre kultige Hingabe an ihre Kunst eine treue Fangemeinde in Großbritannien erspielt, von denen viele die Band auf ihren Tourneen durch das ganze Land begleiten. Ihre neue Veröffentlichung "Konsumrausch", ein exklusives, eigenständiges Mini-Album für das deutsche Label Hound Gawd!, erkundet verschiedene klangliche Territorien und erweitert die bisherigen Veröffentlichungen der Gruppe um weitere Experimente.

- Format: Schwarze 140G Vinyl

For the 25th release in our Phonica White series, we are very excited to have three stunning tracks from Disco wizard Ron Basejam! When he’s not producing and performing with the legendary band Crazy P, Ron Basejam aka James Baron can be found putting out all kinds of dance floor power tools on labels such as Razor N Tape, Futureboogie and his own RBJ edits imprint, as well as delivering amazing remixes.

This release kicks off with ‘The Hurt Inside’, evoking late night Los Angeles highway cruises and the driving power of Knight Rider, it breaks down into a glorious euphoria for the breakdown before hitting Mach 10 again with the raw funk bassline and drums kicking back in. Over on the B-Side, proceedings begin with ‘Don’t Bus My Aux’ which finds Ron Basejam digging into a Deep House-in- fused world, drawing you in with Balearic pads before erupting with thunderous bass, vocal chops and chants that are expertly contrasted against soulful Rhodes-esque keys while the percussion grows into frenzy.

Rounding out the release, ‘Music People’ sets a call to the dance floor as its mantra, sitting some- where craftily between House and Techno with ease. The sung vocals flutter in the background with the marching drums and rumbling low end maintaining a cavernous groove. The track builds into an almost Boards of Canada-style warbling synth breakdown before sinking into the pounding percussion for the climax.

Artwork as always is supplied by the talented Pedro Carvalho de Almeida.

Limited back in stock !

Nachpressung 2022 auf weißem Vinyl (1000 Stück weltweit)! Re-Issue des ersten Studioalbums von PERE UBU. Heute ist das Album noch immer so direkt und kraftvoll wie damals beim ersten Entdecken, doch wenn man das PERE UBU Debüt "The Modern Dance" , hört, muss man sich immer wieder fragen, was zur Hölle man da eigentlich wahrnimmt. Der Begriff ,Art-Punk" mag da ein wenig helfen. Verrückte Sounds, manische Rock'n'Roll Riffs, comicmäßiger Gesang und ein typischen Garage Sound machen das Album zu einem Meilenstein experimenteller Rockmusik. Mit einem Sound, der sich irgendwo zwischen VELVET UNDERGROUND, den SEX PISTOLS und THE RESIDENTS einpendelt, sorgt diese durchgedrehte ,Art-Punk" Band für ein wahrhaft außerirdisches Hörvergnügen. Mensch ist geneigt, Allmusic bei deren Beschreibung zuzustimmen: ,man wird sich bald bewusst, dass das Punkrock ist, wie man ihn nie zuvor gehört hat." Für diese Edition hat Paul Hamann von Suma die ursprünglichen analogen Bänder vom Zweispurgerät auf höchste digitale Auslösung hochgezogen, die mindestens vier Mal besser als die des Originals ist. Die Tracks wurden sorgfältig vom Soundarchitekten Brian Pyle neu gemastert, um die einzigartigen versteckten Qualitäten weiter herauszuarbeiten.